SUNDAY 7 AUGUST

The
Mingus Project


Composer, bandleader and double bassist Charles Mingus (1922-1979) was one of the most influential figures in modern jazz, producing soulful, exciting and volatile music, reflecting the social and political issues that gave his work its bite. This septet celebrates his legacy through the voices of Simon Youngman (alto sax), Trevor Rowland (tenor sax), Chris Dowding (trumpet / flugelhorn), Dave Amis (trombone), Andrew Lynwood (piano), Owen Morgan (double bass) and Cath Evans (drums).


Admission - 7 / 6 (concession)


SUNDAY 4 SEPTEMBER

The
Tori Freestone
Trio


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)


SUNDAY 2 OCTOBER

TBC


SUNDAY 6 NOVEMBER

The
Nigel Price Organ
Trio


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)