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Blog Entries [0 - 9]Monday, March 11, 2024 Music WeekMusic: Current count 41974 [41938] rated (+36), 27 [21] unrated (+6). Another substantial Speaking of Which yesterday, plus some late additions today, bringing it up to 206 links, 9408 words. Otherwise, I have nothing much to show for the week, and I'm feeling as drained and hapless as I can recall, perhaps ever. Lots of tasks and projects piling up, unattended. At least I feel fairly well informed, and like I'm making sense when I drop into whatever topics come my way. Reflexes, and a substantial backlog of references I can still call up. Meanwhile, I listened to the following bunch of records. I spent a lot more time with the R&B comp, eventually replaying all of it, which was enough for the promotion. Good tip from the redoubtable Clifford Ocheltree, so thanks again. The Hawkwind album tip came from a follower who goes by Cloudland Blue Quartet, who featured it in a #13at13 list. I didn't spend enough time on it -- certainly nothing like I would have had I encountered it at 13 (or 21, which I was when it came out; I certainly didn't have 13 albums at that age, and none to brag about). It seems like I must have heard more from them at the time than I have in the database, but not enough to really register (except as noted). Three relatively mainstream jazz albums in the A-list this week. I feel a bit bad about not finding less obvious choices, but sometimes it breaks that way. The Potter album isn't actually in the 36 count, but I moved it in to wrap it up here. None scored high enough to be strong top-ten candidates at EOY (11, 13, 14 at the moment, or 6, 8, 9 among jazz), but they are likely to finish high in EOY polls. Hurray for the Riff Raff is another pick with pretty broad support (86 on 21 reviews at AOTY; making it the year's highest-ranked album so far with that many reviews). It's taken over the number 2 slot in my 2024 list. As for Old Music, the Gebru album I most recommend is still Éthiopiques 21: Ethiopia Song (1963-70 [2006], Buda Musique), attributed more precisely to Tsegué-Maryam Guèbrou, but any of the recent Emahoy/Mississippi compilations could do the trick. For solo piano, I usually prefer something upbeat (Earl Hines), fanciful (Art Tatum), and/or abrasive (Cecil Taylor), but all rules seem to have exceptions, and this is definitely one. New records reviewed this week: Albare: Beyond Belief (2023 [2024], AM): Guitarist Albert Dadon, born in Morocco, grew up in Israel and France, moved to Australia in 1983 and made a fortune in business. Albums start in 1992. B+(*) [cd] Bob Anderson: Live! (2023 [2024], Jazz Hang): Standards crooner, also described as an impressionist, career dates back to 1973, "has performed in more Las Vegas show rooms than just about anyone." Wikipedia has a bio but doesn't list any albums. Discogs has him as "(18)," with two two albums and three singles, none dated. These recordings were "taken from live performances in New York City, Las Vegas, Salt Lake City, Hollywood, Boston, and the like," also undated. Not a great ballad singer, but on the right song he does a pretty decent Sinatra. B+(*) [cd] [03-29] Jonas Cambien: Jonas Cambien's Maca Conu (2023 [2024], Clean Feed): Belgian pianist, based in Oslo, leads a quartet with Signe Emmeluth (alto/tenor sax), Ingebrigt Håker Flaten (bass), and Andreas Wildhagen (drums), plus guest Guuro Kvåle (trombone) on two tracks. B+(***) [sp] Ian Carey & Wood Metal Plastic: Strange Arts (2019 [2024], Slow & Steady): Bay Area trumpet player, seventh album, leads a "new chamber jazz septet with strings." B+(**) [cd] [03-22] Giuseppe Doronzo/Andy Moor/Frank Rosaly: Futuro Ancestrale (2022 [2024], Clean Feed): Baritone saxophonist, from Italy, has a couple previous albums, also credited with Iranian bagpipe here, in a trio with electric guitar -- English, but has long played in the Dutch punk band, the Ex -- and drums (from Chicago). B+(**) [sp] Fire!: Testament (2022 [2024], Rune Grammofon): Trio of Mats Gustafsson (baritone sax), Johan Berthling (bass), and Andreas Werlin (drums), formed 2009, eighth album, plus another seven as the expanded Fire! Orchestra. B+(***) [sp] Glitter Wizard: Kiss the Boot (2023, Kitten Robot, EP): Glam rock group from San Francisco, four albums 2011-19, adds this six song, 18:30 EP. Includes a cover of "Sufragette City," not that they need to be so explicit about their niche. B [sp] Laura Jane Grace: Hole in My Head (2024, Polyvinyl): Originally Thomas Gabel, singer-guitarist leader in punk group Against Me!, third solo album, a short one (11 songs, 25:28). Still sounds male, so you can just bracket the trans angle. Songs open up a bit towards folk, partly to expound on politics, e.g.: "out in the country is where fascists roam." B+(***) [sp] Dave Harrington/Max Jaffe/Patrick Shiroishi: Speak, Moment (2021 [2024], AKP): Los Angeles-based trio: guitar, drums, sax, with some electronics and extra percussion. B+(**) [sp] Keyon Harrold: Foreverland (2023 [2024], Concord): Mainstream trumpet player, debut 2009, many credits but only a few albums since. Major effort here, with variable lineups, and a sticker noting special guests Common, Robert Glasper, PJ Morton, and Laura Mvula. B+(**) [sp] Brittany Howard: What Now (2024, Island): Former Alabama Shakes leader, second solo album, always winds up confusing me, although this one kept my interest piqued longer than most. B+(**) [sp] Hurray for the Riff Raff: The Past Is Still Alive (2024, Nonesuch): Band but mostly folkie singer-songwriter Alyndra Segarra, from the Bronx via New Orleans, shows no obvious links to either but rather seems totally assimilated into declassé Americana. Ninth studio album. Always seemed like someone I should like more than I did, but this album is the breakthrough, and not just in likability. I'm not good enough at words to recall much of the brilliance I heard, beyond the "Buffalo" lament and the "Ogallala" reference, but they come with great ease. A- [sp] Idles: Tangk (2024, Partisan): British rock band, from Bristol, fifth album since 2017, formally post-punk, have a lot of critical and popular support. Sounds good, but ended before anything really registered. B+(**) [sp] Vijay Iyer: Compassion (2022 [2024], ECM): Pianist, from upstate New York, parents Tamil, studied physics before deciding on music, many albums since 1995, has won virtually everything. Trio with Linda May Han Oh (bass) and Tyshawn Sorey (drums). Starts slow, develops into something I never quite grasp -- one is tempted to use "dazzling," but that belongs more to the drummer. B+(***) [sp] The Last Dinner Party: Prelude to Ecstasy (2024, Island): British rock group, five women, Abigail Morris the lead singer, debut album frequently described as art rock and/or baroque pop. B+(*) [sp] Little Simz: Drop 7 (2024, Forever Living Originals, EP): British rapper-singer Simbi Ajikawo, first mixtape 2010, four albums and a dozen EPs, including seven Drop titles, this one with seven titles, 14:52. B+(**) [sp] Mike McGinnis + 9: Outing: Road Trip II (2023 [2024], Sunnyside): Clarinet player, albums since 2001, including his prior Road Trip from 2012. Tentet again, with three saxes, three brass (trumpet/trombone/French horn), Jacob Sacks on piano, bass, and drums. B+(**) [sp] Emile Parisien/Roberto Negro: Les Métanuits (2023, ACT): French soprano saxophonist, debut was a quintet in 2000, duo with the Italian pianist, one year older but albums only since 2015. "Inspired by György Ligeti's String Quartet No. 1." B+(**) [sp] Emile Parisien Quartet: Let Them Cook (2024, ACT): French saxophonist (mostly soprano, but doesn't say, and sounds more like alto to me), debut was a quintet in 2000, info on this one is still very sketchy, but more names on cover: Julien Loutelier (drums), Ivan Gélugne (bass), Julien Touéry (piano). B+(***) [sp] Chris Potter/Brad Mehldau/John Patitucci/Brian Blade: Eagle's Point (2024, Edition): The tenor saxophonist's album, his pieces, but all four surnames on the cover, fellow stars at piano, bass, and drums. Potter also plays soprano sax and bass clarinet. When he gets going, he can be quite astonishing. Mehldau is equally impressive, when he gets his opportunities, as here. A- [sp] Joel Ross: Nublues (2023 [2024], Blue Note): Vibraphonist, fourth album since 2019, all on Blue Note, which instantly made him some kind of star. No doubt he is, as is his label mate and guest here, Immanuel Wilkins (alto sax). A- [sp] Scheen Jazzorkester & Cortex: Frameworks: Music by Thomas Johansson (2022 [2024], Clean Feed): Norwegian large group, ninth album since 2013, teamed up with a quartet that's been active since 2011, both long associated with the trumpet player who composed these five pieces. B+(***) [sp] Patrick Shiroishi: I Was Too Young to Hear Silence (2020 [2023], American Dreams): Japanese-American alto saxophonist, has produced a lot of records since 2014, mostly improv duos and trios, this a solo, starting in a deep listening vein, struggling to build something much more imposing (while maintaining that eery resonance). B+(***) [sp] The Smile: Wall of Eyes (2024, XL): Band with ex-Radiohead leaders Thom Yorke and Jonny Greenwood, plus Sons of Kemet drummer Tom Skinner. Second album. Slow and plainly pretty, not the sort of thing I find appealing. B [sp] Vera Sola: Peacemarker (2024, Spectraphonic/City Slang): Singer-songwriter from Los Angeles, parents famous actors, from which her alias provides some distance, started as a poet, second album, first was DIY but at least has a co-producer here, Kenneth Pattengale. B+(**) [sp] John Surman: Words Unspoken (2022 [2024], ECM): British saxophonist (the whole family, but just soprano, baritone, and bass clarinet here), avant-garde into the 1970s but settled into ECM's ambient chill by 1979 and has been secure ever since. With Rob Luft (guitar), Rob Waring (vibes), and Thomas Strønen (drums). This one is exceptionally engaging. A- [sp] Michael Thomas: The Illusion of Choice (2023 [2024], Criss Cross): Alto saxophonist, based in New York, three previous albums going back to 2011, not to be confused with trumpeter of same name (or any others: he's "(25)" at Discogs). Mainstream quartet with Manuel Valera (piano), Matt Brewer (bass), and Obed Calvaire (drums), playing eight originals plus "It Could Happen to You." B+(***) [sp] Akiko Tsugura: Beyond Nostalgia (2023 [2024], SteepleChase): Japanese organ player, moved to New York in 2001 ten or more albums since 2004, this one with Joe Magnarelli (trumpet), Jerry Welcon (tenor sax), Byron Landham (drums), and Ed Cherry (guitar). B+(**) [sp] The Umbrellas: Fairweather Friend (2024, Tough Love): San Francisco-based jangle pop band, second album. B+(*) [sp] Yard Act: Where's My Utopia? (2024, Island): British group, from Leeds, second album, James Smith's vocals are most often spoken, with bits of skits cut up and scattered. B+(**) [sp] Recent reissues, compilations, and vault discoveries: Emahoy Tsegue Maryam Guebru: Souvenirs (1977-85 [2024], Mississippi): Ethiopian pianist (1923-2023), described as a nun, "Emahoy" being a religious honorific. Recorded her first album in 1963, until recently was known mostly for her Éthiopiques 21 compilation of solo piano. This collects eight pieces (36:11), solo piano with vocals as soothing as the music. B+(***) [sp] Old music: Emahoy Tsege Mariam Gebru: Emahoy Tsege Mariam Gebru (1963-70 [2016], Mississippi): Solo piano from the Ethiopian nun's early albums (although the last three cuts, sourced from a 1996 Best Of, could be later). Seems like simple patterns, but lives up to the hype: "some of the most moving piano music you will ever hear." A- [sp] Emahoy Tsege-Mariam Gebru: Jerusalem (1972-2012 [2023], Mississippi): More solo piano (with a bit of vocal), three tracks from a 1972 album called The Hymn of Jerusalem: The Jordan River Song, six more from a much later album, by which time she had emigrated to Israel. Some biographical notes: she was of "a wealthy Amhara family," from Gondar, and learned music in a boarding school in Switzerland, from age six. She returned to Ethiopia in 1933, and became a "civil servant and singer to Emperor Haile Selassie." She became a nun when she was 21, and "spent a decade living in a hilltop monastery in Ethiopia." After that, she returned to playing music, and released her first album in 1967, in Germany. She emigrated to Israel in 1984, after Selassie fell, and "settled in an Ethiopian Orthodox convent in Jerusalem." B+(***) [sp] Gigi W Material: Mesgana Ethiopia (2009 [2010], M.O.D. Technologies): Ethiopian singer Ejigayehu Shibabaw, recorded a couple albums 1997-98, then hooked up with Bill Laswell for a series of albums from Gigi in 2001 to this live album, but nothing since. (They were married for some period, but I haven't found dates.) Material was a band Laswell started in 1979, breaking up in 1985 but Laswell continued using the name for various projects through 1999, reviving it here. B+(**) [sp] Hawkwind: Doremi Fasol Latido (1972, United Artists): British space-rock band, debut 1970, still extant (Dave Brock is the only original member left, and was probably always the main guy; Nik Turner left in 1976, and Huw Lloyd-Langton left in 1971 but returned for 1979-88), this their third album, with two otherwise notable musicians present: guitarist Lemmy Kilmister (later of Motorhead), and vocalist Robert Calvert (whose 1975 solo Lucky Leif and the Longships, produced by Eno, was a personal favorite, and who I credited most for the one Hawkwind album I did really love, 1977's Quark, Strangeness and Charm). Seems too dated to turn into a major research project at this point, but between the post-Pink Floyd and proto-Motorhead, familiar soundposts abound. B+(***) [sp] Grade (or other) changes: The R&B No. 1s of the '50s (1950-59 [2013], Acrobat, 6CD): I still haven't filed this set, which made it a convenient option, especially to start each day. Mostly that's meant disc 6, where the novelties not in Rhino's canonical The R&B Box are exceptionally catchy -- especially the Lloyd Price hits ("Personality," "I Wanna Get Married") that I already loved before I turned ten. But revisiting discs 1-3 clinched the deal. [was: A-] A [cd] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, March 10, 2024 Speaking of WhichOnce again, started early in the week, spent most of my time here, didn't get to everything I usually cover. Late Sunday night, figured I should go ahead and kick this out. Monday updates possible. Indeed, I wasted most of Monday adding things, some of which, contrary to my usual update discipline, only appeared on Monday. The most interesting I'll go ahead and mention here:
I don't recall where, but I think I've seen some constructive reaction from Biden to the "uncommitted" campaign that took 13% of Michigan and 18% of Minnesota votes. So it's possible that the message is getting through even if the raw numbers are still far short of overwhelming. The Israel Lobby has so warped political space in Washington that few politicians can as much as imagine how out of touch and tone-deaf they've become on this issue. Still, Biden has a lot of fence-mending to do. I'll try not to add more, but next week will surely come around, bringing more with it. Initial count: 181 links, 7,582 words. Updated count [03-11]: 207 links, 9,444 words. Top story threads:Not sure where to put this, so how about here?
Israel:
Israel vs. world opinion: Note that Biden's relief scheme for Gaza, announced in his State of the Union address, has been moved into its own sandbox, farther down, next to other Biden/SOTU pieces.
Brett Wilkins: [03-06] AIPAC's dark money arm unleashes $100 million: "Amid the Netanyahu government's assault on Gaza and intensifying repression in the West Bank, AIPAC is showing zero tolerance for even the mildest criticism of Israel during the 2024 US elections." America's increasingly desperate and pathetic empire: I started this section to separate out stories on how the US was expanding its operations in the Middle East, ostensibly to deter regional adversaries from attacking Israel while Israel was busy with its genocide in Gaza. At the time, it seemed like Israel was actively trying to promote a broader war, partly to provide a distraction from its own focus (much as WWII served to shield the Holocaust), and partly to give the Americans something else to focus on. Israel tried selling this as a "seven-front war" -- a line that Thomas Friedman readily swallowed, quickly recovering from his initial shock at Israel's overreaction in Gaza -- but with neither Iran nor the US relishing what Israel imagined to be the main event, thus far only the Houthis in Yemen took the bait (where US/UK reprisals aren't much of a change from what the Saudis had been doing, with US help, for years). So this section has gradually been taken over by more general articles on America's imperial posture (with carve outs for the still-raging wars in Israel/Gaza and Ukraine/Russia.
