These seem to be running about once a month, which lets me pick up the Recycled Goods entries for the archive file. Fewer this month than the last couple, as I didn't go on any binges. (Well, I went on one, looking up lots of old Ravi Shankar albums, but that's withheld for now, to be worked into a future Recycled Goods.)

These are short notes/reviews based on streaming records from Rhapsody. They are snap judgments based on one or two plays, accumulated since my last post along these lines, back on February 5. Past reviews and more information are available here.

Freedy Johnston: Rain on the City (2010, None): Singer-songwriter from Kinsley, KS -- actually a farm south of town. I asked my aunt, who taught grade school for many ears in Kinsley, if she knew him. Small town, after all, the sort of place where everyone knows everyone. She said she never taught him, but was aware of the family. Kinsley is now one of the hardest-hit towns in western Kansas, but while I was growing up I spent more time there than anywhere outside of Wichita. Not sure that means anything here. B+(**)

Four Tet: There Is Love in You (2010, Domino): After various ventures with jazz drummer Steve Reid, Kieran Hebden returns to pure laptronica -- nice, simple, warm, clean, right up my alley, even if it doesn't seem all that exceptional. B+(***)

The Magnetic Fields: Realism (2010, Nonesuch): I've never been a big fan of Stephin Merritt's pseudo-group, or at least I was never as smitten with 69 Love Songs as everyone else evidently is, and that leaves me a bit uncertain here. But "You Must Be Out of Your Mind" grabbed me right away, both with wit and a hook even if both were a little arch. "We Are Having a Hootenanny" suggests fake cheer, which is probably right. Elsewhere I hear Beach Boys echoes, dried out, of course. I could wind up souring on it all, but second play solidified the first. A-

Tea Cozies: Hot Probs (2009, Tea Cozies): Girl group, or maybe not -- Brady Harvey and especially Jeff Anderson strike me as suspicious names, but Jessi Reed sings and plays guitar. The sort of old-fashioned rock formalism that kicks in every time -- MySpace page lists Talking Heads, T Rex, Velvet Underground, My Bloody Valentine, and Wire as influences, with the Kinks first -- and carries some possibly interesting songs with it. B+(***)

I See Hawks in L.A.: Hallowed Ground (2008, Big Books): Fourth album by a California country band, influenced or inspired by Gram Parsons -- a standard they don't reach, but they have the basic sound, plus some song-sense, which is more than Hillman, Souther, et al. can claim. I originally went looking for their new career-spanning compilation, Shoulda Been Gold, which is probably the place to start, but this is pretty solid, and includes "When the Grid Goes Down" -- harder-edged than usual, and didn't make the comp cut. B+(**)

Spoon: Transference (2010, Merge): Austin group, indie-rock running on guitar edge, been around since the mid-1990s with one real good album and a lot of respectably consistent ones. This is another of the latter, once you get past the wobbly starter and just let them hack it out. B+(***)

Los Campesinos: Romance Is Boring (2010, Arts & Crafts): Welsh group. Third album, not counting an EP (or more). Not something I'm readily inclined to like: the multiple voices track operatically (or maybe more like Gilbert and Sullivan; at any case with a lot of gusto, not to mention sturm und drang), the music itself built from grand gestures (plus glockenspiel). On the other hand, the words are often sharper than the music, and they suggest such broad interests that their title song makes its case. Could go up (or down), but even if I had a copy I doubt that I'd play it much. B+(***)

Strong Arm Steady: In Search of Stoney Jackson (2009 [2010], Stones Throw): L.A. hip-hop collective, working with Madlib, with a lot of featured guests on tap -- none all that distinct or impressive, although the beats and flow are up to snuff, and there's plenty of shit worth following. B+(**)

Yeasayer: Odd Blood (2010, Secretly Canadian): Fairly arty Brooklyn indie-rock group, second album, shows a penchant for complex rhythms that may include Middle Eastern and African, jumpy synth sounds, and quite a bit of vocal excess. Much of that sounds promising, but I found myself distressed by the closer ("Grizelda") and that's not the only point where it gets a bit much. B

The Watson Twins: Talking to You, Talking to Me (2010, Vanguard): Second album, not counting their credited backup role on Jenny Lewis's debut. From Louisville via Los Angeles. Nice voice(s). Write all their own songs, which would be more impressive if any were memorable, but a bigger problem is that they really don't have anything that counts as a sound -- the closest I came was one song that echoed Carole King. On the other hand, not much downside. Not much of anything. B-

Charlotte Gainsbourg: IRM (2010, Elektra): Singer, non-songwriter, perhaps better known as an actress, or as the daughter of French chansonnier Serge Gainsbourg. Fourth album. Has a cool -- I'd even say frosty -- feel to it. Two songs in French; one with a lyric by Apollinaire. One song co-credited to Gainsbourg, but that's most likely Serge. The rest is credited to Beck, who plays spookily with the disguise. B+(**)

Manu Chao: Radio Bemba: Baionarena Live (2008 [2010], Nacional/Because, 2CD): Chao's basic live strategy is to crank up the volume and push the pedal to the metal. He did this before on Radio Bemba Sound System, where the effect cut into the charm and wit of his early songs. Same here, but the party is such a consistent up that it hardly matters. Fast you just have to pay more attention, or let yourself go -- either way works. Looks like some packages include an extra DVD with the 2.5 hour concert. Costs an extra $5, and as much as I hate DVDs I have to admit I'm tempted. Not sure of the title, which most sources reduce to Baionarena. A-

Lindstrøm & Christabelle: Real Life Is No Cool (2010, Smalltown Supersound): That sould be Hans-Peter Lindstrøm, who had a well-regarded album last year under his solo last name that I didn't get around to checking out, and an earlier collab simply called Lindstrøm & Prins Thomas. Norwegian beat mixer. Christabelle also goes as Isabelle Sandoo. She sings, of course, but also shares writing credits (except for one track credited to Vangelis). Varied dance pop, with some horns and a little tease. B+(***)

Lindstrøm: Where You Go I Go Too (2008, Smalltown Supersound): Starts ambient, then finds a pulse which the title track works for 28:58, with occasional synth swooshes flying in and out. B+(**)

Youssou N'Dour: I Bring What I Love (2010, Nonesuch): I usually get Nonesuch's world music, but somehow missed out on this. I gather that this is a soundtrack to the title film by Elizabeth Chai Vasarhely, possibly a documentary about N'Dour, and the songs on it are old but in new versions, possibly live. That may make it redundant, but it's impossible for someone who can't fathom his language(s) to get overfamiliar with his songs, or even to make fine distinctions. At a gross level these are (mostly) great songs in (mostly) great performances. It's hard to overpraise him as a singer, and the sonic envelope and rhythmic flow is hard to resist. Will consider this further if/when I get a copy. A-

Gucci Mane: The State vs. Radric Davis (2009, Warner Bros.): Dirty South rapper, b. 1980, given name Radric Davis, as in the title. AMG credits him with 25 albums since 2005 but only bothered to rate three, most recently this one. Can't follow this lyrically, not even to give a rough sense how much is dirty and how much is gangsta, but it doesn't feel like much of either. Rather, it runs on big, happy beats, and keeps the nonsense in check. Probably lots of guests, too. Certainly, lots of pros. B+(**)

OK Go: Of the Blue Colour of the Sky (2010, Capitol): Chicago group, third album, rhythm guitar dominant -- I've seen comparisons to Cars and Pixies, and there's something to that. B+(***)

Beach House: Teen Dream (2010, Sub Pop): Rhapsody calls this "slo-core" which underrates the dreamy, creamy lightness of it. A couple of songs up front promise to make it all work, with looping melodies and a frizz of metallic guitar strum the only thing approaching an edge. Gets a bit twee later on, which may just take time to reconcile. B+(**)

The Whitefield Brothers: Earthology (2010, Now-Again): Not counting the occasional rapper, like Mr. Lif, this is basic exotica, with mallet instruments and flutes riding technoized Afro beats. A-

Dyan Valdés/Eddie Argos: Fixin' the Charts, Vol. 1: Everybody Was in the French Resistance . . . Now! (2010, Cooking Vinyl): Most sources give "Everybody . . . Now!" as the artist name, but Valdés and Argos get their names in the front cover, and "Everybody . . . Now!" is just a line from a song ("Creeque Allies"), unlikely to remain usable on future albums, so my version makes more sense. Maybe Art Brut's Argos should get top billing, but he's in gentleman mode, almost an old-fashioned song and dance man. Found melodies, found concepts, clever enough that it's all a tribute to pop literacy. A-

Dessa: A Badly Broken Code (2010, Doomtree): Female rapper, actually teaches the stuff at some music college. I was most impressed the first play when I actually focused better on the words; less so two more plays while I was trying to write something else, which may mean that her beats are less than exceptional. Still, one reason they slipped past me is that they do what they need to do. A-

Annie: Don't Stop (2009, Smalltown Supersound): Disco singer, I guess you could say, from Norway, full name Anne Lilia Berge-Strand. Has a lot of up-beat fizz and bounce, nothing deep, certainly not the radio-ready song about listening to the radio. B+(**)

Little Boots: Hands (2009 [2010], Elektra): English pop singer, aka Victoria Hesketh, got some year-end votes for last year's UK release. Mostly electropop, but richer than usual melodically, and some of the songs stick. Ends with a piece just backed by piano, and that works too. B+(***)

Cornershop: Judy Sucks a Lemon for Breakfast (2009 [2010], Ample Play): This album appeared in UK last year, but didn't show up on Rhapsody until February, and it's not clear how available it actually is -- most retailers I've checked don't have it. Fourth album; first since 2002, a long stretch although it's almost exactly a chip off the old block. Ready for their best-of: "The Roll Off Characteristics"; maybe "The Turned On Truth" too. And amuse your friends with their one cover: "The Mighty Quinn." A-

Madlib: Madlib Medicine Show No. 1: Before the Verdict (2010, Now Again): Reportedly the first of a 12-CD monthly series. You can tell he's pacing himself, padding the usual beats with bits from comedy sketches, and occasional depth: "Ask not what you can do for your country, but what in the fuck has it done for you?" And "To be a drug dealer is the American dream." B+(*)

Hot Chip: One Life Stand (2010, EMI): A couple years ago had a growing reputation as a sharp electro-pop band, but they seem to have softened up quite a bit, wandering into soft prog territory. Haven't lost their songcraft. B(*)

Full archive file here.

Last time I decided to write up notes/grades on movies as I saw them, then I promptly failed to do so. This should catch me up:

Movie: The Road: Bleak post-apocalypse movie, in a world where virtually all plant and animal life have been decimated, with a man and his son trekking cross-country to find the shore and hopefully something better. Lots of rough spots, some with cannibals. Viggo Mortensen literally carries the movie. B+

Movie: Avatar: Tends to get by on its impressive technical achievements, but I actually enjoyed the human sequences, even with their mechanical overkill, more than the computer-generated stuff, which among other things scaled the sets way too vertically. Way too much in almost every way, not least the constant fighting both as law of the jungle and battle for the planet. Story line has been compared to Pocahontas, but note one big difference: these natives had a good share of domesticated animals. Shows someone has read Jared Diamond. B+

Movie: The Last Station: The last year of Leo Tolstoy, with his political interest, his cult followers, his estranged but not invisible wife -- the latter role most likely puffed up for the film, which is only fair for Helen Mirren. Seems awkward and troubling at first, with nobody really living up to their roles, but this has grown fonder over time, so maybe I have it underrated. B+

Movie: Coraline: Caught on TV. Animated feature, Oscar-nominated, mostly left me dumbfounded, although there's some brilliantly inventive visual gags, and the bacon frying sure looked tasty. B

Movie: Lemon Tree: We also saw this 2008 Israeli movie (on DVD), directed by Eran Riklis. The setup is an Israeli Defense Minister moves to a big new house adjacent to a lemon grove owned by a widowed Palestinian woman. The lemon trees are soon perceived to be a security threat, so the DM muscles his way into the grove, setting up a guard post, fencing the trees in where the owner can no longer take care of them or live off them, at one point sending troops in to steal lemons, and eventually pruning the trees to bare stumps beyond a huge concrete wall. The DM's wife observes all this with some disease but little resolve. The Palestinian woman recruits a lawyer to challenge the encroachment, and the case works its way to Israel's supreme kangaroo court. As the lawyer points out, happy endings only occur in American films. The conflict is contained in relatively simple terms: the impact of custom on both sides, the construction of barriers that cannot be broken down by neighbors, the omnipresent threat of Israeli force. In the end the Palestinian resource is destroyed and the DM's house is estranged from the world. For Israel this is what success looks like. A-

Watched the Oscars, which must mean that historically it has more credibility than the Grammys (which I never watch). Watched it with less interest than in many years, probably because I had seen so few movies this past year, maybe even because the few nominees that I had seen were so underwhelming.

1. Capitalism: A Love Story [A]
2. Cheri [A-]
3. An Education [A-]
4. Up [A-]
5. Lemon Tree [A-]
6. Julie & Julia [A-]
7. A Serious Man [B+]
8. The Last Station [B+]
9. The Soloist [B+]
10. Inglourious Basterds [B+]
11. Invictus [B+]
12. State of Play [B+]
13. Avatar [B+]
14. Public Enemies [B]
15. Where the Wild Things Are [B]
16. Sherlock Holmes [B]
17. Star Trek [B]
18. Coraline [B]

Of course, Michael Moore's film isn't fair competition here. The best movie I saw this year was Cheri -- totally missed in the Oscar process even though Michelle Pfeiffer and Kathy Bates made the show as presenters.

I wound up dropping The Soloist a notch from my previous note; I may have A Serious Man and The Last Station a bit underrated. Lots of things we meant to see and didn't get to -- (500) Days of Summer, Broken Embraces, Coco Before Chanel, Crazy Heart, District 9, Fantastic Mr. Fox, The Hurt Locker, The Informant, The Messenger, Nine, Precious, Sin Nombre, A Single Man, Up in the Air, The Young Victoria -- partly endless demands on weekends, partly the sad state of Wichita theatres (meaning local monopolist Warren Theatres).

Jason Gross: Why We Need Bad Reviews: From July 9 last year, just stumbled on this accidentally, mostly because I'm held up as an example of a critic who's too soft on bad jazz albums. Starts with a tweet: "Do bad reviews of jazz CDs help or hurt the art form? Why do you think jazz critics and bloggers are so hesitant to trash?" My short answer is that there's not much to trash: most jazz albums are conceived around interesting enough ideas and are more than competently executed. The few that aren't are best forgotten because, unlike other pop music forms, few stand any chance of becoming public nuissances. If I was covering other kinds of popular music -- country, rap, alt-to-metal rock bands, folk, soft soul, or new age come to mind -- the ratio would shift substantially. (I could add pop jazz to that list. I hardly get any of it anymore, but I cover what I get and it mostly ranges from innocuous to dreadful.) But the place to judge how critical I am isn't Jazz CG, which at 30-40 records per column and 4 columns per year only lets me address 20-25% of the jazz records that come my way. The other 75-80% show up in my lists, database, and above all in my Jazz Prospecting blog posts, and most of the duds and nonentities (as well as a lot of merely good albums) get buried there -- but not without a trace: I track everything I hear -- some 600 jazz albums per year, all sorted out in a list from top to bottom. Even when I'm polite in my notes, the rank list is necessarily brutal. Maybe the grade scale could be slid down a bit -- I find that it's pretty consistent with what I've been doing for many years -- but the relative ordering is inescapable.

As for whether more negative reviews would be good for jazz, I can't say. I do find that most of the jazz reviews I glance at are so positive as to not be useful or even credible. Everyone liking everything doesn't help much, but the problem is not so much that a few slams would make a critic more credible as that I keep reading critics fawning over records I know not to be in any way exceptional. I don't get enough feedback from readers to have a good sense of how my reviews are taken -- probably one reason I latched onto this piece, given more import because I know Jason Gross and know that his listening habits and range of interests are rather analogous to my own (e.g., he produces some of the longest year-end lists I'm aware of). I get roughly one complaint a month from someone who thinks I should listen to their record again (and more closely), and I get a similar number of compliments for finding things or (more often than I would expect) slamming some dud. If I had more space, I might list more duds, but I figure the limited space I do have is better used to recommend something worthwhile. At the margins you can argue that either way -- is it more useful to praise the 35th best album of the column or to disparage the 4th or 5th worst? -- so I may be letting my druthers win out. I don't particularly like dumping on a record, especially an artist I respect, given that anyone producing serious jazz is having a tough go of it. But I do recognize the need to be honest and consistent across the whole range of my listening, even when it drags me into uncomfortable territory -- both personally and aesthetically. And while words sometimes fail me, grades make their point brusquely.

PS: Worth reading the exceptionally high-grade comments. Especially good to hear from Ed Ward. I can say that his point about fear of being denied access for bad reviews -- at least affordable access; hardly any critic has the freedom of a budget to explore -- is valid on occasion, although it has only rarely happened to me.

