MARIA DUARTE reviews Desperate Journey, Blue Moon, Pillion, and Wake Up Dead Man: A Knives Out Mystery
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‘They were the heart of an entire nation of musicians’
CHRIS SEARLE speaks with Hazel Miller, founder of Ogun Records
Members of the legendary Blue Notes sextet, trumpeter and flautist Mongezi Feza and saxophone maestro Dudu Pukwana jamming in a basement club in Hillbrow, a district of Johannesburg, 1962
[Jurgen Schadeberg/Unesco]
WILL STONE enjoys a set by an artist too eclectic to be pigeonholed
RUTH AYLETT reviews two collections of outright political poetry
The book feels like a writer working within his limits and not breaking any new ground, believes KEN COCKBURN
PRAGYA AGARWAL recommends a collection of drawings that explore the relation of indigenous people to the land in south Asia, Africa and the Caribbean
CHRIS SEALE speaks to Palestinian sound artist BINT MBAREH
MARY CONWAY applauds a brave and timely two hander that explores the difference between intimacy and abuse
IT'S a significant jazz moment: the re-issue of four powerful, vibrant and deeply moving albums on Ogun Records of the Blue Notes, the South African band which fomented so much dynamism and change in British jazz when they released themselves from apartheid and arrived in London after playing at the 1964 Antibes Jazz Festival.
Their first appearance in 1965 at Ronnie Scott’s Old Place in Soho’s Gerrard Street introduced astonishing new sounds, new beats, new inspiration, new musical resistance and the inspiration of direct African artistry into the British jazz scene.
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