Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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‘I think of the saxophone in a very vocal way’
CHRIS SEARLE interviews saxophonist and flutist Tori Freestone on the release of her duo album with pianist Alcyona Mick
Tori Freestone and Alcyona Mick
[Daniel Devlin]
SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
In view of the grooming gangs inquiry, SIMON PARSONS feels the relevance of this powerful examination of trauma suffered at Medomsley Youth Detention Centre
JOHN GREEN doubts the motivations of a US war photographer who never questions why, or for whom, she is producing images of imperialist conflict
MARIA DUARTE reviews Springsteen: Deliver Me From Nowhere, Hedda, The Mastermind, and Regretting You
TONY CONWAY welcomes a thrilling and concise history of Hope not Hate, that is also a manual full of tactical advice
PAUL DONOVAN welcomes an inspiring account of living with deafness that has important lessons for the treatment of deaf people in today’s UK
THE south London saxophonist and flautist, Tori Freestone, comes from a long line of Thames watermen going back to the 18th century. Her father is an ex-merchant seaman and lover of marine folk songs and shanties.
She speaks proudly of her great uncle on her mother’s side, the Welsh-born miner, trade unionist and communist, Idris Williams — Somme veteran and one-time member of the Mountain Ash male voice choir, who emigrated to Wonthaggi, Australia in 1920, and led the historic five month miners’ strike in 1934, while also being an active choral singer, brass band conductor and chair of the Miners Union theatre: an astonishing all-rounder. “He travelled around Australia with my grandfather Thomas, performing in community centres,” says Tori.
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