The Tories introduced the 50% strike ballot threshold to make industrial action harder. MATT WRACK argues that a Labour government has no justification for leaving it on the statute book
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An audacious album crossing generations and epochs
Chris Searle on Jazz
In the wake of Ann Widdecombe’s murder, JOHN GREEN wonders whether the government will really get to grips with the root cause of these attacks on our MPs
The new PM’s opening addresses offered hope, council homes and reform — but little detail on how any of it will be delivered, warns CLAUDIA WEBBE
Despite the screeching from the right-wing media, Burnham’s speech chimed with the public mood - and socialists should take advantage, says Morning Star editor BEN CHACKO
Scotland's Labour leader cannot continue to evade responsibility for the party's decline, argues LAUREN HARPER
Nature as well as society works dialectically, asserts the Marx Memorial Library and Workers’ School
Henry Grimes, Marc Ribot and Chad Taylor
Live at the Village Vanguard
(PI53)
THE Story of bassist Henry Grimes (born in 1935 in Philadelphia) is one of the astonishing enigmas of jazz. He studied violin and tuba at high school, attended the prestigious Juilliard music college and during the late ’50s he performed at the Newport Jazz Festival with both Benny Goodman and Thelonious Monk.
In the ’60s he played and recorded with some of the luminaries of the music: Sonny Rollins, Roland Kirk, McCoy Tyner and became a key figure of the avant-garde on the New York scene, as bassist of the Cecil Taylor Trio and part of Albert Ayler’s groundbreaking ban.
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