GEOFF BOTTOMS relishes a profoundly human portrait of a family as it evolves across 55 years in Sheffield
Locating liberation
JOHN BUTCHER tells Chris Searle why he and Joe McPhee went into the Texan desert to create one of the most free-form jazz recordings ever
John Butcher
[Andy Newcombe/Creative Commons]
PAUL DONOVAN applauds an excellently crafted new musical that explores the life and death of Ruth Ellis
PAUL DONOVAN is tickled by the excruciating take-downs of one of the funniest, wittiest, political writers around.
RON JACOBS points out, via a transcription of Kissinger’s secret recordings, that Trump could never have existed without Nixon and Kissinger
ELLIS RAE is persuaded that the advantages of the ‘talking cure’ are superior to the treatment of mental illness with drugs
JOHN GREEN, MICHAL BONCZA and BELLA KATZ review The Good Boy, Broken English, and Don't Be Prey
IMAGINE if you can a more surprising recording location than that chosen by virtuoso saxophonists John Butcher and Joe McPhee back in April 2010.
Unaccompanied, and under the huge skies of the rock-strewn and treeless Chihuahuan desert in Texas, they played standing and walking on the cruciform shale walkways and inside the giant steel doors of the four buildings full of sculptural works by New York artist and architect James Magee, ex-denizen of a New York City junkyard.
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