As tens of thousands return to the streets for the first national Palestine march of 2026, this movement refuses to be sidelined or silenced, says PETER LEARY
Latest editorial
Melodies and memories rendered into a most beautiful form
CHRIS SEARLE on Jazz
Jazz pianist Stanely Cowell
[Tom Marcello/Creative Commons]
If the government really wanted to address public finances, improve living standards and begin economic recovery, it would increase its borrowing for investment, argues MICHAEL BURKE
MATT KERR takes a winter journey through poetry, labour and memory, from Glasgow to Newcastle, arguing that our radical past isn’t something to revere from a distance, but a tool still meant to be used
One of Canada’s most revered politicians is a native of Falkirk but is relatively unknown in his original homeland. KENNY MacASKILL tells his story
Labour prospects in May elections may be irrevocably damaged by Birmingham Council’s costly refusal to settle the year-long dispute, warns STEVE WRIGHT
HENRY FOWLER and ROB POOLE explain the significance of today’s Megapicket
Stanley Cowell
Are You Real? (Steeplechase SCCD 31790)
No Illusions (Steeplechase SCCD 31828)
YOU can hear virtually the entire century of jazz glories in Stanley Cowell’s piano. His lifetime doesn’t quite stretch that far — only three-quarters of that history.
He was born in the city of Toledo, Ohio, in 1941 and met the greatest jazz pianist Art Tatum, a regular visitor to his parents’ house and player of their family piano, when he was six. But his years encompass an extraordinary richness of playing with, and being inspired by, some of the truly epic figures of the music.
Similar stories
Ben Cowles speaks with IAN ‘TREE’ ROBINSON and ANDY DAVIES, two of the string pullers behind the Manchester Punk Festival, ahead of its 10th year show later this month
JOHN GREEN surveys the remarkable career of screenwriter Malcolm Hulke and the essential part played by his membership of the Communist Party
Read Sisters, the journal of the National Assembly Of Women, below.
ANDY HEDGECOCK relishes two exhibitions that blur the boundaries between art and community engagement