I heard last night that Charley Colbert died, in Philadelphia, following a lengthy and, I gather, rather gruesome illness. Hadn't thought about him in many years, but we worked together in the early 1980s at Varityper in NJ -- an AM International division that made typesetting equipment. A year or two before they hired me, Varityper set up its software engineering department to use a DEC PDP-11/70 and UNIX 7 as its development platform. This was back when UNIX was a research project, available from Bell Labs as unsupported source code. My career as a software engineer was to no small extent based on what I learned from reading the UNIX source code -- I learned a lot about how to structure programs, as well as a fair amount about the personalities of the various researchers who contributed the code. Charley was the shop's top UNIX guru: he built the system, kept it running, and was the guy everyone went to for answers -- at least everyone who could deal with a manner that was, uh, abrasive and haughty. My basic tactic at that stage in my career was to seek out the smartest people I could find and glom onto them, and Charley was one of those people. And once you got past the initial intimidation, he turned out to have a wicked sense of humor -- not to mention a vocabulary he chalked up to his time in the navy. I never saw him again after I left Varityper -- or was it after he left?

Seems like a lot of people passed through or by my life over the years, mostly in brief time slices at various jobs where they are very familiar for a while but quickly disconnected. Every now and then you wonder whatever happened to them. It turns out that it's surprisingly hard even to track them down on the web. There are about 25 Charles Colberts hooked into LinkedIn, but none of them look right. I found an obit, but it was for a Colbert who died in Indianapolis early this year. About the only one I've tried who shows up first on a Google search is Tom Hull, so I guess I have to wait until they search me out (as a few have done). Meanwhile, here's a post for the real, as far as I'm concerned the one and only, Charley Colbert.

Still in limbo between filing a Jazz CG column and waiting for it to appear. I suppose if I was publishing monthly I wouldn't have such stretches, but I can't say as I mind a break. Pulling stuff somewhat at random below. Also checked out a few of Christgau's Consumer Guide March picks on Rhapsody: Eddie Argos/Dyan Valdés, Dessa, and Whitefield Brothers strike me as keepers, along with Youssou N'Dour and Vampire Weekend which I got to earlier -- will have a batch of Rhapsody stream notes sometime this week. Also started listening to old Ravi Shankar to try to find a context for the new Rare and Glorious comp, which thus far is holding up as well as any. That'll go into Recycled Goods. Still, not finding much jazz that impresses me: only one 2010 A-list record so far, vs. 9 non-jazz releases. Got a letter from one artist complaining that I had missed his masterpiece. No doubt many more think that, but I'm probably as consistent as ever, and we're just going through a minor slump stretch, which happens now and then.

Pablo Held: Music (2009 [2010], Pirouet): Pianist, quite young (b. 1986), from Germany, leading a trio with Robert Landfermann on bass and Jonas Burgwinkel on drums on his second album. Covers from Olivier Messaien and Herbie Hancock, plus eight originals. Starts quiet and cautious, but gradually opens up. B+(**)

Free Unfold Trio: Ballades (2009 [2010], Ayler): Piano trio, led by Jobic Le Masson, with Benjamin Duboc on bass and Didier Lasserre on drums. Two (or four) pieces, composed (or improvised) by the group, totalling a scant 28:39. French group, has one previous album together, and Le Masson has a trio album under his own name. Ballade means slow here, a untethered set of ambient abstractions, interesting but likely to slip past without much notice. B+(*)

Ehud Asherie: Modern Life (2009 [2010], Posi-Tone): Pianist, b. 1979 in Israel, based in New York, third album -- after a trio and a quintet with Grant Stewart and Ryan Kisor. Mainstream player, crosses bop and swing, cites Errol Garner as an influence. Two originals; eight covers, the bop side drawing on Hank Jones and Tadd Dameron, the standards songbook more dominant. One reason this quartet is a tad more retro is that it features tenor saxophonist Harry Allen, and he pretty neatly turns it into a Harry Allen album, which is fine by me. B+(***)

Sam Weiser: Sam I Am (2009 [2010], Disappear): Violinist, 15 years old (so that's 1994?), New Yorker, Mets fan, studied with Mark O'Connor, won some prize named for martyred journalist Daniel Pearl. Advance copy, no musician or session credits, a puke-yellow hype sheet with nothing I want to know. Main vocalist (6 cuts) is presumably Sonia Rutstein of folkie duo Disappear Fear who also does business as SONiA -- somebody else leads on Eddie Palmieri's "Azucar," a token piece of Latin jazz that gets away from everyone. Otherwise the catholic song selection works reasonably well, with Rutstein's three songs guarding against over-familiarity. The violin leads are rich and plush, the band swings; I wouldn't say anyone's improvising or even trying anything novel, but it's pretty listenable. Some day maybe Weiser will grow up and hire a real publicist. B+(*) [advance]

Mark Egan: Truth Be Told (2009 [2010], Wavetone): Electric bassist -- "fretted and fretless" is how he puts it -- b. 1951, has eight or so records since 1985, plus a large number of side credits going back to 1977 -- Pat Metheny, Bill Evans (the saxophonist, who plays here), Gil Evans, Mark Murphy, Jason Miles, Joe Beck. Basically a funk-fusion quintet, like Weather Report at their most homogenized, with less distinctive players at every slot: Egan, Evans, Vinnie Colaiuta (drums), Roger Squitero (percussion), and especially Mitch Forman (keyboards). C+

Paul Meyers Quartet: Featuring Frank Wess (2007 [2010], Miles High): Nylon string guitarist. I screwed up his biographical data last time, and I'm not totally clear now, but looks like he was b. 1956 in New York, attended SUNY Potsdam and New England Conservatory. Fifth album since 2004, but side credits go back to 1989 or 1981 or even 1974. Has an interest in Brazilian music -- not evident here. Wess, on flute as well as tenor sax, is counted in the Quartet, along with Martin Wind on bass and Tony Jefferson on drums. Andy Bey is "special guest" on "Lazy Afternoon" -- quite enough, I'd say, as he's even more mannered than usual. Guitar has a soft, sweet twang, tasty alongside Wess's tenor sax (caveat emptor on the flute). B+(**)

The Trio [Peter Erskine/Chuck Berghofer/Terry Trotter]: Live @ Charlie O's (2009 [2010], Fuzzy Music): No idea how many groups have called themselves The Trio over the years. Certainly enough to have made my pet peeve list. Seems like an exercise in ego, but pianist Terry Trotter has done a remarkable job of avoiding the spotlight since when? The 1960s? AMG credits him with two albums, having overlooked a ouple of Trotter Trio outings. AMG and All About Jazz have no biographies, and Trotter has no web page, let alone MySpace. Wikipedia has two lines: "studio pianist living in Los Angeles." Bassist Berghofer, by comparison, is widely known, and drummer Erskine even more so -- even if you're not a Weather Report fan. No song credits, but looks like standard fare, done with polish and aplomb. B+(**)

Mitch Marcus Quintet: Countdown 2 Meltdown (2009 [2010], Porto Franco): Tenor saxophonist; put his group together in Indiana then moved to Berkeley. Third album. Despite the reinforcement of a second saxophonist -- Sylvain Carton on alto -- the dominant player, and possibly major talent, here is guitarist Mike Abraham, knocking out a hard fusion-funk groove and dressing it up on his solos. At best this reminds me of Anders Nilsson. B+(*)

Soren Moller & Dick Oatts: The Clouds Above (2007 [2010], Audial): Moller is a Danish pianist, 34 (b. 1976?), based in New York where he is part of NYNDK. Second duo album with Oatts, credited here with "saxophones and flute" -- usually plays alto. Oatts has eight albums since 1998 on the Danish label Steeplechase (which I don't get), plus quite a few side credits going back to 1978 (with Mel Lewis). I wasn't much aware of him until I saw him doing a teaching session at Wichita State. (David Berkman had been advertised, but limited his contribution to heckling from the audience.) I figure him for a high quality journeyman, able to fit into most contexts. Moller wrote all of the pieces except for something from Prokofiev, and takes the lead here, but Oatts does a lovely job of coloring -- can't even complain about the flute near the end. B+(***)

Ken Peplowski: Noir Blue (2009 [2010], Capri): Plays clarinet and tenor sax. I prefer the latter, but he prefers the former. Basically a "young fogey" -- part of the postbop generation of swing-oriented players like Scott Hamilton and the Vaché brothers -- with an extensive discography of good but rarely outstanding records. Compatible quartet here: Shelley Berg on piano, Jay Leonhart on bass, Joe LaBarbera on drums. Nice tenor work. Wish there was more of it. B+(*)

Ralph Bowen: Due Reverence (2009 [2010], Posi-Tone): Tenor saxophonist, mainstream player, consistently impressive. Last record rated an HM. This has comparable strengths when he's on, but I've played it a lot and keep losing the thread. Strong quintet, with Sean Jones (trumpet), Adam Rogers (guitar), John Patitucci (bass), Antonio Sanchez (drums). B+(*)

Sean Bergin's New Mob: Chicken Feet: Live at the Bimhuis (2007 [2010], Pingo): Dutch saxophonist, also on the line here for flute, ukulele, and vocals, although most of the vocals belong to Una Bergin and Felicity Provan. They are sometimes distracting, sometimes surreal, which underscores the comic vein in the Dutch avant-garde. Not all that easy to follow, but sneaky clever when you let it go. B+(*)

Bill Cunliffe/Holly Hofmann: Three's Company (2009 [2010], Capri): Piano and flute respectively. Hofmann's in the upper ranks of Downbeat's poll because there's hardly anyone else, and Cunliffe doesn't place because there are jillions of good pianists (though somewhat less that are better than him). Most tracks add a guest, which usually helps -- the contrast with Terrell Stafford's trumpet yields a choice cut (the title track), where the three contributors abstractly lean against each other. The other guests spots: Regina Carter (violin), Ken Peplowski (clarinet), Alvester Garnett (drums). B+(*)

No final grades/notes this week on records put back for further listening the first time around.

Unpacking: Found in the mail this week:

• Abraham Inc.: Tweet Tweet (Dot Dot Dot Music): advance
• Aida Severo (Slam -09)
• Tommy Babin's Benzene: Your Body Is Your Prison (Drip Audio)
• Jerry Bergonzi: Three for All (Savant)
• Anat Cohen: Clarinetwork: Live at the Village Vanguard (Anzic): advance, Apr. 13
• Stephan Crump with Rosetta Trio: Reclamation (Sunnyside): Apr. 20
• The Dominant 7 and The Jazz Arts Messengers: Fourteen Channels (Tapestry)
• Damian Erskine: To Speak (DE)
• Ben Goldberg: Go Home (BAG -09)
• The Inhabitants: A Vacant Lot (Drip Audio)
• Nomore Shapes: Creesus Crisis (Drip Audio)
• Jeremy Pelt: Men of Honor (High Note)
• Tin Hat: Foreign Legion (BAG)

Kate Zernike: Democrats Need a Rally Monkey. Since I wrote my Latte? piece Friday, it's come to my attention that there is a burgeoning Coffee Party movement out to rally the Democratic Party faithful. Not exactly what I had in mind. I was looking for something to push the left's ideas and proposals onto a Democratic administration that is more inclined to look right toward the corporate establishment than left toward its own rank and file. That's different than rallying the base to support the party leadership against the much worse Republicans. Nothing really wrong with that, but after Bush and Cheney and DeLay and Gingrich and Dole and Bush and Reagan, not to mention Nixon, it's not like we have to be reminded to hold our noses and vote for whatever numbskull Democrat stands between sanity and Republican rule. It's just that until you start putting some real alternative ideas into discussion we won't actually be able to solve much of anything.

I'm not much worried about the 2010 elections; even less so about Obama's reelection prospects in 2012. For all the Tea Party hysteria, it's a marginal and mostly incoherent movement, and can easily be painted as such: Nixon's Silent Majority spin seems especially ripe for the taking here, even though the bigot subtext then is on the other foot now. Moreover, there's no reason to think that voters primarily concerned with the sad state of the economy, and their own slack job prospects, should start trusting the Republicans now when the Democrats have always scored better on those issues. And as much as I regret Obama's failure to end Bush's wide-ranging wars of terror, he hasn't opened himself up to stab-in-the-back charges of defeatism, nor has he exhibited Bush's recklessness. Plus the economy is on at least a modest upturn. The only big risk I see is the chance of a nasty ethics blow-up, which could occur if anyone looked real close at the administration's inside dealing -- e.g., on banking and health care, but also on defense and nuclear power and who knows what else. Obama should have done more to clean up the possibility of such corruption -- starting with exposing the extent of it under Bush, and going on to attacking the corrosive role of money in elections -- but by playing it so close to the vest he may be minimizing the chance of something exploding.

Of course, the Republicans will continue to harp on the debt, which would be less damaging if Obama fought them head on rather than throwing out concessions like his mini spending cuts and commission. The short-term problem would go away quickly with higher taxes on the superrich, and the long-term problem requires significant health care reform. Both of these things are valuable in themselves, and no discussion of public debt should take place without bringing them up. Still, Obama's wiggling on debt shows his political calculation, as does nearly every other retreat and compromise. He's angling for control of sane middle ground: incremental solutions which help a little while leaving the whole established order looking pretty much as before -- a world where there are many small winners and few big losers. No reason to think this won't work, at least for him, at least for the next few election cycles. The problem is that necessary change gets swept under the rug or barred from the door. That's what you need a grassroots movement, apart from the Democratic Party establishment, to advance.

Paul Krugman: Senator Bunning's Universe: Bunning managed to fillibuster an extension of unemployment benefits long enough to disrupt the flow of funds to chronically unemployed workers. John Kyl defends Bunning, arguing that unemployment benefits disincentivizes workers from seeking employment opportunities (as if this matters when such opportunities don't even exist). As Krugman points out, Bunning and Kyl inhabit a different universe from that of the Democrats who pushed the bill through: a universe different both intellectually and morally. Kyl, for instance, is frantically concerned about the 0.25 percent of estates not sheltered from the estate tax. Doesn't he understand that the purpose of the estate tax is to disincentivize the superrich from dying? (Or being killed off by their heirs?)

One thing about this vast chasm between political universes is that the boundaries are relatively fixed. There's virtually nothing that Obama can do to get Republican votes short of escalating the war in Afghanistan, pumping up the defense budget, or surrendering a key post like Chairman of the Fed to someone like Ben Bernanke. Why bother? We should be broadening the discussion in the real universe to include proposals that might make a real difference. That other universe is so far removed from reality it's unlikely to matter anyway, especially if we stop flattering it by paying it so much attention.

I was reading a front-page Wichita Eagle article today about a local Tea Party organizer, and it got me to thinking. A small fraction of the Tea Party gripes are well-founded: especially how the political influence of large companies -- especially investment banks -- corrupts government into granting them outrageous favors. On the other hand, the notion that the answer here is disabling the government -- shrinking it and drowning it in the bathtub, in Grover Norquist's phrase -- is self-defeating. I don't doubt that government bureaucracies, like all bureaucracies, are self-perpetuating, but the government, in principle at least, belongs to the people, and provides a means for acting in the public interest in straightforward ways that private interests are incapable of. If you really do care about problems like bank racketeering you need to pry the government away from being subservient to the banks and return it to the rightful role as the people's agent. To do that involves shaking up several mindsets, but one step that would help a lot would be to publicly fund election campaigns, and to ban (or at least castigate) private and group "contributions" (bribes, really).

I don't much understand the Tea Party platform, which seems to be full of contradictions, and I've never credited their claims of nonpartisanship, which strike me as nothing more than a cynical effort to dispose of the memory of Bush and his Republican claque while doubling down on his most disastrous policies. What makes them so incredible is how their opposition to Obama is so unhinged from Obama's uninspired and unthreatening policies. The people who really do have bones to pick with Obama are the people who elected him: the wars and America's megalomaniacal imperial posture, the insider deals on the banks, the insider deals on health care, the inadequate stimulus, disinterest in a fairer tax system (even the modest step of undoing the Bush tax favors), the whitewashing of the Bush administration's contempt for democracy, the lack of any effort whatsoever to secure democracy from the influence of money. There's more space separating Obama from the left than there is between Obama and the bipartisan elites he works so hard to suck up to.

The main thing that prevents such a movement from forming is the fear that splitting the Democrats will tilt the country back into the hands of the right-wing nutters. I've never been one to split up the united front, but we desperately need some way to get issues back into discussion. It's not like there's any bunch of enlightened elites working in the background to solve these problems, nor that there are a bunch of rich guys anxious to make sure that public interest concerns get a fair hearing.

Not sure what to call such a movement, but one way to discredit a stereotype is to embrace it: maybe we need Latte Parties?

Larissa MacFarquhar: The Deflationist. Profile, with picture of the wife and cats, and more than you really need to know about the condo in St. Croix. Subtitle is "How Paul Krugman found politics." Answer has a lot to do with wife Robin Wells, who as far as I can tell is sharper and more passionate about it.

During the eighties, he thought that supply-side economics was stupid, but he didn't think that much about it. Unlike Wells, who was so upset when Reagan was elected that she moved to England, Krugman found Reagan comical rather than evil. "I had very little sense of what was at stake in the tax issues," he says. "I was into career-building at that point and not that concerned." He worked for Reagan on the staff of the Council of Economic Advisers for a year, but even that didn't get him thinking about politics. [ . . . ]

For the first twenty years of Krugman's adult life, his world was divided not into left and right but into smart and stupid. "The great lesson was the low level of discussion," he says of his time in Washington. "The then Secretary of the Treasury" -- Donald Regan -- "was not that bright, and you could have angry exchanges where neither side understood the policy."

