Kristian Borring

The Danish guitarist and composer returns to Milestones to steer a steady course through elaborate and gently propulsive original material from his new album. Influenced by the thoughtful and tasteful styles of Jim Hall, Pat Metheny and John Abercrombie, Borring’s clear-sighted improvisations navigate melodic grooves and rich harmony with vibrant support from the great Mick Coady (double bass) and Jon Scott (drums).

Watch You Tube footage of Kristian here and visit his website here

"...hyper-cool and low-key approach to jazz guitar, but with warmth, confidence and a rhythmic hipness that's thoroughly contemporary"

The Guardian

"…a rising talent on the new London jazz scene…"
Time Out

"…mixes post bop lines with more contemporary abstract sounds…"
Jazzwise magazine

Admission - 7 / 6 (concession)




Mingus Project

To be confirmed. Full details to follow.

Admission - 7 / 6 (concession)


Tori Freestone

The return of a great band. A trio of just sax, bass and drums may sound like a dry prospect but the widely admired composer, tenor saxophonist and flautist Tori Freestone makes it distinctive, exciting and playful. A free-flowing, intelligent style that highlights a great gift for melodic invention is harnessed by a trio currently on tour and playing at the top of their powers. With the wonderful Dave Mannington (double bass) and Tim Giles (drums).

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)




Nigel Price Organ

Full details to follow.

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)