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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]
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 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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