SUNDAY 1 AUGUST

The Phil Brooke Quartet

Photograph courtesy of Geoff Harriman

Guitarist Phil Brooke has long been the first choice of both local musicians and visiting stars for his tasteful and intelligent playing. Here he leads his own band through a programme of standards that explore the rich harmonies, winding lines and direct styles of his main influences - Barney Kessel, Tal Farlow and Joe Pass. With Ray Simmons (trumpet), Ivars Galenieks (double bass) and Brian McAllister (drums).

Listen to some of Phil's solos from Ray Simmons's 'St Malo Suite - The Music of John Leslie' and from his solo CD, 'Alone Together':

Phil's intro to 'November (Epilogue)'  
Phil's solo on 'A Sunny Samba'  
Phil's solo on 'Beam Reach'  

Alone Together (intro)  
Green Dolphin Street (intro)  
Tenor Madness (intro)  

Admission - £7 / £6 (concession)

SUNDAY 5 SEPTEMBER

Michael Garrick and
Nette Robinson
'Remembered Time'

Prolific composer and pianist Michael Garrick is a legend of UK jazz, often called ‘The English Ellington’ for the depth, originality and beauty of his musical vision over fifty years. His latest collaboration is with the expressive singer Nette Robinson on originals, standards and, to mark the thirtieth anniversary of his death, work by the great pianist Bill Evans. Not to be missed!

Listen to Michael and Nette’s music here, here and here.

'When the Big Audit is completed, Britain will find itself in trouble for not having disclosed a national asset on the scale of Michael Garrick’
The Penguin Guide to Jazz on CD

‘…truly of world class’
John Dankworth

'Mike's inventiveness, wit and zest for musical exploration is little short of
uncanny'
Humphrey Lyttelton

Admission - £7 / £6 (concession)

SUNDAY 3 OCTOBER

Simon Spillett



Full details to follow

 

 



Photograph by Jerry Storer    

Admission - £7 / £6 (concession)

SUNDAY 7 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)