Election notes: Sixteen states and territories voted for president on Super Tuesday, mostly confirming what we already knew. Biden won everywhere (except American Samoa), even over "uncommitted" (which mostly got a push from those most seriously upset over his support for Israeli genocide). Trump won everywhere -- except in Vermont, narrowly to Nikki Haley, who nonetheless shuttered her campaign (but hasn't yet endorsed Trump). Dean Phillips dropped out of the Democratic race after getting 8% in his home state of Minnesota and 9% in Oklahoma. He endorsed Biden. I'm not very happy with any of the news summaries I've seen, but here are a few to skim through: 538; AP; Ballotpedia; CBS News; CNBC; CNN; Guardian; NBC News; New York Times; Politico; USA Today; Washington Post. One quote I noticed (from CNN) was from a "reluctant Democrat" in Arizona: "It's hard to vote for someone with multiple felony charges; and it's also very hard to vote for someone that is pro-genocide."
Trump, and other Republicans:
Biden's band-aid folly: Unveiled in Biden's State of the Union address, q.v., but for this week, let's give it its own section:
Biden's State of the Union speech: A section for everything else related, including official and unofficial Republican responses:
Biden and/or the Democrats:
Legal matters and other crimes:
Climate, environment, and energy:
Ukraine War:
Around the world:
Other stories:Michelle Alexander: [03-08] Only revolutionary love can save us now: "Martin Luther King Jr's 1967 speech condemning the Vietnam War offers a powerful moral compass as we face the challenges of our time." Indivar Dutta-Gupta/Korian Warren: [03-04] The war on poverty wasn't enough: "While Lyndon B Johnson's effort made some lasting impacts, the United States still has some of the highest rates of nonelderly poverty among wealthy nations." As the article notes, Johnson's programs brought big improvements, but the Vietnam War hurt him politically, and his successors lost interest: e.g., Nixon's appointment of Donald Rumsfeld to run the Office of Economic Opportunity. And while Republicans deserve much of the blame, Democrats like Daniel Moynahan and Bill Clinton were often as bad, sometimes worse. Henry Farrell: [02-27] Dr. Pangloss's Panopticon: A very thoughtful critique of Noah Smith's "quite negative review of a recent book by Daron Acemoglu and Simon Johnson, Power and Progress: Our 1000-Year Struggle Over Technology & Prosperity. There are complex issues at dispute here, many much more interesting than those that dominate this (and all recent) posts. Dr. Pangloss (from Voltaire) stands in for techno-optimism: the idea that unfettered innovation, accelerated as it is through modern venture capitalism, promises to deliver ever-improving worlds. Panopticon (from Jeremy Bentham) is an early form of mass surveillance, a capability that technology has done much to develop recently, with AI promising a breakthrough to the bottleneck problem (the time and people you need to surveil other people). Luke Goldstein: [02-23] Crunch time for government spying: "Congress has a few weeks left until a key spying provision sunsets. Both reformers and intelligence hawks are plotting their strategies." Oshan Jarow: [03-08] The world's mental health is in rough shape -- and not getting any better: "Guess where the US ranks?" Sarah Kaplan: [03-06] Are we living in an 'Age of Humans'? Geologists say no. A recent proposal for delineating a stratigraphic boundary for the Anthropocene, based on "a plume of radioactive plutonium that circled around the world" in 1952, was proposed recently and, at least for now, voted down. More:
Alvaro Lopez: [03-08] The making of Frantz Fanon: Review of Adam Shatz's new book, The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon. Also:
Rick Perlstein: [03-06] The spectacle of policing: "'Swatting' innocent people is the latest incarnation of the decades-long gestation of an infrastructure of fear." Dave Phillipps: [03-06] Profound damage found in Maine gunman's brain, possibly from blasts: "A laboratory found a pattern of cell damage that has been seen in veterans exposed to weapons blasts, and said it probably played a role in symptoms the gunman displayed before the shooting." Robert Card was a grenade instructor in the Army Reserve for eight years. He went on to shoot and kill 18 people and himself. Something not yet factored into the "Costs of War" accounting. Another report:
Jeffrey St Clair: [03-08] Roaming Charges: Too obvious to be real. I ran across a link to this David Brooks [02-08]: Trump came for their party but took over their souls. A normal person would have little trouble writing a column under that headline. Even Brooks hits some obvious points, like: "Democracy is for suckers"; "Entertainment over governance"; and "Lying is normal." But the one that really upsets Brooks is: "America would be better off in a post-American world." The other maxim that Brooks castigates Trump for is "Foreigners don't matter." This leads to his rant against "isolationism," which inevitably devolves into invoking the spectre of Neville Chamberlain. Brooks celebrates the triumph of Eisenhower over Taft in 1952, when "the GOP became an internationalist party and largely remained that way for six decades" -- glorious years that spread capitalist exploitation to the far corners of the globe, transforming colonies into cronies ruled by debt penury, policed by "forever wars" and, wherever the occasion arose, ruthless counterrevolutions and civil wars. Meanwhile, instead of enjoying the wealth this foreign policy generated, America's middle class -- the solid burghers and union workers who, as Harry Truman put it, "voted Democratic to live like Republicans" -- got ground down into their own penury. The Cold War was always as much about fighting democracy at home as it was about denying socialism abroad, much as the "war on terror" was mostly just an authoritarian tantrum directed against anyone who failed to submit to America's globe-spanning military colossus. Sure, it is an irony that blows Brooks' mind that it now seems to be the Republicans -- the party that most celebrates rapacious capitalism, is most devoutly committed to authoritarian rule, and whose people are most callously indifferent to the cries of those harmed by their greed -- should be the first give up on the game. Of course, they weren't. The left, or "premature antifascists" (as the OSS referred to us in the 1940s, before "communists and fellow travelers" proved to be a more effective slur), knew this all along, but that insight came from caring about what happens to others, and solidarity in what we sensed was a common struggle. It took Republicans much longer to realize that globalized capitalism, under the aegis of American military power, not only didn't work for them personally, but that it directly led to jobs moving overseas, and all kinds of foreigners flooding America. And since Republicans had put so much propaganda effort into stoking racism and reaction, not least by blaming Democrats (with their "open borders" and focus on wars as "humanitarian") for loving foreigners more than their own people. I was pointed to Brooks' piece by a pair of tweets: Simon Schama linked, adding: "Heartfelt obituary by David Brooks for the expiring of last vestiges of the Republican Party. No longer has supporters but 'an audience.' Lying normalised. Total abandonment of internationalism." To which, Sam Hasselby added:
Yet Iraq War boosters like Brooks still have major mainstream media gigs, while Adam Schiff trounced Barbara Lee (the only member of Congress to vote against the whole War on Terror) in a Democratic primary, and Joe Biden became president -- finally giving up the 20-year disaster in Afghanistan, only to wholeheartedly embrace new, but already even more disastrous, wars in Ukraine and Gaza. Ask a question, or send a comment. Tuesday, March 5, 2024 Music WeekMusic: Current count 41938 [41900] rated (+38), 21 [22] unrated (-1). I'm having a rough time getting anything done, which is my best explanation for wasting most of last week on a still-unfinished Speaking of Which -- posted well after midnight last, with a few further adds flagged today. The most important add is the link to Pankaj Mishra's The Shoah after Gaza (also on YouTube). I've neglected pretty much everything and everyone else. My apologies to anyone expecting a response from me. As I must have noted already, I gave myself a month to write a quick, very rough draft of my long gestating political book, with the promise that if I couldn't pull it off, I'd shelve the idea once and for all, and spend my waning days reading fiction -- forty years later, I still have a bookmark 300 pages into Gravity's Rainbow, and enough recollection I'm not sure I'll have to retrace -- while slipping in the occasional old movie and dawdling with jigsaw puzzles (ok, I'm already doing the latter). I certainly wouldn't have to plow through any nonfiction that might be construed as research -- e.g., a couple items currently on the proverbial night stand: Franklin Foer's book on Biden, or Judis/Teixeira on the missing Democrats. That month was supposed to be January, but the Jazz Critics Poll and EOY lists lapped over without me starting, so I decided I'd give it February. I still have no more than a fragment of a letter stashed away in a notebook entry, so the obvious thing to do at this point is admit failure, and be done with it. Aside from easing my mind -- the last six months have been unbearably gloomy for my politics, my prognostications turning markedly dystopian -- ditching politics might be good news for those of you more interested in my writing on music. Two small projects that I've also neglected are: a thorough review of the Francis Davis Jazz Critics Poll website, which is missing some unknown quantity of historical material (hopefully Davis has it stashed away), and needs some modernization; I'm also behind on maintenance, not to mention the long-promised redesign, of the Robert Christgau website. It would also make sense to reorganize my own data along those same lines, as even now it's virtually impossible for even me to look up what I've written about any musician. I also have neglected house projects: the most pressing of which is the imminent collapse of a chunk of ceiling in my wife's study room. I used to be pretty competent at carpentry and home improvement tasks. About all I can claim to have managed in the last month has been replacement of two light bulbs, which took me weeks (in my defense, both involved ladders and unconventional sockets). Nothing special to say about this week's music. A copy of the year 2023 list has been frozen, but I am still adding occasional records to my tracking file, jazz and non-jazz EOY lists, and EOY aggregate, but mostly just my own belatedly graded items. But I'm not very focused on what I'm listening to, and often get stuck wondering what to play next. I can't say I've reached the point of not caring, but I'm getting there. My most played record of the last couple weeks is The R&B No. 1s of the '50s, especially the final disc, which has left me with Lloyd Price's "I'm Gonna Get Married" as the ultimate earworm. I should probably bump the whole set up to full A. I played the last three discs while cooking on Saturday, and I'm satisfied with them. Then I started Sunday and Monday with disc 6. As this post lapsed into Tuesday, I was tempted again, but had unfinished Vijay Iyer queued up. Found this in a Facebook comment: "I'm not sure keeping up with Tom Hull is possible. The very thought makes my synapses cry out, 'no mas, no mas.'" But from my view, they really just keep coming poco a poco. During the long delay from listing out this file to posting it -- mostly spent on the Speaking of Which intro -- I only managed to collect four more reviews for next week: two marginally A- jazz albums (Joel Ross, John Surman), and two more marginally below A- (Vijay Iyer, Emile Parisien). New records reviewed this week: Black Art Jazz Collective: Truth to Power (2024, HighNote): Fourth group album, 2016 debut started with six mostly prominent mainstreamers -- Wayne Escoffery (tenor sax), Jeremy Pelt (trumpet), James Burton (trombone), Xavier Davis (piano), and Johnathan Blake (drums) -- up to nine this time: still a sextet, but with Victor Gould, Rashaan Carter, and Mark Whitfield Jr. taking over at piano-bass-drums for four tracks. Rich harmonically, but still not much of interest happening here. B [sp] The Choir Invisible [Charlotte Greve/Vinnie Sperazza/Chris Tordini]: Town of Two Faces (2022 [2024], Intakt): Brooklyn-based trio of German saxophonist Charlotte Greve, Chris Tordini (bass), and Vinnie Sperazza (drums), the group taking the title of their initial 2020 album. Greve is also credited with voice, but the real vocal here is Fay Victor's outstanding blues, "In Heaven." B+(***) [sp] Djeli Moussa Condé: Africa Mama (2023, Accords Croises): Kora playing griot from Conakry, Guinea; at least two previous albums, more as Kondé. B+(***) [sp] Gui Duvignau/Jacob Sacks/Nathan Ellman-Bell: Live in Red Hook (2022 [2024], Sunnyside): Bassist, fourth album since 2016, born in France, moved to Morocco as an infant, then grew up in Brazil, eventually winding up in New York, where he recorded this trio with piano and drums. B+(*) [sp] Alon Farber Hagiga With Dave Douglas: The Magician: Live in Jerusalem (2023 [2024], Origin): Israeli saxophonist (soprano/alto), group name is Hebrew for "celebration," has used it to frame his quintet and sextet albums since 2005, up to seven here with their guest star, who brought two (of five) songs, and plays some of his hottest trumpet since he left Masada. A group this joyous deserves as better country. B+(***) [cd] R.A.P. Ferreira & Fumitake Tamura: The First Fist to Make Contact When We Dap (2024, Ruby Yacht): Underground rapper from Chicago, initials for Rory Allen Philip, formerly did business as Milo, based in Nashville; producer has a handful of collaborations since 2014. Music very sketchy here, but finds an interesting groove. Twelve cuts, 32:16. B+(***) [sp] David Friesen: This Light Has No Darkness (2023 [2024]], Origin): Bassist, one should add composer as that's been key to him leading fifty-some albums since 1975, and that's the focus here, with this 12-part work arranged and orchestrated by Kyle Gordon, using a 33-piece orchestra. Classically lush, way too much for my taste. B [cd] The Fully Celebrated Orchestra: Sob Story (2023 [2024], Relative Pitch): Group led by alto saxophonist Jim Hobbs, first appeared as a trio in 1996, last heard on the terrific 2009 Drunk on the Blood of the Holy Ones, back here as a quintet, with Taylor Ho Bynum (cornet) and Ian Ayers (guitar) joining Luther Gray (drums) and original member Timo Sharko (bass). B+(**) [sp] Vanisha Gould and Chris McCarthy: Life's a Gig (2022 [2024], Fresh Sound New Talent): Jazz singer, has a previous self-released duo album but I could see this as her debut, wrote one song plus lyrics to another, but the focus here is on seven standards, most with just McCarthy's piano accompaniment (guest viola on two: the original and "Jolene"). Given the right song, like "What a Little Moonlight Can Do," and she doesn't need more. B+(**) [sp] Heems & Lapgan: Lafandar (2024, Veena Sounds): Rapper Himanshu Suri, formerly of Das Racist and Swet Shop Boys, third solo album (first since 2015). Lapgan is a producer with a couple recent albums, draws on Indo-Pak heritage, Lollywood dance beats, and transnational hip-hop. Beaucoup guests celebrate, and flaunt, diversity. I should dig up a lyric sheet, but the many word juxtapositions are exciting enough. A [sp] Katy Kirby: Blue Raspberry (2024, Anti-): Folkie singer-songwriter, grew up in Texas, based in Nashville, second album. B+(**) [sp] Lapgan: History (2023, Veena Sounds): Hip-hop producer, most likely Punjabi but no info as yet on how far removed (seems to be based in Chicago), breakthrough is with the new Heems album, which instantly validated this title. B+(*) [sp] Lapgan: Duniya Kya Hai (2021, Veena Sounds): Earlier, beats "almost exclusively with sounds from India and Pakistan." B+(**) Lapgan: Badmaash (2019, self-released): Digging deeper, I find his name is Gaurav Nagpal (last name reversed for Lapgan), his parents came from India (but where? samples are as likely to come from Kerala as Punjab), he was born in Queens, grew up near Chicago, and worked his way backwards into roots. B+(**) [sp] Les Amazones d'Afrique: Musow Danse (2024, Real World): African supergroup, three brand-name Malian singers -- Mamani Keïta, Mariam Dumbia, Oumou Sangare -- plus 'French music-industry veteran" Valerie Malot. B+(***) [sp] James Brandon Lewis Quartet: Transfiguration (2022 [2024], Intakt): Tenor saxophonist, brilliant on his 2014 major label debut, has continued to impress ever since, including landmark concept albums that won the Francis Davis Poll in 2021 and 2023. On the side, he's recorded a series of excellent working group albums for this Swiss label. Quartet with piano (Aruán Ortiz), bass (Brad Jones), and drums (Chad Taylor). A- [sp] Cecilia Lopez & Ingrid Laubrock: Maromas (2022 [2023], Relative Pitch): Electronics musician, from Argentina, based in New York, more than a dozen releases since 2015, doesn't appear to be related to bassist Brandon Lopez, but they did a 2020 duo called LopezLopez. Duo here with the German saxophonist (soprano/tenor), also New York-based. Sketchy, but interesting. B+(**) [sp] Corb Lund: El Viejo (2024, New West): Canadian country singer-songwriter, twelfth album since 1995. Has a good sound and good sense, but songs are a bit hit-and-miss (a tip might be that his best album so far was called Songs My Friends Wrote). B+(***) [sp] Brady Lux: Ain't Gone So Far (2024, 6483357 DK, EP): Country singer-songwriter from Montana, reportedly "a genuine ranch hand cowboy who works his ass off every day, and at night he writes songs and saws a little fiddle when he can find the time." Sounds really western, albeit without horses. Seven songs, 23:05. B+(***) [sp] Mali Obomsawin/Magdalena Abrego: Greatest Hits (2024, Out of Your Head): Singer-songwriter/bassist from Abenaki First Nation, started in the folk group Lula Wiles, released a jazz-powered solo debut in 2022 I liked a lot (Sweet Tooth), but title here made me wonder. Abrego is a guitarist based in Hudson, NY, with not much before this, but adds appreciable heft to the songs. Eight songs, 32:02. B+(**) [bc] QOW Trio: The Hold Up (2024, Ubuntu Music): British trio -- Riley Stone-Longeran (tenor sax), Eddie Myer (bass), Spike Wells (drums) -- second album after an eponymous debut in 2020, basically a retro-bop band, name taken from a Dewey Redman song, Wells old enough to have played with Tubby Hayes. No complaints here if the saxophonist sounds a lot like Sonny Rollins. A- [sp] Zach Rich: Solidarity (2021 [2024], OA2): Trombonist, originally from Wichita, teaches in Colorado, seems to be his first album. Postbop quintet with piano and guitar, bass and drums, plus string quartet, plus extra horns and voice on the second piece ("Broken Mirrors"). B+(*) [cd] Dex Romweber: Good Thing Goin' (2023, Propeller Sound): Rockabilly/roots guitarist, singer-songwriter, surprised to hear that he died at age 56, leaving this album has his last -- ominously dedicated to his late sister and duo partner, Sara Romweber (1963-2019). A mix of originals and covers, the latter more often amusing (even if inadvertently so). B+(*) [sp] Ignaz Schick/Oliver Steidle: Ilog3 (2021 [2023], Zarek): Germans, Schick started out as a saxophonist but credits here are "turntables, sampler, pitch shifter/looper," in a duo with the drummer ("percussion, sampler, live-electronics"). Third duo album, starting in 2015. Some splendid noise. B+(***) [bc] Fie Schouten/Vincent Courtois/Guus Janssen: Vostok: Remote Islands (2023, Relative Pitch): A treat for Worldle devotees, improvised music "inspired by Judith Schalansky's book Atlas of Remote Islands: 50 Islands I Never Set Foot in and Never Will. Schouten plays "bass clarinet, clarinet in A, basset horn"; the others cello and keyboards, with Giuseppe Doronzo joining in on baritone sax (4 of 12 tracks). Eleven are named for islands (only a couple big enough to be Worldle answers), the other for a bird ("Inaccessible Island Rail"). B+(**) [sp] Håkon Skogstad: 8 Concepts of Tango (2023 [2024], Øra Fonogram): Norwegian pianist, has taken tango as his art form, with previous albums called Visions of Tango and Two Hands to Tango. All original pieces here, played by a classical-sounding group of band (piano, two bandoneons, string quartet plus bass). B+(*) [cd] [03-15] Sleater-Kinney: Little Rope (2024, Loma Vista): Portland-based rock group, now down to a duo of singer-songwriters Carrie Brownstein and Corrin Tucker, eleventh studio album since 1995. I've long respected their craft while finding one or both of the voices intensely grating. Still, repeated exposure finds me caring less than ever, although this has less than usual for me to complain about. B [sp] Simon Spiess Quiet Tree: Euphorbia (2022 [2024], Intakt): Swiss tenor saxophonist, debut 2011, eighth album, group includes pianist Marc Méan (who wrote four pieces, same as Spiess), and drummer Jonas Ruther (writer of one piece). This sort of sneaks up on you. B+(**) [sp] Albert Vila Trio: Reality Is Nuance (2022 [2023], Fresh Sound New Talent): Spanish guitarist, half-dozen albums since 2006, this a trio recorded in Brussels with Doug Weiss (bass) and Rudy Royston (drums). Nice, low-key feel, drummer excels. B+(**) [sp] Recent reissues, compilations, and vault discoveries: Roberto Magris: Love Is Passing Thru: Solo/Duo/Trio/Quartet (2005 [2024], JMood): Italian pianist, from Trieste, many albums since 1990, has been rifling through old tapes recently, and has come up with an exceptionally delightful one here. Recorded over two dates. This works out to five solo tracks (including two takes of "Lush Life"), plus two with drums and percussion (Enzo Carpentieri, some Balinese), three more with bass (Danilo Gallo), and finally three with tenor sax (Ettore Martin). A- [cd] Jack Wood: The Gal That Got Away: The Best of Jack Wood, Featuring Guest Niehaud Fitzgibbon ([2024], Jazz Hang): A classic crooner, "long a favorite in Southern California." No dates given here, but "some of the Wood's finest recordings," with various groups, including Doug MacDonald and John Pisano on guitar, some sweetened by the Salt Lake City Jazz Orchestra. The featured guest is an Australian singer, who takes over for two tracks, and is as adept as her host. I must admit that I still have a soft spot for the style, especially on the songs that it made timeless. B+(***) [cd] [03-29] Old music: Gigi: Gigi (2001, Palm Pictures): Ethiopian singer Ejigayehu Shibabaw, third album, got a boost on Chris Blackwell's label, produced by Bill Laswell, with a roster of jazz greats (Wayne Shorter, Herbie Hancock, Pharoah Sanders, Henry Threadgill, Hamid Drake, Amina Claudine Myers) mixed in with Laswell regulars and many Ethiopians. Laswell and Gigi married, following this up with a dub remix, then Zion Roots, credited to Abyssinia Infinite, with Gigi's full name as "featuring." B+(***) [sp] Gigi: Illuminated Audio (2003, Palm Pictures): Some sort of dub remix of Gigi, omitting most of the vocals, which was the Gigi part of the album. Also cuts out the jazz solos, so you wind up with a lot of Bill Laswell ambient groove -- not much, but pleasant enough. B+(*) [sp] Gigi: Gold & Wax (2006, Palm Pictures): Her third, and final, album for Chris Blackwell's label, again with Bill Laswell producing. A wide range of musicians -- including Nils Petter Molvaer, Bernie Worrell, Aiyb Dieng, Foday Musa Suso, Ustad Sultan Khan, and Buckethead -- integrate seamlessly with the mesmerizing vocals. A- [sp] Barney McAll: Precious Energy (2022, Extra Celestial Arts): Australian pianist, close to twenty albums since 1995, seems to have designed this to appeal to his featured guest, alto saxophonist Gary Bartz, although the more critical collaborator may be jazz-soul outfit Haitus Kayote. This starts with a Leon Thomas/Pharoah Sanders homage, and ends with Coltrane, while touching on planets Sun Ra and Stevie Wonder. That was Bartz's golden age, but barely registers here over the zonked out vocals. B [sp] Pajama Party: Up All Night (1989, Atlantic): Dance-pop vocal trio, released two albums, this debut and another in 1991. B+(**) [sp] QOW Trio: QOW Trio (2020, Ubuntu Music): English sax-bass-drums trio -- Riley Stone-Lonergan, Eddie Myer, Spike Wells -- title song/group/album name from Dewey Redman, also dok one from Joe Henderson, several standards (three from Cole Porter), and two originals not far removed from their inspirations ("Pound for Prez," "Qowfirmation"). B+(***) [sp] Stacey Q: Greatest Hits (1982-95 [1995], Thump): Dance-pop artist, Stacey Swain, opens with five resplendent remixes of singles from her 1986 solo debut, then ignores two later albums, going back to her early work in Q -- a "minimal synth/new wave" group with Jon St. James and Ross Wood, and then SSQ (supposedly emphasizing the singer's initials). B+(***) [sp] SSQ: Playback (1983, Enigma): Stacey S[wain]'s pre-solo group, produced by guitar/synth player (and sometime vocalist) Jon St. James, both previously in the band Q, first and only album until a 2010 return. B+(**) [sp] SSQ: Jet Town Je T'Aime (2020, Synthicide): A return to form for Stacey Swain and Jon St. James, 37 years after their first (and hitherto only) album. B+(*) [sp] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, March 3, 2024 Speaking of WhichI started this early, on Wednesday, maybe even Tuesday, as I couldn't bring myself to work on anything else. There's a rhythm here: I have twenty-some tabs open to my usual sources, and just cycle through them, picking out stories, noting them, sometimes adding a comment, some potentially long. By Friday night, I had so much, I thought of posting early: leaving the date set for Sunday, when I could do a bit of update. I didn't get the early post done. Sunday, my wife invited some friends over to watch a movie. I volunteered to make dinner, and that (plus the movie) killed the rest of the day. Nothing fancy: I keep all the fixings for pad thai on hand, so I can knock off a pretty decent one-dish meal in little more than an hour. And I had been thinking about making hot and sour soup since noticing a long-neglected package of dried lily buds, so I made that too. First actual cooking I had done in at least a month, so that felt nice and productive. This, of course, feels totally scattered. I'm unsure of the groupings, and it's hard for me to keep track of the redundancies and contradictions. And once again, I didn't manage to finish my rounds. Perhaps I'll add a bit more after initially posting it late Sunday night. But at the moment, I'm exhausted. My wife mentioned an article to me that I should have tracked down earlier, but can only mention here: Pankaj Mishra: [03-07] The Shoah after Gaza. Mishra grew up in a "family of upper-caste Hindu nationalists in India," deeply sympathetic to Israel, so his piece offers a slightly distant parallel to what many of us who started sympathetic only to become dismayed and ultimately appalled by what Israel has turned into. Beyond that, the piece is valuable as a history of how the Nazi Judeocide -- to borrow Arno Mayer's more plainly factual term in lieu of Holocaust or Shoah -- has been forged into a cudgel for beating down anyone who so much as questions let alone challenges the supremacy of Israeli power. There is also a YouTube video of Mishra's piece. On Facebook, I ran across this quote attributed to Carolina Landsmann in Haaretz:
There was a time, and not that long ago, when I still thought that the experience of victimhood would still temper the exercise of Israeli power: sure, Israel was systematically oppressive, and Israeli society was riddled with the ethnocentrism we Americans understand as racism, but surely they still had enough of a grip on their humanity to stop short of genocide. That's all changed now, and it's coming as quite a shock -- no doubt to many Israelis as they look at their neighbors, but even more so to Americans (not just Jews but also many liberals who have long counted on Jews as allies). It's hard to know what to do these days, beyond the call for an immediate and unconditional ceasefire, and the constant need to remind anyone who's still echoing the Israeli hasbara that it's genocide, and by not opposing it, they're complicit. It may be unfair to go so far as to make placards about "Genocide Joe" -- he's just in thrall, having fully adapted to the peculiar gravity of the Israel lobby when he arrived in Washington fifty years ago -- as there is still a difference (maybe not practical, but certainly in spirit) between him and the people in Israel (and some Republicans in Congress) who really are committed to genocide. But in times like this, nice sentiments don't count for much. Another important piece I noticed but skipped over on Sunday: Aaron Gell: [03-03] Has Zionism lost the argument? "American Jews' long-standing consensus about Israel has fractured. There may be no going back." There is a lot to unpack here. It's worth your time to read the interview with Ruth Wisse, with her absolutist defense of Israel, then the digression where the author considers the charge that Jews who doubt Israel are becoming non-Jews, ending in a reference to the Mishnah, specifically "by far the hardest to answer: If I am only for myself, who am I? Many Zionists long justified their project as providing a haven from anti-semitism, but their exclusive focus on their own issues, turning into indifference or worse towards everyone else, has finally turned Israel into the world's leading generator of anti-semitism. Wisse insists that "the creation of the state changes the entire picture, because now to be anti-Zionist is a genocidal concept. If you're an anti-Zionist, you're against the existence of Israel . . . the realized homeland of nine million people." But later on, Gell notes: "I've spoken to dozens of anti-Zionists over the past few months, and not a single one thought Israel should cease to exist." They have various ideas of how this could be done, in part because they've seen it work here: American Jews are justifiably proud to live in a successful multiethnic democracy, imperfect though it is. As citizens of a nation in which Jews are a distinct minority, we owe our well-being, our prosperity, and, yes, perhaps our existence to the tolerance, openness, and egalitarianism of our system of government and our neighbors. No wonder we shudder at Israel's chauvinism, its exclusionary nationalism, its oppression. It's all too obvious how we'd fare if the United States followed Israel's lead in reserving power for an ethnic or religious majority. Seen in this light, what's surprising isn't that some American Jews are anti-Zionists; it's that many more aren't. I've been reading Shlomo Avineri's 1981 book (paperback updated with a new preface and epilogue 2017), The Making of Modern Zionism: The Intellectual Origins of the Jewish State, which offers a highly sympathetic survey of most of the reasons people have come up with to justify and promote Zionism. I'm still in the last profile chapter, on David Ben Gurion, before the initial epilogue, "Zionism as a Permanent Revolution." Immediately previous were chapters on Jabotinsky (who built a cult of power based on fascist models and used it to flip the script on race, promoting Jews as the superior one) and Rabbi Kook (who reformulated Zionism as God's will). Ben Gurion's major contribution was the doctrine of "Hebrew labor," where Jews would fill all economic niches in the economy, leaving native Palestinians excluded and powerless. This was a significant change from the usual practice of settler colonialism, which everywhere else depended on impoverished locals for labor. Ben Gurion's union bound Jews into a coherent, self-contained, mutual help society, including its own militia, well before it was possible to call itself a state. But in doing so, he excluded the Palestinians, and plotted their expulsion -- his endorsement of the 1937 Peel Commission plan, his campaign for the UN partition plan, and finally his "War of Independence," remembered by Palestinians as the Nakba. Ben Gurion was an enormously talented political figure, and his establishment of Israel through the 1950 armistices, the citizenship act, and the law of return, was a remarkable achievement against very stiff odds. He might have gotten away with it, but he couldn't leave well enough alone. He always wanted more, and he cultivated that trait in his followers. And while he feared the 1967 war, his followers launched it anyway, and in the end -- even as his fears had proven well founded -- he delighted in it. Like Mao, he so loved his revolution he kept revitalizing it, oblivious to the tragedy it caused. I expect the book, with its "permanent revolution" epilogues, will end on that note. There is a lot of wishful thinking in the early parts of Avineri's book -- most obviously, Herzl's fairy-tale liberalism, but also the socialism of Syrkin and Borochov, which could have been developed further in later years, but it's appropriate to end as it does, with the real Israeli state. Great as he was, Ben Gurion made mistakes, and in the end the most fateful was allowing Jabotinsky and Kook, or more precisely their followers, into the inner sanctumm, from which they eventually prevailed in shaping Israel into the genocidal juggernaut it has become. The path from Jabotinsky to Netanyahu is remarkably short, passing straight through the former's secretary, the same as the latter's father. The other intermediaries were Ben Gurion's rivals of 1948, Begin and Shamir, who became favored tools in driving the Palestinians into exile, and future prime ministers. Less obvious was Ben Gurion's decision to invite the Kookists into government, but what politician doesn't want to be reassured that God is on his side? Rabbi Kook was succeeded by his son, Zvi Yehuda Kook, whose Gush Emunim (Bloc of the Faithful) was the driving force behind the West Bank settlements, leading directly to Smotrich and Ben Gvir. The first casualty in Ben Gurion's schemes was the socialism that unified the Yishuv in the first place. That was what gave Israel its foundational sense of justice, a reputation that is now nothing but ruins. Initial count: 174 links, 8,842 words. Updated count [03-05]: 193 links, 10,883 words. Top story threads:Israel:
Israel vs. world (including American) opinion: This week we lead off with a singular act of self-sacrifice, by an American, an active duty serviceman, Aaron Bushnell, in front of the Israeli embassy in Washington. I feel like I should add an opinion, but I don't really have one. My inclination is to view him as just another casualty of the more general madness, so not a hero or martyr or even a fool, but I'm also not so callous as to look the other way -- especially when so many people do have things to say.
Other stories:
Philip Weiss: [02-28] PBS and NPR leave out key facts in their Israel stories: "Pundits and reporters in the mainstream media have a double standard when it comes to Israel and all but lie about apartheid, Jewish nationalism, and the role of the Israel lobby." America's empire of bases and proxy conflicts, increasingly stressed by Israel's multifront war games:
The Michigan primaries: Of minor interest to both party frontrunners, so let's get them out of the way first. Trump won the Republican primary with 68.1% of the votes, vs. 26.6% for Nikki Haley, splitting the delegates 12-4 (39 more delegates will be decided later). Biden won the Democratic primary with 81.1% of the vote, vs. 13.2% for an uncommitted slate, which was promoted by Arab-Americans and others as a protest vote against Biden's support for Israel's genocide in Gaza. Marianne Williamson got 3%, and Dean Phillips 2.7%. Everyone's trying to spin the results as much as possible, but I doubt they mean much.
Next up is "Super Tuesday," so here's a bit of preview:
Trump, and other Republicans:
Mitch McConnell, 82, announced he will step down as Republican Leader in the Senate in November. This led to some, uh, appreciation?
Biden and/or the Democrats:
Frank Bruni: [03-03] How Democrats can win anywhere and everywhere. Michelle Goldberg: [03-01] The Democrat showing Biden how it's done: Gretchen Whitmer, governor of Michigan. This follows on recent columns by Goldberg:
Ezra Klein: [02-16] Democrats have a better option than Biden: Starts by heaping considerable praise on Biden and his accomplishments of the last three-plus years, then lowers the boom and insists that he should step aside, not so much because one reasonably doubts that he can do the job for more years, but that he's no longer competent as a candidate. (Never mind that Trump is far from competent, in any sense of the term. He's a Republican, and one of our many double standards, we don't expect competency from Republicans, or for that matter caring, or even much coherence.) He goes into how conventions work, and offers a bunch of plausible candidates. It's a long and thorough piece, and makes the case as credibly as I've seen (albeit much less critically of Biden than I might do myself). Klein's columns are styled as "The Ezra Klein Show," which are usually just interviews, but this one is monologue, with multiple references to other conversations. He's had a few other interviews recently with political operatives, a couple adding to his insight into Democratic prospects, plus a couple more I'll include here. (Also see the pieces I listed under Ukraine.)
