An occasional blog about populist politics and popular music, not necessarily at the same time.
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Monday, August 30, 2021
Music: Current count 36142  rated (+49), 226  unrated (+5).
A couple weeks ago I wrote a critical comment on an egregiously bad piece by Matt Taibbi (on what he called The Vanishing Legacy of Barack Obama). Next week, Taibbi wrote a pretty good piece on the fall of Kabul, Afghanistan: We Never Learn. He always cultivated this idea that he could prove his independence by attacking "both sides" -- e.g., in The Great Derangement, he added a chapter attacking "9/11 truthers" as a left-wing analog to the right-wing crazies who gave him so much to write about -- but lately his ravings about mainstream media and centrist Democrats have become increasingly arbitrary and gratuitous, especially given how far off the deep end right-wing media and politicians have plunged. But the fact that many Democrats are wed to the dysfunctional fantasies of the military-security-mercenary complex gives him a chance to put his contrarianism to good use. And now, he's managed to merge his best insights with his worst instincts, in To Stop War, America Needs a Third Party.
Look, I voted for Ralph Nader in 2000. We had just moved to Kansas, and it was clear the Democrats didn't have the slightest interest in campaigning in Kansas. When I voted, the thought occurred to me that Nader might even outpoll Gore here. Well, I was wrong. Without trying, Gore got 11 times as many votes as Nader (399,276 to 36,086; although in Douglas County, the Gore/Nader ratio was down to 4). Even so, Gore lost to Bush by 20.8 points, had Gore received all of Nader's votes, the margin would only have dropped to 17.4. I've never blamed Nader for Gore losing, and I get irritated when other people do. Gore ran the campaign he chose to, figuring he would make up more center votes (and cash) than he could possibly lose to a left that New Democrats had nothing but contempt for. Even as the true horror of the Bush administration became evident after 9/11, I've never doubted that Gore would have gone to war as readily as Bush did. (Well, maybe not Iraq, which Bush had a peculiar hard on for, but Afghanistan was the original mistake.) While Nader wasn't especially concerned with foreign affairs, I'm pretty sure that he would have held back, preventing the 20-year debacle that's only now becoming obvious to many people. So, at least in that respect, the divide between Nader and Gore was more important than the difference between Gore and Bush.
Taibbi is right that both parties have deeply invested in the imperial military mindset. In some ways, the failure of Democrats to find any sort of alternative foreign policy is more galling. Republicans' core belief in using military power to cow poorer nations is consistent with their faith in using police and courts to trample poor and dissident people at home. Both intend to fortify and protect privilege classes, and are not tempered by concerns for democracy, freedom, or individual rights. You'd think that Democrats would understand that by now. (They've been slow on the uptake, but Republican efforts to rig elections finally seem to have caught their attention.)
You'd also expect that they'd reflect back on the principles and promise of international institutions, which they worked hard to establish under and after FDR. Yet even now we see Biden acting rashly and unilaterally to order the wanton death of drone strikes while still committed to exiting Afghanistan.
But Taibbi is dead wrong about third parties. What I realized in 2000 was that the people we needed to convince to support a progressive agenda had already committed to one party (the Democratic), in large part because the other (the Republicans) were clearly committed to causing them harm. That fundamental truth has only become more obvious since 2000. The other change is that the neoliberal clique that took over the Democratic Party with Clinton can and has been challenged, both in primaries and through public organization. We've made progress, but still need to make the case to rank-and-file voters, the media, and even the elites -- especially on war, which is hard to do as long as Americans are being deployed in conflicts, with inevitable casualties and hardships, and a tendency to get wrapped up in their putative heroism. It's hard to heal while you're still getting beat up.
It's painful to listen to bystanders and opportunists decry Biden's airlift from Kabul. Many of the loudest complainers shared responsibility for the slow-moving train wreck, so much so that it's rather astounding that they can still feign surprise. Before the 13 soldiers killed in a freak suicide bombing, the US had enjoyed a respite from conflict for over a year -- a result that was only possible thanks to negotiating with the Taliban. The hawks who wish to renege now (the same ones who complain about the present chaos) have no idea how bad the situation could deteriorate if the Taliban decided they'd have to once again fight Americans for their freedom. One can always nitpick, but I'm actually impressed that Biden is handling this as well as he has -- and I'm disgusted with those who think otherwise.
