SUNDAY 6 SEPTEMBER

The Tom Harrison Quartet


The young and supremely talented rising alto saxophone star of the UK jazz scene performs original contemporary jazz and standards of real depth. Delicate and haunting compositions give way to restless, swinging improvisation via influences that range from John Coltrane and Phil Woods through to Velvet Underground and Nick Drake. With the great Alex Munk (guitar), Conor Chaplin (double bass) and Dave Hamblett (drums)

Watch Tom on YouTube here and visit his website here


"Simplicity of melody with sophisticated detail and hints of Traneish spirituality...one to watch"
Jazz Journal

"A vigorous, peppery alto sound...a skilful soloist...achieving hard-edged climaxes"
London Jazz News


Admission - 7 / 6 (concession)


SUNDAY 4 OCTOBER

Alan Barnes
and
The Chris InghamTrio


Featuring Alan Barnes (saxophones), Chris Ingham (piano), Mick Hutton (double bass) and George Double (drums).

Full details to follow.

Visit Alan'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)