Paul Musgrave: [03-03] An inside look at how Biden's team rebuilt foreign policy after Trump: Review of Alexander Ward: The Internationalists: The Fight to Restore American Foreign Policy After Trump. Bill Scher: [02-29] "Nightmare in America": How Biden's ad team should attack Trump: "In 1984, Ronald Reagan's reelection campaign ran a series of ads that evoked how different life felt in America compared to under his opponent's administration four years prior. Today, Joe Biden should do the same." Sure, there's something to be said here, if you can figure out how to say it. But Trump's going to be pushing the opposite spin, in many cases on the same set of facts, all the while pointing out the extraordinary efforts his/your enemies took to hobnob his administration and persecute him since he was pushed out of office. He's just as likely to embrace the Left's notion of him as their worst nightmare. Note that page includes a link to a 2020 article, which also cites Reagan: Nancy LeTourneau: Are you better off than you were four years ago? John E Schwarz: [03-01] Democratic presidents have better economic performances than Republican ones. Legal matters and other crimes:
Climate and environment:
Ukraine War:
Around the world:
Other stories:Lori Aratani: [03-01] Boeing in talks to reacquire key 737 Max supplier Spirit AeroSystems: Boeing spun the company off in 2005, including the Wichita factory my father and brother worked at for decades. Marina Bolotnikova/Kenny Torrella: [02-26] 9 charts that show US factory farming is even bigger than you realize: "Factory farms are now so big that we need a new word for them." Related here:
Rosa Brooks: [02-20] One hundred years of dictatorship worship: A review of a new book by Jacob Heilbrunn: America Last: The Right's Century-Long Romance With Foreign Dictators [note: cover has it "America First" in large white type, then overprints "Last" in blockier red]. Daniel Denvir: [02-28] The libertarians who dream of a world without democracy: Interview with Quinn Slobodian, who wrote the 2018 book Globalists: The End of Empire and the Birth of Neoliberalism, and most recently, Crack-Up Capitalism: Market Radicals and the Dream of a World Without Democracy. Adam Gopnik: [02-19] Did the year 2020 change us forever? "The COVID-19 pandemic affected us in millions of ways. But it evades the meanings we want it to bear." A review, which I haven't finished (and may never) of the emerging, evolving literature on 2020. Sean Illing: [03-03] Are we in the middle of an extinction panic? "How doomsday proclamations about AI echo existential anxieties of the past." Interview with Tyler Austin Harper, who wrote about this in the New York Times: The 100-year extinction panic is back, right on schedule. I could write a lot more on this, especially if I referred back to the extinction controversies paleontologists have been debating all along, but suffice it to say:
The Times piece led to some others of interest here:
Chris Lehman: [03-01] Border hysteria is a bipartisan delusion: "Yesterday, both President Biden and Donald Trump visited Texas to promise harsher immigration policies." Abdullah Fayyad: [03-01] America has a good model for how to handle immigration: America. Andrea Mazzarino: [02-27] War's cost is unfathomable. I mentioned this in an update last week, but it's worth mentioning again. She starts by referring to "The October 7th America has forgotten," which was 2001, when the US first bombed Afghanistan, following the Al-Qaeda attacks of that September 11. In 2010, Mazzarino founded the Cost of War Project, which, as economists are wont to do, started adding up whatever they could of the quantifiable costs of America's Global War on Terror and its spawn. Still, their figures (at least $8 trillion and counting, and with debt compounding) miss much of the real human (and environmental) costs, especially those that are primarily psychic. For instance, would we have the gun problem that we have had we not been continuously at war for over two decades? Would our politics have turned so desperately war-like? Certainly, there would have been much less pressure to immigrate, given that war is the leading producer of refugees. Without constant jostling for military leverage, might we not have made more progress in dealing with problems like climate change? The list only grows from there. One constant theme of every Speaking of Which is the need to put aside the pursuit of power over and against others and find mutual grounds that will allow us to work together cooperatively to deal with pressing problems. There are lots of reasons why this is true, starting with the basic fact that we could not exist in such numbers if not for a level of technology that is complex beyond most of our understandings and fragile, especially vulnerable to the people who feel most unjustly treated. Our very lives depend on experts who can be trusted, and their ability to work free of sabotage. You can derive all the politics you need from this insight. Michelle Orange: [03-01] How the Village Voice met its moment: A review of Tricia Romano's The Freaks Came Out to Write, a new "oral history" (i.e., history presented in interview quotes). I rushed out and bought a copy, and should probably write my own review, even if only because she left me out. More:
Rick Perlstein: [02-28] Kissinger revisited: "The former secretary of state is responsible for virtually every American geopolitical disaster of the past half-century." Deanne Stillman: [02-21] Mothers, sons, and guns: Author wrote a book about Lee Harvey Oswald and his mother, recounted here, in light of high school shooter Ethan Crumbley and his mother, Jennifer Crumbley, who was convicted for her role leading up to the shootings. David Zipper: [03-01] Driving at ridiculous speeds should be physically impossible: As someone who grew up with a great love of auto racing, I'd argue that driving at ridiculous speeds has always been physically impossible, even as limits have expanded with better technology. Of course, "ridiculous" can mean many different things, but I'd say that's a reason not to try to legislate it. I've long thought that the 55 mph speed limit was the biggest political blunder the Democrats made, at least in my lifetime. (Aside from Vietnam.) Not only did it impose on personal freedom -- in a way that, say, European levels of gasoline taxes wouldn't have done -- but it induced some kind of brain rot in American auto engineering, from which Detroit may never have recovered. (I can't really say. After several bad experiences, I stopped buying their wares.) Ironically, this political push for mandating "speed limiters" (even more euphemistically, "Intelligent Speed Assistance") on new cars is coming from tech businesses, who see surveillance of driving as a growth area for revenue. This fits in with much broader plans to increase surveillance -- mostly government, but it doesn't end there -- over every aspect of our lives. Supposedly, this will save lives, although the relationship between speeding and auto carnage has never been straightforward, and much more plausible arguments (e.g., on guns) go nowhere. My great fear here is that Democrats will rally to this as a public health and safety measure, inviting a backlash we can ill afford (as with the 55 mph speed limit, which helped elect Reagan). Ask a question, or send a comment. Monday, February 26, 2024 Music WeekMusic: Current count 41900 [41864] rated (+36), 22 [20] unrated (+2). Running late this week, but managed to get most things done that had to be done. Still, I'm a frazzled, nervous wreck as I try to wrap up this introduction, so don't expect much. I didn't get done with Speaking of Which by bedtime Sunday, so (once again) posted what I had, with the promise of a Monday update. But I've made very little progress on that today, so I don't know where that leaves us. I still expect to post this by bedtime Monday evening, even if it's in a similar state of disarray. There is some chance of further updates on Tuesday, but right now I'm growing sick of all of it. [PS: Updated Tuesday.] I did wrap up the February Streamnotes file (except for the last Music Week, which I may still manage to add, and the indexing, which I certainly won't get done in time). At least the empty March Streamnotes file is opened. I also managed to save off my frozen year 2023 list. Subsequent additions to the active one will be flagged in a distinctive color. It looks like I added 91 such post-freeze records to the year 2022 file. I added a few more lists to the EOY aggregate, most notably the long Aquarium Drunkard list, which pointed me to a few items and suggested many more. I had trouble focusing on things last week, so rated count was down, but A-list exploded from 2 last week to 9 this week (plus two upgrades from revisits -- I've been meaning to return to Bryan and Crowell; also, but not yet, Brandy Clark and Tyler Childers. That helped the Non-Jazz A-list catch up with the Jazz, now 84-83. New records reviewed this week: Acceleration Due to Gravity: Jonesville: Music by and for Sam Jones (2023 [2024], Hot Cup, EP): Nonet led by bassist Moppa Elliott, best known for his "bebop terrorist" group Mostly Other People Do the Killing. Similar swagger here, ripping through seven pieces (22:01) by or for the esteemed bebop bassist (1924-81). B+(***) [cd] Advancing on a Wild Pitch: Disasters, Vol. 2 (2023 [2024], Hot Cup): Bassist Moppa Elliott again, the highly recommended 2022 release of Disasters, Vol. 1 credited to his old band, Mostly Other People Do the Killing. Back to a quintet here, with Sam Kulik (trombone), Charles Evans (baritone sax), Danny Fox (piano), and Christian Coleman (drums). Title reflects on his heritage, with seven songs (36:01) each "named after towns in Pennsylvania that experienced historical disasters." Sounds like unfinished bebop from the 1950s, riffing over barely-controlled swing. [PS: Not clear why I got the PR sheet but no CD, as I did with Jonesville. Release so far seems limited to digital and LP.] A- [bc] Tanner Adell: Buckle Bunny (2023, Columbia, EP): Debut mixtape, eight songs, 23:59, slotted country but hip-hop to the core, or maybe that should be vice versa? B+(***) [sp] Eric Alexander: A New Beginning: Alto Saxophone With Strings (2021 [2023], HighNote): Mainstream saxophonist, always played tenor (as far as I recall), usually in conventional quartets (although he's done a lot of work on the side, including the larger One for All group), but tried his hand with strings in 2019, arranged this time by Bill Dobbins. Still, this seems much like his typical quartet outing, with his usual group: David Hazeltine (piano), John Webber (bass), Joe Farnsworth (drums). B+(**) [sp] Aunty Rayzor: Viral Wreckage (2023, Hakuna Kulala): Bisola Olungbenga, from Nigeria, first album, working with producers Titi Bakorta (from Congo), Ill Gee (Uganda), Scotch Rolex (Japan), DJ Chris Fontedofunk (Brazil), Debmaster (France), Slimcase (Nigeria), and Kabeaushe (Kenya), rapping in Yoruba (and some English) over razor-sharp electrobeats. Last cut (feat. Bakorta) adds a delightful bit of soukous guitar to the mix. B+(***) [sp] Annie Chen: Guardians (2022-23 [2024], JZ Music): Jazz singer-songwriter, originally from Beijing, based in New York since 2013, third album since 2014, eight pieces, the latter four fashioned as "Guardians Suite." Backed by a sextet, including alto sax/flute/bass clarinet, guitar, drums, violin/viola, bass/meh, and accordion/piano. Way too operatic for me. B [cd] Daggerboard: Escapement (2022 [2024], Wide Hive): Group led by Gregory Howe (percussion) and Erik Jekabson (trumpet), third album, previous group Throttle Elevator Music, Howe was the label founder in 1996. Cover also notes as "featuring" -- Henry Franklin (bass), Matt Clark (piano), and Mike Clark (drums) -- but eleven more musicians are pictured, including three violins, cello, and perhaps the most famous, Babatunde Lea (congos). B+(**) [cd] [03-08] DJ Finale: Mille Morceau (2023, Nyege Nyege Tapes): From Kinshasa, Congo, solo debut from a member of Afrofuturist collective Fulu Miziki (Lingala for "music from garbage"), like them on Uganda's premier electroclash label, overruns you with beats that bang on metal, and are even more surprising when they don't. A- [sp] Drain: Living Proof (2023, Epitaph): Hardcore punk band, second album, ten songs, 25:07. Short, but still a bit longer than the joke lasts. B+(*) [sp] Emmeluth's Amoeba: Nonsense (2021 [2024], Moserobie): Danish alto saxophonist Signe Emmeluth, third group album, with guitar (Karl Bjorå), drums (Ole Mofjell), and piano (Christian Balvig). Free jazz with a lot of sharp edges and resonant ripples. A- [cd] Christian Fabian Trio: Hip to the Skip (2022-23 [2024], Spicerack): Funk/fusion grooves, led by electric bassist with Matt King (keys) and Jason Marsalis (drums). B+(*) [cd] Friends & Neighbors: Circles (2022 [2024], Clean Feed): Scandinavian freebop quintet, sixth album, with André Roligheten (tenor sax), Thomas Johansson (trumpet), Oscar Grönberg (piano), Jon Rune Strøm (bass), and Tollef Østvang (drums), each writing at least one song. B+(***) [sp] Romulo Fróes and Tiago Rosas: Na Goela (2023, YB Music): Brazilian singer-songwriters, latter also plays guitar, former has ten albums since 2004. B+(**) [sp] Glass Beach: Plastic Death (2024, Run for Cover): Indie rock band from Seattle, second album. Very complex, in ways I respect the craft for without taking any pleasure in the music, or whatever else they're trying to accomplish. B- [sp] Gordon Grdina/Christian Lillinger: Duo Work (2023 [2024], Attaboygirl): Duo, guitar/midi-guitar and drums, both on top of their game, with some intriguing dissonance early. B+(***) [cd] Gordon Grdina's the Marrow: With Fathieh Honari (2023 [2024], Attaboygirl): Grdina plays oud here, along with Mark Helias (bass), Hank Roberts (cello), and Hamin Honari (percussion), son of the Canada-based Persian singer. B+(***) [cd] Enrique Heredia Trio: Plays Herbie Nichols (2019-22 [2024], Fresh Sound): Spanish drummer, has several previous records, including a 2016 Plays the Music of Bob Zieff, and a previous (but different) trio. This with Pere Soto (guitar) and Xavi Castillo (bass), playing nine pieces by the short-lived Nichols (1919-63, with most of his recordings 1955-57). B+(***) [sp] Kabeaushé: The Coming of Gaze (2023, Hakuna Kulala): Singer-rapper from Kenya, first album. B+(*) [sp] Kabeaushé: Hold on to Deer Life, There's a Blcak Boy Behind You! (2023, Monkeytown): Second album, goes psychedelic. B [sp] Noah Kahan: Stick Season (2022, Mercury/Republic): Singer-songwriter, originally from Vermont, folkie with some pop appeal, third album -- the first of three iterations to date, as newer releases, cashing in on chart success and a Grammy nomination, pile on way beyond these original thirteen songs. I'm impressed, a little, anyways. B+(***) [sp] Kaze: Unwritten (2023 [2024], Circum/Libra): Quartet of Satoko Fujii (piano), Natsuki Tamura (trumpet), Christian Pruvost (trumpet), and Peter Orins (drums), seventh group album since 2011, first one billed as "completely improvised," which may excuse some temporary regrouping as they explore. B+(***) [cd] Anni Kiviniemi Trio: Eir (2023 [2024], We Jazz): Finnish pianist, reportedly US-based but recorded this debut album in Oslo with Eero Tikkanen (bass) and Hans Hulbaekmo (drums), all her compositions. B+(***) [sp] Doug MacDonald: Sextet Session (2023 [2024], DMAC Music): Guitarist, goes back a ways but has been especially prolific since 2014. Mainstream, with a bit of swing, sextet includes trumpet (Aaron Janik), tenor sax (Doub Webb), piano (Josh Nelson, bass, and drums. B+(**) [cd] [03-01] Eliza McLamb: Going Through It (2024, Royal Mountain): Singer-songwriter, described as "LA-based pop culture icon," which seems to mean she's had a song ("Porn Star Tits") that went viral on TikTok. Intimate songs have some depth. "16" goes: "We pretend that you're trying/ 'I Don't know what to do with you'/ You say it often/ Almost sounds like a good excuse/ For doing nothing." B+(***) [sp] Chase Rice: I Hate Cowboys & All Dogs Go to Hell (2023, Broken Bow): Country singer-songwriter from Florida, sixth album since 2010, the one on Columbia (2014) a platinum hit, but three later albums on Broken Bow didn't come close. Title from two songs, both against the grain, as is most of the filler, where the down home is spiced with stratospheric guitar. A- [sp] RVG: Brain Worms (2023, Ivy League/Fire): Initials for Romy Vager Group, for the singer-songwriter-lead guitarist, from Melbourne, Australia. B+(**) [sp] Sunny Five [Tim Berne/David Torn/Ches Smith/Devin Hoff/Marc Ducret]: Candid (2022 [2024], Intakt): Alto sax, two guitars (Torn and Ducret), drums/electronics and electric bass. This lineup might once have suggested fusion, but I have no clear idea of with what? Maybe Berne et al. just see the hardcore/metal instrumentation as something loud to improv with. B+(***) [sp] Kali Uchis: Orquídeas (2024, Geffen): Dance-pop singer-songwriter Karly Marina Loaiza, from the Virginia side of DC, father Colombian, returned there while she was in high school, fourth album, second mostly in Spanish. Ends with a piece ("Dame Beso/Muévete") that would jump out even on a Kenyan guitar paradise album. Multiple plays show it's not alone. A- [sp] Recent reissues, compilations, and vault discoveries: Herb Geller: Fire in the West (1957 [2023], Jazz Workshop): Alto saxophonist (1928-2013), inspired by Benny Carter, played in big bands in the early 1950s, led his first session in 1954, released this classic sextet session on Jubilee in 1957, establishing himself as a superb arranger, with Kenny Dorham (trumpet), Harold Land (tenor sax), Lou Levy (piano), Ray Brown (bass), and Lawrence Marable (drums), turning the fire up on "West coast cool jazz." Original title and artwork for an album I know from the 2003 CD That Geller Feller. A- [sp] Ghetto Brothers: Power-Fuerza (1972 [2024], Vampisoul): South Bronx Puerto Rican group, only album, reissue