SUNDAY 1 FEBRUARY

The Julian Costello Quartet


Original and contemporary ECM influenced jazz from tenor and soprano saxophonist Costello. Strong, evocative compositions with a nod to the work of Jan Garbarek and Ralph Towner create some compelling music. First time at Milestones since 2004 in a change to the previously advertised line-up. Featuring the wonderful Patrick Naylor (guitar), Dave Jones (double bass) and Tim Giles (drums).

Visit Julian's website here. Watch YouTube footage of Julian here and listen to his music here


"Costello is an extremely moody player on both saxophones and his compositions cover many musical areas...an emotive and soulful tenor player"
Jazzwise magazine

"left leaning out there tenor player"
The Guardian

"Delicate and melodic...saxophone led original material"
Time Out


Admission - 7 / 6 (concession)


SUNDAY 1 MARCH

Pete Oxley and Nicolas Meier


A sophisticated duo of guitarists, Oxley and Meier (currently with The Jeff Beck Band!) travel on a contemporary journey through jazz on a collection of acoustic and electric guitars via Latin American, Spanish and Middle Eastern influences. Performing originals and modern standards by Chick Corea, Milton Nascimento and Pat Metheny. Not to be missed!

Listen to Pete and Nicolas's music here and watch YouTube footage of Nicolas in various musical settings here. Visit Pete's website here and Nicolas's here


“His own playing is quite masterly and he writes the kind of themes that invite and inspire improvisation”
The Observer

“Oxley is an imaginative explorer of both acoustic guitar and plugged effects…”
The Guardian

“Meier is elegant in tone and bubbling with ideas... his originality as a writer, a player and a team leader dispatches any doubts”
The Guardian

“...Since John McLaughlin melted frets with the Mahavishnu Orchestra we have become used to frenetic guitar-led groups. None, however, quite mixes styles and sounds like that of Meier, a Swiss player as happy in flamenco and Arab melodies as he is in Western jazz”
The Times


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)