The first book I read by Krugman was Peddling Prosperity: Sense and Nonsense in an Age of Diminished Expectations (1995), a Clinton-era book that was remarkably even-handed in dumping on liberal Democrats as well as conservative Republicans. (I missed his earlier popular book The Age of Diminished Expectations: US Economic Policy in the 1990s, which is more likely to have taken aim at Reagan's economic policies.) MacFarquhar sums up:

Krugman's tribe was academic economists, and insofar as he paid any attention to people outside that tribe, his enemy was stupid pseudo-economists who didn't understand what they were talking about but who, with attention-grabbing titles and simplistic ideas, persuaded lots of powerful people to listen to them. He called these types "policy entrepreneurs" -- a term that, by differentiating them from the academic economists he respected, was meant to be horribly biting. He was driven mad by Lester Thurow and Robert Reich in particular, both of whom had written books touting a theory that he believed to be nonsense: that America was competing in a global marketplace with other countries in much the same way that corporations competed with one another. In fact, Krugman argued, in a series of contemptuous articles in Foreign Affairs and elsewhere, countries were not at all like corporations.

That's an important point, one that a lot of things flow out of. For starters, corporations can fire workers, but countries cannot. Corporations are hierarchical, authoritarian, streamlined, purposely disciplined, and secretive in ways that would be intolerable in a country. Given these disparities you have to wonder why anyone would think that corporate leadership in any way qualified one for leading a country.

One thing you have to give Krugman credit for is that he didn't waste any time trying to be fair and balanced about George W. Bush: he published his attack on Bush's tax plans -- Fuzzy Math: The Essential Guide to the Bush Tax Plan -- before the ink was dry. In a world where politics was filled with calculated bullshit, he bought none of it. He hasn't cut Obama much slack either:

In fact, the change came faster than either of them had anticipated, because during the primary campaign Krugman was very critical of Barack Obama. He was critical chiefly because, of the three main candidates, Obama seemed to him the most conservative (his health plan, for instance, didn't mandate universal coverage), but it wasn't just his policies that Krugman objected to. He couldn't stand all the feel-good stuff about hope and dialogue and reconciliation. He hated that Obama was out there saying nice things about Reagan when what Democrats needed to do most was debunk the persistent myth that Reaganomics had been good for America. He thought Obama was completely wrong to believe that the country's problems were due largely to partisan nastiness, and ridiculously naïve to imagine that he could bring together Republicans and insurance companies to reform health care. "Anyone who thinks that the next president can achieve real change without bitter confrontation is living in a fantasy world," he wrote in 2007.

I suspect now that Krugman's initial antipathy to Obama had more to do with his freshwater/saltwater economic dichotomy: while you can't paint Obama as a purebred Chicago-school economist, he does seem to have picked up pieces of the attitude, especially Richard Thaler and Cass Sunstein's subtly manipulative "nudge" framework. Krugman may be right that Obama was more conservative than Clinton or Edwards, but he was free of some of their baggage -- not least their Iraq War votes. Since Obama took office some things are clearer and some are not. His cautious, conservative instincts have come out front, way ahead of his clear reasoning and even his inspirational oratory. He has repeatedly not just pulled his punches but refused to throw them. He unaccountably, inexcusably kept much of Bush's security and treasury teams, adding a few Clinton people (including dependably hawkish Hillary Clinton), and they have continued to operate much as they did under Bush (or at least under Clinton). Krugman has yet to criticize such policies in personal terms (as I just did), but he's held tight to the issues, cutting Obama slack as a practicing politician but not as a policy theorist (e.g., on stimulus size).

A lot of background info here, including a good summary of the academic work that Krugman built his Nobel Prize rep on. More currently:

Why was it so politically difficult to reregulate the banks? he wondered. Why couldn't the Administration harness the populist outrage? What good had Wall Street ever done for America? "There must be something useful in there, but it is really hard to see what," he says. "That's everybody's challenge: come up with a clearly beneficial example of financial innovation without mentioning A.T.M.s, and no one can do it. If there are arbitrage opportunities and you're able to spot them a few seconds before anybody else, you can make a lot of money, but there's no actual social gain from doing that. We've tried talking to our friends in finance, and they say, 'Liquidity, liquidity, liquidity.' Well, there is some social loss if people are hanging on to a lot of idle cash, so the financial system, by providing liquid assets that provide a pretty good yield, is supposed to deal with that. But it turns out that, just when you need it most, that liquidity froze." [ . . . ]

The crisis should have been a lesson to people not to rush into investments that they didn't understand, but Krugman suspects that it wasn't. "It hasn't been the searing experience," he says. "A lot of people got burned, but I'm not sure that they'll remember. You really have to have a Depression mentality to say, 'I'd rather have cash or Treasury bills that yield almost nothing, rather than this product that my banker assures me is perfectly safe and yields two per cent.' So, unless there's a lot more regulation, we could do this again." Krugman had been getting more and more pessimistic about the possibilities for recovery. Already, incredibly, people seemed to be forgetting that America's economy had nearly collapsed, and the usual critics of deficit spending and those who did not share his sanguine attitude toward inflation were speaking up again.

Part of the problem is that there are lots of variant notions of what constitutes a recovery, starting with Goldman Sachs' profit/loss sheet, which has already recovered (without so much as a "thank you very much"). Part of the problem is that it's harder than ever to connect the dots, especially when people in a position of authority like Obama are reluctant to do so. I basically bought the argument that it was necessary to bail the banks out in order to prevent further destruction of the real economy, but we should have gotten the necessary reforms as part of the quid pro quo back when the banks were facing the abyss. That didn't happen -- in part because Bush and Obama didn't want to further undermine confidence in the system; in part because the banks had so much inside clout the regulators were tripping over themselves trying to do them favors -- and as the moment has passed, the metaphor has lost its impact (if indeed anyone outside of the financial sector understood it anyway).

Ask the Author Live: Larissa MacFarquhar with Paul Krugman: An interview (no longer live) following up on the article.

Loudon Wainwright III: The Paul Krugman Blues: Not up to "Kings and Queens" or "Rufus Is a Tit Man" but germane enough for a link.

Paul Krugman: The Bankruptcy Boys: The best of his recent columns, maybe because the target is as easy to hit as an elephant. Republicans have been pursuing this "starve the beast" strategy for years. (I first ran into it when a friend insisted on tipping in cash for credit card-charged meals so that the tip might escape the taxman's net, thereby depriving the government of a tiny bit of money to waste.) The most extreme version of this is the Republican vote against raising the federal debt limit -- a ploy to force the government into default, which will presumably make borrowing any more money more expensive. Such a move would be nothing short of insane, but there it is. And really, drowning the government in the bathtub is just as insane.

But there is a kind of logic to the current Republican position: in effect, the party is doubling down on starve-the-beast. Depriving the government of revenue, it turns out, wasn't enough to push politicians into dismantling the welfare state. So now the de facto strategy is to oppose any responsible action until we are in the midst of a fiscal catastrophe.

Why anyone would trust the Republicans to manage the government they hate through a catastrophe is beyond me. Masochism? Stupidity? Death wish?

I've been having a tough time finding appropriate and interesting reissues. Fewer find me than at any time since I started this column. And while I've somewhat made up for the shortfall by searching out things on Rhapsody, the lack of documentation makes many otherwise interesting items less worthwhile. I still don't see much point in seeking out a reissue without some useful history on how the record came to be.

That leaves world music, which has been slowly accumulating on my shelves. Most of these records are more/less new, but I found long ago that it's hard to draw a sharp line between new and old world music, and there may be no real value in doing so. I keep going back and forth on how best to handle it, but this month it came to the rescue of an otherwise thin list. February is short, and this one has been pretty unpleasant. Glad it's over.

Afghan Star (2009, Silva Screen): Original soundtrack recording to a documentary which won a couple of Sundance awards. The subject is an Afghan TV show, a talent search show, sort of Afghanistan's answer to American Idol, most likely without the smarmy judges. About the only thing I (or hardly anyone) knows about Afghani music is that the Taliban did their damnedest to suppress it. But an educated guess would be that it absorbs Iranian classical music and Pakistani Qawwali, with dashes of Arabic improvisation and Bollywood schmaltz, and that's about right -- except for the closer, which picks up bits of rock and what sounds like Scottish bagpipes. Still a place where tradition runs strong, but if the Obama can keep from serving the country up to the Taliban on a silver platter, in a decade I figure the tide will turn toward hip-hop and baila funk. B+(**)

Goran Bregovic: Welcome to Goran Bregovic (Best Of) ([2009], Wrasse): Don't know when these widely scattered tracks were recorded: could be as early as his 1974 group Bijelo Dugme or as late as the title cut to his recent live party album Alkohol, or any time in between. A Serb from Bosnia, based in Belgrade, best known for soundtracks which may or may not exploit Gypsy music. Some cuts are pure soundtrack, some are trad wedding music, some deep Balkan, some borrowed from elsewhere, including a "Ya Ya" segment wrapped up as "Ya Ya Ringe Ringe Raja." B+(*) [R]

Betty Davis (1973 [2008], Light in the Attic): Born Betty Mabry, 1945, Durham, NC. Picked up her surname by marrying Miles Davis, which lasted about a year but featured her pic on the cover of Filles de Kilimanjaro. Skinny legs, big afro, not much of a voice but plenty of attitude and grit. Cut four funk albums 1973-76. None very successful, but these days obscure soul records have a certain vogue, enough so that she's become a cult star. Her first album is in thrall to the rhythm -- no surprise given Larry Graham and Greg Errico on bass with Merl Saunders on keyboards. She hangs tough too, with songs like "Game Is My Middle Name" and "Anti Love Song." B+(***) [R]

Boban i Marko Markovic Orkestar: Devla: Blown Away to Dancefloor Heaven (2009, Piranha): Balkan brass band, handed down from old lead trumpet Boban Markovic to new lead trumpet Marko Markovic, the transition effectively complete here -- the dancefloor more generalized and more welcoming than was the case with the old wedding band. Brass may be toned down a bit too, but that's only because the pace has picked up. A-

Tinariwen: Imidiwan: Companions (2009, World Village): Tuaregs from the north of Mali, which is to say the Sahara, where the residual calm of an individual guitarist like Ali Farka Touré can be likened to American blues, and where a full-fledged multi-guitar, multi-vocal group averages out into something that transcends blues individuality into collective trance. Fourth album, all pretty much the same, this one even more elemental, which for once beats idiosyncratic. A-

Ali Farka Touré & Toumani Diabaté: Ali and Toumani (2005 [2010], World Circuit/Nonesuch): Touré, Mali's quintessential blues guitarist passed away in 2006, shortly after these gently seductive sessions were cut. Diabaté may or may not be Mali's greatest kora player, but he is certainly the most effectively networked one, showing up on everyone's album, including 2005's In the Heart of the Moon, a previous duo with Touré. This isn't quite bare: the late Orlando "Cachaito" Lopez plays bass on five cuts, young Vieux Farka Touré plays congas, and several others add backing vocals and percussion, but nothing much roughs up the gentle roll. B+(***)

Briefly Noted

Albert Ammons/Henry Brown/Meade Lux Lewis/"Cripple" Clarence Lofton/Pete Johnson/Speckled Red: Boogie Woogie Kings (1938-71 [2009], Delmark): Your basic boogie woogie piano sampler with some vocals; Lofton's six cuts are the oldest; Red, with four cuts including a previously unreleased (and relatively mild) "Dirty Dozens" is the most recent; Lewis gets three sharply played cuts, plus one with the Ammons-Johnson-Lewis triumvirate. B+(**)

Mulatu Astatke: New York-Addis-London: The Story of Ethio Jazz 1965-1975 (1965-75 [2009], Strut): Broader than the overlapping Addis-only Éthiopiques 4 collection, mostly with swipes at Latin jazz, but the globetrotting Ethiopian percussionist never found a groove he couldn't incorporate, or spice up with the flavor of his homeland. A-

Anouar Brahem: The Astounding Eyes of Rita (2008 [2009], ECM): Dedicated to the late Palestinian poet Mahmoud Darwish, whose poem posits a rifle between him and his love; the music itself flows in a gentle groove, oud over bass and darbouka or bendir, under a gentle breeze of bass clarinet. B+(***)

Goran Bregovic: Alkohol (2008 [2009], Wrasse): A live album which serves as a better intro (or maybe I just mean a more consistently enjoyable album) than his best-of, mostly because it's louder and rowdier, traits to look for in Serbian music -- in this case guitar-driven. A- [R]

Betty Davis: They Say I'm Different (1974 [2008], Light in the Attic): Cover pic shows her with a huge collar framing her afro like a lizard puffed up in a bold display, but her lower half is long and leggy -- but scrunched up, insect-like; the album has the usual sophomore faults -- less distinctive songs, less starpower in the band -- but the bonus cuts reiterate four songs that become more iconic the second time around, maybe because they're stretched a bit. B+(**) [R]

Betty Davis: Is It Love or Desire (1976 [2009], Light in the Attic): Fourth album, or would have been had it been released; easy to see why it wasn't, with the funk splayed wide and not all that tight on the one, and Davis's voice more croak than coo; holding it back for 33 years elevates it from inept to idiosyncratic, not that you have to indulge her. B+(*) [R]

Scott LaFaro: Pieces of Jade (1961-85 [2009], Resonance): A belated souvenir of the legendary bassist, dead in a car crash at age 25 shortly after blossoming on Bill Evans' remarkable 1961 Village Vanguard sets; five fine piano trio cuts with Don Friedman and Pete LaRoca, a 22:44 practice tape with Evans, an Evans interview from 1966, and a Friedman solo from 1985, appropriately called "Memories for Scotty." B

Memphis Nighthawks: Jazz Lips (1976-77 [2009], Delmark): University of Illinois students formed a trad jazz group, recycling the name of an obscure 1920s group, cut an long-forgotten album for a Chicago label, and disbanded; in some ways this is like every other trad jazz revival project, but the horn layering -- clarinet, trumpet, trombone, bass sax -- is subtle and powerful, and the guitar-drums rhythm cooks. B+(***)

Nneka: Concrete Jungle (2005-08 [2010], Decon): German mother, Nigerian father, splits her time between Lagos and Hamburg, gets a US debut by recycling cuts from two German albums; less Afro-Pop than Neo-Soul, although individual cuts fold in funk or reggae or hip-hop and start to get interesting as they pick up speed. B+(*) [R]

Tierra Negra & Muriel Anderson: New World Flamenco (2009 [2010], Tierra Negra): German group specializes in dueling flamenco guitars, while the American strums along on classic and harp guitar, with a dash of percussion to keep everything moving along at a nice pace. B+(**)

Legend: B+ records are divided into three levels, where more * is better. [R] indicates record was reviewed using a stream from Rhapsody. The biggest caveat there is that the packaging and documentation hasn't been inspected or considered.

Jazz Consumer Guide is out of my hands but still a few weeks away from publication. Good time to Just pick my way through the backlog. Finding some good records, but no great ones. Lots more to go.