billed as "one of the best Latin funk albums ever recorded," eventually moves in that direction, but only after a number of efforts at Beatles-like harmonies don't quite hit the mark. B+(*) [sp] If You Want to Make a Lover: Palm Wine, Akan Blues & Early Guitar Highlife, Pt. 1 (1920s-50s [2023], Death Is Not the End): Twenty-six oldies, dates lack precision but specify "late" both for 20s and 50s, from southern Ghana and environs, influence extending east to Nigeria and west to Liberia. B+(*) [sp] If You Want to Make a Lover: Palm Wine, Akan Blues & Early Guitar Highlife, Pt. 2 (1920s-50s [2023], Death Is Not the End): Twenty-six more oldies, again nothing but a broad range of dates. B+(**) [sp] Melba Liston: Melba Liston and Her 'Bones (1958 [2023], Jazz Workshop): Trombonist (1926-99), from Kansas City, started playing in all-female big bands during the war, then broke in with Gerald Wilson, then moved on to Dizzy Gillespie and Quincy Jones, where she became most valued as an arranger. This is the only album she led -- well, aside from her Randy Weston co-credit, Volcano Blues (1993), still the first item showing up when you search her. This combines two sessions, one with Ray Bryant (piano), the other with Kenny Burrell (guitar), bass, drums, and three more trombonists each (Benny Green, Al Grey, and Benny Powell with Burrell; Jimmy Cleveland, Slide Hampton, and Frank Rehak with Bryant). A real delight. A- [yt] Los Mohanes: La Tumbia (2017 [2023], Moli Del Tro): Colombian duo, Faunes Efe (bass/guitar) and Joseph Muñoz (field recording/sampler), first album, originally self-released, picked up on a Belgian label. Engaging electronica, falls down at the end. B+(*) [sp] Don Menza & Sam Noto: Steppin': Quartet Live (1980 [2023], Fresh Sound): Tenor saxophonist, from Buffalo (b. 1936), played in big bands with Maynard Ferguson and Louie Bellson, with more than a dozen albums as leader, joined here by the trumpet player, also from Buffalo (b. 1930), who played with Woody Herman, Stan Kenton, Count Basie, and others, headlining a handful of albums. A blistering live gig here from a club in Toronto, with Dave Young (bass) and Terry Clarke (drums). B+(***) [sp] Old music: Abyssinia Infinite Featuring Ejigayehu "Gigi" Shibabaw: Zion Roots (2003, Network): A one-shot album I only just noticed, looks like a vehicle for the featured Ethiopian singer (she wrote six songs, the other four trad.), engineered by Bill Laswell. Not rasta, but ethio-soul, subtle and beguiling. A- [yt] Afrorack: The Afrorack (2022, Hakuna Kulala): Electronic music from Uganda, someone named Bamanya, who built "Africa's first DIY modular synthesizer, a huge wall of home-made modules and FX units. Recapitulates many of the sounds of the pioneers of electronic music, then finds layers of rhythm they never dreamed of. A- [sp] Grade (or other) changes: Zach Bryan: Zach Bryan (2023, Warner): Country singer-songwriter, though this second label album (after two self-releaseds) topped the rock charts as well as country and folk. Solid, unassuming, workman-like -- attributes that only deeepen with multiple replays. [Was: B+(***)] A- [sp] Rodney Crowell: The Chicago Sessions (2023, New West): Country singer, emerged as a thoughtful songwriter with his 1978 debut, seems like his albums have only gotten easier over the years. This was recorded in Jeff Tweedy's Chicago studio, and came so easy they didn't even bother thinking up a title for it. Made it easy to underappreciate, too. [was: B+(**)] A- [sp] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, February 25, 2024 Speaking of WhichOnce again, I failed to finish my rounds by end-of-Sunday, so I'm posting what I have, with the expectation that I'll add more on Monday (look for red right-border stripes). One thing I didn't get to but seems likely to be worthwhile adding is No More Mister Nice Blog. That's where I first ran into the Katie Glueck article, and I see relevant posts on many of this week's politics articles. Charles P Pierce also has worthwhile takes on most of this. This appeared after my cutoff, but is a good overview of everything else that follows: Andrea Mazzarino: [02-27] War's cost is unfathomable, where she starts by referring to "The October 7th America has forgotten," which was 2001, when the US first bombed Afghanistan, following the Al-Qaeda attacks of that September 11. In 2010, Mazzarino founded the Cost of War Project, which, as economists are wont to do, started adding up whatever they could of the quantifiable costs of America's Global War on Terror and its spawn. Still, their figures (at least $8 trillion and counting, and with debt compounding) miss much of the real human (and environmental) costs, especially those that are primarily psychic. For instance, would we have the gun problem that we have had we not been continuously at war for over two decades? Would our politics have turned so desperately war-like? Certainly, there would have been much less pressure to immigrate, given that war is the leading producer of refugees. Without constant jostling for military leverage, might we not have made more progress in dealing with problems like climate change? The list only grows from there. One constant theme of every Speaking of Which is the need to put aside the pursuit of power over and against others and find mutual grounds that will allow us to work together cooperatively to deal with pressing problems. There are lots of reasons why this is true, starting with the basic fact that we could not exist in such numbers if not for a level of technology that is complex beyond most of our understandings and fragile, especially vulnerable to the people who feel most unjustly treated. Our very lives depend on experts who can be trusted, and their ability to work free of sabotage. You can derive all the politics you need from this insight. Initial count: 154 links, 7,499 words. Updated count: 178 links, 8,813 words. Top story threads:Israel: The genocide continues. Reported casualty figures, as of 2/23, show 1,147 Israelis killed on October 7, plus 576 Israelis killed since. Palestinian deaths -- certainly undercounted -- are 29,514 in Gaza + 380 elsewhere in Israel. Since Oct. 7, Israelis are killing more than 51 Palestinians in Gaza for every soldier lost. No breakdown between soldiers lost in invading Gaza vs. elsewhere, but the latter numbers are probably very small. The kill ratio increases to 65-to-1 using the 38,000 estimate "when accounting for those presumed dead."
Israel vs. world opinion:
America's expansion of Israel's world war:
Trump, and other Republicans: Well, South Carolina is done and dusted -- see [02-24] Trump defeats Haley in South Carolina primary, 60.1% to 39.2% (at the point with 92% counted). Also, if you care, How different groups voted in the South Carolina primary, according to exit polls. Nothing terribly surprising there, except perhaps that Trump had his best age split in 17-29 (66% vs. 63% for 65+). [PS: The final delegate split was 47 Trump, 3 Haley.]
CPAC: The erstwhile conservative (more like fascist) organization held their annual conference last week, headlined by Donald Trump, so we'll offer this as a Republicans overflow section. Before we get serious, probably the best introduction here is: [02-23] Jimmy Kimmel on CPAC: 'A who's who of who won't accept the results of the election'.
Biden and/or the Democrats:
Legal matters and other crimes:
Climate and environment:
Economic matters:
Ukraine War:
Navalny/Assange:
Other stories:Mac William Bishop: [02-23] American idiots kill the American century: "After decades of foreign-policy bungling and strategic defeats, the US has never seemed weaker -- and dictators around the world know it." This is a pretty seriously wrong-headed article, its appeal to the liberal publisher based on the MAGA movement, prominent Republicans, Elon Musk and Tucker Carlson for making America weak, the effect simply to "advance Putin's agenda." The key to American influence around he world was always based on nothing more than the perception that we would treat the world fairly and generously -- unlike the old colonial empires of Europe, or the new militarism of the Axis, or the growing Soviet-aligned bloc. Sure, the US was never all that innocent, nor all that charitable, but in the late 1940s seemed to compare favorably to the others. The US squandered its moral standing and good will pretty rapidly, and as the article notes, is losing the last of it with Biden's wholehearted support for Israeli genocide. Nick Estes: [02-19] America's origin story is a myth: Daniel Denvir interviews Estes, author of Our History Is the Future: Standing Rock Versus the Dakota Access Pipeline, and the Long Tradition of Indigenous Resistance. David French: [02-25] What is Christian nationalism exactly? NY Times opinion columnist, self-described Never-Trump Conservative, professes as evangelical Christian, claiming the authority to explain his wayward brethren -- the flock Chris Hedges wrote about in his 2007 book, American Fascists: The Christian Right and the War on America -- or at least to make fine distinctions between his kind and the others, who he's more inclined to dub "Christian supremacists." That works almost as well as Hedges' "Fascists" to identify the dictatorial and vindictive powers they aspire to, without implicating Christians who practice tolerance and charity, and allowing new nationalists to express their love for American diversity (as opposed to the old ones, wallowing in xenophobia and racism). By the way, one term I haven't seen, but seems more to the point, is Republican Christianists (or, I guess, Christianist Republicans): those who enbrace the Republicans' cynical pursuit of coercive power at all costs, while justifying their lust and avarice as a divine mission. This piece led me to some older ones:
Katie Glueck: [02-19] Anti-Trump burnout: The resistance says it's exhausted: "Bracing for yet another election against Donald Trump, America's liberals are feeling the fatigue. "We're kind of, like, crises-ed out," one Democrat said." Well, if one Democrat said it, that's exactly the sort of thing you can count on the New York Times to blow up into a page one issue. Genocide in Palestine? Not so much. Reading their own paper, they don't seem to understand that Trump is out of power, and has been for 3.5 years now. Sure, he still talks a lot, but that's all he is. Trying to shut him up, even if we wanted to, not only isn't worth the effort, but would make things even worse. For most of us, there's nothing much we can do except wait until November, then vote against him. Sarah Jones: [02-22] The right to a private life is under attack: Starts with the Alabama ruling on IVF (see Cohen, Millhiser, and others, above), but of course the Trump-supporting Christian Nationalists want much more than that: they want to run nearly every aspect of your life:
More, especially on the IVF backlash:
Taylor Lorenz: [02-24] How Libs of TikTok became a powerful presence in Oklahoma schools: "The owner [Chaya Raichik] of the far-right social media account, who sits on a state advisory panel, has drawn attention since the death of a nonbinary student near Tulsa." I could have filed this under Republicans (above), as that's her mob, but didn't want to bury it under the usual graft and bullshit. Related here:
Garrison Lovely: [01-22] Can humanity survive AI? Long piece I haven't spent much time with as yet, although the subhed "Capitalism makes it worse" is certainly true. I don't know how good and/or bad AI will be, but it's generating a lot more press than I can follow, including:
Kelly McClure: [02-23] Ex-NRA chief funneled millions of dollars into his own pockets, according to a NYC jury: "Wayne LaPierre and other NRA executives were found liable for financial misconduct." Anna North: [02-23] Mascuzynity: How a nicotine pouch explains the new ethos of young conservative men: "Stimulants, hustle culture, and bodybuilding are shaping young men's drift to the right." Not obvious to me why this has become "a gateway to right-wing politics." Unless, that is, you're broadening the definition of right-wing from servants of hierarchy/oligarchy to plain old, all-around assholes. Rick Perlstein: [02-21] The neglected history of the state of Israel: "The Revisionist faction of Zionism that ended up triumphing adhered to literal fascist doctrines and traditions." This is, of course, directly relevant to what's happening in the Israel section above. The relationship is not just temperamental and ideological: Netanyahu's father was Jabotinsky's secretary and confidant. Alissa Quart: [02-21] US media is collapsing. Here's how to save it. She's director of something called Economic Hardship Reporting Project Aja Romano: [02-18] An attempt to reckon with True Detective: Night Country's bonkers season finale: Noted in the breach, as a remarkably bad review of a season and series where I'm hard pressed to find any points to agree with, either in praise (mostly of seasons one and three, where the flaws are most obvious) or in panning (seasons two and four, where the messes swamp out the positives). But I will say that the "bonkers season finale" was much more satisfying than any I imagined to that point. I at least took the political point, which is that the power of the rich, and the hopelessness of the people they carelessly grind down and toss aside, are never as complete as they imagine. At the same time, I was also watching A Murder at the End of the World, which was, if anything, even messier (though just a close second for bone-chilling cold), and again mostly acquitted itself with a politically-charged "bonkers finale": the murders were orchestrated by AI, but the context was corporate megalomania, as represented by a billionaire obsessed with control and life-extension. Speaking of which:
Jeffrey St Clair: [02-23] Roaming Charges: Somewhat immature: Title is Brig. Gen. Anthony Mastalir, commander of U.S. Space Forces Indo-Pacific, describing the "rules of engagement for orbital warfare," which is to say nobody agrees on any rules, or even knows what they are or should be. But who's that going to stop? Ben Wray: [02-24] It's time to dismantle the US sanctions-industrial complex: "The US has built up an elaborate machinery for waging economic warfare on its rivals with little or no public debate. This sanctions-industrial complex is a disguised form of imperialism and a dangerous source of global instability." Li Zhou: [02-23] America's first moon landing in 50 years, explained. Ask a question, or send a comment. Monday, February 19, 2024 Music WeekFebruary archive (in progress). Music: Current count 41864 [41828] rated (+36), 20 [23] unrated (-3). I posted a long Speaking of Which just before bedtime late Sunday night. I didn't quite get through my usual rounds, so added some more stuff today, which in turn pushed this out late, again. Still unclear how far I'll get Monday night. Fortunately, I don't have much to say about music this week. The rated count is down, but I hit up several boxes, including the big Mingus one I saw little point in but enjoyed anyway, and yet another iteration of the Massey Hall Quintet/Trio. Also, another big r&b oldies box, again not ideal but quite thoroughly enjoyed. Very little progress to report on EOY lists, websites, book projects, or anything else. The links, of course, are in the usual place. New records reviewed this week: Joe Alterman: Joe Alterman Plays Les McCann: Big Mo & Little Joe: (2023, Joe Alterman Music): Pianist, from Georgia, half-dozen albums since 2009, leads a trio with Kevin Smith (bass) and Justin Chesarek (drums), playing eleven Les McCann compositions, including one written with Alterman in 2021. This came out a few months before McCann (88) died in December. B+(**) [sp] Carsie Blanton: Body of Work (2023, self-released): Singer-songwriter, originally from Virginia, based in New Jersey, seven albums 2005-21, decided to "undress" 15 songs catalog songs here, releasing them one-per-month digitally, finally compile them on vinyl. So, I gather, it's a bit like the Taylor's Version remakes, but on a much lower budget. B+(**) [sp] Stix Bones/Bob Beamon: Olimpik Soul (2023 [2024], BONE Entertainment): Billed as a "jazz meets hip-hop EP," the leaders' credits are drums and percussion, respectively (the former aka Franklin Brown), the band adding trumpet, sax, guitar, keybs, bass, and vocalists Abiodun Oyewole and Khadejia Bass. Eight songs, 31:??, some fancy funk, but the mix could be sharper. B+(*) [cd] Peter Bruun/Søren Kjærgaard/Josas Westergaard: Thēsaurós (2022, ILK): Danish drums-piano-bass trio, playing "an ambitious work" composed by Bruun, in seven parts (83:07). B+(*) [bc] Mina Cho's Grace Beat Quartet: "Beat Mirage" (2023 [2024], International Gugak Jazz Institute): Korean pianist, based in Boston, fifth album, quartet with Max Ridley (bass), Yeongjin Kim (drums), and Insoo Kim (Korean traditional percussion). B+(**) [cd] Commodore Trio: Communal - EP (2023 [2024], self-released, EP): Hype sheet credits Joel Tucker (guitar) first but neither cover nor spine mentions him. Joined here by Brandan Keller (tuberg bass) and Justin Clark (drums), for five tracks (20:24) of what they call "improvised art rock." B+(*) [cd] Dogo Du Togo: Dogo Du Togo (2022, self-released): Massama Dogo, from Lome, in Togo, but now based in DC area. B+(*) [sp] Jose Gobbo Trio: Current (2023 [2024], self-released): Brazilian guitarist-singer, lyrics here by Deuler Andrade, moved to Iowa in 2011 and on to Illinois, where he teaches. Appears to have some previous albums, but I can't find them in Discogs. With bass (Max Beckman) and drums (Jay Ferguson). Voice barely registers over the rhythm, which is all important. B+(**) [cd] Mary Halvorson: Cloudward (2023 [2024], Nonesuch): Guitarist, Braxton student at Wesleyan, started with a trio album in 2008, and expanded in various directions, eventually winning a MacArthur genius grant, and topping the 2022 Francis Davis poll with a pair of albums (Amaryllis was the actual winner, but