Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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‘When it comes to Britain’s colonial past, music can be part of that reckoning’
CHRIS SEARLE speaks to British Nigerian/Jamaican pianist ROELLA OLORO
Roella Oloro, 2021
[Jack Kendon]
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
IT was an especially groovy session at the Vortex, with Roella Oloro’s sparkling piano, the plummeting, dancing bass of Rio Kai and the deft, everywhere drums of Andee Liu.
Roella plays in and out of the tradition with such pride and skill, that if you shut your eyes you could be hearing moments of Geri Allen, Mary Lou Williams, Tommy Flanagan or her earliest inspiration, Oscar Peterson. How they would have loved her!
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