I have very little to add about the recent deaths of Charlie Watts and Lee Perry. I've read much less about the death of Larry Harlow, a major figure in the development of salsa in New York. But I haven't listened to him much myself. My grade list for Perry is here.
A lot of old music this week, as I fell back on the unheard Christgau A-list, going back to the top after I lost my place. Some records there I skipped over during my first pass.
Finished Rana Foroohar's Don't Be Evil: The Case Against Big Tech, with mixed feelings I should probably try to articulate at some point. I'm especially bothered by her evident belief that stronger patent laws would increase competition, at least by making it easier for some other company to challenge the FAANG giants. I think that's exactly wrong. I also doubt her assertion that information is the new oil -- the comparison to railroads isn't quite as far off. Oil converted to energy which turned into a huge increase in the amount of work people could do, so it mostly added to the world's wealth. Information may help companies exploit people more efficiently, but it's ultimately more redistributive than not. That's why I expect we'll see diminishing returns from information technology.
On the other hand, I think the case that Foroohar makes about how the big FAANG companies depress innovation is valid. I'd like to see them partially broken up, but I don't think competition is a solution in and of itself. A lot of things that these networking companies do shouldn't be done at all. That can be addressed through a combination of regulating harmful activities, replacing useful ones with open source software, and subsidizing common infrastructure.
Afterwards, I picked up Ed Ward's The History of Rock & Roll: Volume One 1920-1965. As with similar books, a lot of emphasis early on is put on labels and entrepeneurs, which makes an interesting contrast after reading about the FAANG monopolies. But rock & roll is a pretty good example of what capitalism is actually good for.
August had five Mondays and nothing better to do, so this month's Streamnotes compilation is one of the largest ever.
New records reviewed this week:
Iggy Azalea: The End of an Era (2021, Bad Dreams/Empire): Australian rapper Amethyst Amelia Kelly, moved to US at 16 and picked up a local accent, had a big hit with her 2014 debut. Third and "final" album, supposedly a throwback to her "mixtape roots." Having survived my self-destructive impulses, I'm feeling kind of weird liking a song where the refrain is "I love drugs," or another explaining "You need a good girl/ I'm just a good time." I suppose I could blame the beats. A-
Alan Broadbent/London Metropolitan Strings: Broadbent Plays Brubeck (2021, Eden River): Pianist from New Zealand, back story is that he transcriptions of Brubeck Plays Brubeck in 1961, when he was 14, and played through it "as written, without any knowledge of, or feeling for, jazz rhythm." No such excuse now. Harvie S (bass) and Hans Dekker (drums) should help, but the strings drain the rhythm right out. B+(*)
Greg Burk/Ron Seguin/Michel Lambert: Sound Neighbors (2020, Tonos): Pianist, originally from Minnesota, studied at New England Conservatory, currently lives in Rome, albums since 2000. Trio with bass and drums/maikotron (probable source of synth sounds I originally thought might be prepared piano). The others are Canadian, although Seguin is also based in Rome, and has a connection to Lambert through Franšois Carrier. B+(***) [cd]
Greg Burk: Simple Joys (2019 , Tonos): Pianist-led quintet, recorded in Rome (where Burk lives), Italian names, none I recognize -- alto/soprano sax, guitar, bass, drums. Sleek postbop. B+(*) [cd]
Xhosa Cole Quartet: K(no)w Them, K(no)w Us (2021, Stoney Lane): British saxophonist, grew up in Birmingham, debut album, parens not evident on the cover (which has a spurious exclamation mark) but used in the doc. Quartet adds trumpet (Jay Phelps), bass, and drums, with guests Soweto Kinch (sax, 2 cuts) and Reuben James (piano, 3). B+(**) [bc]
Lorraine Feather: My Own Particular Life (2019-21 , Relarion): Jazz singer, as was her mother, her father the famous jazz writer Leonard Feather, her full name also including "Billie" for Holiday and "Lee" for Peggy. Recorded a couple albums in 1978, continued more regularly since 1996. Feather wrote lyrics here, to music by others (mostly Eddie Arkin). B+(*) [cd]
