Latest news with #StanGetz
News18
28-07-2025
- Entertainment
- News18
New Launches Lighting Up Mumbai's Dining And Nightlife Scene In July
Last Updated: Whether you're a food connoisseur or someone who lives for the after-hours buzz, these new Mumbai hotspots are transforming the way the city eats, drinks, and chills. Mumbai's ever-evolving dining and nightlife scene continues to dazzle, with a wave of exciting new launches setting the city abuzz. From chic rooftop bars and immersive speakeasies to globally inspired kitchens and intimate cafés, the latest additions promise fresh flavours, bold concepts, and unforgettable experiences. Whether you're a seasoned foodie or a nightlife enthusiast, these new hotspots in Mumbai are redefining what it means to dine and unwind in the city that never sleeps. 1. The Game Palacio, Phoenix Palladium: Where Gaming Meets Grandeur Redefining entertainment with a touch of opulence, The Game Palacio has unveiled its 10th and most ambitious outlet yet at Phoenix Palladium, Mumbai's most iconic luxury retail address. Sprawling across 26,280 sq. ft., this ultra-luxe gaming arcade brings together six boutique bowling lanes, 80+ cutting-edge arcade games, multiple immersive VR zones, and India's first-ever in-mall cigar room – all under one roof. More than just fun and games, The Game Palacio weaves gourmet gastronomy, high-concept nightlife, and elevated service into an experience where nostalgia and next-gen innovation collide. Sip on a Silken Road cocktail, lose yourself in Tomb Raider, or share bites of Crabstick & Caviar before a round of boutique bowling under moody lighting. 2. Baroke: Mumbai's First Vinyl-Only Listening Bar In a city overrun by noise and nightlife, Baroke offers a deeper kind of sonic escape. Tucked into a cosy 84-cover space in South Mumbai, this is India's first vinyl-only listening bar, where the vibe is warm, intentional, and deliciously analogue. With over 220 handpicked records spanning Jimi Hendrix to Stan Getz, Baroke isn't just about music; it's a full-fledged cultural ritual designed for the audiophile in you. But it's not just the music doing the talking. The cocktail program by Jishnu Some sings with standout drinks like the Mango Chilli with a bursting mango sphere and the earthy Vetiver Gimlet. The tapas-style menu plays a perfect sidekick, with dishes like Kerala-style mutton fry with paratha and miso-glazed chicken with sticky rice. 3. Red Box Café & Bar, Juhu: A Nostalgic Comeback with a Modern Twist The iconic Red Box, a cult favourite from Bandra's glory days, is finally back, this time in Juhu, and it's here to steal the spotlight all over again. Brought back by the China Gate Group, this comeback is both a throwback and a thrilling reimagination of everything that made Red Box a local legend. The new 3,000 sq. ft. venue is decked out in red-and-white tones with eucalyptus wood, marble floors, cosy booths, and a mood-lifting bakery and dessert station right at the entrance. The menu is a comfort-meets-cool riot of options: from the Pain Perdu Avocado and Baked Pancake with Mushroom Salami to loaded Cottage Cheese Pesto Pizzas, California Rolls, and the cult-favorite Red Box Special Sizzler. The drinks menu is a total vibe too – whether you're a Glenfiddich purist, a Long Island Iced Tea loyalist, or just in it for the Red Ice-Box mocktail, there's something here to raise your glass to. About the Author Lifestyle Desk Our life needs a bit of style to get the perfect zing in the daily routine. News18 Lifestyle is one-stop destination for everything you need to know about the world of fashion, food, health, travel, More The News18 Lifestyle section brings you the latest on health, fashion, travel, food, and culture — with wellness tips, celebrity style, travel inspiration, and recipes. Also Download the News18 App to stay updated! tags : food lifestyle mumbai view comments Location : Delhi, India, India First Published: July 28, 2025, 17:41 IST News lifestyle » food New Launches Lighting Up Mumbai's Dining And Nightlife Scene In July Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
Forbes
12-06-2025
- Entertainment
- Forbes
At Copenhagen's New Epicurus, Fine Dining Meets Subterranean Jazz
