DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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‘That moment where everything feels fine and other-worldly’
JAMES BRANDON LEWIS talks to Chris Searle about the the state he's seeking on his new album Molecular
James Brandon Lewis
STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
JAMES BRANDON LEWIS is an inventive and freedom-seeking tenor saxophonist, whose surging patterns of sound resonate all through the new album Molecular he’s cut with his quartet.
From an early age, he became interested in all the jazz greats: “Parker, Coltrane, Rollins and Ornette -— I love the whole continuum,” he tells me, “I loved the emotion they provoked.
“If the music connects, then the genre doesn’t matter. I loved my hometown saxophone heroes Grover Washington and Charles Gayle and I gravitated to Joshua Redman as he was extremely popular. I was curious to know who he was checking out, which led me to Gene Ammons and countless others.”
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