RITA DI SANTO draws attention to a new film that features Ken Loach and Jeremy Corbyn, and their personal experience of media misrepresentation
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‘You can hear what a beautiful player he was’
Chris Searle speaks to VAL WILMER about veteran virtuoso New Orleans clarinettist Albert Nicholas
Albert Nicholas
[Gottlieb William P/Creative Commons]
JULIA TOPPIN recommends Patti Smith’s eloquent memoir that wrestles with the beauty and sorrow of a lifetime
MARJORIE MAYO welcomes an account of family life after Oscar Wilde, a cathartic exercise, written by his grandson
KEN COCKBURN guides us through a survey of Chekov’s early short fiction, and the groundwork it laid for his later masterpieces
ANDY HEDGECOCK revels in a hugely enjoyable but deadly serious examination of the 1930s, that is an indictment of our own era
The bard distills our hellish times into fiery words
IT WAS the summer of 1973. The Victoria and Albert Museum in plush South Kensington was showing Val Wilmer’s powerfully evocative exhibition of jazz and blues photographs, Jazz Seen: The Face of Black Music.
There too for a rare and final London recital was the veteran virtuoso New Orleans clarinettist Albert Nicholas, who was to die that year. In his younger days he had been tutored by the master Crescent City clarinet genius Lorenzo Tio, and had played in the bands of King Oliver, Jelly Roll Morton and Louis Armstrong.
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