All the evidence shows voters want Labour to shift to the left — but initial signs from Andy Burnham are worrying on that front, cautions DIANE ABBOTT
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Free drummer on a roll
Chris Searle reviews Boom Boom Cat by Sunny Murray, John Edwards and Tony Bevan (Foghorn)
ANDY McDONALD MP says Labour must show it is capable of delivering real improvements in people’s lives — bold action is required
ANGUS REID and ANDREW JOHNSTONE report on an initiative that we must take this summer
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France Insoumise MP JEROME LEGAVRE speaks to Christophe Domec on building the Europe-wide peace movement that came together in the International Conference Against War last weekend
At last weekend’s International Conference Against War, LINDA PENTZ GUNTER talks to the Palestinian physician and politician about the struggles ahead to achieve a truly free Palestine
Before he became a percussion pioneer of the avant-garde, the Oklahoma-born drummer Sunny Murray had played with jazz musicians from almost every tradition of the music.
With the New Orleans horn of Red Allen, the New York stride piano of Willie “The Lion” Smith and the bebop alto saxophone of Jackie McLean, he had kept approved time and rhythm.
But when he began playing with the “new” musicians such as pianist Cecil Taylor (from 1959) and rasping tenorist Albert Ayler (from 1964) as well as Ornette Colman and Don Cherry, he began to create a new drum architecture, dispensing with the erstwhile rhythmic regularity and being the accompanist, to forging the drums as a free, surging, improvising force in their own right, liberating the concepts of time and flow and helping to create new musical freedom for the new horn innovators including David Murray and Charles Gayle.
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