The exciting and innovative young pianist is highly regarded in free-jazz circles and is recognised as one of improvisations next generations leading lights. Mike Hurley has quickly established himself as an original voice on the free jazz/free improvisation scene. He is the co-founder with Bruce Coates of BIO and regular collaborator with Coates in a variety of situations. He is the current brains behind the innovative Fizzle series of concerts in Birmingham and a new series co-promoted by Birmingham Jazz at the Midlands Art Centre entitled The Invention Convention.

Amongst his many collaborators are Mick Beck, Lol Coxhill, John Coxon, Paul Dunmall, John Edwards, Paul Hession, Miles and Tony Levin, Paul Rutherford, Mark Sanders, and Matt Wand. As well as his involvement with improvised music, he has worked with some highly regarded names on the folk scene including Kevin Dempsey, in addition to his role in the folk/rock group Mama Matrix.

The Cork Independent recently caught up with Mike ahead of his Cork show to get the low-down on playing without rules, labelling within improvisation, preparing for the unknown and the likeness of conversation with musical imrpov.

"I grew up in the rural south west of England," he says by way of an introduction, "and when I wasn't running up and down hills, rolling in mud or getting in or out of trouble, I was playing piano. More recently I have been lucky enough to perform and record with improvising greats such as Paul Dunmall, Mick Beck, Tony Marsh, Mark Sanders, Christopher Hobbs and Bruce Coates.

"I have a duo tour with Paul Hession planned for next year, which I am really looking forward to. On Birmingham's thriving free improvisation scene I organise the 'Fizzle' and 'Invention Convention' concert series, and with Bruce Coates the 25 piece Birmingham Improvisers' Orchestra. I also play drums, melodica and double bass with a variety of other projects including a reggae collective and a Balkanesque punk band."

Now heavily ensconced within the realms of the UK's improvisational scene, Mike says his initial foray into improv was an almost natural occurrence, stemming from a typically rudimentary method of learning. And although he now counts as a leading figurehead in these circles, the notion of defining free jazz, he says, still somewhat eludes him.

"I have improvised in quite a free and gestural way since I was too young to know what free improvisation and free jazz were. I still don't really know. Like anything there was a fair bit of 'trial and error' when I was learning. I suppose performing, whether it be musical or otherwise, requires practice to improve. One prepares for an improvised show in a similar way to which one prepares for a surprise – it's best not to worry about it."