The thoughtful and melodic trumpeter Dan Friend returns to Milestones leading a band through a choice selection of lesser-known standards and originals influenced by Miles Davis and Keith Jarrett. Featuring players more than capable of turning up the heat: Matt Hodges (piano), Owen Morgan (double bass) and Jesse Barrett (drums).

Watch You Tube footage of Dan Friend playing with a different band here

Admission - 7 / 6 (concession)


The Maciek Pysz Quartet

Maciek Pysz (guitar), John Turville (piano), Yuri Goloubev (double bass) and Eric Ford (drums).

Full details to follow.


Admission - 7 / 6 (concession)




The Button Band

Guitarist and composer Andrew Button returns to Milestones as part of a UK tour, leading his London band through originals that reflect the influence of Bill Frisell, John Scofield and Loose Tubes. Sometimes playful, sometimes melancholy, always quietly grooving - contemporary jazz featuring the great Andy Woolf (tenor sax),Dave Manington (double bass) and Jon Ormaston (drums).

Admission - 7 / 6 (concession)


*PLEASE NOTE*: details of concerts and musicians appearing are correct at the time of writing although changes are sometimes necessary. Please feel free to check with us before attending.






Somebody who decides to play jazz for a living knows he will struggle for the rest of his life, unless he opts for predictable and soothing compromise. Honest jazz involves public exploration. It takes guts to make mistakes in public, and mistakes are inherent. If there are no mistakes, it's a mistake. In Keith Jarrett's solo improvisations you can hear him hesitate, turn in circles for a while, struggle to find the next idea. Bird used to start a phrase two or three times before figuring out how to continue it. The heart and soul of improvisation is turning mistakes into discovery. On the spot. Now. No second draft. It can take a toll night after night in front of an audience that just might be considering you shallow.

From 'Close Enough For Jazz', Mike Zwerin (1983)


Now, divine air! Now is his soul ravished! Is it not strange that sheeps' guts should hale souls out of men's bodies? Well, a horn for my money, when all's done.

From 'Much Ado About Nothing' (Act II, Scene iii), William Shakespeare (1600)


Onstage, he storms inwardly, glaring at his audience, wincing at his trumpet, stabbing and tugging at his ear. Often his solos degenerate into a curse blown again and again through his horn in four soft beats. But Miles can break hearts. Without attempting the strident showmanship of most trumpeters, he still creates a mood of terror suppressed - a lurking and highly exciting impression that he may some day blow his brains out playing.

Barry Farrell, writing in Time Magazine (February 28 1964)