DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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‘His most compelling legacy is the status he gave British musicians on the world stage’
Record producer GEORGE HASLAM talks to Chris Searle about the release of the album Coxhill ’85 by legendary soprano saxophonist Lol Coxhill
Lol Coxhill in 2007
[Andy Newcombe/Creative Commons]
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
ALL through the 1970s I would hear his birdlike and beautiful soprano saxophone sound flying over Hungerford Bridge and Charing Cross as he busked to captivated and lucky passers-by.
For Lol Coxhill was one of the great masters of his instrument in the post-Coltrane years, alongside Steve Lacy and Evan Parker, and it was only after he died in 2012 that his true stature has been fully appreciated.
A dedicated and committed virtuoso, I remember how he responded so positively when in 1980 I asked him to perform at a Jazz Against Racism concert I organised, and how soulfully he played.
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