Friday, July 31. 2015
I neglected these short book blurbs for close to a year -- July 3, 2014 to June 17, 2015 -- so I'm still catching up. In fact, I have so much written at this point I'll try to do another tomorrow. For today's selection, I've tried to focus on history books. (Last entry was focused on political books.)
Tariq Ali: The Extreme Centre: A Warning (paperback, 2015, Verso): British Marxist, novelist, filmmaker, part of the old New Left Review crowd, wrote a book in 2002 which excoriated extremists on both sides of the terrorism wars (which he dubbed the Oil Wars -- see The Clash of Fundamentalisms: Crusades, Jihads and Modernity). Now he finds comparable trouble in the so-called center, focusing on the UK and Europe where the traditional parties of left and right compete to support corporations.
Edward E Baptist: The Half Has Never Been Told: Slavery and the Making of American Capitalism (2014, Basic Books): Argues against the notion that slavery was pre-capitalist or even anti-capitalist by pointing out the how especially in the cotton industry technical innovations (hence capital) were developed to make slavery more productive and profitable. But showing that slavery was compatible with capitalism doesn't lighten its burden -- if anything, the opposite. Some of this was anticipated by Walter Johnson: River of Dark Dreams: Slavery and Empire in the Cotton Kingdom (2013, Belknap Press). Also related: Sven Beckert: Empire of Cotton: A Global Industry (2014, Knopf).
Max Blumenthal: The 51 Day War: Ruin and Resistance in Gaza (2015, Nation Books): The title reminds you that while Israel only took six days to defeat the armies of Egypt, Syria, and Jordan, seizing large slices from each's territory, they spent six-and-a-half times as long poking, probing, and pounding the tiny, defenseless Gaza Strip -- with no tangible gains, a repeat of three previous military operations that prooved equally fruitless. Blumenthal's recent Goliath: Life and Loathing in Greater Israel (2013, Nation Books) revealed a profound racism (loathing) growing in Israel's dominant right-wing, so I hope this book goes beyond accounting the casualties and recording testimony of the survivors to get at the viciousness that powers these recurrent eruptions of Israeli wrath. Blumenthal's book is the first out on this latest round, but the following aren't what you'd call dated: Gideon Levy: The Punishment of Gaza (paperback, 2010, Verso); Norman Finkelstein: This Time We Went Too Far: Truth and Consequences of the Gaza Invasion (paperback, 2010, OR Books); Noam Chomsky & Ilan Pappé: Gaza in Crisis: Reflections on Israel's War Against the Palestinians (paperback, 2010, Haymarket Books); or for that matter, Amira Haas: Drinking the Sea at Gaza: Days and Nights in a Land Under Siege (paperback, 2000, Picador).
Daniel P Bolger: Why We Lost: A General's Inside Account of the Iraq and Afghanistan Wars (2014, Eamon Dolan/Houghton Mifflin Harcourt): Three-star general, had commands both in Iraq and Afghanistan. Concludes: "at the root of our failure, we never really understood our enemy." True, but "we" also didn't understand much of anything else, least of all how ill fit the US military was for occupying foreign countries. It's refreshing that Bolger admits that the operations were failures, but he doesn't seem to understand that the relentless focus on killing/capturing "enemies" created its own failures, as did the very alien-ness of the US military.
Joel K Bourne Jr: The End of Plenty: The Race to Feed a Crowded World (2015, WW Norton): The Green Revolution in the 1960s seemed to background Robert Malthus' population theories, but they're coming back as population grows, land remains constant, technology fails to bridge the gap, and other threats (like global warming) are increasing.
Douglas Brinkley/Luke A Nichter: The Nixon Tapes: 1971-1972 (2014, Houghton Mifflin Harcourt): Verbatim transcripts (784 pp of them), the precise history Nixon wanted you to hear, and some he didn't. Good to have this in book form, but I can't imagine wanting to read it. For some reason we have an avalanche of Nixon books, in addition to Rick Perlstein's The Invisible Bridge: The Fall of Nixon and the Rise of Reagan (2014, Simon & Schuster): Patrick J Buchanan: The Greatest Comeback: How Richard Nixon Rose from Defeat to Create the New Majority (2014, Crown Forum); John W Dean: The Nixon Defense: What He Knew and When He Knew It (2014, Viking); Elizabeth Drew: Washington Journal: Reporting Watergate and Richard Nixon's Downfall (paperback, 2015, Overlook Press); Don Fulsom: Treason: Nixon and the 1968 Election (2015, Pelican); Irwin F Gellman: The President and the Apprentice: Eisenhower and Nixon, 1951-1961 (2015, Yale University Press); Ken Hughes: Chasing Shadows: The Nixon Tapes, the Chennault Affair, and the Origins of Watergate (2014, University of Virginia Press); Jeffrey P Kimball/William Burr: Nixon's Nuclear Specter: The Secret Alert of 1969, Madman Diplomacy, and the Vietnam War (2015, University Press of Kansas); Ray Locker: Nixon's Gamble: How a President's Own Secret Government Destroyed His Administration (2015, Lyons Press); Michael Nelson: Resilient America: Electing Nixon in 1968, Channeling Dissent, and Dividing Government (2014, University Press of Kansas); James Robenalt: January 1973: Watergate, Roe v. Wade, Vietnam, and the Month That Changed America Forever (2015, Chicago Review Press); Douglas E Schoen: The Nixon Effect: How His Presidency Has Changed American Politics (2015, Encounter Books); Geoff Shepard: The Real Watergate Scandal: Collusion, Conspiracy, and the Plot That Brought Nixon Down (2015, Regnery); Roger Stone: Nixon's Secrets: The Rise, Fall and Untold Truth About the President, Watergate, and the Pardon (2014, Skyhorse); Evan Thomas: Being Nixon: A Man Divided (2015, Random House); Tim Weiner: One Man Against the World: The Tragedy of Richard Nixon (2015, Henry Holt). Gellman's book is the second part of a multi-volume effort. Treason, by the way, refers to Nixon's back-channel efforts to undermine LBJ's peace talks, elsewhere known as the Chennault Affair. Fulsom previously wrote Nixon's Darkest Secrets: The Inside Story of America's Most Troubled President (paperback, 2013, St. Martin's Griffin). Weiner has written good books about the CIA and FBI, so I suspect his is the most useful of the new books. I read Gary Wills: Nixon Agonistes: The Crisis of the Self-Made Man back when it originally came out (1970) and that's as deep as I ever want to get into that man's mind.
Tom Burgis: The Looting Machine: Warlords, Oligarchs, Corporations, Smugglers, and the Theft of Africa's Wealth (2015, Public Affairs): While Africa has about 30% of the world's reserves of hydrocarbons and minerals, and 14% of the world's population, its economies have remained stagnant (e.g., only 1% of the world's manufacturing). The looting began under European colonialism, but continues today, enabled by the corruption of elites. Related: Celeste Hicks: Africa's New Oil: Power, Pipelines and Future Fortunes (paperback, 2015, Zed Books); Luke Paley: The New Kings of Crude: China, India, and the Global Struggle for Oil in Sudan and South Sudan (paperback, 2015, Hurst).
Bryan Burrough: Days of Rage: America's Radical Underground, the FBI, and the Forgotten Age of Revolutionary Violence (2015, Penguin): Investigates various fringe radical groups in the 1970s -- the Weathermen, the Symbionese Liberation Army, FALN, the Black Liberation Army -- who resorted to violence to advance their frustrated political ideals, and the federal agents who hunted them down (who themselves "broke many laws in its attempts to bring the revolutionaries to justice"). Also on the FBI's suppression of left radicals: Aaron J Leonard/Conor A Gallagher: Heavy Radicals: The FBI's Secret War on America's Maoists: The Revolutionary Union/Revolutionary Communist Party 1968-1980 (paperback, 2015, Zero Books).
Sarah Chayes: Thieves of State: Why Corruption Threatens Global Security (2015, WW Norton): Previously wrote The Punishment of Virtue: Inside Afghanistan After the Taliban (2006), which indicted pretty much everyone for failing to secure a better future for the Afghan people after the US pushed the Taliban out in 2001. She supported that war, and wound up advising the US military, which puts her in an odd position: she identifies corruption as a major security problem for the US in Afghanistan and elsewhere, but misses the fact that the US has never been able to stand up non-corrupt governments anywhere, because American foreign policy is driven by the profit motive in the first place -- you didn't really buy into that altruistic humanitarian horseshit? But corruption delegitimizes government and leads to opposition, and often violence.
Meghnad Desai: Hubris: Why Economists Failed to Predict the Crisis and How to Avoid the Next One (2015, Yale University Press): Several variations on this book have appeared, and no doubt more will. Although economists are often asked for predictions, their models are more likely to seek an equilibrium that disallows crisis -- and in turn gives them little reason to research past crises. Still, one way to approach this would be to identify exceptions that did predict the crisis, then ask why no one paid much attention to them. One reviewer notes that lack of any mention of Hyman Minsky "leaves a gaping hole in an otherwise admirable book." I'll add that while failure to predict the crisis was a problem, a bigger one was inability to recognize what it all meant once it happened. Krugman, for instance, didn't predict the crash, but he knew exactly what was going on when it happened.
Don H Doyle: The Cause of All Nations: An International History of the American Civil War (2014, Basic Books): A survey of how the war was viewed abroad, finding that monarchists hoped to see the Union (and democracy) fail, while radicals (like Karl Marx and Giuseppe Garibaldi) "called on the North to fight for liberty and equality." Both sides sent diplomats abroad to argue their cases. I don't see much about economic interests here. The best known is England, which leaned toward the Confederacy as a backward source of raw materials (mostly cotton), possibly fearing the Union as a potential competitor in manufacturing -- no doubt some English continued to oppose slavery, but that doesn't seem to have overridden economic interests. On the other hand, the Union tended to play down the issue of slavery in justifying the war effort, at least domestically. I wonder whether their case abroad differed.
Douglas R Egerton: The Wars of Reconstruction: The Brief, Violent History of America's Most Progressive Era (2014, Bloomsbury Press): A new history of the post-Civil War period, focusing on the striking advances of newly-emancipated black office holders and the systematic violence they were met with, and finally defeated by.
Barry Eichengreen: Hall of Mirrors: The Great Depression, the Great Recession, and the Uses -- and Misuses -- of History (2015, Oxford University Press): Similarities and differences between 1929 and 2008, how the memory of the former affected the response to the latter (and, I hope, how forgetting lessons from the former slowed down recovery from the latter). One thing I noticed at the time was that the initial output drop was almost exactly the same both times, but was soon limited by the much larger public sector in 2008 and much more responsive public policy (especially the frantic cycle of bank bailouts), but having averted a crash as bad as in 1929, the policy czars underestimated the damage, nor were they forced by public opinion to produce necessary reforms. Author has mostly written about currency issues; e.g., Golden Fetters: The Gold Standard and the Great Depression, 1918-1939 (1996), and Exorbitant Privilege: The Rise and Fall of the Dollar and the Future of the International Monetary System (2011).
Richard J Evans: The Third Reich in History and Memory (2015, Oxford University Press): Author of a sweeping three-volume history of the Nazi movement -- The Coming of the Third Reich (2003), The Third Reich in Power, 1933-1939 (2005), and The Third Reich at War: How the Nazis Led Germany From Conquest to Disaster (2008) -- returns for a review of how Hitler and company have been remembered. Seems to be an essay collection rather than a systematic treatment, but so much has been written about the subject that one can cover a lot of ground just reviewing whatever books come your way.
Eric Foner: Gateway to Freedom: The Hidden History of the Underground Railroad (2015, WW Norton): America's foremost historian not so much of the Civil War per se -- that would be James McPherson -- as the penumbra surrounding it (aboltionism, reconstruction) adds another piece of the story, detailing how slaves escaped to freedom in the North, and how free blacks were often seized by "slave catchers" and forced into bondage. I read Foner's first book, Free Soil, Free Labor, Free Men: The Ideology of the Republican Party Before the Civil War back when it was originally published (1970).
Howard W French: China's Second Continent: How a Million Migrants Are Building a New Empire in Africa (2014, Knopf): Not sure how important this is, but China (or Chinese businesses) have been looking to grab a larger slice of Africa's raw resources -- evidently this involves immigration as well as investment. This is reminiscent of western governments and companies, before and after "independence" but perhaps novel as well, given how inexpensively China can move their own people into place. French previously wrote A Continent for the Taking: The Tragedy and Hope of Africa (2004).
David A Grimes/Linda G Brandon: Every Third Woman in America: How Legal Abortion Transformed Our Nation (2014, Daymark): Grimes is a doctor, so this focuses on health care matters. Clearly, availability of safe legal abortion procedures was a big advance over illegal and often dangerous procedures. Not clear how far this goes into how abortion rights changed political, economic, and social issues but a book could be written there, too.
Nisid Hajari: Midnight's Furies: The Deadly Legacy of India's Partition (2015, Houghton Mifflin): Another book on the bloody history of the British Empire's final "gift" to India: partition in 1947, which led a million deaths, many millions displaced, and set the stage for future wars, subterfuge, and terrorism between India and Pakistan. I've read Alex von Tunzelman's Indian Summer: The Secret History of the End of an Empire (2007), which focuses more on the Mountbattens, and Yasmin Khan's The Great Partition: The Making of India and Pakistan (2007), but there are many other books on this subject, including fictions like Salman Rushdie's Midnight's Children. This is reportedly one of the best.
Yuval Noah Harari: Sapiens: A Brief History of Humankind (2015, Harper): From the emergence of modern humans c. 70,000 years ago, a mix of genetics and sociology used to construct a hypothetical prehistory, regardless of the title -- "packed with heretical thinking and surprising facts" one reviewer says.
Dilip Hiro: The Longest August: The Unflinching Rivalry Between India and Pakistan (2015, Nation Books): The partition of India in 1947 led immediately to one of the greatest carnages of the post-WWII era, remembered through a continuous conflict that errupted in two more major wars between India and Pakistan and numerous threats and crises. Hiro, b. in Pakistan, has written dozens of books on the Middle East and South and Central Asia -- his reference book The Essential Middle East: A Comrepehsive Guide (2003) is one I keep on an easy-reach shelf; his A Comprehensive Dictionary of the Middle East (2013) would be an update -- so he's well positioned to cover this story.
Bruce Hoffman: Anonymous Soldiers: The Struggle for Israel, 1917-1947 (2015, Knopf): Author is some kind of "terrorism expert" -- wrote Inside Terrorism (rev ed, 2006, Columbia University Press), and, w/Fernando Reinares: The Evolution of the Global Terrorist Threat: From 9/11 to Osama bin Laden's Death (2014, Columbia University Press) -- so sees mandatory Palestine as a rare case study where Israeli terrorism "worked": as such, he rather narrowly focuses on the Irgun and LEHI (Stern Gang) from 1939-47, as opposed to the broader question of the militarization of the Yishuv from the death of Joseph Trumpeldor (1920) through the formation of Haganah and Palmach, the Arab Revolt (1937-39), WWII, and the final integration of Irgun and LEHI into the IDF in 1948. No doubt this has a lot of detail as far as it goes, but the broader book seems to have been an afterthought -- little more than jiggering the dates. Also note that it's easy to overrate the effectiveness of Irgun/LEHI terror, since the UK had basically decided to quit Palestine after suppressing the Arab Revolt. Also that the "soldiers" didn't remain "anonymous" for long: Menachem Begin and Yitzhak Shamir parlayed their notoreity as terrorists into successful political careers (both became Prime Minister).
Gerald Horne: The Counterrevolution of 1776: Resistance and the Origins of the United States of America (2014, NYU Press): Argues that by 1776 Britain was increasingly likely to abolish slavery, so one major motivation for the American Revolution was the desire of slaveholders to preserve their peculiar institution. Conversely, slave revolts in the British Caribbean were increasing, and likely to spread to the American colonies. Author previously wrote Negro Comrades of the Crown: African Americans and the British Empire Fight the US Before Emancipation (paperback, 2013, NYU Press), and Race to Revolution: The US and Cuba During Slavery and Jim Crow (paperback, 2014, Monthly Review Press). An earlier book with a similiar thesis is Alfred Blumrosen: Slave Nation: How Slavery United the Colonies and Sparked the American Revolution (paperback, 2006, Sourcebooks).
Ayesha Jalal: The Struggle for Pakistan: A Muslim Homeland and Global Politics (2014, Belknap Press): A history of Pakistan from 1947 to the present, its Muslim identity, cold war alliances, and ever troublesome relations with India, Afghanistan, and ultimately the United States. Other recent books on Pakistan: Hassan Abbas: The Taliban Revival: Violence and Extremism on the Pakistan-Afghanistan Frontier (2014, Yale University Press); Faisal Devji: Muslim Zion: Pakistan as a Political Idea (2013, Harvard University Press); C Christine Fair: Fighting to the End: The Pakistan Army's Way of War (2014, Oxford University Press); Laurent Gayer: Karachi: Ordered Disorder and the Struggle for the City (2014, Oxford University Press); Husain Haqqani: Magnificent Delusions: Pakistan, the United States, and an Epic History of Misunderstanding (paperback, 2015, Public Affairs); Feroz Khan: Eating Grass: The Making of the Pakistani Bomb (paperback, 2012, Stanford Security Studies); Aqil Shah: The Army and Democracy: Military Politics in Pakistan (2014, Harvard University Press); Rafia Zakaria: The Upstairs Wife: An Intimate History of Pakistan (2015, Beacon Press).
Tony Judt: When the Facts Change: Essays, 1995-2010 (2015, Penguin): Selected essays from the late historian, including his famous essay recanting his early Zionism. The title refers to a famous quote that one's views should change in accordance with changing facts.
David Kaiser: No End Save Victory: How FDR Led the Nation into War (2014, Basic Books): Covers the period before the attack on Pearl Harbor at least back to 1939, showing how Roosevelt worked to better position the US to fight a war that he considered inevitable. I doubt that this goes into the question of to what extend Roosevelt provoked the Japanese attack (let alone the old conspiracy buff argument that he knew in advance of the attack and didn't tip the military off to maximize the outrage). One Amazon reader panned this, saying "spoiled by a slap at George Bush." A comparison of the two wartime presidents, how they managed their wars, and what the accomplished (or failed) might be worth a book of its own. Related: Nigel Hamilton: The Mantle of Command: FDR at War, 1941-42 (2014, Houghton Mifflin).
Fred Kaplan: John Quincy Adams: American Visionary (2014, Harper): A substantial (672 pp.) biography of the sixth US president, his term four years in the middle of a career that started as a teenage diplomat during the revolution and ended as one of the strongest voices against slavery in the House of Representatives.
David Madland: Hollowed Out: Why the Economy Doesn't Work Without a Strong Middle Class (paperback, 2015, University of California Press): It shouldn't be hard to make this point. The US economy grew at robust rates from 1945-70 when strong unions were able to capture a fair share of productivity gains, raising the working class to a middle class standard of living. Since then growth rates fell, unions were busted, virtually all productivity gains went to business, and a series of asset bubbles and busts combined with financialization led to a vast increase in inequality, hollowing out the middle class. I don't know whether Madland has a solution. Thomas Geoghegan does, in Only One Thing Can Save Us: Why America Needs a New Kind of Labor Movement (2014, New Press).
James McPherson: The War That Forged a Nation: Why the Civil War Still Matters (2015, Oxford University Press): Far and away the bloodiest conflict in American history -- the last real war fought in American soil -- and not always remembered as the triumph for justice all American wars are meant to teach. The afterwar (what us northerners call Reconstruction) certainly divided political life for another century only to be if not re-fought at least re-litigated in the 1960s. Since then the legacy has become stranger, so it would be interesting to get McPherson's take. By the way, while he has wound up writing many books on military aspects of the war, the first book I remember him for was The Negro's Civil War: How American Negroes Felt and Acted During the War for the Union (1965).
Mark Perry: The Most Dangerous Man in America: The Making of Douglas MacArthur (2014, Basic Books): This seems to focus on the relationship between MacArthur and Roosevelt (and Marshall) rather than the later period, with MacArthur's successful occupation of Japan and disastrous direction of the Korean War -- as I recall, the title comes from this latter period. Perry has written extensively about WWII-era generals.
