DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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‘Dark matter is what keeps everything from drifting apart’
Pianist LAFAYETTE GILCHRIST talks to Chris Searle about the unifying force inspiring his latest album
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
ONE of jazz’s prime pianists, who through his musical life has absorbed many US genres, from swing, gospel and stride to hip-hop and free improvisation, Lafayette Gilchrist was a part of epochal saxophonist David Murray’s quartet for 13 years.
Born in Washington DC in 1967, he started to play piano when, at the age of 17, he came to live in Baltimore.
“Duke Ellington and Theolonius Monk were, and remain my musical inspirations,” he declares, and his years with Murray “affirmed and helped to inform what I was already working on and the direction I was going in music.”
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