JAMES WALSH is moved by a provocative and original take on the relationship between ecology and architecture, and a plea to work with, not against, the materials and minerals of our world
‘His most compelling legacy is the status he gave British musicians on the world stage’
Record producer GEORGE HASLAM talks to Chris Searle about the release of the album Coxhill ’85 by legendary soprano saxophonist Lol Coxhill
Lol Coxhill in 2007
[Andy Newcombe/Creative Commons]
An immersive, participatory display by a queer Australian Aboriginal performer, and a rebellious unravelling of traditional Scottish dance
EWAN CAMERON witnesses a political farce that lacks a clear message
EWAN CAMERON picks out two fascinating music shows, fusing the Korean, and the Celtic, with the modern
BENJAMIN POTHIER suggests that Palaeolithic cave paintings in Spain point to the ceremonial use of hallucinogenic flora
The bard confirms that the right has a humour bypass, and replays the English Revolution on period instruments
ALL through the 1970s I would hear his birdlike and beautiful soprano saxophone sound flying over Hungerford Bridge and Charing Cross as he busked to captivated and lucky passers-by.
For Lol Coxhill was one of the great masters of his instrument in the post-Coltrane years, alongside Steve Lacy and Evan Parker, and it was only after he died in 2012 that his true stature has been fully appreciated.
A dedicated and committed virtuoso, I remember how he responded so positively when in 1980 I asked him to perform at a Jazz Against Racism concert I organised, and how soulfully he played.
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