Richard Rhodes: Hell and Good Company: The Spanish Civil War and the World It Made (2015, Simon & Schuster): Rhodes has written a fine trilogy on the history of nuclear weapons (The Making of the Atomic Bomb, Dark Sun: The Making of the Hydrogen Bomb, and Arsenals of Folly: The Making of the Nuclear Arms Race) and an important book on the Nazi invasions of Poland and Russia (Masters of Death: The SS Einsatzgruppen and the Invention of the Holocaust). The Spanish Civil War (1936-39) immediately preceded those stories, so directly that the US labelled Americans who volunteered to defend democratic Spain against Franco "premature anti-fascists." I don't see the point in blaming Neville Chamberlain for appeasing Hitler's demand for the Sudetenland while ignoring the western powers' failure to stand up to Hitler in Spain. I suppose at this point the best-known book on the Spanish Civil War is Antony Beevor's The Battle for Spain: The Spanish Civil War 1936-1939 (2006), but I'd rather read Rhodes.
Bruce Riedel: What We Won: America's Secret War in Afghanistan, 1979-89 (paperback, 2014, Brookings Institute Press): Longtime CIA analyst and Afghanistan hack dates the end of the Afghan War from the point when the Soviet Union withdrew, even though the country has experienced peace at no time since then. But in 1989 the CIA clearly concluded that "we won": one wonders how critical Riedel can be, but surely he recognizes some irony there -- not unlike, say, GW Bush's "Mission Accomplished" moment.
Eugene Rogan: The Fall of the Ottomans: The Great War in the Middle East (2015, Basic Books): After a century of losses, especially in eastern Europe, and ten years after a coup that brought a triumvirate of Young Turks to power, the Ottomans allied themselves with Germany and Austria-Hungary in the Great War of 1914. Not clear how much decline this book covers, but the fall came quickly, with the Ottoman's Arab provinces partitioned between Britain and France, the Armenian population decimated, and Ataturk's nationalist movement defeating an invading Greek army and consolidating control of Turkey. This winds up being a very important piece of history, one previously covered by David Fromkin in one of the best-named books ever: A Peace to End All Peace: Creating the Modern Middle East, 1914-1922 (1989).
Simon Schama: The Story of the Jews: Finding the Words 1000 BC-1492 AD (2014, Ecco): With a second volume (When Words Fail: 1492-Present) scheduled for November 15, with a PBS tie-in (the first season DVD, covering five episodes, is out). Schama also did a 15-hour PBS A History of Britain, accompanied by three volumes.
Nancy Sherman: Afterwar: Healing the Moral Wounds of Our Soldiers (2015, Oxford University Press): Philosophy professor, held a post at the Naval Academy, seems to have had a lot of contact with damaged returning soldiers. I'm suspicious that her "philosophical engagement" is meant to enable more war, but one can certainly find reasons here that argue for less. Also interested in her proposed changes for military courts, which have traditionally treated "shell shock" harshly as some form of cowardice. We seem to have given up any thought of reforming criminals, but right now soldiers are held in such empathy that we may be open to trying to save them, and there may be some lessons there. The book, however, doesn't seem to address cases like Henry Kissinger, where moral lapses are caused not by trauma but by cunning.
Emma Sky: The Unraveling: High Hopes and Missed Opportunities in Iraq (2015, Public Affairs): Author went to Iraq to work for the Occupation in 2003 and stayed at least through 2010 (she was political advisor to US General Odierno). Touted as "an intimate insider's portrait of how and why the Iraq adventure failed" -- which is to say highly biased, but even blaming others (like "the corrupt political elites who used sectarianism to mobilize support") reveals much about one's own culpability. (She's British, so has a little distance from the Americans, but prefers the Americans she worked with -- Petraeus, Odierno, Crocker -- to the ones she didn't, and ultimately puts a lot of blame on Iran for the resurgence of sectarian violence under Maliki, a relationship her insider status didn't provide her privvy to.)
Cass R Sunstein: Choosing Not to Choose: Understanding the Value of Choice (2015, Oxford University Press): Political theorist, closely associated with Obama (although that probably does both of them a disservice and makes it all a bit creepy; Robert Reich with Clinton is a similar case, although Reich at least is consistently on Clinton's left). Co-wrote a book with Richard H Thaler, Nudge: Improving Decisions About Health, Wealth, and Happiness (2008) arguing for a "libertarian paternalism" which gives people a fig-leaf of options while encouraging them to take the defaults selected for them. He follows up here with examples of how having choices can be burdensome. No doubt, but in a political and economic system so rife with corruption as ours is, it matters who sets defaults, how, and why. Sunstein's recent books seem aware of this, especially Why Nudge? The Politics of Libertarian Paternalism (paperback, 2015, Yale University Press); also: Simpler: The Future of Government (2013; paperback, 2014, Simon & Schuster); Valuing Life: Humanizing the Regulatory State (2014, University of Chicago Press); and Wiser: Getting Beyond Groupthink to Make Groups Smarter (with Reid Hastie; 2014, Harvard Business Review Press).
Adam Tooze: The Deluge: The Great War, America and the Remaking of the Global Order, 1916-1931 (2014, Viking): Author of a huge WWII book, Wages of Destruction: The Making and Breaking of the Nazi Economy (2007), looks at the first world war or its aftermath with an eye toward the economy -- after all, economic capacity ultimately proved decisive in both wars.
Nick Turse: Tomorrow's Battlefield: US Proxy Wars and Secret Ops in Africa (paperback, 2015, Haymarket Books): One of the few journalists covering nearly every facet of the US military in the world today, and the only one I've seen trying to keep track of the increasing wave of undeclared and unpublicized operations in Africa.
Gernot Wagner/Martin L Weitzman: Climate Shock: The Economic Consequences of a Hotter Planet (2015, Princeton University Press): Tries to put a price tag on global warming, factoring in various risky scenarios, some quite severe. We generally know that denialism is rooted in specific economic interests (chiefly coal and oil). But how do those interests stack up against others that have little to gain by doing nothing and potentially much to lose?
Bernard Wasserstein: On the Eve: The Jews of Europe Before the Second World War (2012, Simon & Schuster): An encyclopedic survey of Jewish life all across Europe up to the start of World War and the Holocaust.
Wednesday, July 29. 2015
At 110 records, the shortest Steamnotes so far this year. Also the longest time between columns -- last one was June 13. The main reason is that I spent three weeks driving northwest and visiting relatives, and didn't bother listening to anything new. (I packed three cases with 200 tried-and-proven CDs for the trip, but mostly just listened to them in the car. I streamed a couple new albums, like Miguel's, but didn't write up anything on them.)
See last month's column for a description of the Spin 1985-2014 list project. Most of this month's "old music" came from mopping up albums I hadn't gotten to then. I'm up to about 90% of that list -- when the list came out I had heard 73%. I thought I might give up on the remainders, but as I've been writing this I've picked off a couple more albums from the list -- System of a Down's Toxicity (not as bad as I expected), and Animal Collective's Sung Tongs (far worse). I think Lil Wayne (Tha Carter II) and 2Pac (All Eyez on Me) are up next, and those are things I probably should listen to (sooner or later).
A few other things have crept into the old music section, following various strategems: I checked out Silk Degrees to go with the new Boz Scaggs album (but that's as far as I went); I noticed I had an ungraded Uncle Tupelo album while I was working on Wilco, and went on to check out the Mermaid Avenue outtakes; someone sent me the Close Readers CDs. The older Four Tet records could have been filed as old or new: in general "new" means last 2-3 years, but I figured it made more sense to keep them together.
Most of these are short notes/reviews based on streaming records from Rhapsody. They are snap judgments based on one or two plays, accumulated since my last post along these lines, back on June 13. Past reviews and more information are available here (6659 records).
Harry Allen's All-Star Brazilian Band: Flying Over Rio (2015, Arbors): Retro-swing tenor saxophonist, has shown an interest in Brazilian music before -- cf. 1997's Eu Não Quero Dançar -- but he's never made this much out of it. The All-Stars I recognize are Nilson Matta (bass) and Duduka Da Fonseca (drums), but Klaus Mueller (piano) and Guilherme Monteiro (guitar) show up my ignorance. Singer Maucha Adnet is a tougher sell when you're expecting Astrud Gilberto, but the extra grit and sass finally turned into a plus. A-
Tiffany Austin: Nothing but Soul (2015, Con Alma): Standards singer, associated with SFJAZZ, first album, definitely has a crush on Hoagy Carmichael (6 of 9 songs), offering Johnny Cash ("I Walk the Line") as a change-up, and concludes with a piece by her saxophone player, Howard Wiley. B [cd]
Kevin Bachelder/Jason Lee Bruns: Cherry Avenue (2015, Panout Music Group): Singer and drummer, respectively, mostly standards (one Bachelder original, one from saxophonist Ron Blake), including an obligatory Jobim followed up by a Beatles song, both relatively obscure, "Dear Prudence" deservedly so. B- [cd]
The Bad Plus/Joshua Redman: The Bad Plus Joshua Redman (2015, Nonesuch): Long-running (since 2000) all-star piano trio -- Ethan Iverson, Reid Anderson, David King -- plus a comparably established (since 1992) tenor/soprano saxophonist that should be a fair match and complement, and that's true to a point: they do manage to wind each other up. I'm just not sure what the value of this intensity is. B+(**)
John Basile: Penny Lane (2015, StringTime Jazz): Guitarist, has more than a dozen albums since 1986, plays eleven Lennon-McCartney songs, most of which have proven deadly as jazz standards ("A Day in the Life" is something of an exception). Solo, with some midi programming for percussion; not exactly muzak, not exactly not. B [cd]
Bilal: In Another Life (2015, E1): Neo-soul singer with some hip-hop touches, fourth album since 2001 but picking up the pace. B+(**)
Terence Blanchard: Breathless (2015, Blue Note): Trumpet player from New Orleans, has dabbled a lot in soundtracks to mixed success. Organized a new quintet here, E-Collective, listed on the cover as "featuring": Charlea Altura (guitar), Fabian Almazan (piano, synths), Donald Ramsey (bass), Oscar Seaton (drums), adding vocalist PJ Morton on three cuts. B+(**)
Kenny Carr: Idle Talk (2014 , self-released): Guitarist, AMG lists three previous albums. Wrote all original material and recruited Donny McCaslin, Kenny Wolleson, and Hans Glawischnig to play. The sax can really get your attention. B+(**) [cd]
Brett Carson: Quattuor Elephantis (2014 , Edgetone): Leader plays electric keyboard, which meshes nicely with Scott Siler's vibes -- the primary sound here, backed by guitar and drums. The lineup suggests a groove album, but no such thing here. B [cd]
Leoanrd Cohen: Can't Forget: A Souvenir of the Grand Tour (2012-13 , Columbia): Relatively rare songs taken from a range of soundchecks and shows -- a tactic which forgoes the satisfaction Live in London and Live in Dublin offered of recognizing long-familiar hits. On the other hand, this is almost like discovering a fresh batch of unknown songs. B+(***)
Kris Davis Infrasound: Save Your Breath (2014 , Clean Feed): Avant-pianist from Canada, has had an impressive run of trio and quartet albums, comes out with her largest group ever, led by four clarinetists (Joachim Badenhorst, Andrew Bishop, Ben Goldberg, Oscar Noriega), with guitar (Nate Radley), organ (Gary Versace), and drums (Jim Black) but no bass. The clarinets come in all weights, but are soft-edged and in the end blend into the drone. B+(**)
Steve Davis: Say When (2014 , Smoke Sessions): Mainstream trombonist, leading a sextet in the old hard bop model: Eddie Henderson (trumpet), Eric Alexander (tenor sax), Harold Mabern (piano), Nat Reeves (bass), Joe Farnsworth (drums). Mostly JJ Johnson pieces (6 of 11), winding up with "When the Saints Go Marching In." B+(*)
Charlie Dennard: 5 O'Clock Charlie (2015, self-released): Organ player based in New Orleans, leads a group with Todd Duke on guitar and Doug Delote and/or Geoff Clapp on drums. Usual funk grooves but nothing wrong with that. B+(*) [cd]
Jeff Denson/Lee Konitz: Jeff Denson Trio + Lee Konitz (2015, Ridgeway): Nice to see Konitz finally elected to Downbeat's Hall of Fame, especially while he's still alive and active (albeit 88). He doesn't push any boundaries here, but his brief solos are a delight. Denson is a bassist who sings a few moldy standards ("Body and Soul," "Skylark") and makes them moldier. Trio adds Dan Zemelman on piano and Jon Arkin on drums. B+(*) [cd]
Aaron Diehl: Space Time Continuum (2015, Mack Avenue): Pianist, fourth album, mostly trio but some guests drop in, including Joe Temperley and Benny Golson on sax, plus a vocal by Carenee Wade. B+(**)
Four Tet: Pink (2011-12 , Text): Kieren Hebden, laptop composer, released most of these tracks as 12-inch singles (the exceptions were "Lion" and "Peace for Earth" but they came out separately later) -- hence this is often considered a compilation, but none came out more than a year before the album, so I figure this for current work. "Peace for Earth" sounds almost like it might work. A-
Four Tet: Beautiful Rewind (2013, Text): More laptop, one piece drawing my wife's complaint that it sounds like her tablet bemoaning a low battery but here I find that less disturbing. "Aerial" is a track that got my attention both spins, so maybe the other stuff just isn't consistently at that level. Hard to tell. B+(***)
Four Tet: Morning/Evening (2015, Text): Two 20-minute tracks, the first with a nice Lata Mangeshkar sample over the bubbly. The second also harkens to something Asian or Near-Eastern, then runs through a long march-step, not as attractive. B+(*)
Nick Fraser: Too Many Continents (2015, Clean Feed): Drummer, from Canada, has a couple previous records including 2013's excellent Towns and Villages. This one is a trio with Tony Malaby (tenor and soprano sax) and Kris Davis (piano). Too abstract for anyone to work up a full head of steam, and Malaby's soprano is shrill where his tenor is invigorating, but the twists and turns are captivating, and Davis is worth the trouble. B+(***) [cd]
Chico Freeman/Heiri Känzig: The Arrival (2014 , Intakt): Tenor saxophonist, made a big splash in avant circles in the late 1970s; has recorded pretty regularly since then, although in the 1980s it seemed like he got upstaged by his father, Von Freeman. Bassist Känzig was born in New York but studied in Austria and Switzerland, and currently teaches in Luzern. Duets, very laid back, spare but gorgeous. A- [cd]
Satoko Fujii Orchestra Berlin: Ichigo Ichie (2014 , Libra): Extremely prolific Japanese avant-pianist, she's put together a half-dozen orchestras as she's traveled around the world, and this is one of the best. Twelve-piece group, not quite a big band but the three saxes and three trumpets are meant to solo and spar, and the two drummers rumble. A- [cd]
Satoko Fujii Tobira: Yamiyo Ni Karasu (2014 , Libra): Pianist-led quartet, with Natsuki Tamura (trumpet), Todd Nicholson (bass), and Takashi Itani (percussion). Gives you a good sense of Fujii's avant-piano, although not at breakneck fury, and adds some splashy trumpet. B+(***) [cd]
George Garzone/Jerry Bergonzi/Carl Winther/Johnny Aman/Anders Mogensen: Quintonic (2013 , Stunt): Two legendary tenor saxophonists from Boston, although Garzone is better known as an educator than for his recordings -- partly because most of his recordings were credited to his sax trio, the Fringe (1978-2005), but mostly because literally everyone who studied saxophone in Boston picked up some of his mastery. The others play piano-bass-drums. Not really a joust, much more ducking around Winther's chords than blowing them away, but that's sometimes how masters work. B+(***)
Giant Sand: Heartbreak Pass (2015, New West): Howe Gelb's long-running (since 1985) band/front, which always had a sense of rough-hewn Americana nudged even more so in that direction by their new label. B+(*)
Vance Gilbert: Nearness of You (2015, Disismye Music): Folksinger, has close to a dozen albums since 1985. Takes on fourteen jazz standards here, giving them crude guitar-vocal treatments, some laughable although "I'm Beginning to See the Light" gave me a brief glimpse of something more. B [cd]
Robert Glasper: Covered: The Robert Glasper Trio Recorded Live at Capitol Studios (2014 , Blue Note): Pianist from Houston, picked up by Blue Note for his second album in 2005 and hyped for his supposed hip-hop synthesis, something which never panned out (to my ears at least, although he has a Grammy meant to argue otherwise). Figure this as his "unplugged" album, just trio with Vicente Archer and Damion Reid, mostly covers (not that Bilal, Radiohead, or Kendrick Lamar quite rank as standards) although a 13:01 original sits in the center. Some talk, plus the studio has a live crowd, and uneven, but this is the first time I've enjoyed him. B+(**)
Godspeed You! Black Emperor: Asunder, Sweet and Other Distress (2015, Constellation): Instrumental rock, sometimes called post-rock as if rock was just a path to speechlessness and incoherence. Actually, this sort of thing dates back to the early 1970s, to prog and/or fusion, but having arrived later they throw in bits of industrial and, uh, church music. Sometimes they seem to be onto something. Sometimes not. B-
Jerry Granelli Trio + 3: What I Hear Now (2014 , Addo): Drummer, started out in piano trios (Vince Guaraldi, Denny Zeitlin), has close to 20 albums as leader since 1988, leaning some towards fusion but broad ranging -- my favorite in the spoken word Sandhills Reunion (2005) -- with this three sax, one trombone sextet venturing deep into free jazz. B+(***) [cd]
Devin Gray: RelativE ResonancE (2014 , Skirl): Drummer, second album, another sax-piano-bass-drums quartet but with new collaborators: Chris Speed, Kris Davis, Chris Tordini. Speed, typically, puts a soft edge on his sax, but Davis doesn't pull any punches. B+(***) [cd]
David Hazeltine: I Remember Cedar (2013 , Sharp Nine): Mainstream pianist, in a trio with David Williams and Joe Farnsworth, offers bright and lively readings of many compositions by the late Cedar Walton, a couple originals for the occasion, and a thoroughly appropriate "Over the Rainbow." B+(***)
Vincent Herring: Night and Day (2014 , Smoke Sessions): Alto saxophonist, much recorded since 1990, in a hard bop quintet with Jeremy Pelt (trumpet), Mike LeDonne, Brandi Disterheft, and Joe Farnsworth. B+(*)
Dre Hocevar Trio: Coding of Evidentiality (2014 , Clean Feed): Drummer, b. 1987 in Slovenia, second album, a trio with Bram De Looze on piano and Lester St. Louis on cello, with Sam Pluta doing "electronics, signal processing" on one track. Starts with very attractive broken field piano lead, but moves the focus around, highlighting the cello drone. B+(**) [cd]
John Hollenbeck: Songs We Like a Lot (2015, Sunnyside): Drummer, his interests ranging from a big band to the often fabulous Claudia Quintet, returns with a sequel to 2013's Songs I Like a Lot, again with Theo Bleckmann and Kate McGarry singing, Uri Caine on piano, and the Frankfurt Radio Big Band's pomp and circumstance. Mostly songs I don't care about one way or the other, except for "Up Up and Away." B
Charlie Hunter Trio: Let the Bells Ring On (2015, CHT Publishing): Seven-string guitarist, has leaned toward fusion but never stuck in one place long. Trio adds trombonist Curtis Fowlkes (Jazz Passengers) and drummer Bobby Previte, and Fowlkes pretty much sets the tone: slow, abstract, profound. B+(**)
Ahmad Jamal: Live in Marciac: August 5th 2014 (2014 , Jazz Village): In his 80s, still an impressive performer, a master of melody who can kick it up a notch. With Reginald Veal (bass), Helin Riley (drums, and Manolo Badrena (percussion). [Rhapsody omits 2 cuts + second-disc DVD]. B+(*)
Max Johnson Trio: Something Familiar (2014 , Fresh Sound New Talent): Bassist-led trio with Kirk Knuffke on cornet and Ziv Ravitz on drums. Nothing very familiar here, as confounding as their previous outing as The Invisible Trio. Both records sound rather distant to me, but maybe there's more depth on the CDs, or maybe it just takes more effort to break through the inscrutability. B+(***)
Joyfultalk: Muuixx (2015, Drip Audio): "Composed, performed and recorded by Jay Crocker at the Prism Ship in Crousetown, Nova Scotia." Aside from Jesse Zubot doing the mastering, that's all the credits I have to go by, but sounds like quasi-industrial guitar, bass, percussion, some synth (presumably all overdubbed by Crocker) and, uh, violin (Zubot?). B+(**) [cd]
Ku-Umba Frank Lacy & Mingus Big Band: Mingus Sings (2014 , Sunnyside): The Mingus Big Band dates back to 1993, or as Mingus Dynasty to 1982, shortly after the great bassist-composer's death, so they know the pieces/arrangements here cold -- indeed, the usual knock against them is that they're too cool and assured, where Mingus' own bands lived in constant fear of their leader's tantrums. Lacy started off as a trombonist in Lester Bowie's Brass Fantasy and the Henry Threadgill Sextett, but has lately moved toward singing, his specialty gut-bucket blues. Given limited choices, you get four lyrics from Joni Mitchell, two more from Elvis Costello. B
Marsa Fouty: Concerts (2015, Fou): French duo, some sort of play on the names of Fred Marty (contrebasse) and Jean-Marc Foussat (dispositif électro-acoustique) -- bass and electronics. The combo can get loud and ugly, and even the quieter patches can get under your skin. B [cd]
Michael McNeill Trio: Flight (2014 , self-released): Pianist from Buffalo, blew me away with his debut (Passageways) and continues to impress, aided by Ken Filiano on bass and Phil Haynes on drums. This is considerably more, uh, nuanced, building slowly, repaying patient attention. A- [cd]
