A new weekend read

The newly redesigned Guardian Weekly has become my weekend reading material. Somehow, being a magazine format makes the words and photographs work better, especially in my down-time.

There's always been the right balance of brief articles that allow the reader to catch up on the previous week's events and opinions, together with longer features bringing the in-depth analysis done so well in both the Guardian and Observer.
Even when they're small - like the faces on page 7 of former Interpol chief Meng Hongwei and Nobel prize winners Denis Mukwege and Nadia Murad - the photographs are of the same high standard one has come to expect from the Guardian stable. Writ large, they're even better. The AP shot of Dewayne Johnson on page 24 shows the character of the man, etched into every painful line of the man whose cancer has been proved to be caused by Monsanto products.
I've rediscovered the Guardian Weekly this week and I'm glad I have. My subscription is in the post.

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Big Wade - 'Piano Man' out now

Big Wade and Black Swan Theory collectively blends funk, soul, jazz and everything that fills the cracks between those genres: his new album - Piano Man - on all major streaming platforms ahead of the Piano Man Tour 2024 , which has dates across the US. Piano Man brings a selection of original and covers, including a stunning version of Autumn Leaves , which reinvents the song as the funky, electronic Autumn . Big Wade's voice takes the song's melody and improvises around and around, with backing vocals and a deliberately sparse arrangement underpinning the song. Similarly, on Children of the Ghetto , the lead and backing vocals blend in with the soulful musicians of Black Swan Theory. Electronics are used with dexterity, often expanding the vocal lines, as in the ethereal and ghostly opening of Don't Let Me Go . However, the tools never dominate - simply adding depth and layers to the funk. Never more than when Big Wade enters a new world in Interludes , including vocals...

Playtime: 'Morse Code Through The Lights'

Every once in a while, an album drops into your inbox and isn't going anywhere. Morse Code Through The Lights is just such an album. Incontrovertibly controversial, this won't be everyone's cup of tea, but this one has absolutely, instantly, made it onto my list of top albums of 2024. Drummer Tom Bancroft and his band Playtime, which began in Edinburgh as Adventures in New Music ten years ago as a weekly session, have produced something delightfully experimental and brilliantly creative. Four of Scotland's most-established jazz musicians - Martin Kershaw (sax), Graeme Stephen (guitar), Mario Caribe (bass) and Tom Bancroft (drums) - tried out new music and new ideas together. Once lockdown struck in 2020, they decided to explore the possibilities of improvising music together online, partly for something to do, and partly because it was something they could do for their audience. Most of us discovered - or thought we had - that improvising online was difficult or impossi...

36 years ago today, my alto sax was stolen

Actually, it wasn't so much stolen as taken in error. But at the time, we thought it had been removed from backstage at Amsterdam's De Meervaart venue, where I was on stage with The Style Council. Luckily, the gig was being broadcast on radio and the support act were listening as they drove away. They soon realised the mistake and returned my sax and all was well. It was the last gig of a great tour - Paul Weller's first European shows since breaking up The Jam. Another benefit of the radio broadcast is the recording that exists of that show. A good friend of mine - Iain Munn, author of the definitive history of The Style Council, Mr Cool's Dream - gave me a copy several years ago. Still a good story, after all these years.

Hilary Seabrook - writer, podcaster, musician

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