APURBA CHATTERJEE explains how British artists in India used the “picturesque” to reshape colonial landscapes and celebrate imperial power
Love is Glynde
JOE GILL wallows in superb evenings of jazz, funk and rap, and only regrets that savouring the music displaced his opportunity to heckle
VIRTUOSO: Yussef Dayes performs at Love Supreme Jazz festival
[Courtesy of Love Supreme Jazz Festival]
PAUL DONOVAN welcomes a revival of Reginald Rose’s classic play that reminds us of the fundamental need for trials with juries
SIMON PARSONS applauds an exceptional performance of Wesker’s little-known play, by the same actor for whom it was written 45 years ago
ANDY HEDGECOCK and MARIA DUARTE review Late Fame, The Death of Robin Hood, Leviticus, and Gail Daughtry and the Celebrity Sex Pass
ANGUS REID recommends a uniquely accomplished documentary collage that contemplates our relation to the natural world
GORDON PARSONS enjoys Kant’s ‘mind-boggling’ theory of human reality: that we create the reality we experience
Love Supreme Festival
Glynd, East Sussex
THE modern music festival can descend into an exercise in highly commercial nostalgia for old rockers and their fans. But some old acts are like rare gems that deserve new audiences.
On the Glynde estate in Sussex, hundreds gathered in fevered excitement in a huge tent as Ethiopian jazz legend Mulatu Astatke in a warm, soft voice introduced his next song, Freedom.
With his international band of top-flight musicians (trumpet, sax, cello, conga player, flute, double bass and drummer), what followed lifted that lucky audience into a state of mesmerised transcendence.
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