Bob Mintzer Big Band: Get Up! (2015, MCG Jazz): Tenor saxophonist, probably best known for several decades in the Yellowjackets, but has been running his big band almost as long. Not exceptional, but his past titles namecheck Trane and Basie, and that gives you the idea. B+(*) [cd]
Ashley Monroe: The Blade (2015, Warner Music): Country singer-songwriter, one-third of Pistol Annies, had an album before she started hanging out with the other thirds, then a breakthrough last year -- admittedly, it felt small, almost too easy. This one is less consistent, but takes more risks, and they often pay off. A-
Kacey Musgraves: Pageant Material (2015, Mercury Nashville): Country singer-songwriter, second album, knows that not all girls are built for beauty pageants, that you don't get to pick your family, and that life can still be gravy for those who mind their own biscuits. On the other hand, I'm still not sure how "love hard, live fast, die fun" works. B+(***)
Simon Nabatov/Mark Dresser: Projections (2014 , Clean Feed): Piano-bass duets. Nabatov was born in Russia, moved to Rome, New York, and eventually to Köln, and has more than two dozen albums since 1988 -- avant-garde with a classical grounding. Dresser, of course, is one of the great bassists of our era, and reminds you why frequently. B+(***) [cd]
Gard Nilssen's Acoustic Unity: Firehouse (2014 , Clean Feed): Norwegian drummer, has played in several bands since 2007: Puma, Bushman's Revenge, Lord Kelvin, Cortex (the latter's Live! an A- last year), as well as collaborations with Eirik Hegdal, Tore Brunborg, and Mathias Eick, but I'll score this as his first as leader: an avant-sax trio with Andre Roligheten and Petter Eldh, and everything you'd want there, blistering hot and completely cogent. A- [cd]
OZO: A Kind of Zo (2015, Shhpuma/Clean Feed): Portuguese duo, Paulo Mesquita on prepared piano, Pedro Oliveira on prepared drums. The preparations aren't that extreme, and the dynamic is simple enough: the piano sets up a rhythmic vamp, and the drums kick it to another level. A- [cd]
Ivo Perelman/Whit Dickey: Tenorhood (2014 , Leo): Tenor sax-drums duets, Dickey most often associated with Matthew Shipp. Title tune plys five more dedicated to eminent tenor saxophonists: Mobley, Webster, Coltrane, Ayler, Rollins. A little schizzy around the edges, sort of a fractal effect. B+(***) [cd]
Ivo Perelman/Matthew Shipp: Callas (2015, Leo, 2CD): Tenor sax-piano duos, inspired by opera diva Maria Callas (1923-77), not that there are any words here, nor vocals, just two avant-gardists trying to recapture some imagined spirit. What they come up with is real enough. A- [cd]
Ivo Perelman/Mat Maneri/Joe Morris: Counterpoint (2015, Leo): Tenor sax, viola, guitar, all joint improv, with Maneri both the dominant voice and the odd man out. Scratchy, squawky, not clear what Morris is doing but Perelman does a fine job of softening the edges and shining them up. B+(**) [cd]
Jack Perla: Enormous Changes (2013 , Origin): Pianist, second album, wrote these songs with lyrics sung by Crystal Monee Hall, Jordan Carp, and Robin Coomer, backed by a band that includes cello and pedal steel but no horns. Moves into soft rock territory without the usual mawkishness. B [cd]
R5: Sometime Last Night (2015, Hollywood): Nominally an LA teen pop group with three brothers (like the Beach Boys?) and a sister (unlike the Beach Boys). Not as catchy as they need to be, but off to a nice start. B+(*)
Mason Razavi/Bennett Roth-Newell: After You (2015, First Orbit Sounds Music): Guitar-piano duets, Bay Area musicians. Razavi has a couple previous albums. Mix of originals and covers -- Clifford Brown, Joe Zawinul, "Yesterday." B+(*) [cd]
Rent Romus' Life's Blood Ensemble: The Otherworld Cycle (2014 , Edgetone): Alto saxophonist, one of the more consistently interesting figures of recent years, assembles fourteen musicians for "a new music Odyssey inspired by ancient Finnish mythology and the Kalevala [a 19th century compilation of epic poetry from Karelian and Finnish oral folklore]." The vocal concept seemed like too much clutter at first, but that was forgotten least once the sinewy grooves kicked in, and the sax approached A Love Supreme's stratosphere. A- [cd]
Roots Magic: Hoodoo Blues & Roots Magic (2014 , Clean Feed): Group name not clear from the album cover, nor is there much in the way of liner notes, but label is clear on the point. Alberto Popolla (clarinets), Enrico DeFabritiis (alto sax), Gianfranco Tedeschi (double bass), Fabrizio Spera (drums), plus guest Luca Venitucci (organ, melodica, amplified zither). Can play free but mostly prefer blues riffs. B+(***) [cd]
Boz Scaggs: A Fool to Care (2015, 429 Records): In his 70s now, started out in blue-eyed soul occasionally descending into ordinary white pap, but as he's aged the logical progression is into blues, which he's taken at the same langourous pace he's always had. His Memphis was easily overrated, but this more unassuming effort hits the spot: a collage of covers that takes you back without tempting you to play your own oldies. A-
Skydive Trio: Sun Moee (2014 , Hubro): Guitar trio, led by Norwegian Thomas T. Dahl (first record as leader), with Mats Eilertsen on bass and Olavi Louhivuori on drums. Understated grooves, the guitar spare but eloquent, only rarely building up much pressure. B+(***)
Omar Souleyman: Bahdeni Nami (2015, Monkeytown): Syria's famed wedding singer, who "transformed traditional dabke music into a hyperactive electronic stomp" [Guardian]. With his home turf turned into a battleground between ISIS and the Kurds (and the US and/or Bashar Assad), he's turned west, picking up Kieran Hebden as a producer, who in turn decided to leave well enough alone. A-
Terell Stafford: Brotherlee Love: Celebrating Lee Morgan (2014 , Capri): Mainstream trumpet player, eighth album since 1995, hasn't shown a lot of devotion to Morgan over the years but takes the challenge to show off his chops. Hard bop quintet, with Tim Warfield on tenor sax, Bruce Barth on piano, Peter Washington on bass, and Dana Hall on drums, playing seven Morgan compositions, "Candy," and a new one by the leader. B+(**)
Ben Stapp & the Zozimos: Myrrha's Red Book: Act 1 (2014 , Evolver): Tuba player, not very prominent here with all the voices, trumpets, clarinets, and cornet although he does produce a distinct bottom if you dig for it. The voices fit the definition of opera, with multiple characters forcing their voices around melodic curves that don't quite fit, exuding drama I don't have the ears for. Some remarkably complex music, and occasionally some shard of libretto lodges in my brain -- I suspect it's all very smart. B+(**) [cd]
Tame Impala: Currents (2015, Caroline): Australian alt/indie group led by Kevin Parker, who is credited/blamed for shifting the emphasis from guitar fuzz to cleanly melodic synths. Regarded as a big deal by critics and fans, I've never quite seen the point, although this one went down so easy I scarcely noticed. B+(*)
The Warren Vaché Quintet: Remembers Benny Carter (2014 , Arbors): Cornet player, retro when he was young but now seems to have extended his time almost as long as Carter, an alto sax great twenty years before and forty years after Charlie Parker. Flanked by Houston Person on tenor, backed by Tardo Hammer, Lisa Parrott, and Leroy Williams, with Parrott singing several songs, Vaché one. B+(***)
Veruca Salt: Ghost Notes (2015, El Camino): Postpunk band from the 1990s (only second album since), quartet fronted by singer-guitarists Nina Gordon and Louise Post, named after a character in Charlie and the Chocolate Factory ("a spoiled child who demands every single thing she wants"). The closer "Alternica" gets a bit heavy-handed, but everything else is sharp and chipper. A-
Eyal Vilner Big Band: Almost Sunrise (2014 , Gut String): Alto saxophonist, also plays flute, composed two pieces, arranged and conducted the rest, mostly from swing-schooled boppers, backstopped by Ellington. Six (of 13) cuts have vocals, mostly Charenee Wade. B+(**) [cd]
Wayne Wallace Latin Jazz Quintet: Intercambio (2014-15 , Patois): Bay Area trombonist, has run this group for many years now. Includes a few guest slots -- mostly flutes, which may seem like a nice contrast, but I prefer the trombone leads. B+(*) [cd]
Johannes Wallmann: The Town Musicians (2013 , Fresh Sounds New Talent): Pianist, fifth album, lively postbop on the hard side; band includes Russ Johnson (trumpet), Gilad Hekselman (guitar), Sean Conly (bass), and Jeff Hirshfield (drums), plus Dayna Stephens (tenor sax) joins on two cuts. Over 75 minutes, everyone makes a strong impression. B+(***) [cd]
Wilco: Star Wars (2015, dBpm): Leads off with a guitar skronk instrumental, and even when they settle into recognizable pop they push more boundaries than they had in the last couple albums. B+(***)
Tony Wilson 6Tet: A Day's Life (2012 , Drip Audio): Guitarist, based in Vancouver, has a handful of albums, three with this sextet: JP Carter (trumpet, electronics), Jesse Zubot (violin), Peggy Lee (cello), Russell Shulberg (bass), Skye Brooks (drums). One especially strong groove track ("The Train Keeps Rollin'") suggests what they can do when everyone is in sync. B+(**) [cd]
Florian Wittenburg: Aleatoric Inspiration (2009-14 , NurNichtNur): German pianist, has a couple previous albums, this one piano miniatures which sometimes grab your attention, and sometimes let it go. B+(*) [cd]
Jamie XX: In Colour (2015, XL/Young Turks): Jamie Smith, electronic music producer, first noticed in a band called The XX (more commonly xx although to my typographic eyes it looks like they're using two multiplication signs). First solo album (not counting remixes from a collaboration with Gil Scott-Heron) after two group efforts. B+(***)
John Yao and His 17-Piece Instrument: Flip-Flop (2014 , See Tao): Trombonist, big band arranger, his "17-piece instrument" the band, and with musicians like saxophonists John O'Gallagher and Jon Irabagon on not always of one mind. B+(***)
Omri Ziegele Billiger Bauer: So Viel Schon Hin: 15 Herbstlieder (2014 , Intakt): Alto saxophonist from Switzerland, sixth album since 2002, three with this nonet (not counting singer Isa Wiss). The autumn songs in German are arch and arty (not that I can follow), Wiss splitting the difference between opera and Weill, as best she can given that the music is so slippery. B+(*) [cd]
Recent Reissues, Compilations, Vault Discoveries
Alex Chilton: Ocean Club '77 (1977 , Norton): At 27, the peak year for baseball players and rock martyrs, the Memphis singer-songwriter already had the AM-savvy Box Tops and the obscure-but-legendary Big Star on his résumé and was starting to sort out a solo career. Still, his live set, backed with bass and drums, mostly looks back, including "The Letter" run through the Big Star grinder. B+(**)
Duke Ellington & His Orchestra: The Conny Plank Session (1970 , Grönland, EP): A vault discovery from the estate of German sound engineer Plank (best known for Marlene Dietrich), just three takes of "Alerado" and three takes of "Afrique" (including a vocal). First surprise is the prominence of the organ (Wild Bill Davis), although it's more pronounced in the riff-based "Alerado" than in the trickier "Afrique." Six tracks, 29:21. B+(**)
Percussions: 2011 Until 2014 (2011-14 , Text): Rhapsody files this under Four Tet, but most sources say Percussions and refer back to a series of vinyl EPs collected here. I file them under Kieran Hebden, who appears to be the sole artist. Fairly minimal concept pieces -- "Bird Songs" are beats with chirps. B+(**)
Boredoms: Super AE (1998, Birdman): Japanese band, from Osaka, fifth album, some vocals but mostly instruments, mostly electronic ones; most tracks kicking off with strong beats, framed by some noise, nothing I particularly relate to. B+(**)
Billy Bragg & Wilco: Mermaid Avenue, Vol. III (1998-2000 , Nonesuch): Leftovers from a project which released seminal albums in 1998 and 2000, where the English folk provocateur and Americana vet Jeff Tweedy worked up some music for lyrics Woody Guthrie had jotted down but hadn't found melodies for yet. None of the songs appeared before, and while most don't grab you right away, one that does is "Ain'ta Gonna Grieve." B+(**)
Billy Bragg & Wilco: Mermaid Avenue: The Complete Sessions (1998-2000 , Nonesuch, 3CD): This wraps all three volumes up in a tidy box, worthwhile if you're missing the first two as the inessential third is at least good for more quirky context. A-
C86 [Compact Digital Edition] (1986 , Cherry Red): Originally a cassette released by British rock zine NME, this captured a moment in Britpop's evolution, with a heavy guitar clang, or sometimes jangle. Only four tracks from the original 22, filling out 17 with even more obscurities, so this hardly deserves the same name (which the cover provides, along with "NME 022" -- the original released number). [Docked a notch for making me do the paperwork.] B+(*)
The Close Readers: Group Hug (2010 , Austin): New Zealand group, a vehicle for singer-songwriter Damien Wilkins, who won some prizes for writing fiction in the 1990s (but isn't famous enough to dislodge Dominique Wilkins' nephew from Google's search lead). Christgau picked their 2014 The Lines Are Open and after I concurred the back catalog showed up in my mail. On this debut it's clear he studied the Go-Betweens for songcraft while writing songs titled "Elton John" and "Iris DeMent." Gets a little tangled up on "Bipolar," but maybe that's a point. B+(***) [cd]
The Close Readers: New Spirit (2012, Austin): Usual sophomore album traits: songs fall off a bit but also get more ambitious, musicianship improves -- they rock more, also try more production tricks. But the basics are solid, especially the lyrics, and if they sound a lot like the Go-Betweens, I'd put that in the plus column. B+(***) [cd]
Godspeed You! Black Emperor: F# A# ∞ (1997 , Kranky): Canadian post-rock group, from Montreal, took their name from a Japanese film about a biker gang named the Black Emperors. Title pronounced "F-Sharp, A-Sharp, Infinity." Album originally released as a 32:22 LP (with one of those infinite lock grooves at the end), then a year later was reorganized as a 3-track 63:27 CD. B+(**)
Godspeed You! Black Emperor: Lift Your Skinny Fists Like Antennas to Heaven (2000, Kranky, 2CD): Second album, four pieces running 18:57 to 23:17, each a mini-suite, usually resetting toward the middle. B+(*)
Janet Jackson: Control (1986, A&M): No one I'm aware of takes her teen efforts seriously, but turning 20 for her third album, Jam & Lewis feed her some serious beats, echoing family trademarks. While she claims control, she's not quite there yet. "Nasty," for instance, is something boys do. B+(*)
Jimmy Eat World: Bleed American (2001, Grand Royal): Emo band from Arizona, fourth album, first to chart and only (of 8, 1994-2013) to go platinum. Or that's their rep: emo seems to apply to a range of sounds but depend on lyrics I rarely can follow. All I can say is that they're fairly tuneful and a little baleful. B-
Mastodon: Blood Mountain (2006, Reprise): Heavy metal band from Atlanta named after a lumbering prehistoric beast, third album. A band which gets critical support beyond metalheads, although I can't see why. There's the speed drumming and the time shifting slide into cacophony, but it's mostly just the usual deep sludge. B-
Mobb Deep: The Infamous (1995, Loud): Gangsta rap duo from Queens, second album, beats came easy, bullshit too. B+(**)
Nine Inch Nails: Pretty Hate Machine (1989, TVT): First album by Trent Reznor's industrial rock group, although his notion of industrial is closer to New Order new wave, but with a harder metallic gleam and more dystopian attitude. A-
Nine Inch Nails: The Fragile (1999, Interscope, 2CD): Third album, five years after The Downward Spiral, a sprawling set, heavy, dreary, not totally without interest, but lacking something -- charm, maybe? Second disc does get better. B+(*)
Nine Inch Nails: With Teeth (2005, Nothing): Even-keeled, showing his future in soundtracks but occasionally turning some songs on. B+(**)
Nine Inch Nails: The Slip (2008, The Null Corporation): I see the genre list here includes "dark ambient" -- not something I've run across before, but a reasonable description here. B+(**)
Oasis: Definitely Maybe (1994, Epic): First album by Manchester UK group that was taken as the second coming of the Beatles in some parts. I don't hear that: just a loud backbeat and plenty of guitar up front. B+(*)
Oasis: Be Here Now (1997, Epic): Third album, makes me want to check my volume levels because they are so dedicated to pumping it up. While I find that annoying I also find it surprisingly invigorating -- enough so that I can see why they became so big, but not enough to become a fan myself. B+(*)
Orbital: In Sides (1966 , FFRR, 2CD): British electronica, something like jungle 'n' bass, with industrial touches and occasional references to Satan -- the latter on the bonus disc, added in 1997, ending in a live track with something familiar. B+(**)
Raekwon: Only Built 4 Cuban Linx (1995, Loud): Debut album for Wu-Tang rapper Corey Woods. Not following the skits, which presumably knit the concept together, but the beats dazzle, the raps cut, and it seems to add up to some sort of worldview, probably no more strange than the ghetto itself. A-
Boz Scaggs: Silk Degrees (1976 , Columbia/Legacy): Far and away his most successful album -- quintuple platinum with his two higest charting singles, "Lowdown" and "Lido Shuffle" -- but while it made a big splash it's not especially memorable, borrowing much of its energy from disco, but not quite the way you remember it. B+(***)
Snoop Doggy Dogg: Doggystyle (1993, Death Row): Calvin Broadus, later just Snoopy Dogg, was already a celebrity before dropping this G-funk debut, an upbeat rush of faux-gangsta fables built on P-Funk samples -- my favorite just repeats "tha bomb" every bar. B
Sunny Day Real Estate: Diary (1994, Sub Pop): Seattle alt/indie group, usually tagged as emo but not far removed from grunge, at least on this first album. I'm not sure "emo" is the same thing as overwrought, but at least they pound it furiously into shape. B
Teenage Fanclub: Bandwagonesque (1991, DGC): Scottish alt/indie group, has that pop twist to the guitar band sound, but not enough spit and polish to make it real. B+(*)
Uncle Tupelo: Anodyne (1993 , Rhino/Sire): Seminal alt-country band from Illinois with Jay Farrar (Son Volt) and Jeff Tweedy (Wilco) -- their debut album was taken as the title for genre-defining No Depression magazine -- on their last album. B+(*)
Wilco: A.M. (1995, Sire): Debut from Jeff Tweedy's post-Uncle Tupelo group, a more-than-promising mix of vocal twang and uncommonly sharp guitar. A-
Wilco: Summer Teeth (1999, Warner Brothers): The end of their notion that true American music should be rooted in the so-called heartland, partly by moving to the California melting pot, which doesn't quite a Beach Boys album make. B+(**)
Yo La Tengo: Ride the Tiger (1986 , Matador): Hoboken alt/indie group, Ira Kaplan the main writer/singer, first album, missing among the 19 LPs and EPs Christgau has reviewed (5 A-, 2 A), so the original label (Coyote) must have been awfully obscure in the day. The band had a knack for surfing over the guitar line, a lightness that makes everything crisp and clear. The CD reissue adds some murkier cuts, but that just raises the intensity. A-
Yo La Tengo: New Wave Hot Dogs (1987, Coyote): Second album, moves forward, backwards, and sideways from the first, so yeah, less consistent, a mix of punkish raves and more sedate spots. B+(**)
Yo La Tengo: President Yo La Tengo (1989, Twin/Tone): I spoke admiringly of the lightness of their debut, but two albums later it's the heaviness you hang onto, especially the guitar squelch of the 10:35 "The Evil That Men Do." [Matador reissued on CD in 1996 with New Wave Hot Dogs and "Asparagus Song" tacked onto the end; this is the version Rhapsody has, but I split it up for review.] A-
Yo La Tengo: Fakebook (1990, Bar/None): Mostly a covers album, done simply, although five songs are credited to Ira Kaplan, two of those also to drummer Georgia Hubley. Obscure song choices, not that "Griselda" (Antonia) or "Andalucia" (John Cale) are obscure to me. B+(*)
Yo La Tengo: May I Sing With Me (1992, Alias): First album for bassist James McNew, joining Ira Kaplan (mostly guitar) and Georgia Hubley (mostly drums). The greater depth allowed them to move into Sonic Youth territory, and the guitar (in particular) sometimes reminded me of avant-jazz, especially in an extended feedback freakout, but also in certain solos. As an alt/indie band they've long fit into the Velvets lineage, so the growth may just be recessive genes coming back into play. A-
Yo La Tengo: Painful (1993, Matador): Sounds like an attempt to consolidate the sonic gains of their recent albums without doing anything shocking or weird or pathbreaking -- a plus for their alt/indie audience, but less interesting for me. Or maybe they just wanted to give their new bass player more leads. B+(***)
Yo La Tengo: Genius + Love = Yo La Tengo (1988-95 , Matador, 2CD): Two hours of "rarities, alternate versions, and out-takes" -- the first disc songs with vocals, the second just instrumentals, ranging from an 8-second "Drum Solo" to the 26:22 closer, "Sunsquashed." Obviously something for fans only, but it gives you a fair taste of where they've been, and their sound is distinct enough to justify the latter disc. B+(**)
Yo La Tengo: And Then Nothing Turned Itself Inside Out (2000, Matador): Follow-up to I Can Hear the Heart Beating as One -- probably the group's best record: catchy songs, with an impressive flow. This one is similar, but sometimes slower and prettier. Christgau advises "play loud" but can that be right? B+(***)
Sometimes further listening leads me to change an initial grade, usually either because I move on to a real copy, or because someone else's review or list makes me want to check it again:
Yo La Tengo: Electr-O-Pura (1995, Matador): If Painful didn't quite mark the point where they merged their early songcraft with their hard-earned sonics, this was. [was: B+] A-
Additional Consumer News:
Previous grades on artists in the old music section:
Everything streamed from Rhapsody, except as noted in brackets following the grade:
Monday, July 27. 2015
Music: Current count 25190  rated (+36), 453  unrated (-4).
