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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Memorable Moving Pictures show in Soho
Tom Harrell
[Tom Beetz]
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
Tom Harrell Moving Picture Quartet
Ronnie Scott's, London
THERE'S something modestly heroic about trumpeter Tom Harrell (pictured). His physical frailty as he walks onstage is manifest — his wild, white hair and beard, his unsteady and shaking gait, his bent back, his languid demeanour, his frustration with the microphones.
Yet, as he blows either trumpet or flugelhorn, his sound is one of beauty, power and ascendant lucidity, shaking the rafters and startling every listener into sudden moments of acute surprise.
Harrell, born in 1946, spent his early musical years in the big bands of Stan Kenton, Woody Herman and George Russell and made his debut at Ronnie Scott's with Horace Silver in 1974.
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