A rendering of the jazz club It wasn't the legendary jazz clubs of New York, Chicago or New Orleans that inspired Epicurus—an audacious new fine dining and subterranean jazz club hybrid in Copenhagen—so much as those in Tokyo. The Japanese version, says Niels Lan Doky, a partner in the Danish venture, combines the improvisational music with a rigorous attention to aesthetic detail. Doky knows what he's talking about. He's one of the most esteemed jazz pianists of his generation, having performed on stages from Carnegie Hall to the Royal Albert Hall and collaborated with legends such as Pat Metheny and Michael Brecker. He's also proudly knowledgeable about the deep history of jazz in Copenhagen, especially in the 1950s and '60s. That's when American legends like Louis Armstrong, Stan Getz and Dexter Gorden decamped to Denmark and give the capital one of the most flourishing jazz scenes in the world. Doky, who was knighted by HM Queen Margrethe II of Denmark for his musical contributions, is the musical director of Epicurus, which opened in April. He often takes the stage himself, and he plans to continue doing so, behind the brand-new, state-of-the-art Bösendorfer 230 Vienna Concert piano that he picked out himself from the instrument maker's factory in Austria. But it's never about him. Nor is it only about any other artist who takes the stage. Niels Lan Doky at the piano As musical director, Doky likens his approach to that of a director of a classical or opera venue, who would devote a season or cycle to Bach, say, or Verdi or Wagner. The performers are world-class, but the repertoire is what Epicurus is selling. The residencies last a few weeks, long enough for word of mouth to spread. Last month, Camille Sledge paid delightful tribute to Aretha Franklin. Word spread—she had a room full of otherwise restrained Danes dancing in the aisles by the end of at least one evening. Or as Doky puts it, 'Everything I've ever done in my career as a musician has always been to try to bridge the gap between, what shall we call it, deep artistic substance and accessibility—a broad appeal.' The other things that Epicurus is selling are equally substantive and appealing. The subterranean concert hall has superb sound and aesthetics—the work of the Italian-Danish duo GramFratesi, who drew inspiration from Epicurean philosophy, ancient Greece and the history of artistic expression through the ages—and it's arranged with great precision and attention to detail. The spacing between the café tables is just so, the plush chairs are comfortable, and the lighting is perfect. The jazz club before a performance The drinks are likewise well thought out. The price of admission buys seats for the concert and a flight of drinks—sparkling wine followed by a choice of wines, cocktails or non-alcoholic concoctions. The bar is curated by Epicurus partner Rasmus Shepherd-Longberg, one of Denmark's foremost cocktail entrepreneurs (owner of Ruby, which has been among the World's 50 Best Bars six times), and Michael Hajiyianni, the former head bartender of the famously creative restaurant Alchemist. An original painting by Miles Davis—the only one on display on Danish soil—hangs at the entrance to the combined Epicurus space, a welcome beacon for downstairs concertgoers, upstairs diners and the fullest 'Epicureans,' who buy the combined tickets for the culinary pleasures followed by the musical ones below. During his comeback in 1981, Davis gave the painting to Bill Evans, who has now loaned it to his longtime collaborator Doky as a gesture of friendship and faith in the Epicurus vision. He has reason for that faith: Epicurus's other partners are Lars Seier Christensen, the Danish entrepreneur and investor behind the country's first Michelin three-star restaurant, Geranium (as well as the two-star Alchemist), and Mads Bøttger, the owner of Dragsholm Castle and its one-star restaurant. They clearly know how to nurture fine dining talent, and they know how to stand out in a city that's awash in creative dining. Scallops with kale, watermelon radishes and caviar And here they know how to make the meal one pillar of a harmonious, well-balanced evening out. While it's a truism that elite gastronomy has become its become its own kind of theater, with dinners running to 30 elaborate courses and stretching five or six hours, the restaurant portion of Epicurus isn't that. The menu, which was devised by head chef Oliver Bergholt, a veteran of other popular projects around town, is a compact six courses. It can be completed in less than two hours. (There's also an à la carte menu for guests who only want to dine.) There's minimal theatricality, but plenty of quality and pleasure. There are also some parallels with jazz music, like collaboration, harmonization and improvisation around seasonal ingredients. The dishes change, of course, but they include the likes of smoked salmon trout wrapped in shiso leaves; lightly seared scallops with curly kale, watermelon radishes and a dollop of caviar; grilled venison with parsnips and green asparagus; and a summer salad with whitefish roe and 'grandma dressing.' Servers explain this last ingredient to their foreign guests: It's a classic comfort food that nearly everyone in Copenhagen seems to have grown up with, a mixture of lemon, sugar, vinegar, cream and dill. It's humble but high quality, and here it's a reminder. Even with all its Japanese, American and otherwise global influences, Epicurus retains a distinctively Scandinavian soul.
