DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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CHRIS SEARLE speaks to Glaswegian guitarist JIM MULLEN
Jim Mullen
[Ron Milsom]
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
HE’s one of the truly great guitarists of a century of jazz, with a sound all of his own rooted in his love of the songs of Robert Burns. Jim Mullen tells me that he “grew up with his songs and their soulful timelessness.” Just listen to his beautiful millennial album Burns and you’ll hear what he means.
He was born in Glasgow in 1945: “It was the post-war baby boom. My dad was a carpenter, my mum worked in a department store. She would sing along to Bing Crosby and Frank Sinatra on the radio, and when I began playing I half-knew these songs. As a toddler she would offer to read me a story at night, but I would ask her to sing me a song instead.
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