Jerry Leake: Cubist (2009 [2010], Rhombus Publishing): Percussionist employing almost every instrument from around the world, graduated from Berklee, teaches at New England Conservatory and Tufts, has published eight books, released four records. This one marks a move towards assembling a band -- nominally an octet, but only guitarist-producer Randy Roos joins Leake on a majority of cuts. Some cuts develop an impressive African vibe; others add Turkish and Indian flavors. B+(**)

Babatunde Lea: Umbo Weti: A Tribute to Leon Thomas (2008 [2009], Motéma, 2CD): Drummer, I'm finding very little useful biography: grew up in New York and Englewood, NJ; now based in San Francisco, evidently since the late 1960s. ("In the late 1960s the youthful 49 year old percussionist migrated westward to the Bay Area": when was he 49? If in the late 1960s he'd be 90 now, which he sure doesn't look; if now he would have left NY/NJ by the time he was 10, hardly grown up.) Released an album in 1979, then nothing until 1996, a half-dozen (more/less) since. Leon Thomas (1937-99) might have been a blues shouter but he ran into the avant-garde, cutting six 1969-73 albums, plus appearing on albums by Pharoah Sanders, Oliver Nelson, Rahsaan Roland Kirk, Archie Shepp, Mary Lou Williams, and Santana. His discography is spotty after that -- a 1988 Blues Band album I rather like, a 1998 duet with Jeri Brown, not much more. This was cut live at Yoshi, with Dwight Trible carrying the vocal burden, Ernie Watts waxing eloquent on tenor sax where Sanders and Shepp turned shrill, Patrice Rushen on piano and Gary Brown on bass. B+(***)

Maria Neckam: Deeper (2009 [2010], Sunnyside): Singer-songwriter, born in Austria, lived in Netherlands before winding up in Brooklyn. First record. Mostly backed by a slinky, slippery group consisting of Aaron Goldberg on piano, Thomas Morgan on double bass, and Colin Stranahan on drums, with a horn or two added on 5 of 10 songs. Peter Eldridge also sings on one song. Lyrics are buried in a PDF on the extended CD, but 90% of "Missing You" is rote repetition of "missing you," and I didn't notice anything else much, uh, deeper. C+

John Ellis & Double-Wide: Puppet Mischief (2009 [2010], ObliqSound): Tenor saxophonist, also plays bass clarinet here, b. 1974, sixth album since 1996. Seems that he has been aiming at some sort of a popular mainstream synthesis -- past album titles emphasize a common touch ("Roots Branches and Leaves," "One Foot in the Swamp"), and his Double-Wide aims low even when the shot drifts high. Blues are part, but also this veers toward circus music -- maybe it's Matt Perrine's sousaphone in lieu of bass, or Brian Coogan's organ (also in lieu of bass). The fourth group member is Jason Marsalis on drums, but things are made more complex with two guests: Alan Ferber on trombone and Gregoire Maret on harmonica, both quality additions. B+(*)

Tineke Postma: The Traveller (2009 [2010], Etcetera Now): Alto saxophonist, some soprano, b. 1978, Netherlands. Fourth album, this one fronting a quality American quartet: Geri Allen on piano, Scott Colley on bass, Terri Lyne Carrington on drums. Pushes hard on the edges of postbop, but doesn't make much of a breakthrough. B+(*)

Liam Sillery: Phenomenology (2008 [2010], OA2): Trumpeter, b. 1972, from New Jersey, fourth album since 2005, a hard bop quintet with name players -- at least in my book: Matt Blostein (alto sax), Jesse Stacken (piano), Thomas Morgan (bass), Vinnie Sperrazza (drums) -- and postbop airs but also rough edges. Best when they pick up the pace. B+(**)

Pablo Aslan: Tango Grill (2010, Zoho): Bassist, born in Argentina, based in New York, has several records based on tango themes -- 2007's Buenos Aires Tango Standards is one I particularly recommend. New one is more of the same -- an assortment of old tango tunes given a jolt of jazz improv, with piano and trumpet kicking in as well as the usual bandoneon and violin. B+(***)

David S. Ware: Saturnian (Solo Saxophones, Volume 1) (2009 [2010], AUM Fidelity): Practice as slow-motion performance: the inevitable solo album, tenor sax (of course), also stritch and saxello which are a bit funkier, perhaps because they're hard to play without thinking of Rahsaan Roland Kirk. But Ware, always a methodical guy, only plays one at a time. B+(***)

Sebastiano Meloni/Adriano Orrù/Tony Oxley: Improvised Pieces for Trio (2008 [2010], Big Round): Piano-bass-drums trio, respectively. Meloni and Orrù live in Cagliari, Italy; they have a short discography which hasn't come to AMG's attention yet. Credits are split 7 for Meloni, 7 for the group (one is just an Orrù-Oxley duo). Meloni plays sharp and percussive, able to take the lead when he sees fit. Oxley is relatively famous: a major drummer of Europe's avant-garde, past 70 now, with a Penguin Guide crown album to his credit (1969's The Baptised Traveler). B+(***)

Dan Dean: 251 (2009 [2010], Origin): Bassist; credits don't specify, but pictures show him playing electric. First album, although AMG lists about 50 credits going back to 1976. The songs here are covers, most well known standards ("'S Wonderful," "One Note Samba," "All the Things You Are," "In Walked Bud," "Body and Soul," etc.) done as duets with various keyboard players: George Duke, Larry Goldings (organ), Gil Goldstein (also plays accordion), Kenny Werner. Werner's cuts are brightly pianistic; Goldings is Goldings, and there's not much a bassist can do about that. B

Phil Kelly & the Northwest Prevailing Winds: Ballet of the Bouncing Beagles (2009, Origin): Big big band -- 22 pieces, plus string programming -- from Seattle, with a couple of recognized names but not many -- Jerry Dodgion, Pete Christlieb, Grant Geissman, Jay Thomas are the names I know. Third album for composer-arranger Kelly, who came out of Texas, where he was arranger for the Fort Worth Symphony Pops for 25 years. Reminds me of Kenton, sometimes even at his best, hardly ever at his worst. B+(*)

Scenes: Rinnova (2009 [2010], Origin): Guitarist John Stowell, leading a trio with Seattle stalwarts Jeff Johnson (bass) and John Bishop (drums). Second album as Scenes, plus an earlier quartet album titled Scenes. Stowell's credits go back to the mid-1970s. AMG credits him with 13 albums and a few more credits, mostly since 2000. Has an engagingly subtle style, calmly picking his way through intricate sequences. Need more time to decide just how substantial this is. [B+(***)]

Aaron Immanuel Wright: Eleven Daughters (2009 [2010], Origin): Bassist, b. 1979, from Oregon, studied in California, got a BA in philosophy, based now in New York. Wrote (or co-wrote with drummer Brian Menendez) 6 of 7 songs, with a cover of "Laura." Group is a quartet with Tim Willcox on tenor sax and Darrell Grant on piano. I suppose one way you can tell it's the bassist's record is that neither sax nor piano ever break loose. Such balance may be admirable, but it doesn't do much to get your attention. B

Tord Gustavsen Ensemble: Restored, Returned (2009 [2010], ECM): Pianist, b. 1970, from Norway, has three previous trio albums on ECM, slyly simple and elegant things that put him in the upper tier of ECM's ambience. This is a slightly bigger production, in which he plays slightly less. Several pieces are built around W.H. Auden poetry, sung by Kristin Asbjørnsen, who gives them a sultry musicality far removed from the archness that most found poetry results in. Tore Brunborg plays tenor and soprano sax, gently caressing the melodies and filling them out. B+(***)

Pete Lockett's Network of Sparks: One (1999 [2010], Summerfold): Percussion ensemble, released on Bill Bruford's label, as Bruford joins in and gets a "featuring" credit. Reissue of first album, released on Melt 2000 in 1999 or 2000, with same cover plus the legend across the bottom: "Rhythms and pulses from around the world." Lockett has five or more later albums, most or all with Nana Tsiboe (from Ghana, plays congas and djembe) and Simon Limbrick (mostly plays marimba and vibes), who are spotted here on about half of the cuts, along with Bruford (5 tracks, mostly drum set), Pam Chowhan and Johnny Kaisi (one track each). Lockett is credited with dozens of things, including samplers and sound treatments. Two pieces by other drum ensemble pioneers (Max Roach, Pierre Favre), the rest originals. B+(*)

Maxfield Gast: Eat Your Beats (2009 [2010], Militia Hill): Saxophonist (alto, soprano, EWI; also trumpet, synth, and drum programming) from Philadelphia. First album. Occasionally adds keybs, bass, and/or drums, but sometimes just does it all himself. One of his web pages describes this as "a combination of old-school instrumental hip hop, drum & bass, soul, and funk." I wound up refiling it as pop jazz, which isn't quite fair: it isn't slick or smooth or catchy, and it doesn't make you feel like wretching. On the other hand, it doesn't do much else either. Minor grooves, nothing to get your attention (least of all the saxophone), yet it doesn't slip into ambience either. B-

Carl Fischer & Organic Groove Ensemble: Adverse Times (2009 [2010], Fischmusic): Trumpet player (also flugelhorn and valve trombone here), second album. Played with Maynard Ferguson Big Bop Nouveau Band 1993-98, winding up as music director, and returning for spots up to 2004. Otherwise, resume mostly features performances (but I don't see any recording credits) with pop stars: Dianne Schuur, Mary Wilson, Blood Sweat & Tears, Dells, Four Tops, Will Smith, Shakira, Sam Moore, Sophie B. Hawkins, Mariah Carey, Billy Joel. Organic Groove seems to mean Hammond B3, guitar, tabla, and Latin percussion. Two vocals by Brent Carter are definite downers. The trumpet does remind a bit of Ferguson, to whom the album is dedicated. B

Orrin Evans: Faith in Action (2009 [2010], Posi-Tone): Pianist, b. 1975 or 1976 (seen both cited) in Trenton, NJ; raised in Philadelphia, studied at Rutgers (e.g., Kenny Barron), based in Philadelphia. Tenth album since 1994, most on Criss Cross. First one I've heard, partially plugging one of the larger gaps in my listening. Piano trio with Luques Curtis on bass, various drummers (Nasheet Waits, Rocky Bryant, Gene Jackson). Mostly Bobby Watson songs (5 of 10) -- Evans has appeared on a couple Watson albums, and Watson wrote an appreciative note on the inside, something about finding the portal and unlocking the compositions. That's too technical for me: what I hear is a first-rate postbop pianist picking his way through intricate material, impressive enough but nothing quite grabs me. Need to listen to him more, but that's true of a lot of more/less equivalent pianists. B+(**)

Roberto Fonseca: Akokan (2008 [2010], Enja/Justin Time): Cuban pianist, b. 1975, has six or so albums since 2001. Has a light touch, speed, and sophistication when out in the lead. His accoutrements are less impressive. Javier Zalba plays flute, clarinet, and baritone sax, none particularly apt. Several vocals also produce mixed effects. Few Afro-Cuban trademarks, which is neither here nor there. B+(*)

These are some even quicker notes based on downloading or streaming records. I don't have the packaging here, don't have the official hype, often don't have much information to go on. I have a couple of extra rules here: everything gets reviewed/graded in one shot (sometimes with a second play), even when I'm still guessing on a grade; the records go into my flush file (i.e., no Jazz CG entry, unless I make an exception for an obvious dud). If/when I get an actual copy I'll reconsider the record.

Terry Riley: Autodreamographical Tales (2010, Tzadik): Two multipart series, the title piece spoken word over ambient sounds, "The Hook Lecture" built around piano pieces (with some spoken word) that are somewhat more than minimalist. The spoken word isn't without interest, although it can be slow going. The piano is richly textured. I suppose there's a classical analogue, but don't know enough to pin it down, partly because I've never heard classical piano I liked quite this much. B+(*) [Rhapsody]

John Zorn: Femina (2008 [2009], Tzadik): A tribute to the ladies. The CD is organized as Parts 1-4, but the website notes that Zorn composed (doesn't play) this using his "file card technique," and the granularity includes references to: Hildegard von Bingen, Meredith Monk, Simone de Beauvoir, Frida Kahlo, Madame Blavatsky, Isadora Duncan, Hélène Cixous, Gertrude Stein, Abe Sada, Sylvia Plath, Louise Bourgeois, Margaret Mead, Loie Fuller, Dorothy Parker, Yoko Ono, moon goddess En Hedu'Anna, and others. Players are: Jennifer Choi (violin), Okkyung Lee (cello), Carl Emanuel (harp), Sylvie Courvoisier (piano), Ikue Mori (electronics), and Shayna Dunkelman (percussion), with Laurie Anderson offering some words at the beginning. While the action can shift dramatically, it mostly meanders unimpressively. B- [Rhapsody]

No final grades/notes this week on records put back for further listening the first time around.

Unpacking: Found in the mail this week:

• Jason Adasiewicz's Rolldown: Varmint (Cuneiform)
• Ehud Asherie: Modern Life (Posi-Tone)
• Stefano Battaglia/Michele Rabbia: Pastorale (ECM): advance, Mar. 30
• François Couturier: Un Jour Si Blanc (ECM): advance, Mar. 30
• Ergo: Multitude, Solitude (Cuneiform)
• First Meeting: Cut the Rope (Libra): Mar. 23
• Satoko Fujii Ma-Do: Desert Ship (Not Two): Mar. 23
• Satoko Fujii Orchestra Tokyo: Zakopane (Libra): Mar. 23
• Gato Libre: Shiro (Libra): Mar. 23
• Aaron Goldberg: Home (Sunnyside): Apr. 13
• Helge Lien Trio: Hello Troll (Ozella)
• Little Women: Throat (AUM Fidelity): Apr. 13
• New York Art Quartet: Old Stuff (1965, Cuneiform)
• Mark O'Connor: Jam Session (OMAC)
• Ken Peplowski: Noir Blue (Capri)
• Jean-Michel Pilc: True Story (Dreyfus)
• Karl Seglem: NORSKjazz.no (Ozella)
• Sierra Leone's Refugee All Stars: Rise & Shine (Cumbancha): Mar. 23
• The Vinson Valega Group: Biophilia (Consilience Productions): Mar. 16
• VW Brothers [Paul van Wageningen/Marc van Wageningen]: Muziek (Patois)
• The Wee Trio: Capitol Diner Vol. 2 Animal Style (Bionic)

Wichita Eagle: Tanker contract looks promising: I haven't been counting, so I'm not sure whether this is the 30th or the 300th editorial or op-ed column the Eagle has run in favor of wasting $35 billion taxpayer dollars to give the Air Force something they don't need and that will only be used to get the US involved in foreign conflicts faster than ever. This is a monumentally bad program which can and should be attacked on numerous grounds: it is a colossal waste; the whole program has been fraught with corruption (with one Boeing official, Darleen Druyun, winding up in jail, and several other resignations); and it makes a long-term strategic commitment to extending our worst desires to act as the world's police force. It isn't even much of a jobs program: this editorial, like every other, leads off with promises of jobs: the usual share promised to Wichita has been 1000, although lately Boeing has been backing down on that as they find they need to spread more jobs around to lock up more congressional support. That political clout came in handy in 2008 when the Air Force awarded the contract to Northrop and their proposal to modify Airbus airliners -- a deal which has its own cadre of congressional flacks, starting with Sen. Richard Shelby (R-AL). All that political pressure resulted in rebidding the deal on terms more favorable to Boeing.

You have to wonder why Boeing's lobbyists even bother to plant so much propaganda in the Wichita Eagle, given that the whole state's congressional delegation has long been bought and paid for. Leading the fight is ex-Boeing employee Rep. Todd Tiahrt (R-KS), who has been obsessing about tankers so long that Bush wound up nicknaming him Tanker Todd. One thing that's curious about all of this is that the current tanker fleet, based on venerable Boeing 707 aircraft that have been periodically upgraded with new wings and engines, are based and maintained here in Wichita, a steady source of jobs that would be phased out with new tankers. Even if Boeing wins the contract, they're always happy to auction the jobs to the highest (or more often the lowest) bidder. They've already wiped out 90% of their Wichita plant, and they moved their headquarters from Seattle to Chicago so the executives would be less likely to run into unemployed plant workers. Meanwhile, they've spread out facilities all over the country, wherever they could find political favor, plus they've pawned much of their work off on China and Japan -- including the wings on their new 787 Dreamliner, something hitherto regarded as the crown jewels of the airframe industry. (They've even sublet their real crown jewels -- their lobbying organization -- to China back in the 1990s to press for "most favorable nation" trade status.)

Boeing cooked up the tanker scam about 10 years ago as a way to extend their soon-to-be-obsolete 767 production line. The Air Force didn't have any interest in new tankers, and certainly didn't have any budget for it, so Boeing proposed to finance the tankers privately and lease them to the Air Force, where they'd be buried in the operating budget, away from the more competitive procurement budget. Needless to say, the lease scheme opened up hitherto unimagined avenues for ripping off the government. John McCain played a small role in shooting the lease scam down, but eventually Boeing got the Air Force to put the deal on its procurement wish list, but that wound up inviting EADS into the bidding -- after all, Airbus has their own obsolescent airliners, the US desperately needs European support for its NATO disaster in Afghanistan, and Northrup, with their own roster of paid politicians, was eager to partner with them on a cushy deal.

So now we have lobby money flying thicker than ever, but all you ever read is how many jobs would be created -- numbers that seem really paltry compared to the $35 billion outlay -- and maybe a bit about how old the KC-135s are. The antiwar movement has missed a golden opportunity to shoot this turkey down, because it raises so many issues, especially about how we view the future role of the US in world affairs, but also about how business and politics colludes in the US, and how the Defense Department juggernaut keeps feeding conflicts by investing in them.

Another quick round of book notes, including some of the Af/Pak books mentioned in yesterday's post. I haven't actually been looking around very hard: haven't spent as much time as usual in bookstores or libraries, and haven't spent much time scrounging through the new release lists. Nonetheless, I've accumulated my quota of things to mention.

Moshe Adler: Economics for the Rest of Us: Debunking the Science That Makes Life Dismal (2009, New Press): About time someone turned the tables on "the dismal science" and show that what's dismal about it is how susceptible it is to political whims of its practitioners.

Perry Anderson: The New Old World (2009, Verso): New Left Review editor and historian, surveys Europe after the Cold War, a time when Europe is widely presumed to have come into its own, but still habitually follows US foreign policy, no matter how benighted (which under Bush, in particular, was pretty far gone).

Joyce Oldham Appleby: The Relentless Revolution: A History of Capitalism (2010, WW Norton): General history, touting the culture of capitalism as well as the economics.

René Backmann: A Wall in Palestine (paperback, 2010, Picador): More like the wall in Palestine, cutting through the West Bank, less for security than to impose a new partition on the landscape, and not much about that either given the Israelis show every intent to keep both sides.

