DENNIS BROE finds much to praise in the new South African Netflix series, but wonders why it feels forced to sell out its heroine
‘I couldn't play publicly with black musicians, only in their homes’
CHRIS SEARLE speaks with clarinetist Sammy Rimington
Sammy Rimington, center, at jazz funeral for Danny Barker, New Orleans, 1994. He is flanked by clarinetists Chris Burke at left and Dr Michael White at right
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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
GAVIN O’TOOLE welcomes the reissue of a seminal work of revolutionary theory that have genuine relevance in the current context
STRANGE to think that on Dean Street, up and alongside this Soho basement, Karl Marx walked to the reading room of the British Museum early every morning, contemplating Das Kapital. Shelley lived around the corner and just through St Anne’s Court almost opposite, William Blake was born and lived his early years.
And along the parallel road, Frith Street, there is Ronnie Scott’s, where in the 1960s the greatest US jazz musicians had opened up London with their sounds.
Now I find myself listening to the clarinet and alto saxophone of 82-year-old Sammy Rimington, who I first heard 64 years ago in the side hall of the Elm Park Hotel, eastwards on the District Line, when he was an 18-year-old debutant in Ken Colyer’s New Orleans Band, as I worked taking coats in the cloakroom of my local St Louis Jazz Club.
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