Bob Gorry/Pete Brunelli/Peter Riccio: GoBruCcio (2021, NHIC): Guitar-bass-drums trio, based in New Haven (label acronym is for New Haven Improvisers Collective). Seems to be Gorry's first album, but he hosts a jazz program, curates a series with Joe Morris, and has some side-credits with Allen Lowe. B+(**) [cd] [09-01]
Halsey: If I Can't Have Love, I Want Power (2021, Capitol): Pop singer-songwriter, Ashley Frangipane, fourth album, also "an hour-long film experience set to the music" of her album, co-written and produced by Trent Reznor and Atticus Ross for that soundtrack feel. The trailer, perhaps the whole concept, is way too grandiose. but the music is remarkably tight. B+(***)
Inawhirl: Streugebilde (2020 , Trost): Filed this under veteran pianist Georg Graewe, whose name appears first but not always. The others are Sara Kowal (harp) and dieb13 (turntables), so another reason for favoring Graewe might be that his is the only instrument that you really notice. Still, I've noticed him more elsewhere. B+(*) [bc]
Jake Breaks: Breaksy (2021, Wide Hive): Artist name given as Jacob B., credited with "breaks and cuts" (so, turntables?), band includes members of Throttle Elevator Music, with Gregory Rustall Howe credited with "songs, rhythm guitar, synthesizer, drums, quika, cymbals, and percussion. Label lists genre as hip-hop, but I filed these funk groove pieces under pop jazz, not that that's right either. B+(*) [cd]
Ka: A Martyr's Reward (2021, Iron Works): Rapper Kaseem Ryan, based in New York, sixth album since 2008. Dense and severe. B+(***) [yt]
James McMurtry: The Horses and the Hounds (2021, New West): Singer-songwriter from Texas, father was noveist Larry McMurtry, 10th album since 1989. Counts as Americana, with a feel for language and an eye for detail, over guitar which carries you along gently. I wasn't as quickly taken by this one as by his previous few albums, but enough comes through in the end. A-
Roscoe Mitchell: Dots: Pieces for Percussion and Woodwinds (2021, Wide Hive): AACM founder, Art Ensemble of Chicago saxophonist, 80 when this was recorded. The percussion works are too pointilist to generate any flow, but that was probably the idea. I don't see other credits, but this is sparse enough to be solo. Besides, everyone in AEC doubled on percussion (especially Mitchell). B+(**) [cd]
Ali Shaheed Muhammad & Adrian Younge: Jazz Is Dead 8: Brian Jackson (2021, Jazz Is Dead): Always a struggle to figure out whether the album credits belong with the producers or the guest artist, or whether the latter is the title. The feature artists (so far at least) are still-live veterans from the 1970s, so presumably these are new tracks rather than remixes. Jackson, who plays various keyboards, is best known as Gil Scott-Heron's music collaborator. The albums are all short, but at 8 songs, 32:09, we won't ding this as an EP. B+(*)
Nelly: Heartland (2021, Columbia, EP): St. Louis rapper Cornell Haynes Jr., debut album in 2000 was called Country Grammar, one of the year's best for me. He's always been on the pop side of hip-hop -- soft beats and chorus hooks, nothing gangsta or underground. Concept here is to feature country acts, kicking off with Florida Georgia Line on an irresistible ditty called "Lil Bit." Nothing else that catchy, and not just because the headliner fade pretty fast as you go down the list (George Birge? Chris Bandi?). Eight tracks, 23:47. B+(*)
Kevin Sun: <3 Bird (2021, Endectomorph Music): Tenor saxophonist, plays clarinet on one piece, fifth album since 2018 (including one as Mute), all aces. "The implications of Charlie Parker's art are fathomless." (Is that somehow different from unfathomable?) The thing that most impressed me about Sun's debut was the depth of his understanding of saxophone history and lore, so I suppose it's not surprising that he would want to work his way through Parker's legacy. Mostly originals here, with two Parker pieces plus "Salt Peanuts" (Dizzy Gillespie/Kenny Clarke), so he seems to be signing Parker up for his own purposes. [By the way, title is sometimes transcribed as ♡ Bird, but with the heart on its side.] A- [cd] [08-29]
Tinashe: 333 (2021, Tinashe Music): "Rhythmic pop" singer-songwriter, last name Kachingwe, born in Kentucky but grew up in Los Angeles, fifth album since 2014. B+(***)