Bruce Bartlett: The New American Economy: The Failure of Reaganomics and a Way Forward (2009, Palgrave Macmillan): Still a self-styled conservative, but whereas his 2006 book still clung to Reagan's legacy (title: Impostor: How George W Bush Bankrupted America and Betrayed the Reagan Legacy) and his 2008 book was dishonest (title: Wrong on Race: The Democratic Party's Buried Past) he finally has some doubts about Saint Ronald. Now he's pitching Keynes and the Welfare State to his conservative brethren, but it's probably too high and hard for them to touch.

Mats Berdal: Building Peace after War: A Critical Assessment of International Peacebuilding from Cambodia to Afghanistan (paperback, 2009, Taylor & Francis): Short (186 pp) primer, drawing on multiple cases including Congo. Most likely this is one of those subjects where successes are all alike but failures each break apart in their own ways.

Barbara Bick: Walking the Precipice: Witness to the Rise of the Taliban in Afghanistan (paperback, 2008, Feminist Press at CUNY): Peace/women's rights activist, moved to Afghanistan in 1990 as civil war superseded the US-backed mujahideen war against the Soviet-backed regime, again in 2001 to the anti-Taliban Panjshir Valley before 9/11, again in 2004.

Eric Blehm: The Only Thing Worth Dying For: How Eleven Green Berets Forged a New Afghanistan (2010, Harper): Heroic war literature with all those touchingly valorous little details. Hard to tell what actually happened from the hype, but it looks like this team dropped into Afghanistan in late 2001 to help organize Karzai's anti-Taliban Pashtun rebellion, which didn't exactly work out even then let alone for the long haul. More Afghan war memoirs/stories since last I collected a list: Jon Lee Anderson: The Lion's Grave: Dispatches From Afghanistan; Colin Berry: The Deniable Agent: Undercover in Afghanistan; Christie Blatchford: Fifteen Days: Stories of Bravery, Friendship, Life and Death from Inside the New Canadian Army; Matthew Currier Burden: The Blog of War: Front-Line Dispatches from Soldiers in Iraq and Afghanistan; John T Carney: No Room for Error: The Covert Operations of America's Special Tactics Units From Iran to Afghanistan; Dayna Curry/Heather Mercer: Prisoners of Hope: The Story of Our Captivity and Freedom in Afghanistan; Ed Darack: Victory Point: Operations Red Wings and Whalers - The Marine Corps ' Battle for Freedom in Afghanistan; Lt Gen Michael DeLong: A General Speaks Out: The Truth About the Wars in Afghanistan and Iraq; Mike Friscolanti: Friendly Fire: The Untold Story of the US Bombing That Killed Four Canadian Soldiers in Afghanistan; Chuck Larson: Heroes Among Us: Firsthand Accounts of Combat from America's Most Decorated Warriors in Iraq and Afghanistan; Marcus Luttrell/Patrick Robinson: Lone Survivor: The Eyewitness Account of Operation Redwing and the lost Heroes of SEAL Team 10; Malcolm MacPherson: Roberts Ridge : A Story of Courage and Sacrifice on Takur Ghar Mountain, Afghanistan; Sean Maloney: Enduring the Freedom: A Rogue Historian in Afghanistan, and Confronting the Chaos: A Rogue Military Historian Returns to Afghanistan; Sean Naylor: Not a Good Day to Die: The Untold Story of Operation Anaconda; Johnny Rico: Blood Makes the Grass Grow Green: A Year in the Desert with Team America; Peter Telep: Direct Action: Special Forces in Afghanistan; Chris Wattie: Contact Charlie: The Canadian Army, the Taliban and the Battle That Saved Afghanistan; Stephen D Wrage, ed: Immaculate Warfare: Participants Reflect on the Air Campaigns Over Kosovo, Afghanistan, and Iraq; Thomas W Young: The Speed of Heat: An Airlift Wing at War in Iraq and Afghanistan; also: Masood Farivar: Confessions of a Mullah Warrior; Emmanuel Guibert/Frederic Lemercier/Didier Lefevre: The Photographer: Into War-Torn Afghanistan with Doctors Without Borders; Patrick Macrory: Retreat from Kabul: The Catastrophic British Defeat in Afghanistan 1842; Matthew J Morgan: A Democracy Is Born: An Insider's Account of the Battle Against Terrorism in Afghanistan; Jules Stewart: Crimson Snow: Britain's First Disaster in Afghanistan (i.e., 1841); Christine Sullivan: Saving Cinnamon: The Amazing True Story of a Missing Military Puppy and the Desperate Mission to Bring Her Home; Mary Tillman: Boots on the Ground by Dusk: My Tribute to Pat Tillman.

Kristina Borjesson, ed: Feet to the Fire: The Media After 9/11: The Journalists Speak Out (2005, Prometheus): Interviews with 21 journalists on the pressures to support the Bush terror wars. Not sure who all is interviewed, but some war critics are included -- Paul Krugman, Juan Cole, Chris Hedges -- as well as bigwigs like Ted Koppel. Borjesson previously edited Into the Buzzsaw: Leading Journalists Expose the Myth of a Free Press.

Jennifer Burns: Goddess of the Market: Ayn Rand and the American Right (2009, Oxford University Press): Right-wing libertarian hero, one of the more unorthodox and unruly figures in American conservatism, all but worshipped for her two big novels, the main point of which seems to be that you can never be too greedy. I developed an intense dislike for her based on exposure to acolyte Nathaniel Branden, which may or may not be fully deserved.

Matthew Carr: Blood and Faith: The Purging of Muslim Spain (2009, New Press): In 1492 the Christian Reconquista defeated the last Muslim enclave in Spain. It also marked the beginning of the Inquisition, which killed or expelled all of the Muslims and Jews from Spain. This focuses on the Muslim side of the story, a horrific episode of what we now call ethnic cleansing.

Hillel Cohen: Good Arabs: The Israeli Security Agencies and the Israeli Arabs, 1948-1967 (2010, University of California Press): Important book on Israel's recruitment and use of collaborators. Cohen previously covered the earlier period in Army of Shadows: Palestinian Collaboration with Zionism, 1917-1948. Subsequent volumes are likely to get ever stickier, especially after 1967 when Israel occupied Gaza and the West Bank, and after 1988 when Intifada broke out. Still, the principles were established early, and the effects within Palestinian society have been devastating. (I've read reviews of the original Hebrew edition.)

Stephen F Cohen: Soviet Fates and Lost Alternatives: From Stalinism to the New Cold War (2009, Columbia University Press): The main interest here is probably the path by which the US and post-Soviet Russia returned to a quasi-Cold War standoff. Not sure how much of that there is, since Cohen is a Soviet studies guy, and likes to show off his expertise back to prime Stalinism.

Stephen P Cohen: Beyond America's Grasp: A Century of Failed Diplomacy in the Middle East (2009, Farrar Straus and Giroux): Plenty to write about, but unless one tackles Israel, petrodollars, and military hubris there's not much to say about it. Cohen is a think tank "expert" on the region, which means he's on someone's payroll.

Brian Coughley: War, Coups and Terror: Pakistan's Army in Years of Turmoil (2009, Skyhorse): A British "expert" on all aspects of the Pakistan military, having spent a good deal of his life in Imperial armies.

David Faber: And Then the Roof Caved In: How Wall Street's Greed and Stupidity Brought Capitalism to Its Knees (2009, Wiley): CNBC business analyst, keeps it short (208 pp) and vivid, but probably not very deep.

David Faber: Munich, 1938: Appeasement and World War II (2009, Simon & Schuster): The event in question is the most clichéd in the 20th century, so it would be good to get a fresh review of the situation. Not sure whether this book does that, but it does appear to be a substantial book on the subject -- at least it weighs out at 528 pp. Not sure that it helps that he's less a historian than a journalist.

Michael Fellman: In the Name of God and Country: Reconsidering Terrorism in American History (2010, Yale University Press): Argues that terrorism has been "a constant and driving force in American history." Casts a fairly wide net: John Brown, Sherman's march through Georgia (but not his efforts to exterminate bison to starve out the Indians?), Ku Klux Klan, Haymarket Square, the Philippines War. We all recall that "violence as as American as apple pie," but I'm doubtful that resurrecting our love/hate affair with terrorism is a good idea.

Antonio Giustozzi: Koran, Kalashnikov, and Laptop: The Neo-Taliban Insurgency in Afghanistan (paperback, 2009, Columbia University Press): Promises a great deal of detail on how the neo-Taliban works, but I suspect it's still sketchy, and I'm not sure how the author got what he got.

Antonio Giustozzi: Empires of Mud: Wars and Warlords of Afghanistan (2009, Columbia University Press): Not sure that the warlord side of the Afghan equation is any easier to research than the Taliban side. Ismail Khan and Abdul Rashid Dostum are prominent subjects here.

Michael Hogan: Savage Capitalism and the Myth of Democracy: Latin America in the Third Millennium (paperback, 2009, Booklocker.com): Essays on Latin America, recommended by Noam Chomsky. Probably not the Michael J Hogan who has a number of books on cold war diplomatic history, nor the novelist Michael Hogan, but the Michael Hogan with a couple of previous books on Mexico is a possibility.

Raymond Ibrahim, ed: The Al Qaeda Reader (paperback, 2007, Broadway): In case your copy of Mein Kampf is lonely. Introduction is by Victor Davis Hanson, who's certain to muddy the waters.

Tim Jackson: Prosperity Without Growth: Economics for a Finite Planet (2009, Earthscan): Short book (160 pp), arguing that it is possible to have broader prosperity without economic growth, a good thing given the limits to growth posed by natural resource constraints. Most economists seem to believe that trickle down from infinite growth will satisfy everyone, but that strikes me as not just untenable but downright dumb.

Kathleen Hall Jamieson/Joseph N Cappella: Echo Chamber: Rush Limbaugh and the Conservative Media Establishment (2008; paperback, 2010, Oxford University Press): Also focuses on Wall Street Journal opinion pages and Fox News. Has a lot of charts and stuff.

Alex S Jones: Losing the News: The Future of the News That Feeds Democracy (2009, Oxford University Press): Specifically newspaper news. Others have pointed out that there is no shortage of demand for news now; rather, there's a shortfall in supply from newspapers, which traditionally provided news as a sideline to their now-suffering business of selling advertising. I'll also add that the demise of newspapers is less of a problem than the demise of democracy, which has been increasingly evident in newspapers' lack of interest in searching out real political problems.

Robert Lacey: Inside the Kingdom: Kings, Clerics, Modernists, Terrorists, and the Struggle for Saudi Arabia (2009, Viking): Broad-ranging survey of Saudi Arabia these days. Lacey previously wrote The Kingdom: Arabia and the House of Sa'ud back in 1981, which had the good fortune of being banned by the Saudis.

David Loyn: In Afghanistan: Two Hundred Years of British, Russian and American Occupation (2009, Palgrave Macmillan): Short book (288 pp) for the range, but occupations often look alike. Nice company.

Jamie Maslin: Iranian Rappers and Persian Porn: A Hitchhiker's Adventures in the New Iran (2009, Skyhorse): Sounds like a good idea to me, but I'd bet that Iranians don't hold a candle to good ole American porn, much less American rap. Still, good to see that Iran isn't as monolithic as caricatured. On the other hand, I can't say that porn and rap have ever had much political impact, even here.

Pankaj Mishra: Temptations of the West: How to Be Modern in India, Pakistan, Tibet, and Beyond (paperback, 2007, Picador): Travel reporting on the influence of the west on south and central Asia.

Richard North: Ministry of Defeat: The British in Iraq 2003-2009 (2009, Continuum): "This has become one of the most humiliating chapters in British Military History . . . the only real success of the British Government has been to hide from view." Still sounds smarter than the Americans.

William L O'Neill: A Bubble in Time: America During the Interwar Years, 1989-2001 (2009, Ivan R Dee): A history of the 1990s, a rare period of peace and prosperity bracketed by the two forever wars. O'Neill has tended to write kaleidoscopic period histories: A Democracy at War: America's Fight at Home & Abroad in World War II; American High: The Years of Confidence 1945-1960; Coming Apart: An Informal History of the 1960s.

Jerrold M Post: The Mind of the Terrorist: The Psychology of Terrorism from the IRA to al-Qaeda (paperback, 2008, Palgrave Macmillan): Dives into the murky waters of trying to build a psychological profile for terrorists, which seems like one more way to miss the political point.

Filip Reyntjens: The Great African War: Congo and Regional Geopolitics, 1996-2006 (2009, Cambridge University Press): Books about the extraordinarily bloody Congo War(s) are finally coming to light: Gerard Prunier's was called Africa's World War: Congo, the Rwandan Genocide, and the Making of a Continental Catastrophe, which still seems to be like the first goto book, but reviews were pretty mixed.

Bruce Riedel: The Search for Al Qaeda: Its Leadership, Ideology, and Future (2008, Brookings Press): CIA guy, GWOT insider, profiles the Enemy in considerable detail, thinks he knows how to beat him/them.

Andrew M Roe: Waging War in Waziristan: The British Struggle in the Land of bin Laden, 1849-1947 (2010, University Press of Kansas): "As much of a powder keg today as it was when India was part of the British Empire," and much for the same reasons. I still recall John Major after 9/11 boasting of how much the British could teach the US about dealing with terrorism. This is what they can teach us about securing the sliver of Pakistan called Waziristan.

Mick Simonelli: Riding a Donkey Backwards Through Afghanistan: How I Successfully Spent $400 Million of Your Taxpayer Dollars to Build the Afghanistan National Army (paperback, 2009, Mill City): Obviously, an inside job; I gather he's planning on a sequel where he bumps the figure to $2.1 billion. At that rate, Afghanistan will have the highest military expense/GDP ratio in the world, a ratio unimaginable in any country that has to pay its way. Only someone who realizes how ridiculous that is would name his book thusly.

Rodney Stark: God's Battalions: The Case for the Crusades (2009, Harper Collins): Argues that the Crusades were just the response of Europe to "Muslim terrorist aggression," as opposed to religious fanaticism or incipient imperialism, which have been pretty universally understood to be the range of options. Wonder where he got such a novel idea? Certainly not from history.

Mary Anne Weaver: Pakistan: Deep Inside the World's Most Frightening State (paperback, 2010, Farrar Straus and Giroux): Looks like a rework of Weaver's 2002 book Pakistan: In the Shadow of Jihad and Afghanistan, maybe even a plain reissue: certainly a lot more has happened in the last eight years than comfortably fits within an extra 16 pages.

David Wildman/Phyllis Bennis: Ending the US War in Afghanistan: A Primer (paperback, 2010, Olive Branch Press): Bennis also has primers on the Palestinian-Israeli conflict and the Iraq war. Few critics cover the ground more surely or get to the point quicker.

Garry Wills: Bomb Power: The Modern Presidency and the National Security State (2010, Penguin Press): Another book on the endless growth of presidential power, this one tying it to the atom bomb trigger, going back as far as the Manhattan project.

I usually do a paperback update, but will hold that off until next time. (Shouldn't be soon enough, as I have 34 notes left over.)