Bumper crop of A-list records this week: if I kept this up I'd have 400 for the year, which would blow my credibility all to bits. (Actually, I have 58 new and 7 old so far this year, so that's, if anything, below last year's pace.) First two records I graded last week were A- (both jazz but very different: Harry Allen and OZO), then nothing much happened until Saturday when I hit a streak of three (Ashley Monroe, Chico Freeman, Omar Souleyman). In between I went to check out the new Four Tet and found a couple I hadn't heard before, including Pink -- on Christgau's 2013 Dean's List but never reviewed in Expert Witness. Also surprised that I gave Satoko Fujii's Berlin big band the edge over the Tobira quartet -- I usually prefer the small groups, not least because her piano is more prominent. Veruca Salt was a tip from Michael Tatum (a solid A-, he said). I originally had it a notch lower, but a recheck (actually, a couple) convinced me. Among the high B+, Johannes Wallmann most tempted me -- terrific solos by Russ Johnson and Gilad Hekselman, and the piano never quits. I must admit that I ran out of patience with Wilco, but there could be more there.
One thing that changed the week around was that I got my crashed "media" computer back up and running. I put a new hard disk drive in ($50 buys one terrabyte these days) and did a fresh install of Xubuntu 14.04.2 (Desktop). I haven't mounted the old disk yet, so I haven't recovered the missing data (mostly downloads), but it was a treat to listen to Rhapsody through decent speakers. (I had been using the Chromebook's built-in speakers, since the Bose Mini-Link had proven unusable.) Veruca Salt especially benefitted.
For "old music" I'm still picking at the Spin 1985-2014 list, but losing interest as I'm going along. The unheard records are down to 31, so about 10%. That number will drop a bit in future weeks, but I don't know how much or how fast. I was more interested in finding those missing Four Tet albums. (Kieran Hebden, by the way, is producer on the Omar Souleyman album.)
Expect a Rhapsody Streamnotes before the end of the month. It's been more than a month, but I lost those three weeks on the road, so the draft is only average-sized at present (105 records). But that should be big enough for any month.
New records rated this week:
Recent reissues, compilations, and vault discoveries rated this week:
Old records rated this week:
Unpacking: Found in the mail last week:
Sunday, July 26. 2015
I got an early start this week, writing some of this on Friday, then deciding that was close enough to save up for Sunday. This week's choice links:
Also, a few links for further study:
Wednesday, July 22. 2015
There is an old adage that goes: those who don't know history are doomed to repeat it. But what happens when someone knows a little bit about history, but gets it all wrong? Take Wesley Clark, for example. Katherine Krueger reports:
Most likely Clark was thinking of the internment camps set up during WWII that held 120,000 Americans of Japanese descent. Those camps were set up during a racist panic on the West Coast after Pearl Harbor was bombed, and were soon regarded as a waste of resources and eventually as a national embarrassment. Nothing similar was done or even proposed for the millions of Americans of German descent: partly because a bout of anti-German hysteria had already occurred during the first world war and was properly remembered as pointless and stupid, partly because we were more likely to distinguish between Nazis and other Germans, and partly because German-Americans were white. Few of us today realize how deep and vicious American racism against Japanese and Chinese had been up through the 1940s. (See John W. Dower: War Without Mercy: Race and Power in the Pacific War; there must be a more general book, but I haven't read one.)
As for Clark's assertion that during WWII "supporter[s] of Nazi Germany" were arrested and treated as "prisoners of war" there isn't much evidence. Jeffrey Rogers Hummel has written a thorough review of American prosecution of supposed enemies both before and after Pearl Harbor (see Not Just Japanese Americans: The Untold Story of U.S. Repression During 'The Good War') and he does cite cases where the US used the Alien Enemies Act (dating from 1798) to incarcerate Japanese, German, and Italian immigrants (3,846 of them within 72 hours of the Pearl Harbor attack). There were subsequent prosecutions for sedition, espionage, and even treason -- several Americans were charged in absentia with treason for making anti-American propaganda broadcasts (including poet Ezra Pound and one of the women known as "Tokyo Rose"). A few thousand conscientious objectors were rounded up and put into camps akin to jails, and the anti-sedition laws were used to repress various fringe groups, like Trotskyites and Jehovah's Witnesses. But aside from the Japanese-Americans, I don't see anything in Hummel's long list that suspended judicial processes or that treated American citizens as prisoners of war.
I should interject here that just because the US did something in WWII doesn't make it right or appropriate, either then or now. Every American war started with an effort to suppress dissent, ostensibly to form and demonstrate national unity but not incidentally to cover the warmongers' asses. In WWI dissenters as famous as Eugene V. Debs were chucked into jail for "crimes" that even Wesley Clark would now recognize as free speech. (Debs was jailed for giving an actualspeech.) If FDR's WWII government has a reputation as less repressive, it's most likely because the war was much less unpopular. Moreover, both wars were followed by notorious "red scare" periods: the latter, recalled as McCarthyism, peaked during the Korean War, and was most effective at cowering opposition to that war.
McCarthy himself flamed out shortly after the Korean War ended, but by then anti-communism had become deeply entrenched throughout the government, academia, and even labor unions, even while HUAC, the John Birchers, and Barry Goldwater seemed like fringe figures. The Vietnam War wasn't marketed (as the later Iraq Wars would be). It was just entered into reflexively, with as little thought as the "gunboat diplomacy" operations of the early 20th century, until it swelled to the point of becoming America's longest and least popular war. The FBI did what it could to suppress dissent, but opposition to the war grew too extensive to quell with prosecutions -- not that the government didn't try (e.g., the Chicago 7). If nothing else, opposition to the Vietnam War established that Americans have the right to assemble and speak out against the nation's wars.
Still, the war party doesn't like dissent, and they go to great lengths if not so much to suppress it then to crowd it out. The war drums so dominated the media after 9/11/2001 that it was impossible to raise even the most modest of doubts in public. I went to peace demonstrations in New York City in the following weeks, but how many of you even knew that they happened? None of New York's Congressfolk voted against the war authorization. Fourteen years later that war seems to be on autopilot, periodically refreshed by minor incidents like the shootings in Chattanooga Clark was responding to, because we cannot bring ourselves to reconsider how we got into this mess in the first place.
Returning to Clark's proposal, we have to ask: (1) what is it he's really asking for? (2) how does that reflect on us as a people and a nation? and (3) will it work anyway? Unfortunately, he hasn't made even the first question easy. Clarks speaks of "internment camps": the only real precedent for that is the internment of Japanese-Americans during WWII. Clark speaks of "prisoners of war" and "segregat[ing] them from the normal community for the duration of the conflict." In the context of WWII that can only mean captives who were wearing enemy uniforms, but that hardly applies to anything in "the global war on terror," which is not a war against an identifiable nation, nor is it a war that can be expected to terminate clearly in the near future. It is true that some of Bush's lawyers tried to apply parts of the law on "prisoners of war" to some aliens captured abroad, and argued that as the basis for keeping those prisoners at Guantanamo, but Clark is talking about "American muslims" -- a group estimated at anywhere from 5 to 12 million people. He isn't necessarily talking about rounding up all of them: he wants to grab those who are "radicalized," who may as a result of that try to "hurt us."
Even if you take the lower estimate, 5 million American muslims is twice as many people as are currently in jail in the US, so Clark is potentially talking about tripling the size of America's prison complex (already the largest in the world). Of course, most American muslims aren't radicalized (at least not yet), but how do you tell which is which? Clark's suggestion here is to look for young men recently jilted by girlfriends, or whose "family doesn't feel happy here." Criteria like that is rather hard to determine. At the very least, it would require the US to do a lot of spying on our own citizens -- something which is, uh, illegal. (But then any initial division of the population according to religion is also illegal -- a violation of civil rights law.) The points which violate specific laws could conceivably be fixed, but I can think of a bunch of places where such an internment program would bump up against the constitution. The idea that you should lock up people because they might be inclined to commit a future crime is totally alien to American jurisprudence (if not necessarily to American history). My second question above must be answered "no."
As to the third question ("will it work anyway?") it's hard to see any way to answer "yes." For starters, the scheme can fail in two ways: it can intern people who would never have committed crimes, and it can miss people who do. It may seem hard to "proove the negative" but you can get an idea of the former by counting the number of radicalized muslims who have actually committed crimes over the past few years -- the shooter in Chattanooga, the Tsarnaev brothers in Boston, the two guys who attacked Pamela Geller's Mohammad-bashing festival in Dallas, a few more here and there -- you can even add in the guys the FBI set up and "stung" and not drive the total up more than a few dozens. How many people would Clark sweep off the streets? If it's only a couple hundred or so the majority would have been jailed unnecessarily and falsely. If it's thousands or more the injustice is only magnified. On the other hand, if you hold the number of detainees down to, say, 5000, you're letting at least 999 of every 1000 muslims off the hook. That almost certainly means that some "terrorists" will blend into the pack and escape internment. Of course, the problem doesn't end there. The program itself, with its blatant discrimination and spying, will radicalize more muslims, while at the same time driving muslim radicals underground, making them harder to detect. Given the already low number of terror incidents due to radicalized muslims, it's quite possible that Clark's internment program would result in many more incidents than it was initially meant to stop. So worse than "not working," Clark's concentration camps are most likely to make the problem worse -- on top of all the other negatives.
It's safe to say that Clark's proposal won't be adopted, but it is interesting that he even bothered to blurt it out. I could come up with a long list of reasons why, but I'll just leave you with three: (1) he hugely overestimates the problem (the number of "terrorist incidents") and has no sense of proportionality versus the muslim population in America; some of this is simple innumeracy (John Allen Paulos' term for people who can't envision relationships between numbers), some is that fear of terrorism is promoted by certain interest groups that profit from it (e.g., the military and its suppliers), and some is common prejudice against islam; (2) he has insufficient respect for America's traditions regarding justice and democracy, favoring power instead; and (3) he refuses to consider the real alternative, which would have the United States withdrawing from its history of interfering with other countries by supporting and encouraging violence (either against those countries or in favor of elites against the people of those countries).
Monday, July 20. 2015
Music: Current count 25154  rated (+34), 457  unrated (-5).
Came back from my trip exhausted, and if anything grew wearier over the course of the week. Unpacking has been slow, and while I managed to catalog all the waiting CDs last week I still have a pile of snail mail to read (or otherwise dispose of). I did at least start to get back into a music routine, at least until disaster struck. I've been using a recycled Linux machine for streaming music, downloading PR links, playing DVDs, and occasionally checking up on Facebook. I've kept this machine rigorously up to date, so when I got back there were a huge number of software updates ready. I started to install them while I was streaming something, and a few minutes later the machine crashed with a kernel panic. It seemed to reboot, but a few minutes later froze up, with I/O errors on the console. Repeated attempts merely shortened the time to freeze. At the very least the software installation has been left in an inconsistent state. Also possible that the disk drive is malfunctioning.
I had another (not-so-good) computer setup for streaming, so the main effect of losing the machine was that I lost all of the download music I had received over the last six months -- mostly from ECM and Cuneiform, since I don't bother with most other links that come my way. They're always a pain, and I had been slow at dealing with them anyway, so I was well behind reporting on them. Also, ECM's links are time-limited, and I think Cuneiform's are locked against multiple downloads. And going forward, my methodology for downloading them is broken, so that's something else to bother with. In the long run I'll probably be able to recover the lost data by mounting the disk on a working machine, but that's also in principle true of the previous "media machine" that crashed in 2014 and is still sitting on the sidelines. (It ran Windows Vista, and was similarly corrupted by a software update. My understanding is that I can fix the corruption if I can find the original installation discs, but thus far I haven't found them. If/when I give up on that search I can still try to mount the discs on a Linux system and scrounge around for useful data, but that hasn't been much of a priority.)
Meanwhile, the new streaming setup is the one I used on the road: a Toshiba Chromebook and Bose MiniLink Bluetooth speakers. The latter, even when they're working properly, are much inferior to the Klipsch computer speakers on the "media machine," which are in turn much inferior to the B&O speakers on my now aged stereo system. (The speakers and the Yamaha receiver are close to 30 years old.) But it turns out that the Bose speakers rarely work right: the bluetooth connection often fails, and the auxiliary connection -- a direct wire with stereo jacks from the computer to the speakers -- has a really weird effect that I'll explain below. (It's quite possible that both of these problems are the fault of the Toshiba, which among other things has very little in the way of diagnostic tools.) The upshot is that I've had to fall back on the Toshiba's built-in speaker, lame and tinny as you'd expect. That possibly puts the streamed records at a disadvantage, even more than usual. Factor that in if you like, but looking at the grade list below I suspect I've already done so.
The weird effect? When I streamed Frank Lacy's Mingus Sings I was surprised to find that the record had virtually no vocals -- maybe some vocal rumbling submerged in the background. I was mostly streaming jazz and hadn't noticed much amiss, but when I switched to Boz Scaggs' A Fool to Care again the vocals were buried, leaving a lushly attractive guitar groove album. OK, I thought. The Leonard Cohen showed evidence of background vocals but no Cohen, and that, too, had some appeal. I didn't pull the plug until I got to Kacey Musgraves and thought her doing an instrumental album was just too bizarre. And when I pulled the plug, her voice popped right up -- on the Toshiba's built-in speaker.
Evidently there is such a thing as a "vocal eliminator" filter, which is used to create karaoke versions from standard stereo. How such a thing got into the Bose and/or the Toshiba beats me. (The bluetooth path to the Bose speakers didn't filter out the vocals, so it was only the wired connection. The Toshiba manual describes the jack as "headphone/microphone" but when I plug the Bose in it is recognized as a headphone, and I can't find any more audio controls. Just spent an hour researching and testing this and I know nothing more than I did.)
After discovering this glitch, I went back and relistened to about ten albums. Oddly enough, I wound up grading the Lacy and Hollenbeck albums down. The others didn't move much, although the vocals are certainly a plus for Scaggs, Cohen, and Musgraves. The filter had also knocked Joshua Redman's sax out of the Bad Plus album, but that was neither much of a loss or gain. Could be that I've misheard more of the [r] albums below, so take them with more than the usual grain of salt. (I think the list that I didn't recheck was: Blanchard, Davis, Diehl, Garzone, Glasper, Hazeltine, Herring, Hunter, Jamal, Johnson, Skydive Trio; most were probably heard accurately enough. I didn't notice a problem with the old [r] records -- Bragg, Uncle Tupelo, Wilco -- so the problem must have occurred after I heard several of the above jazz records. I did recheck Silk Degrees, which improved a lot.)
I should probably add a note on the two A- records this week. I've given Rent Romus and Michael McNeill A- grades in the past, and gave these two records more than the usual fair chance -- McNeill probably wound up with eight or more plays. Both have corresponded with me -- McNeill even weirded me out when he said he'd check out Vijay Iyer on my recommendation. Could it be that I'm softening up and playing favorites? I'll stick with them: in fact, the clincher for McNeill was that I want to hear the album again.
By the way, Devin Gray, Max Johnson, and Skydive Trio were recommended by Chris Monsen on his Fave Jazz of 2015 mid-year list: 3 of the 9 records I hadn't heard, all good ones. Of the other B+(***) albums, the one I'd definitely spin again if I had the CD is Warren Vaché's. Scaggs and Cohen were hinted at in Christgau's parting missive (as well as the Nelson-Haggard album I like, and "giant sand/springsteen/bishop" -- I'd guess the latter is Elvin's Can't Even Do Wrong Right, which is as right as he's gotten in a long time, but I have no idea about the others).
I may get around to Rhapsody Streamnotes near the end of the week. Certainly by the end of the month.
New records rated this week:
Recent reissues, compilations, and vault discoveries rated this week:
Old records rated this week:
Unpacking: Found in the mail last week:
Sunday, July 19. 2015
Another week with the usual scattered links:
Also, a few links for further study:
Thursday, July 16. 2015
In America we tend to think of Europe, with its unions, high taxes, and (relatively) generous safety net, as well to our left, often noting that right-leaning politicians there are committed (or at least resolved) to more progressive policies than our nominal Democrats. For instance, take a look at Thomas Geoghegan's paean to the workers' paradise that is Germany: Were You Born on the Wrong Continent? How the European Model Can Help You Get a Life -- and follow that up with Geoghegan's Only One Thing Can Save Us: Why America Needs a New Kind of Labor Movement, which argues that America's economy needs European-style labor unions to finally crawl out of the morass the Great Recession, on top of thirty years of union-busting, plunged us into. Given this, it's disconcerting that Europe as a whole has done an even poorer job than the US has in recovering from 2008, and it takes some careful analysis to understand why.
Economists like Paul Krugman were quick to blame the Euro, and there can be no doubt now that the idea of having a common currency without a common commitment to the economic vitality of the entire region is a recipe for disaster. Since its inception, the Euro has been tightly controlled by its (mostly German) central bankers, but it was the 2008 crash which made the problems clear. Before crash, the Euro built up both sides, encouraging the north to loan money to the south and fueling a real estate bubble in the latter. After, both sides were hit with depression, but the debt burden turned them against each other. As lenders, the north (mostly Germany) wanted to hold the value of the Euro firm, while the debt-hampered south needed debt relief and restructuring, things normally done by inflating the currency. What followed wasn't a compromise. The central bankers held firm, oblivious to the pain they caused in the south.
