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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Notes never to be sidelined or forgotten
Chris Searle on Jazz
Don Pullen
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
Don Pullen featuring Sam Rivers
Capricorn Rising
(Black Saint)
OF ALL the array of great pianists who have been at the centre of a century of jazz, I have to say that my nonpareil of the keys was a man from Roanoke, Virginia, called Don Pullen.
Pullen was born in 1944 of mixed African-American and Cherokee heritage. He arrived in Chicago in 1964 to become part of the experimental and community-rooted Association for the Advancement of Creative Musicians while finding his living playing in many a rhythm and blues context.
His outrageously progressive talent was recognised by Charles Mingus, who in 1973 made him a member of his band and he played on Mingus’s two brilliantly subversive Changes albums, on pieces like Remember Rockefeller at Attica and the prophecy of Charlottesville, August 2017, Free Cell Block F ’Tis Nazi USA.
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