Peter Bergen: The Ultimate AfPak Reading List: Bergen's reading list covers Afghanistan (Soviet Invasion from 1979-89, rise and rule of the Talian 1994-2001, and post-2001), Pakistan (general, post-2001 Jihadism), and Al Qaeda (general, 1988-2001, since 2001, media strategy) with some background (underlyilng causes of 9/11 attacks, Islamist terrorism and its intellectual influences). A big chunk of those books have been on my reading list, so I thought I'd consolidate the list from 11 pages to 1, merge the categories, drop the essays (which no doubt are of equal interest), and add links to my book pages (where I have them; [*] denotes an entry in by Book Notes file):

• 9/11 Commission Report (2004, Norton): An authoritative account and actually a good read, surprisingly so for a government report.
• Hassan Abbas: Pakistan's Drift Into Extremism: Allah, the Army and America's War on Terror (2005, M.E. Sharpe, 2005): 89-177.
• Mariam Abou Zahab/Olivier Roy: Islamist Networks: The Afghan-Pakistan Connection (2004, Hurst). [*]
• Abdel-Bari Atwan: The Secret History of al-Qa'ida (2006, University of California Press). A concise primer. [*]
• Daniel Benjamin/Steven Simon: The Age of Sacred Terror (2002, Random House): 38-94.
• Owen Bennett Jones: Pakistan: Eye of the Storm (2002, Yale University Press). [*; 3rd ed, 2009, Yale University Press]
• Peter Bergen: Holy War, Inc: Inside the Secret World of Osama bin Laden (2002, Touchstone): Reporting on the ground about al Qaeda around the world. Easy read (I think.)
• Peter Bergen: The Osama bin Laden I Know: An Oral History of al Qaeda's Leader (2006, Free Press): A collection of interviews with those who have known bin Laden and key documents such as the founding minutes of al Qaeda.
• Paul Berman: Terror and Liberalism (2003, Norton): Argues that the jihadist threat is similar to the fascist or communist threat in terms of both its ideology and goals.
• Gary Bernsten: Jawbreaker: The Attack on Bin Laden and Al Qaeda (2005, Crown): CIA officer recounts the fall of Taliban and the battle of Tora Bora.
• Henry Bradsher: Afghan Communism and Soviet Intervention (1999, Oxford University Press).
• Jason Burke: Al-Qaeda: Casting a Shadow of Terror (2003, IB Tauris): A really sharp combination of on the ground reporting and analysis.
• Sarah Chayes: The Punishment of Virtue: Inside Afghanistan After the Taliban (2006, Penguin): A journalist-turned-aid worker based in Kandahar for four years after the fall of the Taliban provides an interesting and important account of mistakes made by all the players in the reconstruction of Afghanistan.
• Richard Clarke, ed: Terrorism: What the Next President Will Face (2008, Annals of the American Academy of Political and Social Science).
• Stephen Cohen: The Idea of Pakistan (2005, Brookings): Well written general history. 61-200.
• Steve Coll: Ghost Wars: The Secret History of the CIA, Afghanistan and Bin Laden, From the Soviet Invasion to September 10, 2001 (paperback, 2004, Penguin Press): Deeply reported. Won the Pulitzer for best non-fiction book of 2004. [*]
• Steve Coll: The Bin Ladens: An Arabian Family in the American Century (2008, Penguin Press): An absorbing read about a family caught between the 7th and 21st centuries. Finalist for a Pulitzer in 2008. [*]
• David Cook: Understanding Jihad (2005, University of California Press): An erudite explanation of the history of jihadist thought.
• Gordon Corera: Shopping for Bombs: Nuclear Proliferation, Global Insecurity, and the Rise and Fall of the AQ Khan Network (2006, Oxford University Press).
• George Crile: Charlie Wilson's War: The Extraordinary Story of the Largest Covert Operation in History (2003, Atlantic Monthly Press). [*]
• James Dobbins: After the Taliban: Nation-Building in Afghanistan (2008, Potomac Press).
• Gilles Dorronsoro: Revolution Unending: Afghanistan, 1979 to Present (2005, Columbia University Press, 2005): Dense, authoritative study. [*]
• Mamoun Fandy: Saudi Arabia and the Politics of Dissent (1999, St Martin's Press): 177-194.
• Douglas Farah: Blood From Stones: The Secret Financial Network of Terror (2004, Broadway).
• Gregory Feifer: The Great Gamble: The Soviet War in Afghanistan (2009, Harper Collins).
• Reuven Firestone: Jihad: The Origin of Holy War in Islam (1999, Oxford University Press): 13-18 and 47-65.
• Yosri Fouda/Nick Fielding: Masterminds of Terror (2003, Mainstream Publishing): 73-87, 105-122, 123-147, 196-202.
• Douglas Frantz/Catherine Collins: The Man From Pakistan: The True Story of the World's Most Dangerous Nuclear Smuggler (2007, Grand Central Publishing). [note: originally published as The Nuclear Jihadist: The True Story of the Man Who Sold the World's Most Dangerous Secrets . . . and How We Could Have Stopped Him (2007, Twelve)] [*]
• Dalton Fury: Kill Bin Laden: A Delta Force Commander's Account of the Hunt for the World's Most Wanted Man (2008, St Martin's Press). [*]
• Fawaz Gerges: The Far Enemy: Why Jihad Went Global (2005, Cambridge): Well researched account of how the global jihadist movement is riven by internecine ideological disputes and petty feuds. 1-80, 119-151, 185-250. [*]
• Antonio Giustozzi: Koran, Kalashnikov, and Laptop: the Neo-Taliban Insurgency in Afghanistan (2006, Columbia University Press). [*]
• Karen Greenberg, ed: Al Qaeda Now: Understanding Today's Terrorists (2005, Cambridge): A stimulating collection of essays.
• Roy Gutman: How We Missed the Story: Osama bin Laden, the Taliban, and the Hijacking of Afghanistan (2008, USIP Press). [*]
• Husain Haqqani: Pakistan: Between Mosque and Military (2005, Carnegie).
• Bruce Hoffman: Inside Terrorism (1998, Columbia University Press): 87-129.
• Rex Hudson: The Sociology and Psychology of Terrorism: Who Becomes a Terrorist and Why (1999, Lyons Press).
• Zahid Hussain: Frontline Pakistan: The Struggle Within Militant Islam (2007, Columbia). [*]
• Jamestown Foundation: Pakistan's Troubled Frontier: The Future of the FATA and the NWFP (2009).
• Chris Johnson/Jolyon Leslie: Afghanistan: The Mirage of Peace (2004, Zed Books): Two long time aid workers paint a bleak picture of Afghanistan following the fall of the Taliban.
• Seth Jones: In the Graveyard of Empires: America's War in Afghanistan (2009, Norton). [*]
• Gilles Kepel: Muslim Extremism in Egypt: The Prophet and Pharaoh (1986, University of California Press): 36-67.
• Gilles Kepel: Jihad: The Trail of Political Islam (2002, Belknap Press): 1-20. [*]
• David Kilcullen: The Accidental Guerrilla: Fighting Small Wars in the Midst of a Big One (2009, Oxford University Press). [*]
• Alan Krueger: What Makes a Terrorist (2007, Princeton University Press): 1-52.
• Bernard Lewis: The Political Language of Islam (1988, University of Chicago Press): 71-90.
• Brynjar Lia: Architect of Global Jihad: The Life of Al Qaeda Strategist Abu Mus'ab al-Suri (2008, Columbia University Press)
• William Maley, ed: Fundamentalism Reborn? Afghanistan and the Taliban (1998, New York University Press)
• William Maley: Rescuing Afghanistan (2007, UNSW Press): A concise book that examines the problems and possible solutions in Afghanistan following the fall of the Taliban government.
• Terry McDermott: Perfect Soldiers: The Hijackers -- Who They Were, Why They Did It (2005, Harper Collins): An excellent narrative.
• Hugh Miles: Al-Jazeera (2005, Abacus).
• Pervez Musharraf: In the Line of Fire (2008, Free Press): 197-281.
• Shuja Nawaz: Crossed Swords: Pakistan, Its Army, and the Wars Within (2008, Oxford University Press). [*]
• Sean Naylor: Not a Good Day to Die: The Untold Story of Operation Anaconda (2005, Berkeley Publishing Group): Army Times reporter gives a deeply reported account of Operation Anaconda. [*]
• Robert Pape: Dying to Win: The Strategic Logic of Suicide Terrorism (2005, Random House): Argues that campaigns of suicide terrorism are more motivated by nationalism than religion.
• Marianne Pearl: A Mighty Heart (2003, Scribner): 113-189.
• Sayyid Qutb: Milestones (1991, American Trust Publications).
• Ahmed Rashid: Taliban: Militant Islam, Oil and Fundamentalism in Central Asia (paperback, 2001, Yale University Press). [*]
• Ahmed Rashid: Descent Into Chaos: The US and the Disaster in Pakistan, Afghanistan, and Central Asia (2008, Penguin). [*]
• Louise Richardson: What Terrorists Want (2007, Random House): 38-103. [*]
• Bruce Riedel: The Search for al Qaeda: Its Leadership, Ideology, and Future (2008, Brookings Press). [*]
• Malise Ruthven: A Fury for God: The Islamist Attack on America (2002, Granta Books): 72-98.
• Marc Sageman: Understanding Terror Networks (2004, University of Pennsylvania Press): Sageman's groundbreaking sociological analysis of who joins al Qaeda and affiliated groups. [*]
• Nicholas Schmidle: To Live or Perish Forever: Two Tumultuous Years in Pakistan (2009, Henry Holt). [*]
• Gary Schroen: First In: An Insider's Account of How the CIA Spearheaded the War on Terror in Afghanistan (2005, Ballantine). [*]
• Michael Scheuer [aka: Anonymous]: Through Our Enemies' Eyes: Osama bin Laden, Radical Islam and the Future of America (paperback, 2002, Brasseys): Written by the former head of the bin Laden unit at CIA. Well researched, analytically sharp.
• Michael Semple: Reconciliation in Afghanistan (2009, USIP Press).
• Mark Urban: War in Afghanistan (1998, Macmillan Press).
• Gabriel Weimann: Terror on the Internet (2006, United States Institute of Peace): The most authoritative account of terrorists' use of the Internet.
• Laurence Wright: The Looming Tower: Al Qaeda and the Road to 9/11 (2006, Knopf): A gripping narrative of the jihadist movement from its birth in Egypt in the mid-20th century up until 9/11. Won the Pulitzer Prize for best non-fiction book of 2006. [*]
• Mohammad Yousaf/Mark Adkin: Afghanistan -- The Bear: The Defeat of a Superpower. (1992, Leo Cooper) [possibly reissued as The Battle for Afghanistan: The Soviets Versus the Mujahideen in the 1980s (2009, Pen & Sword)].
• Rahimullah Yusufzai: Most Wanted: Profiles of Terror (2002, Lotus/Roli): 132-144, Interrogations of Omar Sheikh and Maulana Azhar.
• Ayman al Zawahiri: Knights Under the Banner of the Prophet (2001): This document is Zawahiri's autobiography, and it also outlines his political philosophy. It runs about 75 pages and is essential reading to understand him.

The section on Pakistan is very short, not that there's a lot more to choose from, aside from narrow and rather dated monographs. The omission of Tariq Ali's The Duel is notable both as a substantial book on Pakistan and for what it says about American power as a root cause for the troubles. The section on root causes is also short, and focuses exclusively on terrorist psychology, whereas it should be obvious that at least part of the problem is the US has sent its corporations, military, and spies far from the homeland. No small amount has been written about that, both on the general problems of empire and on specific conflicts -- Iraq and Israel would each swamp the list, Iran and Saudi Arabia would add significantly to it, and there are other hot spots. For the most part I haven't singled out books like that unless they specifically tripped my keyword searches below. Any broad spectrum survey of US politics in the region would include works by Gabriel Kolko, Noam Chomsky, James Carroll, Jonathan Schell, Chalmers Johnson, Andrew Bacevich, Stephen Kinzer, Tim Weiner, Dilip Hiro, Tariq Ali, and Michael Klare.

Scrounging through the Book Notes file, looking for keywords (Afghanistan, Pakistan, Islam, jihad, al Qaeda, terror), but skipping books focusing on other Arab areas, suggests some additional books. The main thing that's missing above is a better critique on how the US got so tangled up in the Muslim world that it became a target of al Qaeda, and what sort of ideology plays out in the compulsion to revenge 9/11 by waging an indiscriminate war against civilians who had nothing to do with al Qaeda.

• Akbar S Ahmed: Resistance and Control in Pakistan (1983; revised ed, paperback, 2004, Taylor & Francis)
• Tariq Ali: The Clash of Fundamentalisms: Crusades, Jihads and Modernity (2002, Verso): The first significant effort to recognize the common obsessions of both sides.
• Tariq Ali: Rough Music: Blair Bombs Baghdad London Terror (paperback, 2006, Verso)
• Tariq Ali: The Duel: Pakistan on the Flight Path of American Power (2008; paperback, 2009, Scribner): An important introduction to Pakistan, uncovering much that is uncommented on elsewhere, such as the pervasive corruption.
• Ali A Allawi: The Crisis of Islamic Civilization (2009, Yale University Press)
• Tamin Ansary: Destiny Disrupted: A History of the World Through Islamic Eyes (2009, Public Affairs)
• Reza Aslan: How to Win a Cosmic War: God, Globalization, and the End of the War on Terror (2009, Random House): A deep look at the split within Islam.
• Walden Bello: Dilemmas of Domination: The Unmaking of the American Empire (paperback, 2006, Holt)
• Mats Berdal: Building Peace After War: A Critical Assessment of International Peacebuilding (paperback, 2009, Taylor & Francis)
• Barbara Bick: Walking the Precipice: Witness to the Rise of the Taliban in Afghanistan (paperback, 2008, Feminist Press at CUNY)
• Artyom Borovik: The Hidden War: A Russian Journalist's Account of the Soviet War in Afghanistan (paperback, 2001, Grove Press)
• Michael Burleigh: Blood and Rage: A Cultural History of Terrorism (2009, Harper Collins)
• Caleb Carr: The Lessons of Terror: A History of Warfare Against Civilians: Why It Has Always Failed and Why It Will Fail Again (2002, Random House)
• Matthew Carr: The Infernal Machine: A History of Terrorism From the Assassination of Tsar Alexander II to Al-Qaeda (paperback, 2008, New Press)
• Melody Ermachild Chavis: Meena, Heroine of Afghanistan: The Martyr Who Founded RAWA, the Revolutionary Association of the Women of Afghanistan (paperback, 2004, St Martin's Press)
• Ira Chernus: Monsters to Destroy: The Neoconservative War on Terror and Sin (paperback, 2006, Paradigm)
• John Cooley: Unholy Wars: Afghanistan, America and International Terrorism (3rd ed, paperback, 2002, Pluto Press)
• Brian Coughley: War, Coups and Terror: Pakistan's Army in Years of Turmoil (2009, Skyhorse)
• Christopher Coyne: After War: The Political Economy of Exporting Democracy (paperback, 2007, Stanford Economics and Finance)
• Robert D Crews/Amin Tarzi, eds: The Taliban and the Crisis of Afghanistan (2008; paperback, 2009, Harvard University Press) [*]
• Mark Danner: Stripping Bare the Body: Politics, Violence, War (2009, Nation Books)
• Meghnad Desai: Rethinking Islamism: The Ideology of the New Terror (paperback, 2006, IB Tauris)
• Robert Dreyfuss: Devil's Game: How the United States Helped Unleash Fundamentalist Islam (2005; paperback, 2006, Holt): How the US promoted Jihadism for Cold War purposes.
• David B Edwards: Before Taliban: Genealogies of the Afghan Jihad (paperback, 2002, University of California Press)
• Susan Faludi: The Terror Dream: Fear and Fantasy in Post-9/11 America (2007, Metropolitan Books): Paints the US response to 9/11 as a nervous breakdown, couched in eons of frontier myth.
• Paul Fitzgerald/Elizabeth Gould: Invisible History: Afghanistan's Untold Story (paperback, 2009, City Lights)
• Fawaz A Gerges, America and Political Islam: Clash of Cultures or Clash of Interests? (paperback, 1999, Cambridge University Press)
• Fawaz A Gerges: Journey of the Jihadist: Inside Muslim Militancy (2006; paperback, 2007, Harcourt)
• Antonio Giustozzi: Empires of Mud: Wars and Warlords of Afghanistan (2009, Columbia University Press)
• Aaron Glantz: Winter Soldier: Iraq and Afghanistan: Eyewitness Accounts of the Occupations (paperback, 2008, Haymarket Books)
• Larry P Goodson: Afghanistan's Endless War: State Failure, Regional Politics, and the Rise of the Taliban (paperback, 2001, University of Washington Press)
• Lester W Grau/Michael A Gress, eds: The Soviet-Afghan War: How a Superpower Fought and Lost (paperback, 2002, University Press of Kansas): From the Russian General Staff papers.
• John Gray: Al Qaeda and What It Means to Be Modern (paperback, 2005, New Press)
• Ramachandra Guha: India After Gandhi: The History of the Largest Democracy (2007, Ecco): Long history of India, which inevitably impinges on Pakistan.
• Stephen Holmes: The Matador's Cape: America's Reckless Response to Terror (2007, Cambridge University Press)
• Raymond Ibrahim, ed: The Al Qaeda Reader (paperback, 2007, Broadway)
• Ayesha Jalal: Partisans of Allah: Jihad in South Asia (2008, Harvard University Press)
• Arif Jamal: Shadow War: The Untold Story of Jihad in Kashmir (2009, Melville House)
• Chris Johnson/Joylon Leslie: Afghanistan: The Mirage of Peace (2nd ed, paperback, 2008, Zed Books)
• Ann Jones: Kabul in Winter: Life Without Peace in Afghanistan (paperback, 2007, Picador)
• Robert D Kaplan: Soldiers of God: With Islamic Warriors in Afghanistan and Pakistan (1990; paperback, 2001, Vintage): Cheerleader-propagandist for the mujahideen.
• Robert D Kaplan: Imperial Grunts: On the Ground With the American Military, From Mongolia to the Philippines to Iraq (2005, Random House)
• Robert D Kaplan: Hog Pilots, Blue Water Grunts: The American Military in the Air, at Sea, and on the Ground (2007, Random House)
• Gilles Kepel: The War for Muslim Minds: Islam and the West (2004, Belknap Press): A postscript to the author's critically important Jihad: The Trail of Political Islam, which left off viewing 9/11 as a desperate measure reflecting bin Laden's terminal weakness.
• Gilles Kepel/Jean-Pierre Milelli, eds: Al Qaeda in Its Own Words (2008; paperback, 2009, Belknap Press)
• Rashid Khalidi: Sowing Crisis: The Cold War and American Hegemony in the Middle East (2009, Beacon Press)
• M Ashgar Khan: We've Learnt Nothing from History: Pakistan: Politics and Military Power (2006, Oxford University Press)
• Yasmin Khan: The Great Partition: The Making of India and Pakistan (paperback, 2008, Yale University Press)
• Sonali Kolhatkar/James Ingalls: Bleeding Afghanistan: Washington, Warlords, and the Propaganda of Silence (paperback, 2006, Seven Stories Press)
• Jon Krakauer: Where Men Win Glory: The Odyssey of Pat Tillman (2009, Doubleday)
• Christina Lamb: The Sewing Circles of Herat: A Personal Voyage Through Afghanistan (2003; paperback, 2004, Harper Perennial)
• Mark LeVine: Why They Don't Hate Us: Lifting the Veil on the Axis of Evil (2005, Oneworld)
• Mark LeVine: Heavy Metal Islam: Rock, Resistance, and the Struggle for the Soul of Islam (paperback, 2008, Three Rivers Press)
• Bernard Lewis: What Went Wrong? The Clash Between Islam and Modernity in the Middle East (paperback, 2002, Harper Perennial)
• Adam B Lowther: Americans and Asymmetric Conflict: Lebanon, Somalia, and Afghanistan (2007, ABC-CLIO)
• David Loyn: In Afghanistan: Two Hundred Years of British, Russian and American Occupation (2009, Palgrave Macmillan)
• William Maley: The Afghanistan Wars (2002; second ed, paperback, Palgrave Macmillan 2009)
• Mahmood Mamdani: Good Muslim, Bad Muslim: America, the Cold War, and the Roots of Terror (2004, Pantheon): On how our views of Muslims are affected by US tactical interests, no matter how inconsistent.
• Eric S Margolis: War at the Top of the World: The Struggle for Afghanistan, Kashmir and Tibet (revised ed, paperback, 2002, Routledge)
• Eric S Margolis: American Raj: America and the Muslim World (2008; paperback, 2009, Key Porter)
• Stephen L Melton: The Clausewitz Delusion: How the American Army Screwed Up the Wars in Iraq and Afghanistan (A Way Forward) (2009, MBI)
• Nick B Mills: Karzai: The Failing American Intervention and the Struggle for Afghanistan (2007, John Wiley & Sons)
• Pankaj Mishra: Temptations of the West: How to Be Modern in India, Pakistan, Tibet, and Beyond (paperback, 2007, Picador)
• Greg Mortensen: Three Cups of Tea: One Man's Mission to Promote Peace . . . One School at a Time (paperback, 2007, Penguin Books): An alternate, more practicable path to nation-building.
• Greg Mortensen: Stones Into Schools: Promoting Peace With Books, Not Bombs, in Afghanistan and Pakistan (2009, Viking)
• Azhar Hassan Nadeem: Pakistan: The Political Economy of Lawlessness (2002, Oxford University Press)
• Omar Nasiri: Inside the Global Jihad: My Life With Al Qaeda: A Spy's Story (2006; paperback, 2008, Perseus)
• Ronald E Neumann: The Other War: Winning and Losing in Afghanistan (2009, Potomac Books)
• Gretchen Peters: Seeds of Terror: How Heroin Is Bankrolling the Taliban and al Qaeda (2009, Thomas Dunne)
• Gregory Alonso Pirio: The African Jihad: Bin Laden's Quest for the Horn of Africa (paperback, 2007, Red Sea Press)
• Norman Podhoretz: World War IV: The Long Struggle Against Islamofascism (2007, Doubleday)
• William R Polk: Violent Politics: A History of Insurgency, Terrorism, and Guerrilla War, From the American Revolution to Iraq (2007, Harper): A comparative history as the US moves from revolutionary insurgents to imperial counterinsurgents.
• Jerrold M Post: The Mind of the Terrorist: The Psychology of Terrorism from the IRA to al-Qaeda (paperback, 2008, Palgrave Macmillan)
• Deborah Rodriguez: Kabul Beauty School: An American Woman Goes Behind the Veil (paperback, 2007, Random House)
• Andrew M Roe: Waging War in Waziristan: The British Struggle in the Land of bin Laden, 1849-1947 (2010, University Press of Kansas)
• Olivier Roy: The Politics of Chaos in the Middle East (2008, Columbia University Press)
• Barnett R Rubin: The Fragmentation of Afghanistan: State Formation and Collapse in the International System (2nd ed, paperback, 2002, Yale University Press)
• Marc Sageman: Leaderless Jihad: Terror Networks in the Twenty-First Century (2007, University of Pennsylvania Press
• Marc Sageman, ed: Unmasking Terror: A Global Review of Terrorist Activities (paperback, 2007, Jamestown Foundation)
• Michael Scheuer [Anonymous]: Imperial Hubris: Why the West Is Losing the War on Terror (2004, Potomac Books)
• Michael Scheuer: Marching Toward Hell: America and Islam After Iraq (2008, Free Press)
• Asne Seierstad: The Bookseller of Kabul (paperback, 2004, Little Brown)
• Ayesha Siddiqa: Military Inc: Inside Pakistan's Military Economy (paperback, 2007, Pluto Press)
• Mick Simonelli: Riding a Donkey Backwards Through Afghanistan: How I Successfully Spent $400 Million of Your Taxpayer Dollars to Build the Afghanistan National Army (paperback, 2009, Mill City)
• Rory Stewart: The Places in Between (2004; paperback, 2006, Harvest Books): A winter 2001-02 trek across the mountains, in Babur's footsteps, in Bush's wake, in the brief moment of Taliban retreat.
• Stephen Tanner: Afghanistan: A Military History From Alexander the Great to the War Against the Taliban (2002; revised ed, paperback, 2009, Da Capo)
• John B Taylor: Global Financial Warriors: The Untold Story of International Finance in the Post-9/11 World (paperback, 2008, WW Norton)
• Alex von Tunzelman: Indian Summer: The Secret History of the End of an Empire (2007, Henry Holt): A top-down view of partition, easy on Nehru, hard on Jinnah.
• Mary Anne Weaver: Pakistan: Deep Inside the World's Most Frightening State (paperback, 2010, Farrar Straus and Giroux)
• David Wildman/Phyllis Bennis: Ending the US War in Afghanistan: A Primer (paperback, 2010, Olive Branch Press)
• Lawrence Ziring: Pakistan: At the Crosscurrent of History (paperback, 2005, Oneworld)

