STEVE ANDREW enjoys an account of the many communities that flourished independently of and in resistance to the empires of old
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Three free spirits
OLIE BRICE talks to Chris Searle about the liberating impulse of the jazz he plays with Tobias Delius and Mark Sanders
Olie Brice
TOM STONE urges you to catch the last dates of a New York singer/songwriter, never afraid to challenge her audiences musically or politically
JAN WOOLF examines work that aims to give viewers a material experience of the environments in the polar north and Britain equally affected by the climate crisis
The bard recalls advice received 50 years ago from his TRB muse, and sorts out appropriate legislation for football club ownership
MICHAL BONCZA and MARIA DUARTE review Facing War, Kontinental ’25, Bugonia, and Relay
MAYER WAKEFIELD is frustrated by a production of Ibsen’s classic study of an anti-heroine that fails to elucidate her motivations
PETER MASON tunes his ear into the domestic affairs of a Carribbean couple with a troublesome son
STANDING on the chassis of a wrecked car, the expressive image on the album Somersaults shows a group of inner-city boys larking about on an urban wasteland, with one of them flying upside down in a forward roll over the graffitied bonnet.
It’s an image symptomatic of the record itself — edgy, risky, yet filled with a sublimated lyricism and audacity.
That lyricism goes back some way for bassist Olie Brice, who’s joined on the record by saxophonist Tobias Delius and drummer Mark Sanders. Born in east London, Brice spent his teenage years in Jerusalem and those years have stayed with him: “Some of my earliest musical memories are of communal singing in synagogue and around family tables,” he tells me.
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