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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Great last night at the old place with Westbrook and co
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
IT WAS a prime expression of jazz musicians' generosity on the 1968 London scene that, when Ronnie Scott moved to new premises in Frith Street, Soho, from the "old place" in Gerrard Street, he encouraged new bands to use it, responding to the upsurge of brilliant young musicians making their mark on the new music and the genius of the Blue Note exiles from South Africa, shortly to form the Brotherhood of Breath.
Many of this powerful musical generation found their way into the Mike Westbrook band, giving precious opportunity for young virtuosi like saxophonists Mike Osborne, John Surman and George Khan, trombonists Paul Rutherford and Malcolm Griffiths, trumpeter Dave Holdsworth, South African bassist Harry Miller and drummer Alan Jackson.
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