Also found mentions of a bunch of Afghanistan war memoirs: Jon Lee Anderson: The Lion's Grave: Dispatches From Afghanistan; Colin Berry: The Deniable Agent: Undercover in Afghanistan; Christie Blatchford: Fifteen Days: Stories of Bravery, Friendship, Life and Death from Inside the New Canadian Army; Eric Blehm: The Only Thing Worth Dying For: How Eleven Green Berets Forged a New Afghanistan; Mark W Bromwich: Captains Blog: The Chronicles of My Afghan Vacation; Matthew Currier Burden: The Blog of War: Front-Line Dispatches from Soldiers in Iraq and Afghanistan; John T Carney: No Room for Error: The Covert Operations of America's Special Tactics Units From Iran to Afghanistan; Jeff Courter: Afghan Journal: A Soldier's Year in Afghanistan; Dayna Curry/Heather Mercer: Prisoners of Hope: The Story of Our Captivity and Freedom in Afghanistan; Ed Darack: Victory Point: Operations Red Wings and Whalers - The Marine Corps' Battle for Freedom in Afghanistan; Lt Gen Michael DeLong: A General Speaks Out: The Truth About the Wars in Afghanistan and Iraq; Brandon Friedman: The War I Always Wanted: The Illusion of Glory and the Reality of War; Mike Friscolanti: Friendly Fire: The Untold Story of the US Bombing That Killed Four Canadian Soldiers in Afghanistan; Chuck Larson: Heroes Among Us: Firsthand Accounts of Combat from America's Most Decorated Warriors in Iraq and Afghanistan; Joe LeBleu: Long Rifle: A Sniper's Story in Iraq and Afghanistan; Marcus Luttrell/Patrick Robinson: Lone Survivor: The Eyewitness Account of Operation Redwing and the lost Heroes of SEAL Team 10; Malcolm MacPherson: Roberts Ridge : A Story of Courage and Sacrifice on Takur Ghar Mountain, Afghanistan; Sean Maloney: Enduring the Freedom: A Rogue Historian in Afghanistan; Platte B Moring III: Honor First: A Citizen-Soldier in Afghanistan; Craig M Mullaney: The Unforgiving Minute: A Soldier's Education; Johnny Rico: Blood Makes the Grass Grow Green: A Year in the Desert with Team America; Mike Ryan: Battlefield Afghanistan; Doug Stanton: Horse Soldiers: The Extraordinary Story of a Band of US Soldiers Who Rode to Victory in Afghanistan; Peter Telep: Direct Action: Special Forces in Afghanistan; Benjamin Tupper: Welcome To Afghanistan: Send More Ammo: The Tragicomic Art of Making War as an Embedded Trainer in the Afghan National Army; Chris Wattie: Contact Charlie: The Canadian Army, the Taliban and the Battle That Saved Afghanistan; Stephen D Wrage, ed: Immaculate Warfare: Participants Reflect on the Air Campaigns Over Kosovo, Afghanistan, and Iraq; Thomas W Young: The Speed of Heat: An Airlift Wing at War in Iraq and Afghanistan; Regulo Zapata Jr: Desperate Lands: The War on Terror Through the Eyes of a Special Forces Soldier; also: Masood Farivar: Confessions of a Mullah Warrior; Emmanuel Guibert/Frederic Lemercier/Didier Lefevre: The Photographer: Into War-Torn Afghanistan with Doctors Without Borders; Ali Ahmad Jalali: Afghan Guerrilla Warfare: In the Words of the Mujahideen Fighters Patrick Macrory: Retreat from Kabul: The Catastrophic British Defeat in Afghanistan 1842; Matthew J Morgan: A Democracy Is Born: An Insider's Account of the Battle Against Terrorism in Afghanistan; Jules Stewart: Crimson Snow: Britain's First Disaster in Afghanistan (i.e., 1841); Christine Sullivan: Saving Cinnamon: The Amazing True Story of a Missing Military Puppy and the Desperate Mission to Bring Her Home; Vladislav Tamarov: Afghanistan: A Russian Soldier's Story; Mary Tillman: Boots on the Ground by Dusk: My Tribute to Pat Tillman; This list continues to grow at a rapid pace.

The stuff I've added is no doubt less selective than the original list, although it also helps fill in critical holes. Overall, this seems like an awful lot of material, but there are a lot of things poorly covered if covered at all: starting with day-by-day political relationships between the US and various Afghani and Pakistani agents; there is little systematic military analysis, especially of damage to civilians; there is little accounting of money spent; there is a massive propaganda snow job to unshovel; there are secret prisons with a legacy of torture; there is the matter of Karzai's miraculous purchase on his office. So the ultimate list is still to come. But this is a start.

Finally got in a whole week of dipping into the jazz prospecting queue, almost at random, picking up some stuff that had fallen (sometimes literally) through the cracks, and some things I've passed over many times (as if avoiding).

Michaël Attias: Renku in Coimbra (2008 [2009], Clean Feed): Alto saxophonist, b. 1968 in Israel, moved to US in 1977, bounced back and forth between US and Europe until settling in New York in 1994. Group is a trio with John Hebert on bass and Satoshi Takeishi on drums; same group recorded Renku in 2004. Attias wrote two pieces, Hebert three (including the one reprised at the end); the two outside pieces are by Lee Konitz and Jimmy Lyons, touchstones for Attias. Russ Lossing joins in on piano on one cut, but in three plays I have to admit I didn't notice him. Tight group, the sax not unusual for free jazz, the bass and drums busy but not overbearing. B+(**)

Steven Schoenberg: Live: An Improvisational Journey (2006-08 [2010], Quabbin): Pianist, b. 1952. AMG lists him as Classical, but doesn't list any classical recordings by him. Rather, we have an 1982 album Pianoworks reissued on his label in 2007, plus one more -- none reviewed or rated. His website is on of those Flash things designed to make extracting information so painful you give up. Seems to do film and theatre work. Married his his school sweetheart, Jane, who works with him in some capacity, but not on this solo set, improvised live at Smith College, Northampton, MA (except for two cuts recorded later). Doesn't strike me as very jazz-oriented, but likable as piano music goes, rhythmically regular with a lot of harmonic fill. B+(*)

Curt Berg & the Avon Street Quintet: At Stagg Street Studio (2009, Origin): Trombonist, originally from Iowa, studied at Drake and USC. Broke in with Woody Herman c. 1970, and has several more big band credits -- Don Ellis, Jim Self, Vince Mendoza. First album, with saxophonist Tom Luer and pianist Andy Langham, plus bass (Lyman Medeiros) and drums (Bill Berg, don't know if related). Berg wrote all of the songs, including three he dedicated to Gary Foster, Eliot Spitzer, and Moacir Santos. Trombone almost always plays in unison with the sax -- soprano, alto, and tenor are listed in that order -- for a harmonic effect I don't care for, but the rhythm is gingerly sprung. B

Big Crazy Energy New York Band: Inspirations, Vol. 1 (2008 [2010], Rosa): Leader here is Norwegian trombonist Jens Wendelboe, who cut a couple of non-NY Big Crazy Energy Band albums in the early 1990s. He plays, conducts, produces, wrote or co-wrote 5 of 9 songs, and keeps the energy level high. Still, as Wolfgang Pauli would say, his high energy physics isn't crazy enough. Can't say I like closing with a Beatles tune either. B-

Tineke de Jong/Albert van Veenendaal/Alan Purves/Hans Habesos: Midday Moon (2008 [2009], Brokken): Dutch group. De Jong plays violin, van Veenendaal (prepared) piano, Purves percussion, Hasebos marimba. De Jong's notes describe herself as "a classical violinist inspired by jazz standards" and van Veenendaal as "an improvising pianist without style boundaries." In other words, she's more conventionally boxed in, whereas the pianist easily breaks convention. Especially striking when the drums and marimba expand on the prepared piano's percussion; less so when de Jong returns to chamber jazz, which predominates. B+(**)

Q'd Up: Quintessence (2009, Jazz Hang): Utah group, fourth album since 1999, with previous iterations of the group going back to 1983. Steve Lindeman (piano, keyboards) and Jay Lawrence (drums, vibes) write most of the pieces, with a couple of assists from vocalist Kelly Eisenhour (who sings three cuts) and a couple of standards. Ray Smith plays various saxophones and woodwinds, Matt Larson plays acoustic and electric bass, and Ron Brough plays vibes when not switching off for drums. Overall they claim 25 instruments, which varies the sound in ways hard to pigeonhole, except what you get from postbop. B

Matt Slocum: Portraits (2009 [2010], Chandra): Drummer, from Minnesota, now based in New Jersey, looks like his first album, although AMG has him confused with another Matt Slocum who plays guitar and cello, particularly in the band Sixpence None the Richer. Piano trio plus guest sax on 4 of 9 cuts. The pianist, who lays out on two of the sax cuts, is Gerald Clayton, impressive here. Bassist is Massimo Biolcati. Walter Smith III and Dayna Stephens play tenor sax on two cuts each, with Jaleel Shaw on alto on a cut with Stephens -- Smith's two cuts stand out. B+(*)

Ralph Lalama Quartet: The Audience (2009 [2010], Mighty Quinn): Tenor saxophonist, b. 1951, 7th album since 1990 (first 5 on Criss Cross), with John Hart on guitar, Rick Petrone on bass, Joe Corsello on drums. Mainstream, more bop than post, with Rollins an obvious model -- "I'm an Old Cowhand" is a nice touch even if it falls well short of Way Out West. Hart has a good day. B+(**)

Lajos Dudas: Chamber Music Live (1990 [2009], Pannon Classic): Not sure why I have this down as a 2009 release: it was mastered in 1997 and most likely released shortly after that. Jewel case is a little worn, too. Dudas plays clarinet, was born 1941, don't know how many records he has but he sent me one in 2008, Jazz on Stage, that made my HM list. This was recorded live in Bonn, with Sebastian Buchholz on alto sax and "buch-horn" -- the two horns provide a sharp-shrill contrast, vigorous when it's just the two of them. The third participant is vocalist Yldiz Ibrahimova, who has one of those operatic voices I can rarely stand. B

Darryl Harper: Stories in Real Time (2009, Hipnotic): Clarinet player, b. 1968, has four previous records as the Onus -- the one I've heard an HM. Teaches at Virginia Commonwealth University. Organized this group as a clarinet quartet with piano, bass, and drums, plus occasional vocalist Marianne Solivan. Sometimes goes for a chamber jazz/quasi-classical sound, and sometimes makes it work, although he can also throw out a piece of light funk like "Tore Up." Don't care for the singer, although she's not without interest, at least on the "Saints and Sinners" suite. B+(*)

Scott DuBois: Black Hawk Dance (2009 [2010], Sunnyside): Guitarist, b. 1978, fourth album since 2005, second I have heard. His 2008 album Banshees got shortchanged in Jazz CG (19) with a high HM. This is only slightly less striking, probably because he slows the pace more, and defers less to his sax/bass clarinet player, Gebhard Ullman. Quartet is filled out capably by Thomas Morgan (bass) and Kresten Osgood (drums). Ullman has never sounded more like a mainstream bopper, which actually suits him well. B+(***)

Vivian Houle: Treize (2008 [2009], Drip Audio): Canadian vocalist, works through 13 tracks each with a different musician. Some pieces lean toward art song, or even opera, while others match the instrument head on -- especially the duo with drummer Kenton Loewen. I'm duly impressed, but can't say as I enjoyed much of it. B

