Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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Oh hear us when we cry to thee/For those in peril on the sea
Chris Searle speaks with saxophonist CAROLINE KRAABEL about her album LAST 1 LAST 2 and the contribution of Robert Wyatt
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
“BOTH versions of the piece were recorded live. Audiences and musicians felt a powerful solidarity and connection, both with the material and Robert Wyatt’s beautiful performance of the song, ringing out like the final precious traces of a beloved voice played again and again to try to assuage the heartache of absence. I think we all believed in the work.”
So declared alto-saxophonist, improviser and composer Caroline Kraabel about the recording of her album Last 1 Last 2 at London’s Cafe Oto in March 2016, with the proceeds of every record sold donated to refugee charities care4calais.org and utopia56.org.
Kraabel, born in California in 1961, the daughter of an engineer and university librarian, came to London as a teenager “because of punk. I started on saxophone in London, my first inspirations being Thelonious Monk and Ornette Coleman.”
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