SUNDAY 3 MAY

**BIG BAND SPECIAL**

Horn Factory


A return visit for the 18-piece big band featuring great soloists and ensemble players from around East Anglia exploring the rich history of big band jazz through classic arrangements from Buddy Rich and Woody Herman to contemporary material by Pat Metheny and Michel Camilo. Experience the wail of a big band in a small venue.

Listen to the band's music at http://www.hornfactory.co.uk


Admission - 7 / 6 (concession)


SUNDAY 7 JUNE

The Button Band


Guitarist and composer Andrew Button leads his London band on its first UK tour 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 Wolf (tenor sax), Dave Manington (double bass) and Jon Ormaston (drums).

Listen to The Button Band here and visit Andrew Button's website here


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)