many voters wanted to include the more string-focused Belladonna). This one is a sextet, with trumpet (Adam O'Farrill), trombone (Jacob Garchik), bass (Nick Dunston), drums (Tomas Fujiwara), and vibes (Patricia Brennan), with no vocals and only a bit of violin (guest spot for Laurie Anderson). The state-of-the-art compositions are fashionably tricky, the horns add some weight, the vibes a bit of levity. Many critics seem to be impression, but still seems rather nebulous to me. B+(**) [sp] Jon Irabagon: Survivalism (2024, Irabbagast): Saxophonist, based in Chicago, best known for "bebop terrorist" group MOPDTK but has a substantial, widely scattered discography on his own. Visited a "munitions bunker in South Dakota" to get the isolated ambiance for this album of solo soprillo sax -- at 33cm (13in), the smallest of all saxophones, pitched a fifth higher than sopranino, a full octave above soprano. Nonetheless, Irabagon spends a fair amount of time here finding more guttural sounds in lower registers, contrast to the high notes, which are never what you'd call flighty. B+(*) [bc] Jon Irabagon's Outright!: Recharge the Blade (2021 [2024], Irabbagast): Group name refers back to a 2008 album of that name, followed by another (Unhinged) in 2012 -- neither especially successful, as I recall, so I don't really get the thinking behind giving this totally different group an old group name. Leader plays soprano sax here, with Ray Anderson (trombone), Matt Mitchell (piano/keyboards), Chris Lightcap (bass), and Dan Weiss (drums), plus a couple guest spots. B+(***) [bc] Steven Kamperman: Maison Moderne (2023, Trytone): Dutch clarinetist, half-dozen album since 1999, describes this as "music inspired by the house, life, and passions of Theo van Doesburg," the artist and architect (1883-1931) who in 1917 founded the magazine De Stijl, which advanced abstract art and modernist style, effectively qualifying as a "school." The pieces are supported by piano (Albert van Veenendaal), electric guitar (Paul Jarret), and viola (Oene van Geel). Mostly chamber jazz befitting a museum, but this really sharpens up when Jarret takes the lead and Kamperman introduces some much-needed percussion. A- [cd] Liquid Mike: Paul Bunyan's Slingshot (2024, self-released): Indie band from Marquette, Michigan, several albums since 2021. They run through 13 crisp songs in 25:31. B+(**) [sp] Richard Nelson/Makrokosmos Orchestra: Dissolve (2023 [2024], Adhyâropa): Guitarist, member of Aardvark Jazz Orchestra since 1993, released his own Large Ensemble project in 2011, returns here with a 15-piece group. Three complex and lush pieces, 39:22. B+(**) [cd] Nondi_: Flood City Trax (2023, Planet Mu): Electronics producer Tatiana Triplin, from Johnstown, Pennsylvania, looks to have two previous EPs, another self-released digital album, and some kind of mixtape/remix related to this. B+(*) [sp] Angel Olsen: Forever Means (2023, Jagjaguwar, EP): American singer-songwriter, six generally well-regarded albums since 2012, released this four song, 16:02 EP. B [sp] Public Image Ltd.: End of World (2023, PIL Official): Original Sex Pistol John Lydon, 67 when this came out, eleventh group album, eight years after previous. He's managed to keep a consistent sound since 1978, and occasionally to channel some rage against "liars, fakes, cheats and frauds." B+(*) [sp] Zoe Rahman: Colour of Sound (2023, Manushi): British pianist, father Bengali, eighth album since 2001, brother Idris Rahman plays sax, with several other horn players, bass, and drums. Richly detailed, sometimes to excess. B+(*) [sp] Andrew Rathbun: The Speed of Time (2022 [2023], SteepleChase): Tenor saxophonist, based in Brooklyn, more than a dozen albums since 1999, quartet with Gary Versace (piano), John Hébert (bass), and Tom Rainey (drums), all original pieces. B+(***) [sp] Monika Roscher Bigband: Witchy Activities and the Maple Death (2023, Zenna): German guitarist, fourth Bigband album since 2011. Discogs lists genres as: dark jazz, jazz-rock, psychedelic rock. I was thinking prog rock as light opera -- Roscher sings throughout, in English (not that I followed much of it) -- although the big band was built to play jazz, which does a nice job of shading the straightforward beat. B+(**) [sp] Bobby Sanabria Multiverse Big Band: Vox Humana (2023, Jazzheads): Bronx-born drummer, graduated from Berklee, joined Mongo Santamaria in 1983, headlined a 1993 album with Tito Puente and Paquito D'Rivera, has led Latin jazz big bands at least since 2007, naming a 2012 album Multiverse. Runs through a lengthy songbook, starting with "Caravan," hitting "Let the Good Times Roll" and "I Love You Porgy," and perhaps most successfully, Steely Dan's "Do It Again." B+(***) [sp] Adam Schroeder/Mark Masters: CT! Adam Schroeder & Mark Masters Celebrate Clark Terry (2023 [2024], Capri): Big band arrangements of thirteen Terry tunes, Schroeder playing baritone sax, Masters not in the band but with a long career as an arranger. You may recall that Terry played trumpet both for Duke Ellington and Count Basie before leading his own bands, offering plenty of hints for how this works -- largely splitting the difference. B+(***) [cd] Matthew Shipp/Steve Swell: Space Cube Jazz (2021 [2024], RogueArt): Piano and trombone duets, improvised, first time recording together. A bit sparse, though both have plenty to say. B+(***) [cdr] Rajna Swaminathan: Apertures (2021 [2023], Ropeadope): Indian percussionist, plays mrudangam, also sings (as does co-producer Ganavya), second album, with Utsav Lal (piano) and a raft of famous jazz musicians: Adam O'Farrill (trumpet), Anna Webber (tenor sax), Miles Okazaki (guitar), Stephan Crump (bass). B+(**) [sp] Tucker Brothers: Live at Chatterbox (2023 [2024], Midwest Crush Music): Brothers Joe (guitar) and Nick (bass), with sax (Sean Imboden) and drums (Carrington Clinton) at a club in Indianapolis. No song credits, but I always recognize "Caravan." Groove band, nice set. B+(*) [cd] Recent reissues, compilations, and vault discoveries: George Cartwright's GloryLand PonyCat: Black Ants Crawling ([2024], Mahakala Music): Alto/tenor saxophonist, best known for the group Curlew (1980-2003?), based in Minneapolis these days, no recording date given, but it's a live trio date from Clown Lounge, with Adam Linz (bass) and Alden Ikeda (drums) and is released (as have several previous Cartwright albums) in the label's "Reissue Series." B+(**) [bc] Late Night Count Basie (2023, Primary Wave, EP): The "Count" is in small print, and tends to get overlooked. The songs mostly originate with Basie (well, not "St. Thomas"), and three are credited to his ghost band (Scotty Barnhart, director, with various featured guests), the others to others, as is obvious when Talib Kweli starts rapping over "Didn't You." And "One O'Clock Jump" gets an encore. All in 23:32, but it definitely swings, and jumps. B+(**) [sp] Charles Mingus: Changes: The Complete 1970s Atlantic Studio Recordings (1973-78 [2023], Rhino, 7CD): I didn't feel much need for this -- and, needless to say, Rhino didn't gift me a copy, so no obligation there -- but looking for something to play while trying to get something else written, this seemed like a pretty nice way to spend 5 hours, 49 minutes. One pass [broken up, with a bit of rechecking, as it turned out], although I've heard most of this before. Starts off with a revitalizing young quartet -- featuring George Adams and Don Pullen, who continued on their own, including a fabulous 1986 album called Breakthrough -- but his health deteriorated fast, and he died of ALS at 56 in 1979. Mostly straight reissues, the breakdown:
Vinyl box has an 8th LP of outtakes, which are included inline in the CD and digital editions. B+(***) [sp] Charlie Parker/Dizzy Gillespie/Bud Powell/Charles Mingus/Max Roach: Hot House: The Complete Jazz at Massey Hall Recordings (1953 [2023], Craft, 3CD): Mingus and Roach started their own label, Debut Records, in 1952, so they grabbed these tapes, redubbed the bass parts, and released them on three 10-inch records, two credited to "The Quintet" (with the saxophonist identified as Charlie Chan), the other a hornless Bud Powell Trio set, already hyped as "the greatest jazz concert ever." The Quintet eventually came out on an CD (OJC-44), with the trio as Jazz at Massey Hall, Volume Two (OJC-111), with sound, like most Parker bootlegs, pretty dicey. I've never been much impressed, even after a 2012 remaster answered most of the sound issue. The overdubs, too, were controversial, so when Jazz Factory released their 1-CD Complete Jazz at Massey Hall in 2003, they went back to the original tapes. This edition tries to have it both ways, again combining the original Quintet and Trio sets on one CD, but also providing the overdubs on a 2nd CD. (Vinyl splits the first CD into 2-LP, with the overdubs on a 3rd.) Sound is pretty decent here, but it's still more typical than exemplary. B+(***) [sp] Sonny Rollins: Go West! The Contemporary Records Albums (1957-58 [2023], Craft, 3CD): The label exists primarily to produce luxury vinyl reissues of famous jazz albums, but they also release their remastered wares on CD and digital, so it's possible to stream them, and they get a lot of notice. This collects albums recorded for' Contemporary: Way Out West (1957) and Sonny Rollins and the Contemporary Leaders. The former, a trio with Ray Brown and Shelly Manne leading off with "I'm an Old Cowhand," is one of his best-known records, and has already been given the Craft treatment. The latter, adding extras (piano, guitar, vibes on one track), is less focused, except when Rollins plays, who continues to show uncanny skill for building on standards. The third disc collects the alternate takes, which were initially added to the OJC CDs. It may be the best of the bunch. A- [sp] Pharoah Sanders: Festival de Jazz de Nice, Nice, France, July 18, 1971 (1971 [2024], Kipepeo Publishing): British label, banner says "A fundraising project to help Kenyans in need," Bandcamp page offers 46 bootlegs from various venues/dates. This is a quintet with the tenor saxophonist, piano (Lonnie Liston Smith), bass (Cecil McBee), drums (Jimmy Hopp), and percussion (Lawrence Killian). I picked this one out from the list, figuring it would be really nice to hear some vintage Sanders. It hit that spot from the start with a no-vocal 21:30 "The Creator Has a Master Plan." B+(***) [bc] Old music: Clarence "Gatemouth" Brown: Sings Louis Jordan [The Definitive Black & Blue Sessions] (1973 [2019], Black & Blue): Blues singer-guitarist from Louisiana (1924-2005), played drums after WWII, and started recording singles for Peacock in the late 1940s. Album discography doesn't start until just before this one, a Paris session with jazz musicians, including Milt Buckner (organ), Jay McShann (piano), and Arnett Cobb (tenor sax). No new insights into either Brown or Jordan as blues, but the songs are hits, and Cobb is a real plus. B+(**) [sp] Millie Jackson: On the Soul Country Side (1977-81 [2014], Kent): Hard-belting soul singer, debut 1972, found her concept with 1974's Caught Up, with a focus on cheating songs that suggested country music -- partly acknowledged on her 1981 album Just a Lil' Bit Country. This repeats six songs from that album (omitting four). The other songs include a couple duets with Isaac Hayes. Some songs are country enough for novelties, but most keep a respectful distance. Puzzling, as respect really isn't her thing. B+(***) [sp] The R&B No. 1s of the '50s (1950-59 [2013], Acrobat, 6CD): Another decade's worth of hits, most justly famous, some as blues but more in the early development of rock and roll, with some novelties and other oddities in the mix. The syrupy strings of "Mona Lisa" is the first song that feels out of place (the first of only two Nat King Cole songs). Another surprise was Elvis Presley showing up, although "Hound Dog" sounds great after "Let the Good Times Roll." That kicked off a period where white artists, and we're not just talking ones who famously sounded black but others like the Everly Brothers, Jimmie Rodgers, Paul Anka, and David Seville --a sudden wave of integration that mirrored my own experience. It wouldn't be hard to edit this down to a solid-A set (probably 4-CD). And it would still be rewarding to stream through the rest. A- [cd] Grade (or other) changes: Sonny Rollins: Sonny Rollins and the Contemporary Leaders: Barney Kessel/Hampton Hawes/Leroy Vinnegar/Shelly Manne (1958, Contemporary): I thought I should recheck this. [was: B+] B+(***) [r] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, February 18, 2024 Speaking of WhichAnother week, dallying on work I should be doing, eventually finding a diversion in the world's calamities, reported below. Note, however, that I didn't manage to finish my usual rounds by end-of-Sunday, so posted prematurely, and will try to follow up on Monday, the new pieces flagged like this one. Initial counts: 151 links, 7,009 words. Updated: 171 links, 7,780 words. Top story threads:Israel:
Israel vs. world opinion:
America's expansion of Israel's world war:
Trump, and other Republicans:
Biden and/or the Democrats:
Legal matters and other crimes:
Climate and environment:
Economic matters:
Ukraine War:
Valerie Hopkins/Andrew E Kramer: [02-16] Aleksei Navalny, Russian opposition leader, dies in prison at 47. I don't have any real opinions on Navalny, other than that his arrest and death reflects badly on Russia's political and justice systems, and therefore on their leader, Vladimir Putin. Like most people with any degree of knowledge about Russia, I don't have much respect let alone admiration for Putin. I could easily imagine that, if I were Russian, I would support whatever opposition seems most promising against Putin, and that may very well mean Navalny, but not being Russian, I also realize that it's none of my business, and I take a certain amount of alarm at how other Americans have come to fawn over him. I don't think that any nation should interfere in the internal political affairs of another, and I find it especially troubling when Americans in official positions do so -- not least because they tend to be repeat offenders, using America's eminence as a platform for running the world. On the other hand, I don't believe that nations should have the right to torture their own people over political differences. There should be an international treaty providing a "right to exile" as an escape valve for individuals who can no longer live freely under their own government. Whether Navalny would have taken advantage of such a right isn't obvious: he did return to Russia after being treated for poisoning in Germany, and he was arrested immediately on return, so perhaps he expected to be martyred. That doesn't excuse Russia. If anything, that the story had such a predictable outcome furthers the indictment. More on Navalny:
Speaking of prominent political prisoners, there's been a flurry of articles recently on Julian Assange:
Around the world:
Other stories:Keith Bradsher: [02-12] How China built BYD, its Tesla killer. Tim Fernholz: [02-15] How the US is preparing to fight -- and win -- a war in space: "Meet the startup trying to maintain American military dominance in space." Author previously wrote Rocket Billionaires: Elon Musk, Jeff Bezos, and the New Space Race (2018). Few ideas are more misguided than the notion that anyone can militarily dominate space. Chalmers Johnson illustrated that much 20 years ago by imagining the result of some hostile actor launching "a dumptruck full of gravel" into orbit: it would indiscriminately destroy everyone's satellites, and everything dependent on them (including a big chunk of our communications infrastructure, and such common uses as GPS, as well as the ability to target missiles and drones). Lydialyle Gibson: [02-12] We have treatments for opioid addiction that work. So why is the problem getting worse? Umair Irfan: [02-14] Carmakers pumped the brakes on hybrid cars too soon. Ben Jacobs: [02-13] The race to replace George Santos, explained: Written before Tuesday's vote, which gave the seat to Democrat Tom Suozzi, who was favored in polls by 3-4 points, and won by 8 (54-46). Sarah Jones: [02-14] The anti-feminist backlash at the heart of the election. Eric Levitz: [02-18] How NIMBYs are helping to turn the public against immigrants: "(In this house, we believe that high rents fuel nativist backlashes." Charisma Madarang: [02-13] Jon Stewart skewers Biden and Trump in scathing 'Daily Show' return: I watched the opening monologue segment, and must say I didn't laugh once. It was about how much older Stewart is now than when he retired from the show 20 years ago, which was when Biden was the same age Stewart is now. And, yes, Trump's pretty old too. The most annoying bit was when Stewart, repeatedly, referred to being president as "the hardest job in the world." That it most certainly is not. As far as I can tell, it looks like a pretty cushy job, with lots (probably too many) people constantly at your beck and call, keeping track of everything and everyone, and preparing for every eventuality. It may be overscheduled, but Trump showed that doesn't have to be the case, and Biden doesn't seem to spend a lot of time in public, either. It may be dauntingly hard to fully comprehend, and the responsibility that comes with the power may be overwhelming, but Trump, and for that matter Biden, don't seem to be all that bothered. Maybe we should have presidents who know and care more, but history doesn't suggest that it makes much difference. Once they get their staffs in place, the bus pretty much drives itself. (Or, in Trump's case, wrecks itself, repeatedly.) Later on, Stewart brought in his "team of reporters," tending to all-decisive diners in Michigan -- the sort of comedians who developed careers out of the old Daily Show, like Samantha Bee and John Oliver -- and sure, they were pretty funny, albeit in stereotypical ways (naïve/inept Democrats; vile/evil Republicans). More on Jon Stewart:
