The bard gives us advance notice of his upcoming medieval K-pop releases
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‘There are many ways to counter the state of the state’
Jazz musician MARK DRESSER gives the lowdown on his new album Ain't Nothing but a Cyber Coup and You to Chris Searle
GORDON PARSONS steps warily through the pessimistic world view of an influential US conservative
HENRY BELL takes issue with the assertion that basic income is a remedy for poverty when it doesn’t address the inbuilt inequality of capitalism
RON JACOBS welcomes an investigation of the murders of US leftist activists that tells the story of a solidarity movement in Chile
RITA DI SANTO surveys the smorgasbord of films on offer at this year’s festival
Reviews of A New Kind Of Wilderness, The Marching Band, Good One and Magic Farm by MARIA DUARTE, ANDY HEDGECOCK and MICHAL BONCZA
SCOTT ALSWORTH foresees the coming of the smaller, leaner, and class conscious indie studio, with art as its guiding star
MARK DRESSER, one of jazz’s foremost double-bassists, is Professor of Music at the University of California in San Diego, at the same Mexican frontier where legendary bassist Charles Mingus was born in Nogales.
Dresser’s musical life has included many years playing with Anthony Braxton, Henry Threadgill and numerous other jazz boundary-breakers but Mingus has had a profound influence. “As a teenager I was moved by Mingus’s recordings — the brilliance and audacious originality of his bass playing, the power and directness of his music,” he tells me.
“He and Jimi Hendrix pointed a direction, affirming the power of sound in time. Certainly, Mingus’s example was a template for self-actualisation as bass player, composer and bandleader that I could aspire to.”
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