Jim Yanda: A Silent Way (2019 , Corner Store Jazz, 2CD): Guitarist, originally from a farm in Iowa, has a couple albums (including one recorded in 1987 but released only in 2017). Studied with Paul Smoker. Recorded this in his living room before that became de rigeur. With Herb Robertson (trumpet) and Phil Haynes (drums). I admit I lost the thread midway through the second disc, but didn't mind trying to find it again. B+(***) [cd]
Recent reissues, compilations, and vault discoveries:
Peter Br÷tzmann: Love Comes Like Sour to Milk (1993 , Trost, EP): One 21-minute track, originally released as a cassette by Galerie Erhard Klein, solo reeds (tenor sax, bass clarinet, tarogato) from a period when he released such abrasive albums as Die Like a Dog and The Dried Rat-Dog. This is easier to handle, perhaps because there is less to it. B [bc]
Jan & Dean: Filet of Soul Redux: The Rejected Master Recordings (1966 , Omnivore): Supposedly the original master of the live/comedy album that appeared on Liberty in 1967. The duo could be quite funny, but the album has is a pastiche, with a lot of crash-and-burn sound effects that don't wear well. The songs are hits, only rarely theirs -- "Cathy's Clown," a Beatles section, "Lightning Strikes" (the album's high point), and for a closer, "Hang On Sloopy." B
ABC: Beauty Stab (1983, Mercury): English new wave band, from Sheffield, led by singer Martin Fry, with Mark White on guitar and Stephen Singleton on sax. Second album. Threatened to turn annoying, so I skipped this one, then trashed their Millennium Best Of, but I'm finding this a bit amusing. B+(*)
The Allman Brothers Band: Live at Fillmore East (1971, Capricorn): Southern rock band, brothers Duane (guitar) and Gregg Allman (keyboards, vocals), established the concept with two studio albums, then released this live jam. Duane died in a motorcycle crash a year later, and Berry Oakley (bass) died a year later, but Dickey Betts partly filled the gap and the band kept going into the 1980s, with solo careers and occasional reunions following. B
The Allman Brothers Band: The Best of the Allman Brothers Band -- Live [20th Century Masters: The Millennium Collection] (1971 , Mercury/Chronicles): Six tracks, 49:59, all drawn from the 1971 Fillmore East sessions, which originally appeared as At Fillmore East in 1971, and has grown by leaps and bounds since, culminating in a 6-CD box, The 1971 Fillmore East Recordings. Three of these were on the original album, the rest on 1992's 2-CD The Fillmore Concerts, but the times most precisely match the 2003 remasters in At Fillmore East [Deluxe Edition]. Better than the original album, probably because they focus on blues they didn't write. Still doesn't help much when they go long. B+(***)
The Allman Brothers Band: The Road Goes On Forever: A Collection of Their Greatest Recordings (1969-73 , Capricorn): Best-of compiled from five albums plus some (4?) extra live recordings, totals 1:24:11. Pretty much lives up to its billing. [Reissued 2001 on 2CD with 67:38 extra material, including album tracks up to 1979.] B+(***) [yt]
The Allman Brothers Band: The Best of the Allman Brothers Band [20th Century Masters: The Millennium Collection] (1969-79 , Polydor): First attempt at a budget series best-of, with 11 songs, only one after 1973's Brothers & Sisters, only one live, a shorter and cheaper (and still in print) alternative -- not that shorter is what fans especially want. B+(***)
Amadou & Mariam: Je Pense └ Toi: The Best of Amadou & Mariam (1998-2002 , Circular Moves/Universal Music Jazz): Known as "the blind couple from Mali," Mariam Doumbia sings, as does guitarist Amadou Bagayoko. They've recorded at least since 1985. This picks songs from three French albums, solid work that doesn't quite delight me. B+(***)
Archers of Loaf: Archers of Loaf Vs. the Greatest of All Time (1994, Alias, EP): Punkish rock band from North Carolina, fairly major 1993-98, with Eric Bachmann heading off for a second group (Crooked Fingers) and a less distinguished solo career. Five songs, 17:29. B+(**)
Archers of Loaf: The Speed of Cattle (1992-94 , Alias): Eighteen scattered outtakes, singles, radio shots, leftovers, the fallout of a group with two albums done and two more to come. B+(*)
Archers of Loaf: Vitus Tinnitus (1997, Alias, EP): Six-cut live album, plus two remixes from All he Nations Airports. Reminds me that I like their sound, even if nothing particularly stands out. B+(**)