Similar problems afflicted Italy, Spain, Portugal, and Ireland, but were worse in Greece, partly because Greece had played a rather loose game with EU debt rules in the past (Michael Lewis covers this in Boomerang: Travels in the New Third World). But what has made the situation in Greece much worse has been a brutal austerity program insisted on by the central bankers -- one suspects as much intended as punishment as reassurance that the debts would be paid. So far the results are a super-depressed economy with over 25% unemployment, the election of an anti-austerity leftist political party (Syriza), a banking crisis, an increasing polarization between Greece and Germany (to the extent that Greeks have started to bring up the issue of reparations for German WWII atrocities). Indeed, since Syriza was elected, the demands of the central bankers seem to have focused as much on undoing the election results as permanently burdening the Greek economy.
Unfortunately, it now appears that the Syriza government has capitulated to a "$94 billion bailout package" that the Greek voters decisely rejected just a week ago. (For some details, see the image below. It appears that the real beneficiaries of the "bailout" are the lending banks, that the Greek government will remain saddled with crippling debt indefinitely, and that the Greek government will be stripped of assets and prohibited from doing anything that might stimulate economic recovery.)
I say "unfortunately" because I see Greece as the first major breakpoint in what will become a worldwide struggle against debt. As you know, inequality of income and wealth has been increasing all around the world since the 1970s. There are lots of reasons for that, notably globalization which has allowed capital to seek greater profits while arbitraging wages, the practice of virtually all governments of managing their currencies through the banks, and the ever-increasing corruption of democratic institutions in favor of the oligarchy. By the 1990s, inequality had grown to the point where it was starting to suppress demand for products and services. But rather than increasing wages to stimulate demand, the problem was temporarily avoided by opening up access to debt. The idea behind debt, after all, was to preserve the power of the rich even while they let you (temporarily) sample a bit more wealth. The 2008 crash occurred when the debt overhang became insupportable, but rather than solving the problem by reducing the excess debt (by writing it down, or inflating it away, or otherwise making it easier to repay) the political system, including most of the nominal left, conspired to defend (both ideologically and through massive bailouts) the oligarchy. (See Philip Mirowski's Never Let a Serious Crisis Go to Waste: How Neoliberalism Survived the Financial Meltdown.)
As Steve Fraser documented (see The Age of Aquiescence: The Life and Death of American Resistance to Organized Wealth and Power), it wasn't long after the abolition of slavery in the US that workers started referring to the "free labor" system as "wage slavery." The idea was that the conditions of wage work offered workers little real freedom. Similarly, debt constricts freedom. For individuals this may just be a matter of binding you to rat race with little hope of ever breaking free. But as Greece shows, whole nations can be reduced to debt slavery, their democratic will put aside, their people's hopes and prospects put on hold while their creditors pick their pockets. If this seems too harsh, consider this description from Alex Gourevitch:
This kind of control through debt isn't new: it's reminiscent of similar "austerity" programs imposed on many third world countries. But those deals fell out of fashion after Argentine bucked the IMF in 2000, and the IMF has since appeared to be more sensitive to the underlying welfare of the countries it previously victimized. (The IMF has even been relatively sane regarding Greece: see Paul Krugman: An Unsustainable Position). Still, one might have expected Greece to catch a break: as a member of the EU, Greece might reasonably have expected special consideration to keep its economy functioning within European norms. It also might have expected other Eurozone members to help keep it in the zone rather than pushing it out. The decision to make an example out of Greece suggests that the powers that be fear that Greece may not be an isolated example: sooner or later others are going to revolt against the yoke of their debts.
In the meantime, of course, it could just be that the creditors are feeling invincible. In Europe, the chief evidence for this is the lacklustre ambivalence of the so-called left: why, for instance, is there so little evident solidarity between labor in the rich north and the depressed south? France has a "socialist" prime minister who seems more comfortable as the caretaker of neoliberalism than as its undertaker. The latest left-party governments in Germany and the UK have been major embarrassments, unable even to turn the right's austerity fads into meaningful political gains. I cited Fraser's book on the loss of class consciousness in America, but clearly a comparable book could be written about Europe, even if some of the particulars differ.
I've been hoping that Syriza will hold firm in rejecting the central bankers' demands, even to the point of resurrecting their own currency (and hopefully burying the dread term "Grexit" -- how sophomoric can you get?). Even if euro exit was intended as punishment (which appears to be the case in promulgating such onerous terms), and even if it hurt plenty, it would sever the bonds strangling the economy and paralyzing the party's efforts to rebuild a more just nation. It wouldn't be easy, but Greece could then rebound, and with it we might discover a viable left alternative. (Iceland was the country in worst shape after the 2008 crash, but having its own currency it devalued, stiffed its creditors, and rebounded remarkably fast.) More countries could join Greece, and/or a broader struggle -- and/or greater calamities -- might force the EU to reform. But at least there would be an alternative to the oligarchs' desperate struggle to control everything.
I have an unread book on a shelf somewhere whose title begins Another World Is Possible -- a concept that lots of people seem to have a lot of trouble grasping. (It's by Susan George, from 2004, and the title continues, rather ominously, If . . . , to remind us that activism, not just imagination, is required.)
Some more interesting links:
Monday, July 13. 2015
Music: Current count 25120  rated (+4), 462  unrated (+23).
Got back from my west coast drive just before midnight Saturday. In retrospect I should have packed a boombox. I did bring along 200 old CDs which we played in the car, but most of most days went music-less. I did make a token effort to stream the new Miguel on Rhapsody, but couldn't tell much (other than that I didn't get into it -- saw him do an amusing skit on Jimmy Kimmel). So the "newly rated" above and below was just what I picked up Saturday (and early today, relatively speaking). Surprised I found an A-list item in that short time.
I did manage to get the mail unpacked, below. Even after rechecking everything, there is a minor discrepancy in the numbers: rated count is only +4 but I listed 5 newly rated records below; unrated count is +23, which matches 28 newly catalogued items minus 5 newly rated. It's hard to keep all of my interlocking lists in sync.
One thing I wanted to do during the trip was to rethink what I should be doing. It helped to talk through my various book proposals, particularly with my sister, and they all seem to make sense. Harder to tell about my music website RFC: thus far, I've received no serious comments and very little interest, despite the usual boost such project ideas get when Robert Christgau's consumer guide loses its patron (see Expert Witness at Cuepoint/Medium.
Recommended music links:
Normally, the unheard items on lists by these particular critics would be priorities for my own listening. Indeed, many of the unheard items on the Soto and Weiss lists are June-July releases. Unfortunately, the machine I use for streaming has been flaky today and just crashed (for the second time). Could be a major setback for me.
Mid-year best-of lists are becoming increasingly common. I checked out one from Rolling Stone, and found pretty much what I expected: more not-so-good records, and more stuff I didn't know about or hadn't bothered with. The breakdown: 4 A- (Kendrick Lamar, Courtney Barnett, D'Angelo [they're a bit slow], Mbongwana Star); 7 *** (Madonna, Jack Ü, Jamie XX, Rae Sremmurd, Sufjan Stevens, Joey Badass, Jazmine Sullivan); 4 ** (Pops Staples, Blur, Kamasi Washington, Rhiannon Giddens); 4 * (Sleater-Kinney, Alabama Shakes, Earl Sweatshirt, Death Grips); 2 B (Drake, Father John Misty); 1 C (Bob Dylan); 22 unheard (Björk, Mark Ronson, Mumford & Sons, Kacey Musgraves, Florence, Muse, Kid Rock, Marilyn Manson, Leonard Cohen, Faith No More, Zac Brown, Sonics, Chris Stapleton, Future Brown, Fifth Harmony, Refused, Metz, Leon Bridges, Steven Wilson, Bosse-de-Nege, Downtown Boys, Hop Along).
New records rated this week:
Unpacking: Found in the mail when I got back:
Monday, June 22. 2015
Music: Current count 25116  rated (+0), 439  unrated (+0).
About three days of work here -- less than half a week. On the fourth day I was totally distracted, and on the fifth day I took off for the upper northwest. Although I spent a good deal of time swapping discs out of and into my travel cases, virtually nothing that I'll be taking with me is new work. Rather, I'll have three weeks to listen to things I really liked at some point but haven't had time to play recently.
I don't expect to post much over the next three weeks. I should be reachable via email, at least by the end of the day. Hopefully, I'll get some reading done, and find some time to think about what I want to write about in the future.
New records rated this week:
Old records rated this week:
Unpacking: Found in the mail last week:
Wednesday, June 17. 2015
I figure enough books of possible interest come out each month to run a little feature noting 40 of them, but for a variety of reasons I've been lax and haven't run one of these since . . . July 3, 2014, so this is way late. I've tried at least to compensate by selecting the most obviously important books (at least as regards politics). I currently have 97 more grafs in the scratch file, and I still have a dozen or more pages of notes I took in bookstores on my NJ trip last fall. Maybe I'll manage to get a second batch together before my big trip northwest starts on Friday. Meanwhile, here's my top 40. Cover illustrations for those I've actually read in the meantime. (I also have, but haven't read yet, Alexander Cockburn, Thomas Geoghegan, Rick Perlstein, Joseph E Stiglitz's The Great Divide, and Astra Taylor.)
Christian G Appy: American Reckoning: The Vietnam War and Our National Identity (2015, Viking): In the 1950s we were brought up to believe that America was a force for good in the world. The Vietnam War destroyed that self-conception -- at least it did for me and for many of my generation. Appy's brief history reminds us of how dirty the war got -- he starts with a story of GIs playing "gook hockey" (using Jeeps to run down Vietnamese children) -- and reminds us how even LJB but especially Nixon and Kissinger extended the war beyond any hope of success, just to show the world their resolve, to demonstrate how much punishment we could inflict even in defeat. The book goes on to look at how the postwar memory has been sanitized, not least the propagation of a myth that the war was lost not by our brave soldiers but by the cowardly antiwar movement -- America's own Dolchstosslegende (as with Germany's, a license to resume further wars). Worse than defeat, America seems to have learned nothing from Vietnam. With this book, at least, you might learn something. Appy previously wrote Patriots: The Vietnam War Remembered From All Sides (2004), an oral history.
Karen Armstrong: Fields of Blood: Religion and the History of Violence (2014, Knopf): One of the better writers on the history of religion, a Christian but not limited thereby. Her thesis in The Great Transformation: The Beginning of Our Religious Traditions (2007) was that the religions that emerged in the first millennium BCE (as well as Greek rationalism) were developed primarily to limit and control violence, so it isn't surprising that she argues that wars today are not driven primarily by religion. I see the point, and recognize that religion provides a framework that supports many pacifists, but I doubt that would be my conclusion.
Anthony B Atkinson: Inequality: What Can Be Done? (2015, Harvard University Press): Economist, published his first paper on the subject back in 1970 when the problem seemed less dire, not that there was nothing to study then. Most likely an important book on the subject, not least for a lifetime's thought into how to overcome it.
Kai Bird: The Good Spy: The Life and Death of Robert Ames (2014, Crown): Ames was a CIA operative in Beirut, killed in the 1983 bombing of the US embassy there. He evidently had uncommonly good contacts with Arab political figures as well as the ear of Americans up to president Ronald Reagan, which leaves Bird thinking that had Ames lived longer he might have nudged US policy in the Middle East a bit out of its horrible rut. Bird's memoir Crossing Mandelbaum Gate: Coming of Age Between the Arabs and Israelis shows his own distinctive and idiosyncratic sense of the region.
Steven Brill: America's Bitter Pill: Money, Politics, Backroom Deals, and the Fight to Fix Our Broken Healthcare System (2015, Random House): First significant book on the political struggle to pass the Affordable Care Act (ACA, aka Obamacare). As you know, Obama tried to come up with a solution that would be non-controversial -- at least in the sense that all the interested business groups could buy in, with the hope that the Republicans would recognize the bill as kindred to their own proposals. None of that worked: the result was a system that no one loved or much cared for, a set of expensive compromises that solved some problems and created many more. The book is reportedly good on explaining the underlying problems as well as the backroom deals, but less critical about the act's shortcomings.
Wendy Brown: Undoing the Demos: Neoliberalism's Stealth Revolution (2015, Zone Books Ner Futures): I read Philip Mirowski's Never Let a Serious Crisis Go to Waste in search of an explanation of why the 2008 crash didn't lead to any serious rethinking of what is wrong with conventional economic thought (aka neoliberalism), but that long book didn't get much deeper than pointing out the mental rut no one dared escape. This looks to explain that logic and its grip.
Alexander Cockburn: A Colossal Wreck: A Road Trip Through Political Scandal, Corruption and American Culture (2013; paperback, 2014, Verso): A journal of sorts, from 1995 to his death in 2012, offers a sharp (and often shrill) rewind of history, but reading samples here one finds much broader range than his fondness for slagging the Clintons.
Andrew Cockburn: Kill Chain: The Rise of the High-Tech Assassins (2015, Henry Holt): This is the Cockburn brother who previously wrote Rumsfeld: His Rise, Fall, and Catastrophic Legacy, as opposed to Patrick (writes mostly about Iraq) and Alexander (until his death one of the new left's most prolific essayists). This is about the US drone program, which makes it possible for the US to surgically assassinate its enemies with unprecedented precision. Of course, the reality is a bit messier than the theory, but the logic of the process is more dangerous. Drone killing is remote, unilateral, shrouded in secrecy. Once a nation decides it can kill its way to victory, that mentality becomes locked in and is impossible to change: after all, victory is only a few notches down your kill list, and you never have to do anything compromising, like negotiating with the real people you've decided are your enemies. Other recent drone books: William M Arkin: Unmanned: Drones, Data, and the Illusion of Perfect Warfare (2015, Little Brown); Peter L Bergen/Daniel Rothenberg, eds: Drone Wars: Transforming Conflict, Law, and Policy (paperback, 2014, Cambridge University Press); Marjorie Cohn, ed: Drones and Targeted Killing: Legal, Moral, and Geopolitical Issues (paperback, 2014, Olive Branch Press); Lloyd C Gardner: Killing Machine: The American Presidency in the Age of Drone Warfare (2013, New Press); Richard Whittle: Predator: The Secret Origins of the Drone Revolution (2014, Henry Holt); Chris Woods: Sudden Justice: America's Secret Drone Wars (2015, Oxford University Press).
Patrick Cockburn: The Rise of Islamic State: ISIS and the New Sunni Revolution (paperback, 2015, Verso): Probably a revised reprint of last year's The Jihadis Return: ISIS and the New Sunni Uprising (paperback, 2014, O/R Books). Cockburn has been one of the most reliable reporters on Iraq, so is probably the first book one should look if you want to learn more about ISIS than the standard news media propaganda. He was close to the first out with a book, but there is lots of competition now, many written to drum up support for US entry in the war. Competing books include (all 2015 except as noted, paperback = pb): Carter Andress: Victory Undone: The Defeat of al-Qaeda in Iraq and Its Resurrection as ISIS (2014, Regnery); Charles H Dyer/Mark Tobey: The ISIS Crisis: What You Really Need to Know (pb, Moody); Benjamin Hall: Inside ISIS: The Brutal Rise of a Terrorist Army (Center Street); Loretta Napoleoni: The Islamist Phoenix: The Islamic State (ISIS) and the Redrawing of the Middle East (pb, 2014, Seven Stories Press); Jay Sekulow: Rise of ISIS: A Threat We Can't Ignore (pb, 2014, Howard Books); Andrew Sharp: The Rise of ISIS: The West's New Crusade (pb, 2014, Create Space); Jessica Stern/JM Berger: Isis: The State of Terror (Ecco). Of these, only Stern's book is particularly substantial -- she was on Bill Clinton's NSC and wrote the book Terror in the Name of God: Why Religious Militants Kill (2004), so she's built her career on the War on Terror, while co-author Berger wrote Jihad Joe: Americans Who Go to War in the Name of Islam (2011). Napoleoni is the only leftist in the bunch. She writes about global capitalism as well as about terrorism, and has close to a dozen books: one intriguing title is Maonomics: Why Chinese Communists Make Better Capitalists Than We Do (2012).
David S Cohen/Krysten Connon: Living in the Crosshairs: The Untold Stories of Anti-Abortion Terrorism (2015, Oxford University Press): The anti-abortion movement is unusual (although not unprecedented) in the violence its supporters have directed against its supposed enemies -- chiefly doctors and health care professionals. By violence I don't just mean the occasional murder or threat, but the whole range of harrassment directed against providers and clients.
Juan Cole: The New Arabs: How the Millennial Generation Is Changing the Middle East (2014, Simon & Schuster): A view of the Arab Spring, at least before it went sour, when it first seemed like an opening for secular progressives. Cole is an expert on Iraq's Shiites, and has written one of the most informative blogs on the Middle East for more than a decade.
Angus Deaton: The Great Escape: Health, Wealth, and the Origins of Inequality (2013, Princeton University Press): The "escape" seems to have been from the hardships that plagued life only a few centuries ago in "the developed world," more recently and sometimes still elsewhere. Deaton lists out such progress but also finds many setbacks -- I suspect that the persistance of inequality has much to do with these.
William Deresiewicz: Excellent Sheep: The Miseducation of the American Elite and the Way to a Meaningful Life (2014; paperback, 2015, Free Press): Yale professor, sees America's top universities "turning young people into tunnel-visioned careerists, adept at padding their resumes and filling their bank accounts but unprepared to confront life's most important questions." How old-fashioned not to think that careerism isn't the point of college? After all, exactly that education has long been held up as the answer to inequality -- if not for everyone, at least for the select few who give the system a gloss of meritocracy. Jane Jacobs, in Dark Ages Ahead, argued one of the key signs was "credentialism" -- an aspect of this same problem. Of course, that's a more general problem. This book seems to focus on elite universities, hence on future elites. That they're dumbing down is interesting, but only part of the problem.
G William Domhoff: The Myth of Liberal Ascendancy: Corporate Dominance From the Great Depression to the Great Recession (paperback, 2013, Paradigm): Sociologist, wrote one of the classic books on the distribution of wealth in America, Who Rules America? The Triumph of the Corporate Rich (1967, latest revision 2013). He shows how even during periods when liberals were able to reduce inequality (roughly 1933-69) business remained under the firm control of an upper class that never compromise their own power and were always poised to launch the conservative counterrevolution of the 1980s (once they lost their fear of revolution). Domhoff also wrote Class and Power in the New Deal: Corporate Moderates, Southern Democrats, and the Liberal-Labor Coalition (paperback, 2011, Stanford University Press).
Greg J Duncan/Richard I Murnane: Restoring Opportunity: The Crisis of Inequality and the Challenge for American Education (paperback, 2014, Harvard Education Press): It's long been felt that equal opportunity is more important than equal outcomes, and that the key to equal opportunity lies in improving the public schools system. However, as the economy becomes ever more inequal, the public schools have an ever harder time compensating on the opportunity front, and it isn't clear to me that they're even getting the chance. I don't know how the authors proposed to overcome this but it looks to me like they're trying to solve the symptom rather than the cause: only by reversing the overall economic picture can you start to get some traction from reforming the schools. Duncan/Murnane previously edited: Whither Opportunity? Rising Inequality, Schools, and Children's Life Chances (paperback, 2011, Russell Sage Foundation).
Stephen Emmott: Ten Billion (paperback, 2013, Vintage): The number is the projected near future population, raising the question of how such a population can be supported by available resources and technology -- basically an updated broadside along the lines of Paul Ehrlich's The Population Bomb. Ehrlich's book made short-term predictions of doom that didn't come true, so it's become much easier to deny the concern, but there can be no infinite trendlines, at least in a finite world: sooner or later something has to break. On the same subject: Danny Dorling: Population 10 Billion: The Coming Demographic Crisis and How to Survive It (paperback, 2013, Constable). On Ehrlich, see Paul Sabin: The Bet: Paul Ehrlich, Julian Simon, and Our Gamble Over Earth's Future (2013, Yale University Press).
