DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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Round-ups 2022: Jazz albums with Chris Searle
Brian Landrus in 2017
[Baritonesaxophoneman/CC]
STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
MY RECORD of the year is the reissue of the marvellous Joe Harriott Swings High (Cadillac Records), originally released in 1967 and created in a session held at, according to Harriott’s longtime Jamaican bass confrere Coleridge Goode, “a pokey little independent studio somewhere in East London.”
Goode continued: “Joe plays so fiercely that at times it seems as though he’s about to blow his alto apart.”
Hear his searing choruses on The Rake or Blues in C, but he plays with a beautiful lyricism too — alongside trumpeter Stu Hamer on A Time for Love, or as the lone horn on Polka Dots and Moonbeams.
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