Ashford & Simpson: So So Satisfied (1977, Warner Brothers): Nick Ashford and Valerie Simpson, a songwriting team at Motown before recording together in 1973. Fourth (or fifth?) album, all barely grazed the charts before Send It gave them their first gold record. B+(***)
Ashford & Simpson: Send It (1977, Warner Brothers): Christgau's review places this before So So Satisfied, but most other sources list it later, and the chart order makes more sense that way: So So Satisfied peaked at 180, Send It 52, Is It Stil Good to Ya (20). Also, two of Send It's singles didn't appear until 1978. High points are more funk or more disco, but I'm probably missing the point. B+(**)
Ashford & Simpson: Stay Free (1979, Warner Brothers): Seventh album, further into the disco era, which is the part I prefer to the strings and romance, but that's still their default. B+(*)
Ashford & Simpson: Solid (1984, Capitol): Title single hit lifted this to their fourth gold album. B+(*)
Bad Religion: All Ages (1982-94 , Epitaph): Punk rock band from Los Angeles, formed in 1980, 17 studio albums through 2019, only one I've bothered checking out after I shit-canned their early Christgau A-listed Into the Unknown. This is a compilation, baited with two recent live tracks, occasioned (perhaps) by the exit of Brett Gurewitz, leaving singer Greg Graffin in charge. They were consistent enough I can't detect much change over this decade, but then my ears glazed over. Only lyric I jotted down: "I got ideas too." No doubt, but do I care? B
Afrika Bambaataa & Soulsonic Force: Planet Rock: The Album (1982-84 , Tommy Boy): DJ/rapper Lance Taylor, first-generation compilation built around the same four singles that key the compilation I've recommended since 2001, Looking for the Perfect Beat: 1980-1985. The other three cuts here are less generous than seven on the other, but in its time, this gave you a pretty good sense of how hip-hop arrived. A-
Bang on a Can: Bang on a Can Meets Kyaw Kyaw Naing (2005, Cantaloupe): Classical group, founded 1987 by three composers not in the credits here (although Wikipedia says they are still "artistic directors"), achieved a measure of fame with crossover covers of Brian Eno's In Airports and Terry Riley's In C. Kyaw Kyaw Naing is a Burmese percussionist, a master of the pat waing (also credited with pat ma, si wa, gong, and drums), the composer of four tracks, with five more from other Burmese sources. A- [bc]
Count Basie: The Best of Early Basie (1937-39 , MCA): As the owner of The Complete Decca Recordings, I didn't feel any particular need to buy this sampler, but recommended it to Christgau, who couldn't help but give it an A. Same here. Basie moved his band from Kansas City to New York and took the City by storm, becoming the very definition of swing. The band was loaded with stars, like Lester Young, Buck Clayton, Sweets Edison, and Dickey Wells, and Jimmy Rushing sings a few classics. The next period, on Columbia up to 1950 also has a definitive box (America's #1 Band: The Columbia Years) as well as a superb 1-CD compilation (One O'Clock Jump: The Very Best of Count Basie). A
Count Basie: Count Basie and His Great Vocalists (1939-50 , Columbia/Legacy): Part of the label's Best of the Big Bands series, which offered "Great Vocalists" volumes for Les Brown, Duke Ellington, Benny Goodman, and Harry James, as well as this Basie set. Like many big bands, Basie kept both a boy and a girl singer on tap, but they appear on less than a quarter of Basie's early sides, so I thought it might be interesting to concentrate them -- especially as he started off with two of the greatest singers, Jimmy Rushing and Helen Humes. This probably would have been better had they stopped there, but this also includes two tracks with Earl Warren (a classic crooner), three with Lynne Sherman (good but not great), and one with Ann Moore (a jumping "Jivin' Joe Jackson"). Still, hard to complain given the way Rushing opens ("I Can't Believe That You're in Love With Me") and closes ("Blue Skies"). A-
Count Basie: Frankly Basie: Count Basie Plays the Hits of Frank Sinatra (1963 , Verve): Original 1963 album title was More Hits of the '50's and '60's, with pretty much the same cover art, making me wonder if they weren't treading gently to avoid ruffling feathers. They were, after all, in the middle of a series of lucrative albums with Sinatra, so they would have been especially conscious of his songbook. Still, not the same without a singer, or a suitable soloist to focus on. B+(*)