Tom Engelhardt: Shadow Government: Surveillance, Secret Wars, and a Global Security State in a Single-Superpower World (paperback, 2014, Haymarket Books): Probably just a collection of TomDispatch posts, worth tracking although a bit more effort into turning them into a current book would be nice. The focus on the so-called intelligence agencies is more relevant than ever as they seem to be driving US military intervention around the world -- the recent discovery and bombardment of the Khorasan group in Syria is a prime example. Then there is the broader issue of how those agencies manage to suck up so much money for doing mischief that has so little value to the American people. Secrecy is a big part of their recipe for success, so any exposure is welcome.
Steve Fraser: The Age of Acquiescence: The Life and Death of American Resistance to Organized Wealth and Power (2015, Little Brown): Throughout much of US history most Americans were quick to blame the rich for the inequities all around us, but in recent years that has changed -- giving the rich a free pass, which they have used to great political advantage.
James K Galbraith: The End of Normal: The Great Crisis and the Future of Growth (2014, Simon & Schuster): Important book, argues that the economic growth of much of the 20th century was inflated by a tendency to replace household work (not counted as GDP) with commercial outsourcing (counted as GDP), a trend that more recently has been if anything reversed. What this means is that economic growth will be harder to achieve in the future, so policies which depend on growth to work (like slowing down the increase of inequality) will be harder to achieve or fail completely. I should say this again: I thought Galbraith's The Predator State: How Conservatives Abandoned the Free Market and Why Liberals Should Too (2008) was the best political book of the last decade.
Thomas Geoghegan: Only One Thing Can Save Us: Why America Needs a New Kind of Labor Movement (2014, New Press): Labor lawyer, first book was a fine memoir -- Which Side Are You On? Trying to Be for Labor When It's Flat on Its Back (1991) -- then a few books more narrowly on law before he wrote an eye-opening book on the German welfare state, Were You Born on the Wrong Continent? (2011). This seems to be more of a political manifesto, and while I'm skeptical that unions are going to save us, I'm not going to reject any of his arguments out of hand. Next up on my reading table.
Marie Gottschalk: Caught: The Prison State and the Lockdown of American Politics (2014, Princeton University Press): This so-called "bastion of freedom" is the world's largest jailer, its justice system trapped in a spiral where the only fixes for past mistakes it can conceive of are more mistakes of the same sort. One blurb: "sheds new light on the relationship between criminal justice and the ideological shape, material conditions, and institutional structure of the broader political economy." Looks like an important book.
David Graeber: The Utopia of Rules: On Technology, Stupidity, and the Secret Joys of Bureaucracy (2015, Melville House): Radical anthropologist, best known for Debt: The First 5,000 Years (2011), but more recently wrote The Democracy Project: A History, a Crisis, a Movement (2013) based on his involvement with Occupy Wall Street. The focus here is on bureaucracy, how it actually works, and how that affects our perceptions of how the world works (hint: not very well).
Johann Hari: Chasing the Scream: The First and Last Days of the War on Drugs (2015, Bloomsbury USA): Wide-ranging history of the world's futile efforts to ban drug use, starting with the first prohibition one hundred years ago and leading up to at least one country that sensibly legalized the whole gamut. Lessons: "Drugs are not what we think they are. Addiction is not what we think it is. And the drug war has very different motives to the ones we have seen on our TV screens for so long."
Chris Hedges: Wages of Rebellion: The Moral Imperative of Revolt (2015, Nation Books): Extended screed on the many wrongs of the American state, and a call for resistance, rebellion, revolution. Hedges is such a skilled journalist he has little trouble filling out the critique and making it seem reasonable. Harder to gauge as an action manual, but that's always the hard part.
David Cay Johnston, ed: Divided: The Perls of Our Growing Inequality (2014, New Press): Various papers, with overviews by Barrack Obama, Elizabeth Warren, and Adam Smith, and more topical papers, most pretty basic -- focusing perhaps more on the fallout at the bottom of the scale rather than the real action at the top.
Jonathan M Katz: The Big Truck That Went By: How the World Came to Save Haiti and Left Behind a Disaster (2013; paperback, 2014, Palgrave Macmillan): The only American news correspondent based in Haiti at the time of the 2010 earthquake, details the international relief effort ($16.3 billion in pledges) and how little it relieved.
Harvey J Kaye: The Fight for the Four Freedoms: What Made FDR and the Greatest Generation Truly Great (2014, Simon & Schuster): Everyone knows that the US fought WWII for freedom, but hardly anyone knows about FDR's inspiring definition of what freedom means, probably because two of those four freedoms got junked almost immediately in America's postwar fight to oppose communism and (under more favorable terms to the US) to restore imperialism. I read Cass R Sunstein, who's hardly my idea of a visionary political thinker, The Second Bill of Rights: FDR's Unfinished Revolution -- and Why We Need It more Than Ever (2004), so I have an idea what Kaye is pushing for. I always saw FDR as a man of the upper class, whose aim was always to save capitalism from its own contradictions. But one thing all the Calvin Coolidge worship in the Republican Party has done is to make FDR relevant -- indeed, necessary -- again. These days, those four freedoms look like a pretty good deal.
Naomi Klein: This Changes Everything: Capitalism vs. the Climate (2014, Simon & Schuster): Canadian political writer, has written a series of bestselling books which seem to sum up the left's thinking about the rot of capitalism -- No Logo: Taking Aim at the Brand Bullies (2000) on globalization, The Shock Doctrine: The Rise of Disaster Capitalism (2007) factoring in the terrorism wars, and now this one taking notice of climate change.
Jeff Madrick: Seven Bad Ideas: How Mainstream Economists Have Damaged the World (2014, Knopf): Author of one of the best historical context books on the recent crash -- Age of Greed: The Triumph of Finance and the Decline of America, 1970 to the Present (2011, Knopf) -- broadens his critique to include a number of key ideas in economics. The ideas range from established zombies to key insights that are often misunderstood and misapplied (like Adam Smith's "invisible hand"). Some economists, like Alan Blinder, were not amused.
John Micklethwait/Adrian Wooldridge: The Fourth Revolution: The Global Race to Reinvent the State (2014, Penguin): Journalists for The Economist, they've written upbeat books on globalization (A Future Perfect: The Challenge and Hidden Promise of Globalization), conservatism (The Right Nation: Conservative Power in America, and fundamentalism (God Is Back: How the Global Revival of Faith Is Changing the World). Their new riff is that the future belongs to the elites that are most effectively to usurp the power of the state. In this, they're more impressed by Singapore and China than the US, where the rich are trying to destroy democracy lest it ever yield to the masses.
Sendhil Mullainathan/Eldar Shafir: Scarcity: Why Having Too Little Means So Much (2013, Times Books): A piece on behavioral economics, answering much with little: "scarcity creates a similar psychology for everyone struggling to manage with less than they need." Of course, without scarcity there would be no economics, which is a big part of the reason businesses and economists work so hard to enforce scarcity. Also why so much changes when you imagine a transition to post-scarcity conditions. I doubt the authors will go there, but they should give you lots of reasons why you should.
Rick Perlstein: The Invisible Bridge: The Fall of Nixon and the Rise of Reagan (2014, Simon & Schuster): Third huge volume in the author's history of the right-wing in America, following Before the Storm: Barry Goldwater and the Unmaking of the American Consensus and Nixonland: The Rise of a President and the Fracturing of America. Not a flashy period for the rise of the US right, but unless you believe Reagan was some sort of deus ex machina, the shift found some kind of traction in the half-decade's turmoil.
Robert D Putnam: Our Kids: The American Dream in Crisis (2015, Simon & Schuster): Sociologist, most famous for his study of the breakdown in social bonds in Bowling Alone: The Collapse and Revival of American Community (2000). He returns to his lower middle class home town here, tracks down what happened to his high school class, and finds that fate has been tough, with fewer and fewer Americans enjoying the opportunity for upward mobility. This won't come as a surprise to anyone who can unpack statistics, but the case examples may make an impression where numbers numb.
James Risen: Pay Any Price: Greed, Power, and Endless War (2014, Houghton Mifflin): "War corrupts. Endless war corrupts absolutely." Risen has broken several major stories about that corruption, and adds a few more here. I'm not sure it rises to the level of synthesis of the above quote, but it should contribute to one.
Shira Robinson: Citizen Strangers: Palestinians and the Birth of Israel's Liberal Settler State (paperback, 2013, Stanford University Press): After 700,000 Palestinians fled the war zone in what became Israel, the remainder (now 15% of Israel's population) were offered a peculiar form of citizenship ("how to bind indigenous Arab voters to the state while denying them access to its resources"), setting up a tension that continues to the present day. This looks to be one of the few books to address this topic.
Joseph E Stiglitz/Bruce C Greenwald: Creating a Learning Society: A New Approach to Growth, Development, and Social Progress (2014, Columbia University Press): Lectures from a series named for Kenneth J. Arrow, focusing on the role of learning throughout the economy and society, but "lectures" sells this short -- this is a substantial book, well over 500 pages, and likely an important one (not least given how little regard the right has for learning).
Joseph E Stiglitz: The Great Divide: Unequal Societies and What We Can Do About Them (2015, WW Norton): Another volume on inequality, following the author's The Price of Inequality: How Today's Divided Society Endangers Our Future (2012). This is probably a second choice in that it's built from essays written over several years, but Stiglitz is a brilliant economist and the problem is so huge and sweeping you have to come at it from many angles.
Astra Taylor: The People's Platform: Taking Back Power and Culture in the Digital Age (2014, Metropolitan Books): Looks like this creates a strawman argument about what a democratic marvel the internet is then knocks it down showing how "a handful of giants" have cornered it and usurped it for their own nefarious ends. Then she tries to rescue the strawman from the giants. She has made documentary films before, including one on Slavoj Zizek and one she converted into the book, Examined Life: Excursions With Contemporary Thinkers (paperback, 2009, New Press).
Zephyr Teachout: Corruption in America: From Benjamin Franklin's Snuff Box to Citizens United (2014, Harvard University Press): For a variety of reasons, American politics has always been easy to tempt with corruption. The founding fathers struggled with the problem: George Washington famously strived to counter any suggestion that he might put his personal interests above the public's, while Aaron Burr was possibly the most notorious of many who sought office as a path to seeking riches. So there's a lot to write about here, especially lately. As is often the case, the problem may exist perpetually, but it only becomes really severe when we let our guard down, either by losing the sense of public interest or by glorifying the naked greed of self-interest. Both are flagrant problems these days.
Martin Wolf: The Shifts and the Shocks: What We've Learned -- and Have Still to Learn -- From the Financial Crisis (2014, Penguin): Chief economics commentator at the Financial Times in London; previously wrote Why Globalization Works (2005) and Fixing Global Finance (2008), which now seem to be part of the problem. At least he recognizes that there are problems, and Krugman sees value in most of his proposed reforms.
Monday, June 15. 2015
Music: Current count 25103  rated (+34), 429  unrated (-3).
Most of this week's report was scooped by last week's Rhapsody Streamnotes. Since then I've kept going down the Spin list, picking up Raekwon, Yo La Tengo (hey), and moving into Oasis (ugh). On the new jazz front, I've played all three new Ivo Perelman records, but only rated one (the most marginal; the others need another play or two). I almost have a full basket of unrated new jazz. Not much mail this week. (So little I added Monday's mail to Unpacking but it's not yet factored into the current count above.)
Sorry to say I didn't get any time last week to work on the book blurbs. Two days were taken up with people working on the big elm tree in the backyard. (If I recall correctly, Google has an aerial view of the neighborhood where the tree dwarfs the house we live in.) Then there was the Ornette Coleman post, Rhapsody Streamnotes, and a little thing on building a music website.
As you may know, Terminal Zone was a one-shot magazine Don Malcolm and I put together in 1977. A few years back I registered the terminalzone.net domain name with the idea of building a music website there. It's gone through three or four (or five or six) design iterations since then, but still isn't anything substantial. But every time Robert Christgau's blog hits the shoals of web-media indifference, I think there might be some value to dusting it off. (Cuepoint failed to post Christgau's June 5 and 12 columns. No word on whether this hiatus is permanent or just a temporary blip.) So I spent a couple days last week touching up the Terminal Zone Website RFC (request for comments, common jargon for Internet specs). I sent it around to a couple people last week but didn't get any response, so I figured I'd mention it here ("run it up the flagpole to see who salutes").
I see two pieces to the website. One is a ratings database, where some number of invited critics file and track record ratings (although in principle it could be used to track non-participating critic ratings, such as Metacritic does). A while back Chuck Eddy suggested that "you" (this was addressed to the Expert Witness Facebook Group) should put together something like the Pazz & Jop Product Report that the Village Voice ran in 1976-77. At the time, I wrote these notes, which of course resemble the new RFC -- PJPR is really just one view into the ratings database. This all requirse a fairly substantial amount of programming, which I am interested in doing. In addition to supporting the website, the software could be used for other niche-oriented websites, and could be tailored as a ap for anyone who wants to keep their own personal ratings list. This could be developed as free software, or could have some value if someone wants to build a business around it (and, of course, there are various hybrid options).
The other piece would be a blog which mostly consists of diary entries from critics briefly describing what they've been listening to and what they think of it. I'm thinking of something sort of midway between my Music Week and Rhapsody Streamnotes posts, occurring more or less weekly. These wouldn't be full-fledged record reviews, even in the "ultra-brief" sense of CG reviews. But they would have links to the ratings database, so one could scan the diary entries for mention of an interesting record, then click on the link to get more information on the record (including more critics' views). One of the better examples of the diary format is the pieces collected in Philip Larkin's All That Jazz: A Record Diary.
My guess is that the minimal thresholds for a useful website would be close to ten diarists and 20-30 raters, and it could scale up to much more. We would need a team of editors to keep the copy flowing and clean. (I'm not looking to be one of the people involved in day-to-day content management.) We might come up with a board of "executive editors" to add some prestige and overall direction. (That's more my speed, although at least initially I'm offering to do software development, provide a server free of charge, and the domain name.) The blog part could be created almost immediately. My own database and writings can be freely plundered for initial content. Initially I don't expect to make any money on this, and assume that contributions would have to be gratis (non-exclusive license granted but all other rights retained). I'm open to other business proposals.
By the way, earlier draft were oriented toward doing something more Wikipedia-ish: building a more extensive reference database. Recently I've been looking for something more manageable, easier to do, more simply useful for a certain community -- music fans like you and me who don't find timely information and guidance from the usual music media resources.
Write me if you want more info, or to kick this thing around. Especially if you have editing, writing, rating, sysadmin, and/or engineering skills you'd be interested in contributing.
My own time is likely to be disrupted over the next 3-4 weeks. I'm planning on taking a long car trip starting Friday (Oregon and Washington, if that makes any difference). Most places are connected, so I should have email pretty much everywhere (if not all the time). I do hope to get some writing done along the way, but I imagine things like website updates will be few and far between. And historically I've never managed to do much music rating/reviewing on the road.
New records rated this week:
Recent reissues, compilations, and vault discoveries rated this week:
Old records rated this week:
Unpacking: Found in the mail last week:
Sunday, June 14. 2015
We'll start with Richard Crowson's cartoon this week, since we can't seem to escape Brownbackistan. The Kansas state legislature had to go way into overtime to finally come up with a deal to patch up a $400 million shortfall in state tax revenues opened up by Brownback's 2011 income tax cuts (the one which notoriously exempted businessmen from having to pay any state income tax). It's hard to get Republicans to raise any kind of taxes, but some reconciled themselves by coming up with the most regressive tax increases they could find. And some held out to the bitter end, hoping instead to wreck the government and all the evil it stands for. Brownback himself took both positions at one point or another, and reportedly broke down and wept during one of many hopeless meetings with state legislators. The final scheme they came up with satisfied no one, but Brownback did manage to keep some semblance of his signature programs in place (story here). One downside of keeping the legislature in session so long was that they passed even more dumb and vicious bills than they had time for during the regular session -- see the Rosenberg piece below.
Chuck Powell sent in a link to a piece posted on Tyler Cowen's blog (thankfully not written by Cowen), The political economy of Kansas fiscal policy. The post makes a number of reasonable points, such as the split between rural and urban Kansas, and factors which distort both Wichita and Kansas City from urban/suburban norms. Also that "cutting the size of government was never a serious option," mostly because the costs of education and health care -- the two main expenses of state government -- have been rising much faster than inflation and economic growth. At one point the author says, "Republicans should be wise enough to not depend on luck, and they should be wiser predicting how trend lines go." But he doesn't go into why our current generation of Republicans are so bad at those things. For one thing, past generations were a different story -- you could argue that their priorities were wrong, but you rarely doubted their basic competence: something which Brownback and many others make you wonder about daily. One could write a whole post on this one question, but for now I think there are two main reasons: (1) the Republicans have created a very effective grass roots political organization, largely peopled by gun nuts and anti-abortion fanatics, backed by local chambers of commerce and big money, and they have become very effective at scamming the system; one result of this is that Republicans rarely have to worry about losing to Democrats -- their only meaningful debate is among themselves, which makes them increasingly isolated from and ignorant of other people and their problems; (2) in other words, they live in a bubble, and this bubble is increasingly saturated with Fox News and other right-wing media, which mostly just teaches them to scapegoat while making them stupid and mean. The latter, of course, is a problem with Republicans all over the nation. What makes Kansas worse than the rest is how hard it is to beat them at the game they've rigged. In 2014, Republicans ran 5-8% above the best polls all across the ballot, on top of the gerrymander that guaranteed them legislative majorities. I wouldn't rule out fraud and intimidation, but most likely that's their superior get-out-the-vote organization.
Some more scattered links this week:
The problem with Reagan's deficits isn't that he created them, and certainly not that we enjoy scolding the Republicans for their spendthrift ways (not to mention hypocrisy), but that Americans got so little of real value out of the extravagance: a lot of worthless military hardware -- the Star Wars-marketed anti-missile system still doesn't work, but the stuff that did work and has since been deployed in wars all around the world has been far more damaging -- and a small number of billionaires with their correspondingly inflated egos. Perhaps even worse, that explosion of debt is now commonly seen as crippling our government -- originally conceived of, by, and for the people as a tool for securing the general welfare -- from doing even relatively simple things that need to be done. The single most damaging thing Reagan ever did was to make a joke about "the scariest words in the English language: I'm from the government and I'm here to help." That such a joke can be turned into a full-blown ideology is a testament to a deeper innovation that Reagan wrought: he liberated American conservatism from the bounds of reality, allowing them to focus on imaginary problems, oblivious to whatever consequences their madness may produce. Back in the 1980s he was said to have "Teflon" -- a non-stick coating that protected him from any of his scandals. Looking back, it now seems that the key to his innocence was his very disconnectedness. Maybe someday a biographer will manage to identify the point when his fantasy gave way to Alzheimer's, but for all practical purposes it hardly matters.
Saturday, June 13. 2015
Another month (plus one day) since last one, this one by far the largest of the year so far, but actually the new records are way down: 59 (including new compilations) compared to 103 last month, and before that: 101, 114, 97, 132. The difference is a mop-up operation in the old music section, focusing on bands which placed records in a list published by Spin of their Top 300 Albums: 1985-2014. What I've tried to do was not just to fill in grades for listed albums I had missed but to pick up most of the previously unrated records of those artists. In some cases those records were highly recommended by others. In others I just felt like the context would help me out. And for completeness sake, I list the previously rated albums in the Notes below. (The file linked above has the complete list plus all of my grades to date.)
That exercise was made possible by streaming from Rhapsody, and in some cases was limited by it. I've only gotten a little more than half way through the list, but thus far I've looked for the following records but not found them:
The second half will have more records to look up. I was originally missing 81 records from the list (27%). Thus far I've whittled that down to 46 (15%). Not surprisingly, as Spin's list gets more obscure, my coverage of it becomes a bit more scanty. Among the missing record artists to come: Aaliyah, Aerosmith, Tori Amos, Animal Collective, The Books, Boredoms, Neko Case, Cursive, The Deftones, The Field, Godspeed You! Black Emperor, Green Day, Janet Jackson, Jimmy Eat World, The Killers, Frankie Knuckles, Lil Wayne, Mastodon, Maxwell, M83, The Microphones, Mobb Deep, My Chemical Romance, Nine Inch Nails, Oasis, Orbital, Ride, Sigur Rós, Slint, Snoop Doggy Dogg, Sunny Day Real Estate, Swervedriver, System of a Down, Teenage Fanclub, The Unicorns, 2Pac, Wilco, Yo La Tengo. Most of those I've heard at least one record by. Just evidently not the right one.
