Sunday 3 March

7pm doors, 7.30pm start

Kevin Flanagan

Hard swinging US tenor saxophonist Kevin Flanagan teams up with the original compositions of Q3 pianist Martin Hallmark, combining elements of funk, latin and fusion with intricate melodies influenced by Michael Brecker, Chick Corea, Marcus Miller and Robert Glasper. Quietly pulsating, mercurial grooves that never lose their sense of urgency. With the great Tiago Coimbra (bass) and Oscar Reynolds (drums).


Visit Q3ís website here, watch YouTube footage here and listen to Q3 here.


“…instantly accessible, original compositions…played deftly with passion as well as eyebrow raising virtuosity from these gifted, empathetic musicians”
Nigel Price, award winning jazz guitarist

"Beautiful changes combined with contemporary grooves. The songs are intricately crafted without sounding obviously complex - just listen and enjoy it!"
Tom O'Grady, Resolution 88

"This music has an urgency and intelligence that demands close listening"
David Ellingham, Local Secrets

Admission £14 / £7 (U25) on the door or book online here



*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)


Late in his career, drummer Earl Palmer appeared in a music video with the band Cracker on the song ‘I Hate My Generation’. According to Cracker leader David Lowery, when Palmer was asked if he would be able to play along with the songs, he gave Lowery a look and said, 'I invented this shit’.