MARIA DUARTE, FIONA O’CONNOR and ANDY HEDGECOCK review Savage House, Enzo, Madfabulous, and Erupcja
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‘You can hear what a beautiful player he was’
Chris Searle speaks to VAL WILMER about veteran virtuoso New Orleans clarinettist Albert Nicholas
Albert Nicholas
[Gottlieb William P/Creative Commons]
CHRIS SEARLE recommends a work of love and deep admiration for a great musician
KENNY MacASKILL relishes a fictionalised account of the life and death of the principled Irish anti-colonialist, executed for betraying his English imperial masters
FIONA O’CONNOR admires an ambitious first novel that loosens South Africa’s rainbow collective to examine the racial tensions within
Aussie mining corporation murder, Liverpudlian ex-cop amnesia, a naive vigilante tries to reset capitalism, and the riddle of the dead psychoanalyst
SYLVIA HIKINS is persuaded by an entertaining play that the true miracle of Lourdes would be for attitudes toward disability to change
IT WAS the summer of 1973. The Victoria and Albert Museum in plush South Kensington was showing Val Wilmer’s powerfully evocative exhibition of jazz and blues photographs, Jazz Seen: The Face of Black Music.
There too for a rare and final London recital was the veteran virtuoso New Orleans clarinettist Albert Nicholas, who was to die that year. In his younger days he had been tutored by the master Crescent City clarinet genius Lorenzo Tio, and had played in the bands of King Oliver, Jelly Roll Morton and Louis Armstrong.
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