During the first two decades of the years in question, I only heard records I bought, and I made a point of only trying to buy records I would probably like. Rhapsody has allowed me to listen to more stuff I wouldn't have bothered with before, and more often than not it proves my instincts right. (Admittedly, I'm not a big alt/indie fan, and my hip-hop proclivities run away from gangsta and toward underground, so Spin has never been a very good predictor of my taste.) Indeed, of the records I've filled in so far, the grade breakdown suggests that I was mostly right to skip those records: A-: 4, B+(***): 4, B+(**): 6, B+(*): 5, B: 13 (40.6%) -- that split suggests some of the latter should have been graded lower, as probably would have happened had I bothered to play them more than once. By the way, Christgau had two of my four A- records at A- (both hip-hop), the other two at ** (but he had a different Built to Spill at A-).
Even before the Spin piece, I started on this path by trying to clean up a pair of long-owned but never-graded Bright Eyes CDs. And at the last minute, I added a couple jazz albums while I was working on my Ornette Coleman post. Not big news that the unheard Colemans made the A-list, but I was surprised by two records with sideman appearances (not something he ever did much of).
I'll keep chugging away on the Spin records next month, so the new record count may remain depressed. On the other hand, I have been skimming fairly efficiently, coming up with 12 A-list new releases this month vs. 8 last month (albeit 15 in April and 14 in March). Some of what I found this month was due to a premature mid-year best-of from Spin. I expect we'll see more "so far" lists at midyear approaches, so that should help identify prospects.
As for the new records, this is landing at a point when Robert Christgau's weekly Expert Witness column has been suspended. I don't have any idea how to get the attention of Medium/Cuepoint and apply any pressure to renew the column -- I gather this isn't hopeless at this point, even if the odds aren't great. If he stops publication, there will certainly be worthwhile new albums that I (or pretty much anyone else) will never notice. I figured I could illustrate that with stats from this column, but it looks like he's only reviewed 2 of my 55 recent releases -- Cracker and Slutever, ones I was totally unaware of before he wrote them up (and don't like as much as he does). Still, those are things I wouldn't have heard of otherwise, and most month there are more of them. It also seems likely that he would eventually weigh in on several albums I like below: Bassekou Kouyate, Shamir, maybe Mbongwana Star and Willie & Merle. I also wonder whether he'll find something in Jason Derulo that eluded me. (And to a lesser extent, in all respects, Young Thug.) On the other hand, he's only noticed Murs on occasion (White Mandingos but no ¡Mursday!), and thus far he hasn't noted Colin Stetson (who may be a jazz guy but that isn't his fan base) at all.
Most of these are short notes/reviews based on streaming records from Rhapsody. They are snap judgments based on one or two plays, accumulated since my last post along these lines, back on May 12. Past reviews and more information are available here (6549 records).
Aguankö: Invisible (2015, Aguankö Music): Latin jazz septet led by Alberto Nacif on congas, with trumpet, trombone, sax/flute, piano, bass, more percussion, and guests (including a vocal). Four (of nine) cuts are cha cha chas, two each mambos and guaguankos. B+(**) [cd]
All Included: Satan in Plain Clothes (2014 , Clean Feed): Scandinavian freebop group, one I file under saxophonist Martin Küchen's name because he organizes lots of groups like this, but Thomas Johansson's trumpet and Mats Äleklint's trombone are every bit as prominent, and the bass-drums of Jon Rune Strøm and Tollef Østvang keeps it all roiling -- so, yeah, all included. Just not sorted out as well as Küchen's Angles groups. B+(***) [cd]
Aimée Allen: Matter of Time (2013-14 , Azuline): Singer-songwriter, born and raised in Pittsburgh but moved to Paris (some songs in French), fourth album, about half originals, half standards, including a particularly nice "Corcovado" with Romero Lubambo. B+(**) [cd]
American Wrestlers: American Wrestlers (2014 , Fat Possum): Scottish singer-songwriter Gary McClure, formerly of Working for a Nuclear Free City, moved to St. Louis and came up with this understated but tuneful album. B
Priscilla Badhwar: Mademoiselle (2014 , self-released, EP): Not clear where she comes from, but this 6-track (21:17) CD was recorded in Austin, TX, featuring French tunes, some in French, some in English. B+(**)
Blur: The Magic Whip (2015, Parlophone): First group album since 2003's Think Tank, although Damon Albarn has been busy in the meantime, with last year's solo album and various projects, most famously Gorillaz, perhaps best 2002's Mali Music. I take it the band has been periodically touring all along, and this album came together when they found themselves with some free time in Hong Kong. Less guitar and more pop than their 1990s albums; likable and professional. B+(**)
Randy Brecker/Bobby Shew/Jan Hasenöhrl: Trumpet Summit Prague (2012 , Summit): Three trumpet stars backed by the Czech National Symphony Orchestra and St. Blaise's Big Band, arranged and conducted by Vince Mendoza. The trumpets are fiery enough, but the only tune that gets everyone swinging is "Caravan" (so they play it twice). B [cd]
Built to Spill: Untethered Moon (2015, Warner Brothers): First album in six years, only their third since 2001, the new group (aside from leader Doug Martsch) ever farther removed from the old group, except inasmuch as it was only the guitar that really mattered. Opens fiercely, then settles in for the long haul -- recapitulating the band's career. B+(*)
Cannibal Ox: Blade of the Ronin (2015, iHipHop): Underground hip-hop duo, Vast Aire and Vordul Megilah, dropped their debut album, produced by El-P, in 2001 (The Cold Vein), went on to three or four solo albums each, and finally regrouped for their second album here (mostly produced by Bill Cosmiq). B+(***)
François Carrier/Michel Lambert: Io (2013 , FMR): Alto sax-drum duets, force the former to work harder which usually pays off but leaves some rough edges. B+(***) [cd]
François Carrier/Michel Lambert/Rafal Mazur: Unknowable (2014 , Not Two): Recorded live at Alchemia Jazz Klub in Krakow, in most ways comparable to the alto saxophonist's many recent records, with sidekick Lambert on drums, but Mazur's electric bass guitar rounds out the sound, adding a resonance that is missing in the duo. A- [cd]
Hugo Carvalhais: Grand Valis (2014 , Clean Feed): Portugese bassist, third album, a lovely avant-chamber thing with Dominique Pifarely on violin, Gabriel Pinto on keyboards (including organ), and Jeremiah Cymerman credited with "electronic manipulation." B+(**) [cd]
Joan Chamorro & Andrea Motis: Feeling Good (2012 , Whaling City Sound): Motis is a 20-year-old singer -- 16 when this was recorded -- from Spain who plays up the cuteness in her voice and works her way one fine standard after another -- "Lover Man" twice, once with strings and one without. Charmorro plays bass and tenor sax, leading a band that grows or shrinks almost unnoticeably. Motis also contributes some trumpet and alto sax. B+(***) [cd]
Lorin Cohen: Home (2014 , Origin): Bassist, from Chicago, based in New York, first album. I guess we can call the group a hornless septet, unless you want to count Yvonnick Prene's harmonica; the rest of the line up is piano (Ryan Cohan), vibes (Joe Locke), drums, steel pan, and percussion. B [cd]
Colours Jazz Orchestra: Home Away From Home: Plays the Music of Ayn Inserto (2013 , Neu Klang): Maybe I should refile this under Ayn Inserto, the conductor as well as composer. She studied at New England Conservatory, most notably under the late Bob Brookmeyer, and teaches and has her own big band in Boston. CJO is based in Italy, where this was recorded. Some nice passages, especially when they mix in that Latin tinge. B+(*) [cd]
Cracker: Berkeley to Bakersfield (2014, 429 Records, 2CD): Former Camper Van Beethoven frontman David Lowery's country-rock outfit, off-and-on since 1992, but I don't think I ever noted the connection before. The Berkeley disc is straight-ahead rock, with occasional barbs about billionaires. The Bakersfield one breaks out the steel guitar and goes country, for better music if not politics. B+(***)
Cuir: Chez Ackenbush (2014 , Fou): French avant-jazz group: John Cuny (prepared piano), Jérôme Fouquet (trumpet), Jean-Brice Godet (clarinet), Yoram Rosilio (bass), Nicolas Souchai (trumpet) -- part of Jean-Marc Foussat's crazed stable. Rough going at first before they find some sort of interplay. B+(*) [cd]
Dan Deacon: Gliss Rifter (2015, Domino): Plays synths and sings, his electronica not especially danceable, most interesting when the beat gets jumbled and trash avalanches from the shelves, but he has yet to marshall that into a real noise aesthetic. B+(*)
Jason Derulo: Everything Is 4 (2015, Warner Brothers): I liked his 2014 album Talk Dirty as much as (nearly) anyone, and expected more here. First couple tracks seemed plausible, but then the first guest feat. (K. Michelle) tripped on a pet peeve then got worse. More slumming with the stars doesn't help. B+(*)
Deux Maisons: For Sale (2013 , Clean Feed): Avant-chamber group, two French (brothers Théo and Valentin Ceccaldi, violin and cello respectively), two Portuguese (Luis Vicente on trumpet and Marco Franco on drums). The strings scratch and itch, the drums and trumpet help pass the time. B+(**) [cd]
Chris Dingman: The Subliminal & the Sublime (2013 , Inner Arts Initiative): Vibraphonist, second album, commissioned by Chamber Music America, an impressive group with Loren Stillman (alto sax), Fabian Almazan (piano), Ryan Ferreira (guitar), Linda Oh (bass), and Justin Brown (drums). Aims for sublime but sometimes that just means pretty, or plodding. B+(*) [cd]
The Eye: The Future Will Be Repeated (2015, Ba Da Bing): Experimental rock group from New Zealand, early albums (like 2005's Black Ice) have minimal cover artwork, perhaps with drones even simpler and starker than this minor klang. B+(**)
Scott Hamilton: Scott Hamilton Plays Jule Styne (2015, Blue Duchess): Tenor saxophonist, a retro-swing throwback in the late '70s who's scarcely budged an inch since then, except maybe to deepen his feel for ballads. Styne's tunes range from "Sunday" in 1927 to "People" in 1964, a few you'll know instantly. With Tim Ray on piano, Dave Zinno (bass) and Jim Gwin (drums), plus a bit of guitar on one tune. Had I given this a casual spin, I would have said "typically fine," but it's been stuck in my changer for three days and I'll be sad when I have to move on. A- [cd]
Fred Hersch Trio: Floating (2014, Palmetto): With John Hébert on bass and Eric McPherson on piano, starts with a rip roaring "You & the Night & the Music," ends with "If Ever I Would Leave You" (Al Lerner) and "Let's Cool One" (Monk), the filler originals dedicated to various contemporaries (as near as I can tell), and all the more exquisite when he slows down. (Came out last year and made a lot of lists.) A- [dl]
Joe Hertenstein/Pascal Niggenkemper/Thomas Heberer: HNH2 (2013 , Clean Feed): Drums, bass, and cornet respectively, the latter with the more substantial career (credits back to 1987 including some with ICP Orchestra, at least five albums under his own name), but the drummer gets much larger type as well as first billing (compositions: Hertenstein 4, Heberer 3, group 4). Nothing on the cover to distinguish this title from 2010's HNH but the liner notes refer to HNH2. Free jazz, not very flashy but engaging. B+(**) [cd]
I Love Makonnen: Drink More Water 5 (2015, OVO Sound): Rapper Makonnen Sheran, released a legit EP last year and hitched a big single to Drake but returns here with a mixtape, his thirteenth since 2011. Not easy to find a streamable source of this, and I don't quite know what to make of it -- least of all a video I snagged with lots of drugs and exploding heads. Probably meant to be funny. B+(**) [dl]
Christoph Irniger Trio: Gowanus Canal (2012 , Intakt): Swiss tenor saxophonist, trio with Raffaele Bossard on bass and Ziv Ravitz on drums. They play free jazz, but mostly at a moderate pace you can follow, logic you can appreciate, and none of that screech or yowl. B+(***)
Christoph Irniger Pilgrim: Italian Circus Story (2014, Intakt): Quintet, the leader's tenor sax still the only horn with Stefan Aeby on piano and Dave Gisler on guitar -- Aeby gets a lot of space. B+(**)
Christoph Irniger Trio: Octopus (2014 , Intakt): Once again, a mild-mannered free jazz tenor sax trio, impressive logic that sneaks up on you without threatening to blow you away. A- [cd]
Eugenie Jones: Come Out Swingin' (2015, Open Mic): Singer, second album, wrote 8 (of 12) songs here, the covers covering ground from "Begin the Beguine" and "All of Me" to "Bye Bye Blackbird" and "It's a Man's Man's Man's World." B [cd]
The Knocks: So Classic (2015, Big Beat, EP): NY duo, Ben "B-Roc" Ruttner and James "JPatt" Patterson aim for dance pop, with singles back to 2010 (including one called "Classic" dropped in here in two mixes) and an album in the works. Five tracks, 20:54. B+(*)
Bassekou Kouyate & Ngoni Ba: Ba Power (2015, Glitterbeat): Ngoni player from Mali, his group featuring his wife, powerful singer Amy Sacko. Broke out a bit with 2013's Jama Ko, and this is comparably intense. A-
Brian Landrus Trio: The Deep Below (2014 , BlueLand/Palmetto): Usually a baritone saxophonist, has at least thre previous records, offers a tour of the deeper single reeds -- six cuts on bari, five on bass clarinet, two on bass flute, one with bass sax. Lonnie Plaxico gets some bass spots too. Billy Hart is the drummer on an album that is not only deep but softly understated. B+(***) [cd]
Deborah Latz: Sur L'Instant (2013 , June Moon): Standards singer, also acts, based in New York but recorded this third album in Paris, backed by piano (Alain Jean-Marie) and bass (Gilles Naturel). B+(**) [cd]
Ingrid Laubrock Anti-House: Roulette of the Cradle (2014 , Intakt): Tenor (and soprano) saxophonist, from Germany, adopted this group name from a 2010 album, and you can see why she wants to keep the group going: Mary Halvorson (guitar), Kris Davis (piano), John Hébert (bass), and Tom Rainey (drums), joined on two tracks by Oscar Noriega (clarinet). Davis and, especially, Halvorson enjoy some remarkable runs here. B+(***) [cd]
Major Lazer: Peace Is the Mission (2015, Mad Decent): Dancehall project of hip-hop producer Diplo, originally with British house DJ Switch (Dave Taylor), although Diplo has a new crew of collaborators here, plus adds featured vocalists on most cuts. B+(*)
Mbongwana Star: From Kinshasa (2015, World Circuit): From Congo, led by two musicians (Coco Ngambali, Theo Nsituruidi) from Staff Benda Bilili, at first seem to fall short of the classic soukous romps, but a ballad (of all things) convinced me they are for real, and they pick up the pace when Konono No. 1 drop in to resuscitate the beat, a bit of thumb piano that sweetens the guitar. A-
The Gary McFarland Legacy Ensemble: Circulation: The Music of Gary McFarland (2015, Planet Arts): McFarland (1933-71) played vibraphone, but is probably best remembered (when at all) as a composer and associate of Bill Evans and Bob Brookmeyer. Drummer Michael Benedict directed this quintet, with Joe Locke (vibes), Sharel Cassity (sax), Bruce Barth (piano), and Mike Lawrence (bass), as they skip through eleven McFarland pieces. Mostly breakneck bop, the leaders get a terrific workout -- most impressively Locke, his best performance in a long time. A- [cd]
Monster Rally & Jay Stone: Foreign Pedestrians (2014 , Gold Robot): Ted Feighan, with several previous albums as Monster Rally, does the beats, while Stone raps -- sometimes: second half is instrumental, sort of like Clams Casino. B+(*)
Murs: Have a Nice Life (2015, Strange Music): Underground rapper Nick Carter, ninth album since 1997, although lately he's been most impressive on side projects, like White Mandingos' The Ghetto Is Tryna Kill Me and ¡Mursday! (with ¡Mayday!). Rapid-fire raps run rings around the ups and downs of ghetto life, the usual topics but not the usual take. A-
Willie Nelson/Merle Haggard: Django and Jimmie (2015, Legacy): Reinhardt and Rodgers on the tribute, adapted but not penned by the leaders, and not exactly proven here or elsewhere, though they're not the sort of fools not to be fans. Another tune written for them is "It's All Going to Pot," which starts like a Haggard rant but winds up in Nelsonland. Haggard does claim four credits, including a "Swinging Doors" remake and a yarn about Johnny Cash, while Nelson shares four with Buddy Cannon, including a plug for "Alice in Hulaland." The other cover you know is from Bob Dylan, but don't give it a second thought. A-
Pixies: Indie Cindy (2014, Pixiesmusic): Band reformed after a 23-year break, evidently a better brand than Frank Black and the Catholics, reuniting with Joey Santiago (guitar) and Dave Lovering (drums) but not Kim Deal (bass). Album is actually a compilation of three EPs, a strategy that diffused the reunion's impact. B
Jeff Richman: Hotwire (2015, Nefer): Guitarist, more than a dozen albums since 1986. Credits are broken out cut-by-cut, but most pieces feature Jimmy Haslip (bass, producer), Vinnie Colaiuta (drums), and George Whitty (keybs), with guitarist Mike Stern present on a couple cuts -- only two cuts have horn bits. That all points back to '80s-vintage fusion, with hot guitar in the lead. B+(*) [cd]
Shamir: Ratchet (2015, XL): First name, last name Bailey, twenty years old, dropped an EP last year that lots of critics liked, returns with debut LP this year. Sings like a girl without overdoing it, beats are understated, the whole finish leans toward matte so nothing blows you away, but it's still sneaky catchy. A-
Slutever: Almost Famous (2015, self-released, EP): Philadelphia-born, Los Angeles-based, two women (nameless on their website but reportedly Rachel Gagliardi and Nicole Snyder), eighth release on Bandcamp but that includes a digital track, a "cassingle," a 7-inch with two songs, 4- and 6-song EPs, an 8-track Demos. This 6-track, 15:51 EP supposedly shows their bigger sound and more accomplished songcraft, and it sort of does. B+(**) [bc]
Enoch Smith Jr.: Misfits II: Pop (2013 , Misfitme Music): Pianist, second album, what makes this one "pop" is the vocals, mostly Sarah Elizabeth Charles although the only one I'd hang onto is Dee-1's rap. B [cd]
Colin Stetson/Sarah Neufeld: Never Were the Way She Was (2015, Constellation): Saxophone-violin duets, with Stetson's saxes on the low end (tenor and bass sax, and contrabass clarinet) and probably responsible for some evident percussion, while Neufeld is also credited with voice (possibly processed, no clear lyrics). All live, no overdubs (something they're proud of, partly because it isn't obvious). Nominally jazz although Stetson's distribution and following slops over into rock and the duo have some soundtrack background. A-
Davide Tammaro: Ghosts (2014 , self-released): Guitarist, from Naples in Italy but a Berklee grad based in New York, first album. With alto sax, various keybs, bass, and drums, pleasant groove without pushing unpleasant fusion buttons. B [cd]
Henry Threadgill Zooid: In for a Penny, In for a Pound (2014 , Pi, 2CD): Four album with this group (more or less); Jose Davila (trombone, tuba), Liberty Ellman (guitar), Christopher Hoffman (cello), Elliot Humberto Kavee (drums). Threadgill seems to play less flute this time (or more bass flute), but it's the alto sax you notice, rotating against Davila's low notes, the strings swirling around. He called an earlier band Very Very Circus, but he's rarely juggled this adroitly. Might have squeezed the music onto a single disc (40:14, 38:58). A- [cd]
U2: Songs of Innocence (2014, Interscope): First album in five years, backed by producers like Danger Mouse who never sounded like this elsewhere and won't again. Unlike the 1990's albums (below), this captures the grand sound of the band -- i.e., what's always made them rather annoying. B
Universal Indians w/Joe McPhee: Skullduggery (2014 , Clean Feed): Seems like McPhee will play with anyone, a trait which has helped maked him such an inspiration to free jazz musicians around the world. He plays pocket trumpet and various saxes in this live recording from Belgium, with John Dikeman on more saxes, Jon Rune Strøm on bass, and Tollef Østvang on drums (the rhythm section from All Included). B+(***) [cd]
Frank Vignola & Vinny Raniolo: Swing Zing! (2015, FV): Guitarists, Vignola a specialist at swinging standards, Raniolo previously unknown to me but has an album and acted in Boardwalk Empire. Guests include guitarists Bucky Pizzarelli, Gene Bertoncini, and Julian Lage -- the first two did much to invent Vignola's style, enough for a PBS special on Four Generations of Guitars -- and singer Audra Mariel. B+(**) [cd]
