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MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
Making the previously unknown, known
New releases from Steve Knightley, Jupiter & Okwess, Jason Palmer, Lisa Knapp and Gerry Driver, Kin'Gongolo Kiniata, Ingrid Laubrock/Tom Rainey, Dan Sealey, Simin Tande, PAZ
JOHN GREEN relishes photography that unfolds a longstanding and poetic relationship with Leeds
A uncomfortably misogynistic authorial voice that sometimes seems to lack insight troubles FIONA O’CONNOR
MARY CONWAY is disappointed by a production that panders – if inadvertently – to Western prejudice against China
JOHN GREEN is fascinated by a history that excavates the enormous role played by agricultural workers in recent times
ALEX HALL recommends a book that places empirical evidence at the heart of understanding racism
Nicole Mitchell and Alex Hawkins
Cafe Oto
I THOUGHT I was hearing birdsong over the rooftops of Hackney last night, but it was the quivering flutesong beauty of Nicole Mitchell, coming from a musical tryst at Cafe Oto as she blew alongside the grounding piano brilliance of Alex Hawkins, creating a fusion of the sky and the Earth in the heart of London.
Mitchell, born in Syracuse, New York state, bred in San Diego, California where she learned classical flute and busked on the Pacific streets, honed her artistry with the avant garde masters of the Association of the Advancement of Creative Musicians (AACM) of Chicago, forged an empathetic internationalist duo with Oxford-born Hawkins.
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