The Guardian
23-05-2025
- Entertainment
- The Guardian
Ronald Atkins obituary
Whichever of his enthusiasms he was describing, the music critic and author Ronald Atkins, who has died aged 88, instinctively kept his ego in the shadows and out of the way of the much more interesting minutiae of subjects he loved. He was the Guardian's principal jazz critic for three decades and a day-job civil servant, from the 1960s to the 90s. A private, amiable, gently courteous man, Ron was one of a dedicated coterie of jazz writers who emerged in the 50s, including the musicologist Max Harrison, the writer and broadcaster Charles Fox, and the critics Alun Morgan, Albert McCarthy and Jack Cooke. Harrison and this circle disliked PR-hyped, personality-centred writing, preferring a more precise objective method dealing simply with what had been played, and why those sounds worked artistically – or did not. After dissecting the percussive piano style of the hard-bopper Horace Silver, Ron would astutely point to its impact on the understated approach of the sax star Stan Getz. 'Getz loosened up, chucked quotes around, and matched Silver for uninhibited swing: no other contemporary pianist could have got that from him.' Describing the vibraphone playing of the modern jazz quartet's Milt Jackson alongside Thelonious Monk, he wrote: 'The blend of Jackson's pliant, but still percussive, phrasing with Monk's blunt, corrosive chords – on such numbers as Misterioso and Epistrophy – still causes frissons of delight.' Analysis and heartfelt enthusiasm elegantly segued. But Ron could handle the 70s glitzier shifts in traditionally downbeat jazz presentation with tolerance – and humour about himself and his colleagues, too. A 1975 piece on Herbie Hancock found him confessing: 'For me, the most unexpected part of the group's performance is the showmanship, from the staged entrance of Hancock to his final disappearance in a puff of smoke. This must upset the jazz purists more than would the presence of a flotilla of electric keyboards.' In the 60s, happenstance gave Ron the opportunity to enthuse on jazz to an audience of hippies (a subcultural tribe he could hardly have resembled less in his haircut, dress and preference for pints over spliffs). In a rendezvous that could have deserved a remake of The Odd Couple with a bigger cast, he briefly shared a flat with the photographer, journalist and swinging London icon John 'Hoppy' Hopkins and a variety of drop-in guests, including the touring Ornette Coleman. When Hopkins founded the Long Hair Times in 1966 (the prototype for the International Times), Ron was his nearest connection to be 'the jazz guy' for the one edition published. Ron's piece in that mimeographed one-off commended African American gamechangers such as Coleman and Albert Ayler, describing a 1965 Coleman London concert as legendary, an accolade he rarely used, when other newspaper critics at the time were attacking the revolutionary saxophonist as a charlatan. In the 70s and 80s, Ron's instincts and expertise also found their way to the socialist magazine Tribune (his politics leaned left, though he rarely declaimed about it), and occasionally the Economist. Throughout his career Ron contributed to widely respected jazz books, including McCarthy's Jazz on Record: A Critical Guide to the First 50 Years 1917-1967 (1968), and Modern Jazz – The Essential Records 1945-70 (1978). He also worked on Jazz Now – Masters of Jazz Saxophone (2000), the Rough Guide publication Jazz – 100 Essential CDs (2001), and edited, and wrote much of the material for, the comprehensive, strikingly illustrated and informative history Jazz – The Ultimate Guide (1996). In retirement, Ron researched and self-published his last book, Fair Shares & Romanian Oil (2005), a work initially intended to unearth the mysterious life of his mostly absent father, which turned into an exhaustively documented account of that oil executive's politicised role in the battle for control over