Ciara Moloney: [01-29] What peace in Northern Ireland teaches us about 'endless' conflicts: "If the international community can underwrite war, it can also underwrite peace and justice." Nathan J Robinson linked to this in a tweet, pace a quote from Isaac Herzog: "You cannot accept a peace process with neighbors who engage in terrorism." Kevin Munger: [02-16] Nobody likes the present situation very much. Unclear where this is going, but it's something to think about:
Dennis Overbye: [02-12] The Doomsday clock keeps ticking: The threat of nuclear weapons is real, but the metaphor is bullshit. The clock isn't ticking. It's just a visual prop, meant to worry people, to convey a sense of panic, but panic attenuates over time. So if 7 minutes haven't elapsed since the clock was set 77 years ago, why should we worry now? We clearly need a different system for risk assessment than the one behind the doomsday clock. We also need some much better method for communicating that risk, which is especially difficult, because there are actually dozens of different risks that have to be represented, each with their own distinct strategies for risk reduction. I'm not willing to enter that rabbit hole here, other than to offer a very rough swag that the odds of any kind of nuclear incident in the next 12 months are in the 1-2% range (which, by the way, I regard as alarmingly high, given the stakes, but far from likely; my greatest uncertainty has to do with Ukraine, where there are several serious possible scenarios, but the avoidance of them in 2023 and the likelihood of continued stalemate suggests they can continue to be avoided; by the way, I would count Chernobyl as an above-threshold incident, as it caused more damage, and more fallout, than a single isolated bomb; it should be understood that there is a lot more danger in nuclear power than just the doomsday scenario). Jared Marcel Pollen: [02-14] Why billionaires are obsessed with the apocalypse: Review of Douglas Rushkoff's book, Surival of the Richest: Escape Fantasies of the Tech Billionaires. Aja Romano: [02-15] Those evangelical Christian Super Bowl ads -- and the backlash to them -- explained. Also:
Brian Rosenwald: [02-14] The key to understanding the modern GOP? Its hatred of taxes. Review of Michael J Graetz: The Power to Destroy: How the Antitax Movement Hijacked America. The reviewer, by the way, had his own equally plausible idea, in his book: Talk Radio's America: How an Industry Took Over a Political Party That Took Over the United States. Becca Rothfeld: [02-15] The Alternative is just the book economists should read -- and won't: "Journalist Nick Romeo lays out eight examples of what we gain when we think about morality alongside money." The book's subtitle: How to Build a Just Economy. Matt Stieb: [02-13] The millionaire LimeWire founder behind RFK Jr.: "Mark Gorton has done his own research on JFK, LBJ, vaccines, and the 2024 election." Li Zhou:
The New Yorker: [02-17] Our favorite bookstores in New York City: From the days after I turned 16, got a driver's license, and dropped out of high school, up until perhaps as late as 2011 (i.e., when Borders show down), I spent large parts of my life carousing around bookstores -- at least two, often more like four times a week. (Since then, I mostly just do this.) I fell out of the habit here in Wichita (which still has Watermark Books, and a Barnes & Noble), but what really got me was find most of the bookstores I regularly sought out when visiting New York City had been turned into banks (Colisseum Books was especially saddening). So I'm pleased to see this article, and also to note that the only store listed I've actually been in was the Barnes & Noble. Not that I'm actually likely to get back there any time soon -- most of the people I knew there have departed, and I haven't traveled since the pandemic hit -- but at least one can again entertain the thought. Also, some notes found on ex-Twitter (many forwarded by @tillkan, so please do yourself a favor and follow her; my comments in brackets):
Ask a question, or send a comment. Tuesday, February 13, 2024 Music WeekFebruary archive (in progress). Music: Current count 41828 [41777] rated (+51), 23 [21] unrated (+2). I did the weekly changeover at more or less the usual time -- late Sunday evening, or maybe early Monday, the last thing usually being unpacking, which I've been avoiding lately. I've gotten real tired of the bookkeeping that keeps me on top of what's coming and going, and never more so than at the present moment. I figured Monday should be a relatively open day for once, and remembered that I had skipped the indexing for January Streamnotes, so I thought I'd knock that out of the way and catch up. Problem was: I hadn't done December and November either. At the end of Monday, I was still stuck in December, having written nothing. Hence the delay to Tuesday. When I got up, I felt up to trying to finish, but didn't get January done until 9PM, at which point I still had to write this introduction. The indexing consists of monthly lists organized by year: 2023 is complete now, and 2024 is a new file, with just January. Worse is the Artist Index, which lists all 23,272 records that I've written about in Streamnotes, since that fateful day in 2007 when Rhapsody gave me a subscription and I decided to be generous and write down notes on whatever I listened to. In 2014, I swept my other reviews (Jazz Prospecting and Recycled Goods) into a single Streamnotes archive, as the promos and purchases thinned out, and I filled my empty time with streaming. It's never been clearer to me that my indexing scheme is too laborious and error-prone. What isn't clear is whether I'm up to the fairly substantial programming project that is clearly called for, especially given the probability that I won't be able to do this much longer. Given that I've reviewed and rated what I'm fairly certain is an all-time personal record of 1,711 albums released or discovered in 2023, I'm tempted to just bow out on top. And note that I just had to fix 4 errors in the source for that number, my 2023 tracking file. It's a never-ending struggle around here. Actually, I did manage a small bit of writing on the side yesterday and today -- just not here. Monday I wrote a postscript to the weekend's Speaking of Which, where I point out that reputedly smart people (Matthew Yglesias was named but is far from alone) simply don't understand the Trump campaign. This postscript adds to what I previously identified as my "pull quote":
My political writing scarcely gets noticed in my own house, so I'm under no illusions about my ability to influence the world. But I do insist, to anyone willing to listen, that our great fear isn't what might happen in November, but what's actually happening day-by-day here and now. My post starts each week with links to Mondoweiss's daily reports, which given the time gap are up each day before I am. That's as good a place to start as any, although you can also track Middle East Monitor, +972, Middle East Eye, AlJazeera, Antiwar.com, Tikun Olam, Popular Resistance, and no doubt there are many others. The reporting in the Washington Post and New York Times is also pretty damning, even if their opinion writers remain under Israel's spell. The enormity of the atrocities Israel is committing is staggering, something that will redound to the long-term embarrassment of everyone not opposing not opposing it now. (Note: only three Democrats voted against the $95B military military aid bill; 19 Republicans opposed, with most objecting to the larger Ukraine component. Van Hollen gave a good speech declaring Israelis to be "war criminals," but voted for the aid anyway.) I did manage to get my political book file reopened last week, but haven't managed to do any work on it. I've promised myself one solid month of focus on it, which hasn't started yet, but is still the plan. Meanwhile, I have another essay I need to wrap up this week. And, well, there are always distractions. I spent a good chunk of time today writing an obscure notebook entry -- something even I don't consider important enough to blog about, but wanted to keep as a thought experiment. It has to do with my Old Music review of the Paranoid Style, below, and a fracas over on Facebook that made me question what I had written. If you know what I'm talking about, and care, you can probably look it up. Most likely I will eventually turn it into a Q&A answer, since that's where it started. Too late to try to say anything about the EOY Aggregate, but I'm essentially done with it. I factored in all of the albums that I had give grades to but hadn't previously picked up. I added in Christgau's Dean's List. I did a search for country music lists I had missed, and found quite a few. (A bunch of this week's records come from that work, including the Stephen Wilson Jr. pick. Diminishing returns from that work, as the other two albums pictured actually came from my demo queue. The Maison Moderne review came after the cutoff, but I figured I had the image space.) The legend is up to 612 lists now. Maybe I'll check to see what's missing, and find a few gaps, but it's pretty much all there. Usual freeze date is end of February, so I'm not feeling much pressure to wind it up. Just the opposite: fatigue. As bookkeeping tasks go, it's at most an hour's work. I'm very impressed with Greg Grandin's The End of the Myth, and should write some about it. New records reviewed this week: Colby Acuff: Western White Pines (2023, Sony Music Nashville): Country singer-songwriter, from Idaho, second album, claims he's "too Idaho for Texas, too Texas for Nashville." Good songs, and sings them hard. B+(***) [sp] Jim Alfredson: Family Business (2021 [2023], Posi-Tone): Organ player, has a previous album from 2009, gets the red carpet treatment from his new mainstream label here, with headliners Alex Sipiagin (trumpet), Diego Rivera (tenor sax), Michael Dease (trombone), Will Bernard (guitar), and EJ Strickland (drums). B+(**) [sp] Bill Anschell: Improbable Solutions (2020-23 [2024], Origin): Pianist, based in Seattle, debut 1995, adds electronics to the mix here, with guitarist Brian Monroney joining the trio on five (of nine) tracks, extra percussion on three, moving into fusion the the finale. B+(*) [cd] Alex Anwandter: El Diablo En El Cuerpo (2023, 5 AM): Singer-songwriter from Chile, started as vocalist for Teleradio Donoso, based in Los Angeles, sixth album. Big beats carry the day. B+(**) [sp] Atmosphere: Talk Talk EP (2023, Rhymesayers Entertainment): Hip-hop duo from Minneapolis, started out in 1997, still underground, despite the "EP" in the title this runs 10 songs, 40:20. Two guest spots for Bat Flower; one more shared by Buck 65 and Kool Keith. B+(**) [sp] Bad Bunny: Nadie Sabe Lo Que Va a Pasar Manana (2023, Rimas Entertainment): Puerto Rican, major reggaeton star, fifth album, first album in 2018 rose to 11 on US pop chart (1 Latin), second album hit 2, this makes 3 straight number ones. I've played them all, and never really connected -- seems to be a case where my lack of Spanish hurts (or it could just be the record's lack of beats). I took my sweet time getting to this one, because, well, it doesn't seem to have generated much buzz (EOY lists: 7 Complex, 17 Billboard, 32 Rolling Stone, 53 Uproxx Critics Poll, very little else), and because it's really long (22 tracks, 81:18). Gave me time enough to wax and wane, with stretches making me think this could really work, only to be followed by doubts it will ever work for me. B+(**) [sp] Barbie: The Album (2023, Atlantic): Original songs keyed to the Greta Gerwig-directed movie, produced by Mark Ronson, Kevin Weaver, and Brandon Weaver, with six singles (out of 17 songs), starting with Dua Lipa's "Dance the Night." The dance pop could be tuned up a bit, but some of the novelty songs (including the Billie Eilish, "Pink," and "I'm Just Ken") hit their mark. B+(***) [sp] Berlioz: Jazz Is for Ordinary People (2023, self-released, EP): All Discogs has to say is "Bassist." But the album credits list two composers: Robin Edward Phillips (piano, keyboards) and Jasper Edward Attle (producer), along with Sam Miles (saxophone) and Jihad Darwish (sitar/bass). Five songs, 15:15, jazzy instrumentation but some other postmodernist feel. B+(*) [sp] Jaap Blonk/Damon Smith/Ra Kalam Bob Moses: Rune Kitchen (2022 [2023], Balance Point Acoustics): Dutch "sound poet," voice and electronics here, backed with bass and drums. B+(*) [sp] Brothers Osborne: Brothers Osborne (2023, EMI Nashville): Country duo, T.J (lead vocals, rhythm guitar) and John (lead guitar, background vocals), from Maryland, fourth studio album since 2016, debut went gold, commercially it's been downhill since there. Not to be confused with the Osborne Brothers, a bluegrass group that ran from 1953-2005, with Bobby dying last year, and Sonny in 2021. These youngsters are more country-rock, with a little something. B+(*) [sp] Burial: Dreamfear/Boy Sent From Above (2024, XL, EP): British electronica producer William Bevan, has a couple albums from 2006-07, since then has mostly released two-sided singles, like this one (12:53 + 13:23). Seems more energetic than recent efforts. Also weirder. B+(*) [sp] Tré Burt: Traffic Fiction (2023, Oh Boy): Singer-songwriter, from Sacramento, third album, slotted folk because he landed on John Prine's label, but not much resemblance, with tags on Bandcamp all over the map. B+(*) [sp] Willi Carlisle: Critterland (2024, Signature Sounds): Folkie singer-songwriter, previous album (Peculiar, Missouri) seemed like a breakthrough, but struggles here, ending with a spoken word bit of Ozark folklore. B+(**) [sp] Jordan Davis: Bluebird Days (2023, MCA Nashville): Country singer-songwriter, second album. B+(*) [sp] John Dierker/Jeff Arnal: Astral Chronology (2022-23 [2023], Mahakala Music, EP): Bass clarinet/tenor sax with percussion, electronics, and field recordings. Both have spotty discographies, including a previous album together in 2002. This one is short (4 tracks, 21:48, but engaging and intense. B+(**) [bc] Drake: For All the Dogs (2023, OVO Sound): Canadian rapper, middle name for Aubrey Graham, debut EP 2009, breakthrough album 2010, eighth studio album, all number ones, which he's parlayed into a substantial business empire, while losing virtually all of his critical cachet. I can't begin to explain either why he's so popular, or so disliked by critics: AOTY gives him a career rating of 68 over 311 reviews, with this album scoring 50 for 13. Other than pointing to the extreme length -- 23 songs (84:50), expanded in the Scary Hours Edition to 29 (108:46) -- during which very little stands out (a rare exception is a feature for Sexyy Red and SZA that goes: "shake that ass for Drake/ now shake that ass for me"; that segues into Lil Yachty chanting, "just another late night for my bitch"). Not awful, but not by much. B [sp] Ana Frango Elétrico: Me Chama De Gato Que Eu Sou Sua (2023, Mr Bongo): Brazilian singer-songwriter, Ana Fainguelernt, third album. Some snappy dance moves. B+(**) [sp] Andy Emler MegaOctet: No Rush! (2021 [2023], La Buissonne): French pianist, albums since 1982, initial Mega Octet in 1990, ten musicians credited here, including trumpet, tuba, three saxes, guitar (Nguyen Lê), bass, drums, percussion (including marimba, tabla). B+(**) [bc] Ilhan Ersahin/Dave Harrington/Kenny Wollesen: Your Head You Know (2023, Nublu, EP): Saxophonist, Turkish roots but born in Sweden, based in New York, albums since 1996; Harrington plays guitar, bass, keyboards, and electronics, with Wollesen on drums. Three tracks (18:47). B+(*) [bc] Peter Erskine and the Jam Music Lab All-Stars: Bernstein in Vienna (2021 [2024], Origin): Drummer, best known for Weather Report, but his best work is clearest in piano trios, and he's long had a thing for big bands. Pianist Danny Grissett is musical director here, leading a septet of sax, guitar, harmonica, violin, and bass through Leonard Bernstein's most popular show tunes. B+(**) [cd] Greg Foat & Eero Koivistoinen: Feathers (2023, Jazzaggression): British pianist, all electric here (Rhodes, Roland, Prophet, Moogs), with the Finnish tenor saxophonist, and rhythm (bass, drums, extra percussion). Nice groove album, the sax a plus but not as dominant as you'd expect (or hope for). B+(*) [sp] Hardy: The Mockingbird & the Crow (2023, Big Loud): Country singer-songwriter Michael Hardy, from Mississippi, based in Nashville, second album after several EPs and mixtapes (dubbed Hixtape). Has a rep as a hard rocker, which isn't especially in evidence here until the crow comes out. I prefer the "poor boy from Mississppi," but don't mind a little noise (although I am wary of the redneck chauvinism). I don't really approve of the effort to muscle up country music into arena rock, but this makes a case. [Docked a notch for the finale.] B+(**) [sp] Ayumi Ishito: Ayumi Ishito & the Spacemen Vol. 2 (2020 [2023], 577): Japanese tenor saxophonist, graduated from Berklee, Vol. 1 came out in 2021, group includes synthesizer, theremin, guitar/bass, and drums, with voice scattered about, haunting (or mocking?) the spaciness. B+(*) [os] Maria João & Carlos Bica Quartet: Close to You (2019-21 [2023], JACC): Portuguese singer, counted in the quartet with bassist Bica, keyboards (João Farinha), and guitar (Gonçalo Neto or André Santos). Leads with four covers, disconcertingly weaving Paul Simon into Joni Mitchell's "Woodstock," scatting around "Norwegian Wood," followed by the Bacharach-David title song, and Lennon/Ono's "Oh My Love," then three originals (one with a Yeats text), and "What a Wonderful World." I was tempted to write the openers off as merely eccentric, but the title song is especially striking, and the originals find a nice musical balance, which lets the finale end as it should. A- [bc] Cody Johnson: Leather (2023, Warner Music Nashville): Country singer from Texas, ninth album since 2006, third on a major label. A voice and band as credible as most of his lot, but didn't write any of these twelve songs -- most conventional, "Jesus Loves You" should