Count Basie: Basie Jam (1973 , Pablo): In 1973 Norman Granz, having sold off his Verve Records catalog to MGM, decided to round up the old gang and get back in business, as Pablo Records. His first new album was by Oscar Peterson, but Basie wasn't far behind. As with his old Jazz at the Philharmonic shows, he organized a jam session, with Sweets Edison on trumpet, Zoot Sims and Lockjaw Davis on tenor sax, J.J. Johnson on trombone, Irving Ashby (guitar), Ray Brown (bass), and Louie Bellson (drums). Five tunes, only one under 8:50. B+(*)
Count Basie/Joe Turner: The Bosses (1973 , Pablo): Recorded a day after Basie Jam, with the same group credited, plus Turner shouting the blues. The horns are rarely deployed, but things pick up when they do appear. B+(***)
Count Basie/Oscar Peterson: Count Basie Encounters Oscar Peterson: Satch and Josh (1974, Pablo): Two very different pianist, but if you've ever seen them together, you'll know that they loved each other. Basie was famous as the one who knew what to leave out, and Peterson threw more extraneous notes in than anyone short of Art Tatum. B+(**)
Count Basie/Zoot Sims: Basie & Zoot (1975 , Pablo): Hard-swinging tenor saxophonist, backed by Basie's piano trio with John Heard (bass) and Louis Bellson (drums). B+(***)
Count Basie: Get Together (1979 , Pablo): Jam session, cover split between pictures of Basie and Freddie Green (his long-time guitarist), with other names after Green's: Budd Johnson and Eddie 'Lockjaw' Harris (tenor saxes), Harry Edison and Clark Terry (trumpets), Gus Johnson (drums), and John Clayton (bass). Another nice swing session. B+(***)
The Bats: Compiletely Bats (1984-86 , Communion): Rock band from New Zealand, sounds a bit like jangle pop, released three EPs before their 1987 debut album, and those (minus one song) are collected here). B+(**)
Delta 5: Singles & Sessions 1979-81 (1979-81 , Kill Rock Stars): English post-punk band, formed in Leeds alongside the most explicitly political bands of the time, Mekons and Gang of Four, and shared an EP with the Slits and the Pop Group. I remember "Mind Your Own Business" from Wanna Buy a Bridge? (also covered by Chicks on Speed), but wasn't aware of their only album (See the Whirl, from 1981). This rounds up 16 scattered songs, front-loaded, tailing off a bit toward the end. A-
Ella Fitzgerald/Count Basie/Joe Williams: One O'Clock Jump (1956-57 , Verve): Wiliams was a regular singer with Basie from 1954-61, moving up to headliner on 1955's Count Basie Swings, Joe Williams Sings. Probably more Joe than Ella here. B+(*)
Jeannie C. Riley: Harper Valley P.T.A. (1968, Plantation): Country singer from Texas, second album, title song a number one crossover hit skewering the "Harper Valley hypocrites." The then-unknown Tom T. Hall wrote that song, and three more worth hearing ("Widow Jones," "Mr. Harper," "Sippin' Shirley Thompson"), but the rest of the album is pretty remarkable, with "The Cotton Patch" and "Satan Place" reprising Hall's rhythm close enough he could sue, and "Run Jeannie Run" sounding like her own story. A-
Jeannie C. Riley: Yearbooks and Yesterdays (1969, Plantation): She never duplicated her initial success, but had 5 more top-ten country hits through 1971, her album chart positions tailing off 9-14-25-34. Three more songs by Hall, four more by Margaret Lewis and Myra Smith (including "The Girl Most Likely"). B+(**)
Frank Sinatra/Count Basie: Sinatra-Basie (An Historic Musical First) (1962, Reprise): Basie reinvented his band in the late 1950s: the soloists weren't as distinctive, but the "new testament" band's arrangers powered up the ensemble work -- the best sampler from the period was called The Complete Atomic Basie. In some ways, Basie's evolution tracked Sinatra's 1950s big bands, but richer and subtler. By 1962, both were famous and starting to decline, so this meeting helped both. Neal Hefti arranged ten songs Sinatra had long mastered. He sung them impeccably, and I doubt he's ever fronted a stronger horn section. Basie himself dropped out (except for the cover pic), with Bill Miller taking over the piano. A-
Unpacking: Found in the mail last week: