TUES­DAY 27.06.17

The Irish Times - Friday - The Ticket - - SEVEN DAYS - CL AD

MANWITH AHORN Ryan Quigley Quar­tet Grand So­cial, Dublin, 9pm, ¤12/¤10, dublin­brass­week.com In the early history of jazz, the trum­pet reigned supreme, the in­stru­ment of Buddy Bolden and Louis Arm­strong, Dizzy Gille­spie and Miles Davis. But in the sec­ond half of the 20th cen­tury, it was grad­u­ally eclipsed by the sax­o­phone, for the sim­ple rea­son that the reeded in­stru­ment was eas­ier to play fast. No one seems to have told Ryan Quigley though – the Der­ry­born, Scot­land-raised, London-based trum­peter has lips of steel and the bold­ness and clar­ity of his tone put him in an elite group, first-call lead trum­pet for ev­ery­one from Ge­orge Michael and Tom Jones to Quincy Jones and Michel LeGrand. Quigley is fit­ting a jazz ca­reer into the gaps in his sched­ule – he re­leased his sec­ond al­bum, What Doesn’t Kill You, for re­spected London indy la­bel Whirl­wind last year – and he ar­rives in Dublin to per­form with a sapid lo­cal trio of pi­anist Greg Fel­ton, bassist Dan Bod­well and drum­mer Shane O’Dono­van. ART Shrine for girls, Dublin - Pa­tri­cia Cronin Otium cum Dig­ni­tate/Leisure With Dig­nity: Anne Ma­ree Barry. The LAB, Dublin Un­til Au­gust 20 dublincit­yart­sof­fice.ie/the-lab Pa­tri­cia Cronin’s Shrine for girls, Dublin gath­ers myr­iad ar­ti­cles of women’s and girls’ cloth­ing “to rep­re­sent three spe­cific tragedies,” all in­volv­ing lev­els of the sys­tem­atic abuse and per­se­cu­tion of women. Brightly coloured saris re­call the dread­ful fate of two In­dian cousins who, in 2014, “were gang raped and lynched”. A col­lec­tion of hi­jabs refers to the 276 Nige­rian Chi­bok school­girls kid­napped by the Boko Haram ter­ror­ists in 2014. Many of them are still miss­ing. Fi­nally, aprons stand in for the “fallen women” who found them­selves con­signed as forced labour in the Mag­da­lene Laun­dries in Ire­land and else­where. Pho­to­graphic ma­te­rial and por­trait paint­ings are also in­cluded. Anne Ma­ree Barry’s film and ex­hi­bi­tion cen­tres on her psy­cho-ge­o­graphic walk­ing tours of Dublin’s “Monto” area, cre­at­ing a di­a­logue “be­tween lo­cal­ity, history, ar­chi­tec­ture and the in­de­pen­dence of women in a spe­cific time.”

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