STEVE JOHNSON recommends a protest album with a harder edge than many in the genre
‘The day jazz washed away the dust of everyday life*’
CHRIS SEARLE pops into his local for some serendipitous jazz goings-on
Jim Mullen
[Jeff Hardcastle/CC] 
DENNIS BROE finds much to praise in the new South African Netflix series, but wonders why it feels forced to sell out its heroine
CARL DEATH introduces a new book which explores how African science fiction is addressing climate change
In his second round-up, EWAN CAMERON picks excellent solo shows that deal with Scottishness, Englishness and race as highlights
Fiery words from the Bard in Blackpool and Edinburgh, and Evidence Based Punk Rock from The Protest Family
MATTHEW HAWKINS is mesmerised by a performance that dissolves the line between audience and performer
MATTHEW SHARPE recommends the essays of a Renaissance politician that instruct and unnerve after 400 years
IN THE upstairs room in my local pub just up the road — The County Arms in Highams Park, east London — Sunday evenings are jazz feasts.
There is always a guest musician of renown, a local accompanying trio of bass, drums and keyboards, followed by a chance for local musicians, young and old, to share the stage with the guest, and gain invaluable confidence from the encounter.
Last week it was the great veteran Glaswegian guitarist, Jim Mullen, who played an opening set including beautifully sharp ballads like I’ll Close My Eyes, I Can’t Get Started and Angel Eyes, with bop classics like Clifford Brown’s Sandu and Wes Montgomery’s Road Song.
More from this author
CHRIS SEARLE speaks to Chris Laurence, bassist and bandmate of saxophonist TONY COE
CHRIS SEARLE speaks to vocalist Jacqui Dankworth
CHRIS SEARLE pays tribute to the late South African percussionist, Louis Moholo-Moholo
Re-releases from Bobby Wellins/Kenny Wheeler Quintet, Larry Stabbins/Keith Tippet/Louis Moholo-Moholo, and Charles Mingus Quintet
