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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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]
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
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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