The Jazz Funk Collective

A dynamic 7-piece band of young London-based musicians reference bebop, funk, drum n bass and modal swing through astute arrangements of original material packed with great improvisation. With Duncan Eagles (tenor sax), Sam Eagles (alto sax), Andrew Jackson (alto sax), Andy Highmoor (piano), Leo Appleyard (guitar), Max Luthert (bass) and Chris Packham (drums). Visit the band's websites here and here

'Those bemoaning the state of the nation’s youth should check out this band'
Jazzwise Magazine

Admission - £7 / £6 (concession)

Hai La Drum

Virtuosic violin-led gypsy jazz quartet playing fast and fiery Romanian themes, jazz standards with a refreshing contemporary twist. All is melded into an unpredictable, anarchic whole by the incredible Vasile Stanescu (violin), Jonny Hepbir (guitar), Pete Watson (accordion) and Dan Sheppard (double bass). Visit the band's website here

Admission - £7 / £6 (concession)

The
Will Collier Septet

Featuring Will Collier (double bass), Al Bonney (trumpet), Mike Lesirge (alto sax), Ben Somers (tenor sax), Bob Dowell (trombone), Ed Sheldrake (piano), Ben Reynolds (drums). Visit the band's website here

Full details to follow soon

Admission - £7 / £6 (concession)

The Jones O'Connor Group

Featuring Paul Jones (piano/synthesisers), Richard Jones (guitar/electronics) Chris O'Connor (double bass) and Mark O'Connor (drums). Visit the band's websites here and here

'One of the most innovative and exciting bands on the circuit'
The Aberdeen Press and Journal

Full details to follow soon

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)