SUNDAY 6 MARCH
debut appearance at Milestones for the trio that has been making
waves on the UK jazz scene. Drawing on influences from Steve Reich
to Bonobo, Pharoah Sanders to The Cinematic Orchestra, North Indian
to African music, they produce inimitable music at times wistful
and melancholic, sometimes raucous, catchy and explosive. New
music from their soon to be released second album once again displays
a thoughtful blending of composition with spontaneity and interplay.
Featuring Jordan Smart (saxophones), Nick Smart (keyboard) and
Jesse Barrett (drums and percussion).
Watch footage of Mammal Hands here
and visit the band's website here
Records always releases quality music and this next record is
no exception, the band is called Mammal Hands, I think youre
gonna love it
Jamie Cullum, BBC Radio 2
guys are young, talented, highly expressive and think outside
of the box. With Animalia they bring something new, bold and exciting
into the far-reaching jazz arena
Admission - £7 / £6 (concession)
SUNDAY 3 APRIL
with Benet McLean
2009 this exhilarating and accessible sax-led trio have carved
out a reputation as one of the UKs most in demand bands
and their new CD, 'String Theory', furthers the argument for this
freewheeling, fiercely interactive unit to being one of the best.
Influenced by the contemporary New York scene their hard to pin
down grooves create new ideas and avenues of excitement at every
turn. Featuring Duncan Eagles (tenor sax), Max Luthert (double
bass) and Eric Ford (drums) with special guest Benet McLean (violin).
Watch footage of Partikel
Admission - £7 / £6 (concession)
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.
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)
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
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)