SUNDAY 4 MAY

The
Chris Ingham
Quartet


'A celebration of
Hoagy Carmichael'


Hoagy Carmichael wrote many of the most loved and easily recognised songs from the 30s and 40s - the golden era of the American Songbook. Here pianist and vocalist Chris Ingham brings Hoagy’s music into focus, playing the songs and telling the stories behind them. With the great Paul Higgs (trumpet), Ivars Galenieks (double bass) and George Double (drums). Not to be missed!


Admission - 7 / 6 (concession)


SUNDAY 1 JUNE

Nick Malcolm Quartet


The young trumpeter Nick Malcolm has become known on the London jazz scene for his original compositions that combine the rhythmic and harmonic complexities of contemporary jazz with the intensity and interaction of free improvisation. Exciting 21st century jazz ably realised by the bustling energy of Alexander Hawkins (piano), Olie Brice (double bass) and Mark Whitlam (drums).

Visit Nick's website here and watch YouTube footage of Nick here

"...fierce musical intelligence and wonderful openness to each other [in this] deliciously original album..."
Jazzwise magazine


Part of a tour supported by Jazz Services


Admission - 7 / 6 (concession)


SUNDAY 6 JULY

The
Tori Freestone
Trio


Full details to follow

 

Visit Tori's website here and watch YouTube footage of Tori with various bands here


The versatile tenorist/flautist Tori Freestone up front...her sound
pure-toned yet incisive in the upper register..."
London Evening Standard

"A flute and reeds player of nicely sinuous melodic invention"
Daily Telegraph


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)