A November 15 protest in Mexico – driven by a right-wing social-media operation – has been miscast as a mass uprising against President Sheinbaum. In reality, the march was small, elite-backed and part of a wider attempt to sow unrest, argues DAVID RABY
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An ethos of sheer equality
Chris Searle on Jazz
Mark Sanders (left), Jon Edwards (centre) and John Butcher (Right)
[Dawid Laskowski]
Despite new European arrests, the evidence presented so far fails to explain the sabotage of the undersea pipelines – and veteran investigative journalist Seymour Hersh’s allegations of US responsibility cannot be easily dismissed, writes ROGER McKENZIE
Groups are urging the US government to secure the 16-year old’s release as his mental and physical health decline dramatically after nine months inside Ofer prison, writes LINDA PENTZ GUNTER
MAT COWARD tells the story of the eccentric founder of a short-lived but striking experiment in ‘vital democracy,’ who became best known for giving away his estate to the nation
As figures from Tucker Carlson to Nigel Farage flirt with neofascist rhetoric and mainstream leaders edge toward authoritarianism through war and repression, the conditions that once nurtured Hitlerism re-emerge — yet anti-war and anti-imperialist sentiments are also burgeoning anew, writes ANDREW MURRAY
As President Javier Milei is set to unveil a radical rollback of Argentina’s labour laws, unions warn of an unprecedented assault on workers’ rights, says BERT SCHOUWENBURG
Last Dream of the Morning
John Butcher, Jon Edwards and Mark Sanders
Relative Records RPR 1056
THE free drummer Mark Sanders (born in Beckenham in 1960) is the last musician to see himself as a leader. He will however, call himself the “instigator” of certain recorded sessions, but an ethos of sheer equality defines them.
No single soundmaker takes precedence or adopts a commandist role — all compadres inspire, move and steer each other as the essence of the music, with Sanders’ percussive artistry listening, provoking and responding to every note and change of sound of his bandmates, saying almost telepathically to each other, as Sanders puts it, “What sound will we create to put it right?”
Sanders’s first boyhood vision of his drums was watching his dad play the bongos, and dancing in the aisles of the penny seats of the London Palladium to Brian Bennet’s drums when, as a six-year-old, his mum took him to see the Shadows.
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