The saxophonist-rapper faces constant racism - and has also been accused of it. He explains the black cultural celebration of his new album, and why he defended a Labour activist accused of antisemitismItīs rare to see Soweto Kinch without his saxophone. Six foot tall and most often dressed in black, he can usually be found, sax in hand, at his jam night in his hometown of Birmingham or at a session at Ste am Down in London, although I saw him last in May at 2am in a hotel bar in Cheltenham, Gloucestershire, joining vocalist Gregory Porter for an unexpected set. `You never know when you might need to play,` Kinch says, tucking his saxophone case under the table between us.Over the past 15 years, he has played a lot. Now 41, Kinch has released six albums, on themes ranging from austerity to maths, and curated an annual festival. A lyrically dextrous MC as well as saxophonist, he has long been championed as the future of British jazz. Yet, when a jazz revival bubbled into the mainstream three years ago, American players such as Kamasi Washington and younger Brits such as Shabaka Hutchings and Nubya Garcia were at the forefront. `Iīve just had my head down, honing my craft,` Kinch says. `Black British music has always been beautiful and powerful, and now the younger generation are getting some recognition.` Continue reading...
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