make you more than a little nervous. B [sp] Ruston Kelly: The Weakness (2023, Rounder): Singer-songwriter, originally from South Carolina, briefly married to Kacey Musgraves, third album since 2018, slotted country but I don't particularly hear that. I do hear some songs. B+(*) [sp] Knower: Knower Forever (2023, self-released): Duo of Genevieve Artadi (vocals) and Louis Cole (drums), albums since 2010 (at first under the artists' names), many more credits here, mostly electropop, when it peeks out from under the strings. B [sp] Tony Kofi & Alina Bzhezhinska: Altera Vita (For Pharoah Sanders) (2023, BBE, EP): Tenor sax and harp duet, she also goes as AlinaHipHarp, actually just a 5:34 single, so I shouldn't have bothered, but it showed up in an album list, and is quite nice, as far as it goes. B [sp] Ella Langley: Excuse the Mess (2023, Sawgod): Country singer-songwriter, from Alabama, follows up several singles with a solid eight-song, 25:09 album. B+(*) [sp] Metric: Formentera II (2023, Metric Music International): Electropop band from Toronto, ninth studio album since 2001, sequel to their 2022 album; Emily Haines is the vocalist, who co-wrote the songs with guitarist James Shaw. Songs are catchy and engaging. B+(***) [sp] Mokoomba: Tusona: Tracings in the Sand (2023, Out Here): Tonga group from Zimbabwe, third album (per Discogs) since 2012. Not far removed from the chimurenga popularized in the 1980s, but only picks up real groove power toward the end. B+(**) [sp] Nickel Creek: Celebrants (2023, Thirty Tigers): Progressive bluegrass trio, released five albums 1993-2005, disbanded, regrouped for a 2014 album, then this one. I heard nothing notable here until "Where the Long Line Leads." Fades back into oblivion, and stays there a long time. Every now and then my ears prick up, suggesting something of interest, most soon souring. Maybe that's what they mean by "progressive"? B- [sp] Old Crow Medicine Show: Jubilee (2023, ATO): Nashville-based country string band, eighth studio album since 2004. Some gospel flourishes this time. B [sp] Dave Pietro: The Talisman (2023 [2024], SteepleChase): Alto saxophonist, half-dozen albums 1994-2008, only a couple since. Mainstream lineup with Scott Wendholt (trumpet), Gary Versace (piano), Jay Anderson (bass), and Billy Drummond (drums). B+(**) [sp] Dougie Poole: The Rainbow Wheel of Death (2023, Wharf Cat): Country-ish singer-songwriter from Brooklyn, third album, some good songs, ends on a soft note. B+(*) [sp] Noah Preminger/Kim Cass: The Dank (2023, Dry Bridge, EP): Duets, sax/clarinet/flute/synth and bass/guitar. Eight short pieces, 20:06. B+(**) [bc] Nicky Schrire: Nowhere Girl (2023, Anzic): Jazz singer-songwriter, born in London, grew up in Cape Town, studied in New York, wound up in Toronto, debut album 2012. I'm not seeing song credits, but the only one I recognize is "Heart Like a Wheel," which focuses the remainder for McGarrigles fans. B+(*) [sp] Laura Schuler Quartett: Sueños Paralelos (2021 [2023], Antidrò): Swiss violinist, debut 2018, with Tony Malaby (tenor sax), Hanspeler Pfammatter (synthesizer), and Lionel Friedli (drums), leaning free (last title is "Baby It's Freejazz"). B+(**) [sp] Sparks Quartet [Eri Yamamoto/Chad Fowler/William Parker/Steve Hirsh]: Live at Vision Festival XXVI (2022 [2023], Mahakala Music): Piano, sax/flute, bass, drums; quartet released an album as Sparks in 2022, so are following it up with a live set here. B+(**) [bc] Peter Stampfel/Eli Smith/Walker Shepard: Wildernauts (2024, Don Giovanni): Folk "supergroup" releases their eponymous debut, but I had to look the others up: Discogs shows side-credits for both, mostly playing banjo, including Have Moicy 2. The leader's voice remains instantly recognizable, even as tattered as it is, even as backup ("Picking Dandelions"). Some covers, like the opener "Crazy Arms," and "There Stands the Glass," register right away. Others will take more dedication. B+(**) [sp] Tani Tabbal Quartet: Intentional (2022 [2023], Mahakala Music): Drummer, only a couple albums as leader but has side credits starting in 1981 with Roscoe Mitchell, later with David Murray, then was in James Carter's quartet during its prime period. Here with Joe McPhee (tenor sax/poetry), Adam Siegel (alto sax), and Michael Bisio (bass). B+(***) [bc] Truth Cult: Walk the Wheel (2023, Pop Wig): Emo/hardcore band from Baltimore, second album after a 2018 EP, eleven songs, 27:22. Heavy enough I set the "metal" flag, but sharp enough I let them have their say. B+(*) [bc] Turnpike Troubadours: A Cat in the Rain (2023, Bossier City): Country band from Oklahoma, sixth album since 2007, steady, pleasant performers, fiddle helps with the old timey feel, don't have much to say, but at least what they have to say isn't bad. B [sp] Morgan Wallen: One Thing at a Time (2023, Big Loud): Country singer-songwriter, from Sneedville, Tennessee, third studio album since 2018, seems like much more, sprawling from 14-songs (45:11) to 30-songs (96:53) to 36-songs (111:36). Huge bestseller, Billboard's number one album for 2023. I've avoid this due to anticipated fatigue and poor reputation, but a very cursory stream does little credit to either excuse. He writes (with help) ordinary songs, gives them fashionably tradish arrangements, and has an agreeable voice. No one will ever mistake him for Merle Haggard (or, for that matter, Don Williams), but you can drink, or I can write, with him in the background, and never give him a serious thought, even if you happen to pay some attention. B+(*) [sp] Stephen Wilson Jr.: Søn of Dad (2023, Big Loud): Country singer-songwriter, from Indiana, first album, about his father, got a little carried away (21 songs, 90 minutes). Still, the first three songs set the stage, showing an interest in social realism and demonstrating sonic tricks (including that "strong Southern drawl" but also booming guitar with a bit of fiddle) to sustain the effort. As for his daddy complex, I have my doubts -- what kind of father teaches his age-5 son to box? not mine, but but I can't say much more in his favor. I keep wondering whether I should revisit Zack Bryan, a good album, but one where the length ultimately wore me down. But even if it earns its reputation, I'd be very surprised if will hold up this well. A- [sp] Recent reissues, compilations, and vault discoveries: Tubby Hayes: No Blues: The Complete Hopbine '65 (1965 [2023], Jazz in Britain): British tenor saxophonist, one of the few real bebop masters, lived fast and died young (1935-73). With Kenny Powell (piano), Ron Mathewson (bass), and Dick Brennan (drums), with Hopbine host and fellow tenor saxophonist Tommy Whittle joining for a couple of jousts. Burns intense and long (7 tracks, 95:39), though sometimes the mic seems to wander off. B+(***) [sp] Jeffrey Lewis: Asides & B-Sides (2014-2018) (2014-18 [2023], self-released): Antifolk singer-songwriter, got started with a self-released cassette in 1998, has a couple albums suggesting career development, then reverts to DIY obscurity, like his recent series from 2019 Tapes through 2022 Tapes -- on Bandcamp but not enough to review. In 2022, he scraped together a 7-track EP called When That Really Old Cat Dies, which has since all but disappeared, even from Google, evidently supplanted by this miscellany, extending the EP to 10 songs, 31:12, finally showing up on Spotify (after I failed to find it just a week ago). Doesn't add much, but did get "The Guest List" a couple more spins. B+(***) [sp] Lou Reed: Hudson River Wind Meditations (2007 [2024], Light in the Attic): An hour-plus of ambient electronica, as far off his beaten path as Metal Machine Music, and certainly more age-appropriate for what appears to have been his last album. And good enough that he could have had a decent career had he started in this vein decades earlier -- not that you or I would have heard of him. B+(**) [sp] Taylor Swift: 1989 (Taylor's Version) (2023, Republic): Her fifth album in 2014, now the fourth to get the "Taylor's Version" treatment, which doesn't seem to be anything more than a scam to make more money off back catalogue while giving less of it to Big Machine. I'm not making judgments on that, although I'm also not arguing with anyone who wants to argue against on ethical and/or artistic grounds. I streamed the original, liked it enough for a B+(***), but don't remember a single song, and have no desire compare versions. It's as if I'm hearing a new album for the first time, although it seems unfair to the rest of the world not to list it among reissues. Original grade seems about right. B+(***) [sp] Barbara Thompson: First Light (1971-72 [2023], Jazz in Britain): British saxophonist (1944-2022), had played with Howard Riley, Michael Gibbs, and Neil Ardley before this, also the rock band Colosseum (she married their drummer, Jon Hiseman), but became better known after 1978 with her Paraphernalia groups. This starts with two Group E pieces, with her on soprano sax and alto flute, and Peip Lemer singing (21:10). That's followed by a big band piece (26:38), then five tracks with her Jubiaba group (29:39; the group finally released an album in 1978). The vocals add to the mess of the first two sets. Jubiaba is also messy, but explodes in rhythm often enough to raise your hopes. B [bc] Old music: The Paranoid Style: The Power of Our Proven System (2013, Misra, EP): A reader sent me this YouTube playlist so I could "check it off my list," like this one (updated but not regularly maintained). This was evidently the first of three EPs later combined in unhelpful ways (like a 2013 Misra cassette), a five-song (21:59) digital release, each with its own video (which I've played through several times, but never managed to watch through). Straitlaced indie rock with copious smarts, a formula Elizabeth Nelson and Timothy Bracy have stuck doggedly with, even through full albums like 2016's Rolling Disclosure and the new one, The Interrogator -- both recommended. B+(***) [yt] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, February 11, 2024 Speaking of WhichIt's pretty exhausting trying to wrap this up on Sunday evening, early enough so I can relax with a bit of TV, a few minutes on the jigsaw puzzle, a few pages in my current book, and maybe a bit of computer Mahjong before I run make to get a jump on Monday's Music Week. After a night's sleep, chances are good that I'll think of some introductory text, and stumble across a couple stories I initially missed. If I do, I'll add them and mark them accordingly, with that red right-margin border. But if you want a pull quote right now, it's probably this:
Initial counts: 145 links, 5,485 words. Top story threads:Israel:
Mondoweiss: Israel vs. world opinion:
America's expansion of Israel's world war:
Trump, and other Republicans:
Biden and/or the Democrats:
Lots of people have unsolicited advice for the Biden campaign, which frankly seems to need one, but New Republic came up with a bundle of them this week -- enough to break out from the news items above, so let's collect them here.
Legal matters and other crimes:
Climate and environment:
Economic matters:
Ukraine War:
Around the world:
Other stories:Al Jazeera: [02-02] Ex-CIA software engineer who leaked to WikiLeaks sentenced to 40 years: "Joshua Schulte had been found guilty of handing over classified materials in so-called Vault 7 leak. Nicholson Baker: [01-31] No, aliens haven't visited the earth: "Why are so many smart people insisting otherwise?" Harry Brighouse: [02-05] What's wrong with free public college? Some reasonable points, but I'm not much bothered that a right to free higher education would benefit the middle class more than poorer students. Lots of worthwhile programs do the same, but we shouldn't, for example, give up on airline safety just because the beneficiaries skew up. Elizabeth Dwoskin: [02-10] How a liberal billionaire became America's leading anti-DEI crusader: Profile of Bill Ackman. Another rich guy with money to burn, but how does having donated to Clinton and Obama make him any kind of liberal? Nicholas Fandos: [02-10] What to know about the race to replace George Santos: "The special House election in New York pits Mazi Pilip, a Republican county legislator, against Tom Suozzi, a former Democratic congressman." In other words, the Democrats nominated the most anodyne white guy possible, while the Republicans calculated that the best way to advance their racist, sexist, nativist agenda was by nominating a black female Jewish immigrant from Ethiopia. Abdallah Fayyad/Nicole Narea/Andrew Prokop: [02-09] 7 questions about migration and the US-Mexico border, answered. More border:
Rebecca Gordon: [02-11] Banning what matters: "Public libraries under MAGA threat." Joshua Keating: [02-06] Welcome to the "neomedieval era": "Nations like the US have more firepower than ever before -- but they also appear weaker than ever. The upshot is a world that feels out of control." Carlos Lozada: [02-16] : I was expecting, perhaps even hoping for, a Consumer Guide-style compendium of notes on political books, but instead got an introductory essay adapted from his forthcoming The Washington Book: How to Read Politics and Politicians. Of course, unless you're a writer with a specific assignment, it's very unlikely you'd actually have to read any book written by (or for) a Washington politician, nor would you do so voluntarily. But I find that such surveys, such as I attempt in my book roundups, can be useful for sampling the state of public discourse. By the way, I did finally pick up a copy of Lozada's What Were We Thinking: A Brief Intellectual History of the Trump Era, but I haven't gotten around to it yet. Clare Malone: [02-10] Is the media prepared for an extinction-level event? "Ads are scarce, search and social traffic is dying, and readers are burned out. The future will require fundamentally rethinking the press's relationship to its audience." AW Ohlheiser: [02-08] What we've learned from 20 years of Facebook. Nathan J Robinson:
Jeffrey St Clair: [02-09] Roaming Charges: Comfortably dumb. Harsh on Biden. Quote:
Bryan Walsh: [02-10] Taylor Swift, the NFL, and two routes to cultural dominance: My minor acknowledgment of the week's overweening culture story, not that I have anything to say about it. Cultural dominance isn't what it used to be LVIII years ago, when the Chiefs I remember fondly -- Len Dawson, Otis Taylor, Ed Budde, E.J. Holub, Buck Buchanan -- got butchered by the Green Bay Packers (IV was much more satisfying), while the Beatles, Rolling Stones, Bob Dylan, and James Brown were regularly outdoing themselves. These days, even the largest stars seem much smaller than they did when I was fifteen, because we now recognize that the world is so much larger. I haven't watched football since the 1980s (or baseball since the 1990s), and while I still listen to quite a bit of popular music, I doubt that any new artist has occupied as much as 1% of my time since 2000. I've listened to, and clearly like, Taylor Swift, but I hardly recognize her song titles, and certainly couldn't rank them (as Rob Sheffield did, 243 of them). I suppose you could chalk that up to age, but I'm feeling the least bit nostalgic. I reviewed more than 1,600 records last year. In 1966, I doubt I heard more than 10 -- supplemented, of course, by KLEO and TV shows like Shindig! and Hullabaloo, but the universe I was conscious of extended to at most a couple hundred artists. Back then, I thought I could master it all. Now I know I never stood a chance. I know I promised, but what the hell:
Li Zhou: [02-06] The Grammys' Beyoncé snubs speak to a deeper problem: Beyoncé was snubbed? "They're emblematic of how the awards have failed Black artists." As someone who has never had any expectation of Grammy ever doing anything right, I find the very notion that anyone could be so certainly deserving of a win as to be snubbed baffling. Sorry for doing this to you, but I'm going to quote a Donald Trump tweet (quoted by Matthew Yglesias, reposted by Dean Baker, my emphasis added):
Yglesias responded: "This stuff is demented but it also serves to deflect attention from the boring reality that what he's going to do is cut rich people's taxes, raise prescription drug prices, let companies dump more shit in the water, etc etc etc." There's a lot of hyperbole in this pitch, but who can doubts that there are warmongers in the cururent government, that they are pushing us into more perilous foreign entanglements, and that Biden isn't likely to restrain much less break from them. There's good reason to doubt that Trump can fix this, but if he wants to campaign on the promise, many people will find slim chance preferable to none. Moreover, the rest of his pitch is coherent and forceful, and is likely to resonate with the propaganda pitch much of the media -- and not just the shills at Fox -- have been pushing over the last decade. Countering that Trump won't really do this just feeds into the paranoia over the Deep State -- which, to be sure, thwarted him in 2017, but this time he knows much better what he's up against. Worse still is arguing that his actual government will be boring, with a side of petty corruption, just shows you're not listening, and also suggests that you don't much care what happens. If Trump did nothing more than check off Yglesias's list, he'd still be a disaster for most Americans. But at the very minimum, he's going to do much more than that: he's going to talk, and he's going to talk a lot, and he's going to bring more people into government and media who are going to add ever more vicious details to the mass of hate and pomposity he spews. And even though lots of us are going to recoil in horror, we'll still have to stuggle to survive being inundated by it all, all the while suffering the glee of our tormenters. Of course, the "Final Battle" and "once and for all" is as over the top as the Book of Revelation he's taken to heart. But that it can't happen won't make them any less determined, or dangerous, or dreadful. Ask a question, or send a comment. -- next |