Mammal Hands

A 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

“Gondwana Records always releases quality music and this next record is no exception, the band is called Mammal Hands, I think you’re gonna love it”
Jamie Cullum, BBC Radio 2

“These 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”
Igloo magazine

Admission - 7 / 6 (concession)


with Benet McLean

Since 2009 this exhilarating and accessible sax-led trio have carved out a reputation as one of the UK’s 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 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)