Romanian oil reserves in wartime and the postwar world. His father, Ralph Rosenberg, a Cape Town-born businessman, was running the oil company Steaua Română's Turkish operations when Ron was born in Istanbul, and the Jewish family name was changed to Atkins in 1938 as Europe's politics became increasingly terrifying. His mother, Hedy (Hedwig, nee Warning), and four-year-old Ron were evacuated to South Africa in 1941. They moved to Britain in 1946, where the boy was sent to board at Fonthill school in East Grinstead (where he captained the football team, and excelled in most subjects) and then to Stowe school in Buckinghamshire, where he discovered jazz from friends there. He began to learn the clarinet and played in a school band ('not very well', he would later recall), soon expanding his interests from the postwar period's revivalist embrace of vintage New Orleans music to include the devious bebop of Charlie Parker, Dizzy Gillespie and Monk, with the assistance of a US-connected schoolfriend. From 1955 to 1957 he did national service in Britain, years in which he saw his father on the latter's then more frequent UK visits. A rare memory of that time was a 1955 outing the pair took to Chelsea FC's ground at Stamford Bridge, which led to Ron becoming a lifelong season-ticket holder. He worked briefly in a library before discovering the job of his jazz dreams. In 1959, he heard of a vacancy at the drummer Carlo Krahmer's Esquire Records label, and worked there in marketing and promotion and, from 1960 to 63, on the commissioning of album-cover designs from music photographers including Val Wilmer, who became a close friend. The years with the civil service, and in discreet simultaneity reviewing live gigs, records and eventually writing insightful feature profiles (on such jazz luminaries as Herbie Hancock) for the Guardian, began in the mid-60s, as well as the book assignments that accompanied his widening reputation as a jazz authority. His civil service colleagues, however, seem not to have discovered that he led a double-life in small-hours jazz haunts until the day he retired from the profession, in 1996. And though I knew and respected him as a dedicated jazz scribe from the mid-70s, and would sometimes drop him back to 'my aunt's place' in Swiss Cottage after gigs, Ron never once mentioned that his aunt, Vera Atkins, happened to be one of the most significant spies in Britain's Special Operations Executive in the second world war. Another sidebar in Ron's life was as a real-ale devotee: he was a long-term member of the Camra pressure group, a founding editor of the organisation's London Drinker magazine, and a member of the British Guild of Beer Writers. He also wrote the Collins Gem Beer Guide (1999), detailing the beverage's evolution across eras and cultures – launched on the arresting opening sentence: 'There's no mention of it in the Book of Genesis, but beer does go back a very, very long way.' In retirement he moved to Lewes in East Sussex, where he attended quiz nights in the town's Swan pub, and maintained his interest in jazz matters. In 2020, I collaborated with him on EFG London jazz festival's website, celebrating the heyday of the Esquire Records label. Ron, then 84, was articulate and flawless in his recollections – and refreshingly merciless with any errors that I or other contributors made. His role in serious UK jazz journalism has been inestimable since the 60s, in particular as one of the music's first scholarly specialists to secure space on a mainstream daily newspaper's arts pages. Reporting on jazz for the Guardian is a role that I feel privileged to have inherited from him – following his typically offhand suggestion one night on a tube escalator after a gig in 1978, that we share the position because civil service mornings and jazz nightlife were getting increasingly incompatible. He is survived by his cousin, Zenna. Ronald Atkins, jazz critic and civil servant, born 1 July 1936; died 19 March 2025