Lee Shaw Trio: Blossom (2009, ARC): Pianist, from Oklahoma, b. 1926, played a little and taught a lot over the years, but didn't start to establish a discography until a mid-1990s trio with bassist Rich Syracuse and husband-drummer Stan Lee. Stan died in 2001, replaced (on drums, anyway) by Rich Siegel. Mostly Shaw originals, with one from Siegel, two from Syracuse, and two 1940s bop pieces from Fats Navarro and Johnny Guarnieri. B+(*)

Matt Vashlishan: No Such Thing (2008 [2009], Origin): Alto saxophonist, b. 1982, from the Poconos, based in/near Miami, latched onto Dave Liebman, adopting not just his sound but his look as well, and more importantly a big chunk of his band for his debut album: Vic Juris on guitar, Tony Marino on bass, Michael Stephans on drums, Liebman himself on soprano and tenor sax. Paired the saxes tend to run in boppish chase sequences, light-footed and fleet. A couple of change of pace pieces show nice form and tone. Juris gets in some tasty solos, too. B+(***)

Dana Hall: Into the Light (2009, Origin): Drummer, first album although he has a couple dozen side credits going back to 1998, including two with trumpeter Terell Stafford, who leads off here. Quintet, sort of post-hard bop, with Tim Warfield on tenor sax, Bruce Barth on piano/Fender Rhodes, and Rodney Whitaker on bass. The horns crackle, but come off a bit sloppy, with Warfield never clearly establishing himself. The drummer asserts his control by playing even louder, and is dazzling at best. B+(*)

Mike LeDonne: The Groover (2009 [2010], Savant): Keyboard player, mostly organ these days, something he's been getting progressively better at. The soul jazz formula is a dime a dozen, but you can't fault him for skimping on ingredients: Eric Alexander on tenor sax, Peter Bernstein on guitar, Joe Farnsworth on drums. Alexander's swoop through "On the Street Where You Live" is a high point, and Bernstein is always good for a few tasty solos. B+(*)

Chris Potter/Steve Wilson/Terrell Stafford/Keith Javors/Delbert Felix/John Davis: Coming Together (2005 [2009], Inarhyme): Originally intended to be the first album by saxophonist Brendan Edward Romaneck, 1981-2005, who wrote 8 of 11 tracks -- three covers are "My Shining Hour," "Nancy With the Laughing Face," and "Killing Me Softly With His Song." After Romaneck's "sudden and tragic end," the sax role was picked up by Chris Potter (first six tracks) and Steve Wilson (last five tracks). Potter's quartet sessions jump off to a fast start with a tour de force attack on "My Shining Hour." Romaneck's compositions are less compelling but provide plenty of scaffolding for Potter. Wilson's quintet sessions, with Terell Stafford on trumpet/flugelhorn, are less sharp, of course, but still of a high order. B+(**)

The American Music Project: On the Bright Side (2004-05 [2009], Inarhyme): Quartet with Dane Bays (alto sax), Keith Javors (piano), Dave Ziegner (bass), and Alex Brooks (drums) providing the jazz backbone, plus two vocalists: singer Curtis Isom and rapper Dejuan "D Priest" Everett. Bays wrote the music, except for a John Coltrane piece ("Lonnie's Lament"); Everett wrote the words, including a "Welcome" that spells everything out literally. I won't argue that this isn't quintessential Americana, but neither the rapper -- who sounds a bit like Chuck D but less so -- nor the singer hold their own, and while there's nothing wrong with the band -- I'll never complain about too much sax -- they're not really the point. B+(*)

Jeff Baker: Of Things Not Seen (2006-07 [2009], OA2): Vocalist, most likely Seattle-based, fourth album since 2003's inevitable Baker Sings Chet. This one is gospel-themed -- Curtis Mayfield's "People Get Ready" threw me off for a minute, but two straight songs with "Thou" in the title steered me back. Stylistically he reminds me of Kurt Elling without the numerous annoying tics. Cut in Seattle with Origin's all-stars -- the Bill Anschell-Jeff Johnson-John Bishop trio is impeccable, and Brent Jensen is superb as always. Not into the songs, although the unlisted 12th song, with uncredited violin and backup singer, has some grace within it. B-

Marc Copland: Alone (2008-09 [2009], Pirouet): Postbop pianist, b. 1948, closing in on his 30th album since 1988, should be a major figure but they're so many pianists. As the title explains, solo. Very measured, quiet even, exactly the sort of thing that never commands my attention in a solo piano record. Starts with "Soul Eyes"; includes three originals and three Joni Mitchell songs among ten total. Intelligent and lovely, of course. B+(**)

Robin Verheyen: Starbound (2009, Pirouet): Saxophonist, lists soprano ahead of tenor, b. 1983 in Belgium; studied at Manhattan School of Music; based in New York. First record, a quartet with Bill Carrothers on piano, Nicolas Thys on bass, Dré Pallemaerts on drums. Wrote 9 of 11 pieces, with one by Thys and "I Wish I Knew" (Harry Warren, Mack Gordon). B+(**)

Gail Pettis: Here in the Moment (2008-09 [2010], OA2): Standards singer, b. 1958 in Kentucky, grew up in Gary, IN; now based in Seattle. Second album, split between two piano trios. Most songs have been done a lot -- "Night and Day," "Day in Day Out," "Nature Boy," "I Could Have Danced All Night" -- but she handles them with authority and a touch of soul. B+(*)

Hadley Caliman: Straight Ahead (2008 [2010], Origin): Tenor saxophonist, b. 1932, cut a few albums in the 1970s then nothing until 2008. Second comeback album, with Thomas Marriott on trumpet, Eric Verlinde on piano, also bass and drums. Mainstream player, not an especially strong voice, but his "Lush Life" is particularly nice. B+(*)

Bob Sneider & Paul Hofmann: Serve and Volley (2008 [2010], Origin): Guitarist and pianist, respectively, in a duo. Sneider has five previous albums, including a couple of Film Noir Projects with Joe Locke, and two previous duos with Hofmann. I find this a little light and sketchy. Title piece, by the way, is a 22:32 five-part suite. B

Dave Sharp's Secret Seven: 7 (2009 [2010], Vortex Jazz): Bassist, mostly electric, from Ann Arbor, MI. Group actually a quartet -- Chris Kaercher (various saxes, flute, harmonica), Dale Grisa (Hammond B3, piano), Eric "Chucho" Wilhelm (drums, percussion) -- with extras added here and there. Sharp and Kaercher share writing credits. Mostly funk grooves, with honking sax blasts; harmless. Ends with two "bonus tracks": a "radio edit" of the opener, and a vocal also pegged to radio, an r&b cover called "Can I Be Your Squeeze?" B

Tom Braxton: Endless Highway (2009, Pacific Coast Jazz): Saxophonist, tenor first, then soprano, alto, flute, keybs. Fourth album since 1998, dedicated to the late Wayman Tisdale. Pop jazz, soupy keybs, pumping sax riffs. Closes with three radio edits, including obligatory vocal fluff. B-

Dave King: Indelicate (2009 [2010], Sunnyside): Happy Apple/Bad Plus drummer, goes solo for his debut album with his drum track alongside an indelicate piano track. King wrote all the pieces. Probably unfair to say he plays piano like he plays drums, but the repetitive riffs and frills could easily have been conceived on drums; on the other hand, he never adds the sort of frills that are as natural to pianists as limbering up. Interesting, but not very compelling. B+(*)

The Zeke Martin Project: U4RIA (2009, Zeke Martin Project): Drummer, b. 1973, Brussels, Belgium; at age 12 played with Steve Lacy; moved to Cambridge, MA for high school, then on to New York, then back to Boston. Group is a quartet with Sean Berry (sax), Yusaku Yoshimura (keyboards, harmonics), and Rozhan Razman (bass). Seven cuts, all standard jazz/pop covers, only one I didn't recognize is Jaco Pastorius's "Teen Town." Little new here, but they bring graceful swing and good cheer to the project. One vocal: Nina Parlour on "Summertime." B

Darunam/Milan: The Last Angel on Earth (2008 [2009], 64-56 Media): Darunam is a group/duo of guitarist Radovan Jovicevic and vocalist Manu Narayan. Jovicevic is Serbian; Narayan Indian-American. They met up in New York, and have one previous album. Milan is Milan Milosevic, clarinet player, also from Belgrade (presumably not the Bosnian basketball player). Songs are based on various angels, saints, or deities, including Bacchus, Raphael, Cupid, Karl [Marx], Mahatma [Gandhi], and Theresa [Mother]. Mostly in English -- Vanessa Ivey also sings some -- sort of world fusion with Balkan and Indian elements but nothing that clear. Interesting sound mix; less sure about the themes. B+(*)

Tierra Negra & Muriel Anderson: New World Flamenco (2009 [2010], Tierra Negra): Tierra Negra is a pair of German flamenco guitar players, Raughi Ebert and Leo Henrichs. They have at least 9 albums since 1997. Anderson is an American guitarist, based in Nashville, considered Folk by AMG, credited with "classic & harp guitar" here. She has more than a dozen albums since 1989. Her website includes recipes but no biography. Most cuts include bass, drums, percussion; some palmas, but mostly the percussion is secondary. Nothing cooks, but intricate guitarwork can be its own reward. B+(**)

Kat Parra: Dos Amantes (2009 [2010], JazzMa): Singer, b. 1962 in Detroit (AMG, which also describes her as "a Northern California native who lived in Chile as a teenager"), based in San Jose, CA. Third album. Picks her way around Latin musics, including a special interest in Sephardic Jewrs, tracing their music from Spain to North Africa and singing in Ladino -- she calls her group The Sephardic Music Experience. All this would be fascinating if only she were better at it. Her voice has little appeal, the backing singers (where used) add clutter, the Sephardic pieces lack the kick of the Afro-Cubans, and a piece of Afro-Peruvian Landó is even duller. B-

Peggo: In Love (2009 [2010], Big Round): Not much info here, although the "enhanced CD" sticker promises more if I pop the CD into a computer. Don't have recording dates, so 2009 is a guess; don't have musician credits. Singer's full name Peggo Horstmann Hodes, where Horstmann is the surname of her grandfather Henry -- cited as her introduction to these old standards -- and Hodes is her husband's surname, congressman Paul (D-NH). First album, although she has a couple of early-1990s children's albums as Peggosus, and there are three evidently folkie Peggo & Paul albums. This one is straight standards, all indelible classics, with a "Medley of Love" mopping up nine more. The anonymous band does its job; a plain-sounding male singer joined in for the last two cuts, contrasting with her somewhat theatrical pitch. B+(*)

Melanie Mitrano: All Things Gold (2009 [2010], Big Round): Singer-songwriter, "Dr. Mitrano" on her website: "first woman to receive a Doctor of Musical Arts degree from the New England Conservatory in Boston" -- doesn't say when, but she started teaching in 1996. Resume seems to be mostly classical, which is how AMG files her -- her MySpace page starts with "What's a nice classical singer like me . . ." Second album since 2006. Backed with a piano trio plus guest horns here and there. Voice doesn't set off any opera alarms; she goes with the flow, and the band swings. Has some things to say too. B+(**)

Mel Carter: The Heart and Soul of Mel Carter (2008 [2009], CSP): Singer, b. 1943 (although I've also seen 1939 cited). AMG: "Mel Carter was soul music at its most vanilla, if indeed he could be characterized as a soul singer at all." He recorded steadily 1963-70, with a top ten hit in 1965 ("Hold Me, Thrill Me, Kiss Me") and two more singles grazing the top 40. This is his first album since 1970, a standards set with a jazz combo, bookended with two takes of Hoagy Carmichael's "Heart and Soul," with some 1950s doo wop fare, like "The Glory of Love," worked into the mix. Don't know his early work other than the hit(s), but I'd guess the vanilla is mostly in the mix -- not an issue here, nor need he break new ground. He's a good ballad singer, and the songs and arrangements suit him fine. B+(**)

Eddie C Campbell: Tear This World Up (2008 [2009], Delmark): Chicago bluesman, plays guitar and sings, b. 1939, in Mississippi like so many others -- was 6 when he made aliyah. Only his eighth album since his 1977 debut, first in a decade. Not much to differentiate him from a dozen others, except that he's still around and kicking it, and blues authority grows on old guys. B+(**)

Burkina Electric: Paspanga (2009 [2010], Cantaloupe): Another African fusion project where a visitor (drummer/electronics wiz Lukas Ligeti) lands somewhere (Burkina Faso) and hooks up with local musicians (guitarist Wende K. Blass and singer Maï Lingani), the result being an African no less syncretic than the natives produce these days, but better distributed. Ligeti brought a German d/b/a Pyrolator along for more electronics. The only other credits are two dancers, brought along to "help us draw audiences into our unusual rhythms" and thereby to validate them. The rhythms are synthesized from local traditions, and scarcely feel wanting even if the main reason for going to Africa is to up the rhythm quotient. The guitar is less slick than the coast and less rustic than the desert. The vocals are down home, as they should be. A-

These are some even quicker notes based on downloading or streaming records. I don't have the packaging here, don't have the official hype, often don't have much information to go on. I have a couple of extra rules here: everything gets reviewed/graded in one shot (sometimes with a second play), even when I'm still guessing on a grade; the records go into my flush file (i.e., no Jazz CG entry, unless I make an exception for an obvious dud). If/when I get an actual copy I'll reconsider the record.

Tim Warfield: One for Shirley (2007 [2008], Criss Cross): Tenor saxophonist, part of the "tough young tenors" generation, with an impressive debut album in 1995, but this is only his fifth album, the first since 2002. Shirley, of course, is Shirley Scott, the legendary soul jazz organ player, with Pat Bianchi filling her role here. No bassist necessary, but drummer Byron Landham gets reinforcements from percussionist Daniel G. Sadownick, and Terell Stafford slip in some trumpet -- not a soul jazz standard, but Stafford and Warfield are a frequent team. Aims low, and succeeds simply, although not as simply and elegantly as Scott's usual tenor player, Stanley Turrentine, could do. B+(*) [Rhapsody]

No final grades/notes this week on records put back for further listening the first time around.

Unpacking: Found in the mail this week:

• Mirio Cosottini/Andrea Melani/Tonino Miano/Alessio Pisani: Cardinal (Grimedia Impressus)
• Jorrit Dijkstra: Pillow Circles (Clean Feed)
• Scott Fields Ensemble: Fugu (1995, Clean Feed)
• Fight the Big Bull: All Is Gladness in the Kingdom (Clean Feed)
• Tom Harrell: Roman Nights (High Note)
• Pablo Held: Music (Pirouet)
• Barb Jungr: The Men I Love: The New American Songbook (Naim): May 11
• Kirk Knuffke: Amnesia Brown (Clean Feed)
• Rudresh Mahanthappa & Steve Lehman: Dual Identity (Clean Feed): advance, Mar.
• Peppe Merolla: Stick With Me (PJ Productions)
• Sei Miguel: Esfingico (Clean Feed)
• Marc Mommaas: Land (Sunnyside): Mar. 30
• Red Trio (Clean Feed)
• Eric Reed & Cyrus Chestnut: Plenty Swing, Plenty Soul (Savant)
• Rufus Reid: Out Front (Motema): Mar. 9
• Ali Farka Touré & Toumani Diabaté: Ali and Toumani (Nonesuch)
• The Ullmann/Swell 4: News? No News! (Jazzwerkstatt): advance

Matthew Yglesias: A Sensible Response to Terrorism:

As you probably know, a white guy entranced by an extremely version of Tea Party-style right-populist paranoia deliberately crashed an airplane into an IRS building in Texas yesterday. I'm not especially interested in debating semantics, but I think it's very clear that if this had been done by a brownish-looking Muslim guy whose suicide note paralleled Islamist political themes that the right wing would be pissing its pants and demanding that anyone who refused the label the attack "terrorism" be put up on treason charges. But the new rules seem to be that politically motivated violence when undertaken by white people isn't terrorism.

But instead of complaining about the hypocrisy involved in not trying to whip people into a fit of terror and madness about this incident, I think it makes more sense to congratulate everyone on handling this in a calm and sensible manner. [ . . . ]

Stack's stated purpose for undertaking the attack was to try to prompt a counterproductive overreaction: "I would only hope that by striking a nerve that stimulates the inevitable double standard, knee-jerk government reaction that results in more stupid draconian restrictions people wake up and begin to see the pompous political thugs and their mindless minions for what they are." It's smart, then, that as a country we're responding to his terrorism by trying to avoid counterproductive overreactions. But of course this is also Osama bin Laden's goal and it's also appropriate to respond to Islamist political violence in a similar spirit. [emphasis original]

The lesson I draw from this is that it is possible to respond to provocations in different ways according to the political interests of those in power. Bin Laden got his war because that's the way Bush wanted to play it. He craved the opportunity to become a War President, and played up his Commander-in-Chief role to the day he left office. What Stack did, however, is far less useful either to Obama or to the Republicans who seem more inclined to spin it into jokes. Even if someone wanted to escalate the event into a war, what could you do? Send drones out over West Texas looking for wedding parties to bomb? Round up random taxi drivers and beat them to death? Those are things we did in Afghanistan, but it's highly unlikely that we'd treat American citizens with that same level of contempt and indifference.