Kamasi Washington: The Epic (2015, Brainfeeder, 3CD): Saxophonist, has quite a few side credits since 2001, including groups Young Jazz Giants and Throttle Elevator Music, plus work in Gerald Wilson's big band, with Phil Ranelin, also with Flying Lotus (who produces here) and Kendrick Lamar. His debut album is a monster, not just in length but in the 10-piece funk band, 32-piece orchestra, and 20-voice choir he blows over, through, and up. Still, I find the masses turn anonymous, even the singers (and there's much too much of that). He finds firmer ground when the third disc goes historical, with a sharp take on "Cherokee," some first-rate trumpet, and a Malcolm X sample. B+(**)
Juan Wauters: Who Me? (2015, Captured Tracks): Former front-man for Queens-based lo-fi postpunk band the Beets, goes solo, as singer/songwriters do. B+(*)
Young Thug: Barter 6 (2015, 300/Atlantic): Originally named Carter 6 in a cheap stab at grabbing some Lil Wayne biz, still hard to take him seriously but perhaps it's better that way. B+(**)
Recent Reissues, Compilations, Vault Discoveries
The Ornette Coleman Quartet: The 1987 Hamburg Concert (1987 , Domino, 2CD): On the alto saxophonist's superb 1987 then-and-now album, In All Languages, these guys were billed as "The Original Quartet" -- Don Cherry (cornet), Charlie Haden (bass), and Billy Higgins (drums) -- as opposed to his new-fangled Prime Time fusion group. Live, the old guys play classics, which sound as tricky then (and now) as they did when they knocked the jazz world on its ear back in 1959. A-
The Red Line Comp: A DCHC Compilation (, self-released): Twelve-cut compilation of DC-based hardcore bands, presumably of recent vintage, only one cut exceeding 2:04 -- Genocide Pact's "Trials in Nihilism" -- totalling 18:24. B+(*) [bc]
Willi Williams: Unification: From Channel One to King Tubby's (1979 , Shanachie): A minor roots rasta singer, had a 1978 hit called "Armagideon Time" that was covered by the Clash. This set was recorded a year later with Yabby You, so predictably it's a bit softer than the era's classics but still sounds terrific. A-
Yabby You: Dread Prophecy: The Strange and Wonderful Story of Yabby You (1972-85 , Shanachie, 3CD): Vivian Jackson, left home at age 12 and was hospitalized for malnutrition at 17, leaving him with crippling arthritis but eventually he found Jah and King Tubby, had a signature hit in 1972 called "Conquering Lion," and recorded a good deal of dub in the following decade-plus, more sporadically until his death in 2010. Shanachie took an interest and released two albums -- One Love, One Heart (1983) and Fleeing From the City (1985) -- and now they've assembled this memorial box. To call the first disc "Classics" is a stretch but they sketch out his minor hits, only slightly better known (and better) than the "Rarities" on the third disc. Better still is the middle disc, "The Many Moods of Yabby You," including some of his production work. Reportedly comes with a 30-page booklet which may make the difference. B+(***)
Aphex Twin: Selected Ambient Works 85-92 (1992, R&S): Presented like a compilation, as far as I can tell all the pieces were initially released on the album. The alias belongs to Richard D. James, from Ireland, his debut album an elegent set of simple synth pieces, less quiet than Eno's early ambient, and not without a few disruptive squiggles. B+(***)
Aphex Twin: I Care Because You Do (1990-94 , Sire): Skipping over a second (2CD) volume of Selected Ambient Works, some EPs (later collected as Classics), and an album as Polygon Window (Surfing on Sine Waves) we get to his next (in some ways first) proper album. Mostly drum machine loops with analog synth washes, nothing very ambient. Tempted to dock it for the self-portrait cover, but there's something to be said for the geek moving up front. A-
Aphex Twin: Richard D. James Album (1996, Elektra): For the cover, James swapped his crude self-portrait painting in for a more menacing self-photo, perhaps to emphasize his transition from analog synths to digital. The change produces faster beats and some sharper sounds, but it also tempts him to work in some processed voice vocals. B+(***)
Beyoncé: B'Day (2006, Columbia): The breakout star from Destiny's Child, second solo album although the intervening group album gives you a chance to forget how bad the first was. This starts out promising enough, but it seems inevitable she's going to pull out something truly wretched (e.g., "Resentment"). B+(*)
Beyoncé: I Am . . . Sasha Fierce (2008, Music World/Columbia, 2CD): Divide at the ellipsis to get the concept, originally spread out over two discs to emphasize the contrast, but the combined run-time only comes to 41:40, so later editions crammed it all together, then tacked on a second disc of videos -- her real talent? I suppose the two-disc trick is worthwhile. The second runs at dance tempos, but the first is deadly. C+
Björk: Debut (1993, Elektra): Not really a novice after three albums fronting Iceland's original pop-rock group, the Sugarcubes, though even earlier she appeared in a punk band called Spit and Snot and in a jazz fusion group called Exodus. Has an art streak that threatens to get the best of her, but only "The Anchor Song" risks her beat, which "Violently Happy" raised. B+(*)
Björk: Post (1995, Elektra): Her electropop shows some promise, but she also has this penchant for arty dramaturgy which can (and in the future will) spoil an album. B
Björk: Greatest Hits (1993-2001 , Elektra): I never regarded her as a singles artist, just a wildly slapdash album conceptualizer, so I'm impressed by how consistently strong the rhythm tracks are at least two-thirds of the way through this, so much so I'm prepared to accept her warblings without trying to make sense of them. B+(***)
Mary J. Blige: What's the 411? (1992, Uptown/MCA): Debut album, about 21 at the time, has a strong voice but rather than going all diva on us, exec. producer Puff Daddy goes for a hip-hop beat and framework. B+(**)
Mary J. Blige: No More Drama (2001, MCA): Long, ran 76:55 in its original edition, before being reshuffled and reissued in 2002 with a different cover. She knocks out eighteen songs here, like some sort of assembly line, which means for once she doesn't oversing them, or overwrite them. B+(**)
Blur: Leisure (1991, SBK): First album by one of the top British rock groups of the 1990s, the sort of group that shows up repeatedly in UK all-time lists (along with Oasis and Manic Street Preachers) but never in US lists (unlike Radiohead). Guitar riffs remind me of the Kinks and the Jam. Songs don't. B
Blur: Modern Life Is Rubbish (1993, SBK): After an unsuccessful US tour, the band doubled down on their Britishness, so while the music stayed upbeat the lyrics slumped, and the music occasionally turned circusy. B-
Blur: 13 (1999, Virgin): Hit and miss, which I guess is the definition of a singles band. B+(**)
Bright Eyes: A Collection of Songs Written and Recorded 1995-1997 (1995-97 , Saddle Creek): I.e., roughly from when Omaha native Conor Oberst was 15-17, a period when he led a group called Commander Venus but this starts out solo vocal with guitar, adds occasional backing but not clear who does what. He doesn't have an appealing voice, and much of this is crudely done, but it feels way too grizzled to be labeled juvenilia. B+(*)
Bright Eyes: Letting Off the Happiness (1997-98 , Saddle Creek): Second album, first conceived as such, figure it as more of a band album in that Oberst aims for a coherent sound -- still lo-fi, masking his folkie voice with rough-hewn guitar and bass. Final piece runs 25:46, mostly static drone with too little payback at the end. B
Bright Eyes: Fevers and Mirrors (1999 , Saddle Creek): For once I have detailed credits, which show they're not really a band -- Mike Mogis adds something trivial to nearly every cut (piano, guitar, vibes, pedal steel, lap dulcimer, hammer dulcimer, mandolin, guiro, percussion, "atmosphere"; but drummer Joe Knapp only appears on 7 (of 14) songs, and a half-dozen others come and go. Includes a prying radio interview, where he reveals, "I want people to feel sorry for me." Sometimes it's hard to get what you want, and vice versa. B+(*)
Bright Eyes: Lifted or the Story Is in the Soil, Keep Your Ear to the Ground (2002, Saddle Creek): This is where Oberst started to get noticed. Starts with a grumble then an exaggerated Dylanish grunt, then seems to evolve before your ears, picking up polish if not quite hooks, and turning into someone you might want to spend some time with. Still only 22, but he's starting to get hold of his voice. B+(**) [cd]
Bright Eyes: I'm Wide Awake, It's Morning (2005, Saddle Creek): Conor Oberst has finally worked out all the kinks in his voice and songcraft, in the process shedding his connections to folk music -- economic as much as any other -- yet remains as odd as ever, serenading a woman in a crashing airplane, favoring the winning side in senseless wars, and so forth. B+(***) [cd]
Broken Social Scene: You Forgot It in People (2002, Arts & Crafts): Canadian alt/indie group led by Kevin Drew, second album, stretches out with some impressive guitar grind but can still back off for a ballad. B+(***)
Broken Social Scene: Broken Social Scene (2005, Arts & Crafts): Third album, Brendan Canning shares all song credits with Kevin Drew. Again they push the guitar hard before opening up into something odder. B+(**)
Built to Spill: Ultimate Alternative Wavers (1992, C/Z): Alt/indie band from Boise, first album, murky as you'd expect but sometimes the thrash turns into rave. B+(***)
Built to Spill: There's Nothing Wrong With Love (1994, Up): Second album, shows solid advances in songwriting and poise, so the guitar is sparser, but used to greater effect. A-
Built to Spill: Keep It Like a Secret (1999, Warner Brothers): Fourth studio album, first to chart (120 US), the sort of group -- guitar-heavy '90s alt/indie -- I tend to find boring, but this is eminently listenable, maybe even substantial. A-
Built to Spill: Ancient Melodies of the Future (2001, Warner Brothers): What happens when a group that has always gotten along by framing everything with its distinctive guitar sound tries to change its focus, here to melody -- nice enough, as far as it goes. B
Built to Spill: You in Reverse (2006, Warner Brothers): Continues in the previous album's "melodic" vein, but with more muscle, a shift you were probably hoping for. B+(**)
Built to Spill: There Is No Enemy (2009, Warner Brothers): The band is clearly slowing down, really just Doug Martsch's vehicle, and he's doing things he's done many times before, including stellar guitar solos. B+(*)
Kate Bush: The Kick Inside (1978, EMI America): Not quite 20 for her debut, her warbly voice doesn't seem like much of an asset but does the trick on "Wuthering Heights." B+(**)
Kate Bush: Lionheart (1978, EMI America): Just 20, no doubt a hero for bookish young girls, her increasingly sophisticated music reminds me first of opera -- the arena where her soprano is most abused, but I note a comic twist both to her voice and to the shifting melodies. Not sure that it's intentional, but it helps cut the bombast. A very ambitious young lady, and talented enough she's worth indulging. B+(**)
Kate Bush: Never for Ever (1980, EMI America): Third album, adds a couple singles for her best-of, otherwise more professional chops, less inspired innovation. B+(*)
Kate Bush: The Dreaming (1982, EMI America): After two plays I still have no idea. I do know that she was sole producer this time, and that she threw the kitchen sink into the mix -- dozens of exotic instruments, and I noted Danny Thompson and Eberhard Weber among the bassists. [Also that Spin's actual pick, 1985's Hounds of Love, isn't on Rhapsody.] B
Ornette Coleman: Twins (1959-61 , Atlantic): A little something Atlantic cobbled together out of scraps a decade after the fact: outtakes from most of the album sessions, including the 16:56 first take of "Free Jazz" -- the five cuts are spread out on as many discs in Rhino's session-oriented 6-CD Beauty Is a Rare Thing box (which with its booklet is the one you probably want, and not prohibitively expensive). The comp was reissued in 1982 with a different cover, reverted to the original cover for a 2005 digital release by Rhino, then was picked up by Water for a 2008 CD. The opener gives you a good sense of the double quartet album, and there's no obvious reason the rest was shelved -- in fact, the quartet sides are so good this could be a box sampler. A-
The Cure: Three Imaginary Boys (1979, Fiction): First album from Robert Smith's long-lived band which later on became an icon of art school intellectualism. At this point they were fashionably new wave, with echoes of Wire on occasion and Joe Jackson more often -- although more strained. B+(*)
The Cure: The Head on the Door (1985, Elektra): Sixth studio album -- 1980's Boys Don't Cry isn't on Rhapsody, and the rest are so poorly regarded I didn't see any need to bother. But this starts a run of 1985-89 albums that do have a critical rep (and substantial sales), and it's easy enough to see why. Robert Smith has gained flexibility and range as a singer, and the music sports new looks -- even if they're as derivative as his early new wave, he's kept his models up to date. B+(*)
The Cure: Kiss Me Kiss Me Kiss Me (1987, Elektra): Originally 2-LP, squeezed onto a single CD by droping one song (restored in the 2006 reissue). The extra length lets them air out a more expansive sound, more suited to the larger venues their newfound popularity opened up. Louder, but not necessarily better. B
The Cure: Disintegration (1989, Elektra): The band gets bigger, as does its music, which by contrast makes the personal impression of Smith that much smaller, not to mention less interesting. B
Daft Punk: Homework (1993-96 , Virgin): French electronica duo, big enough they moved into arenas and talented enough to make their arena-pomped sound work, at least on Alive 2007 (if not the more relevant here Alive 1997). Still, this debut seems rather sketchy and gamey. B
Depeche Mode: Speak & Spell (1981, Sire): Debut album by British synthpop group, a sizable hit (gold, peak 10) in the UK, barely grazed the US charts (192), a pattern which would gradually improve as they got their videos on MTV, but their first US top-10 album was nine years later. Aside from the last cut, the vocals seem distant, buried under unimpressive beats, none of which prepare you for the "Schizo Remix" of their third single, "Just Can't Get Enough." B
Depeche Mode: A Broken Frame (1982, Sire): Second album, where Martin Gore (keyboards) takes over songwriting duties from departed Vince Clarke (keyboards, everyone but lead singer Dave Gahan plays keyboards) -- not that the songs offer much to brag about. Sound is more consistent, but less catchy. B-
Depeche Mode: Construction Time Again (1983, Sire): Third album, Alan Wilder (keyboards, of course) joins and writes two songs, Martin Gore the rest. Some evidence of an evolving political consciousness ("the grabbing hands grab all they can"). B
Depeche Mode: Some Great Reward (1984, Sire): The dour vocals seem typical of British bands of the period -- Ian Curtis proved more prophetic than Johnny Rotten, at least of the Thatcher era -- but the extra blips on the keyboards offer small delights, and when they sparkle enough you get a single. B+(*)
Depeche Mode: Catching Up With Depeche Mode (1980-85 , Sire): US alternative to the UK-released Singles 81-85, dropping four songs (notably "People Are People" -- their highest charting pop single, 4 UK, 13 US) while picking up two B-sides. Their albums suggest they may be a singles band, but roll them up and they sound more like a decent but forgettable album. B+(**)
Depeche Mode: Black Celebration (1986, Sire): Dark gloom as a formal aesthetic, even though the keybs would be happier shining up dance grooves. B
Depeche Mode: Violator (1990, Sire/Reprise): Their biggest album to date, the scale coming through in the music even if it isn't clear that it signifies anything. B
Depeche Mode: Songs of Faith and Devotion (1993, Sire/Reprise): Their only album to top the charts in US as well as UK, followed by a 14-month "Devotional Tour" which ended without Alan Wilder. Heavier, denser, dumber too. B-
Destiny's Child: Destiny's Child (1998, Columbia): R&B vocal group, often termed teen pop since the four singers, including lead Beyoncé Knowles, were 16-17 at the time. Still, the producers got an adult sound, blending the voices and inserting guest rappers Wyclef Jean, Jermaine Dupri, Master P, and Pras. B+(*)
Destiny's Child: The Writing's on the Wall (1999, Columbia): Second album, still four faces on the cover although they're starting to separate out, with LeToya Luckett and LaTavia Roberson soon to split. This is where they blew up, with two number one singles and the album selling over six million copies. Very professional but not much to get excited about. A personal turn off was the a cappella "Amazing Grace" at the end. B+(**)
Destiny's Child: Survivor (2001, Columbia): Down to three, with Beyoncé clearly first among unequals. The title cut always struck me as a cliché, but it's the catchiest single here, even if "Bootylicious" sounds more appetizing. B+(**)
J Dilla: Donuts (2006, Stones Throw): Detroit hip-hop producer James Yancey, also recorded as Jay Dee, released his best-known album on his 32nd birthday then died three days later, suffering from the blood disease TTP. This is a pastiche, 31 short pieces, most built around a single loping beat with sampled vocal bits that never turn personal. B
Dinosaur Jr.: You're Living All Over Me (1987, SST): Second album, group led by J. Mascis, who has kept it going although he's recorded more solo than group albums since 1996. The singer's drawl could (and eventually would) imply folkiness, but at this point they're still young, and all they really want is to let the guitar(s) squeal. B+(**)
The Flaming Lips: The Soft Bulletin (1999, Warner Brothers): Neo-psychedelia from Oklahoma City, the group led by Wayne Coyne already had eight albums I haven't heard before this one got dubbed "the Pet Sounds of the 1990s" -- presumably for the lush melodies, thick vocal harmonies, and shimmering synths, although I could just as well aver kinship to Frank Zappa, as artists who make farce without being particularly funny. B
The Flaming Lips: Yoshimi Battles the Pink Robots (2002, Warner Brothers): Robot synths and comic characters mixed in with a few things that are nicely shaped as songs. B+(***)
Rolf Kühn & Friends: Affairs (1997 , Intuition): German clarinetist, started recording in 1957, called in a lot of favors for his front cover: Randy Brecker, Ornette Coleman, Eddie Daniels, Buddy DeFranco, Wolfgang Haffner, Dieter Ilg, Dave Liebman, Chuck Loeb, Albert Mangelsdorff -- Coleman and Mangelsdorff only appear on one track each (duets with Kühn), Liebman and Brecker two (the latter on a track called "There Is a Mingus Amonk Us"). But the clarinet reigns, especially when all three join together for "Just Friends" and "Three Bopeteers." A-
John Lewis: Jazz Abstractions (1960, Atlantic): Fuller title: John Lewis Presents Contemporary Music 1: Jazz Abstractions: Compositions by Gunther Schuller & Jim Hall. Not clear what MJQ pianist Lewis is doing here, other than that he seems to have cornered the market on Third Stream, a phrase that Schuller invented to describe a jazz-classical fusion. The actual pianist here is Bill Evans, but the strings are more prominent (violin-viola-cello, also George Duvivier and Scott LaFaro on bass and Hall on guitar), the drums supplemented by Eddie Costa's vibes, and the horn section is limited to Eric Dolphy and Ornette Coleman. The first cut is very avant for the period. The others explore their abstractions in various ways, each fascinating in its own way, all expertly done. A-
Nas: Illmatic (1994, Columbia): Legendary debut album from Nasir Jones, son of jazz/blues guitarist Olu Dara, it doesn't really grab you from the first spin but grows on you, the beats subtle but richly textured, a rapper who has something to say and the flow to put it over. A-
Neutral Milk Hotel: On Avery Island (1995 , Merge): This is singer-songwriter Jeff Mangum's debut, produced by Robert Schneider of Apples in Stereo, the latter playing organ and fuzz bass, with a few guest spots for accordion, violin, flute, and trombone -- folkie lo-fi with a dash of exotica. B
Neutral Milk Hotel: In the Aeroplane Over the Sea (1998, Merge): Jeff Mangum's second album, got off to a rocky start but gradually built a substantial cult following. Mangum's voice is rough, his strumming emphatic, a harshness that grates at first then picks up speed and threatens to cohere into an irresistible force. B+(**)
Pixies: Come On Pilgrim (1987, 4AD, EP): Boston alt/indie group led by a guy known as Black Francis, cut a demo tape before signing, roughly half of which (eight songs, 20:28) were quickly dumped onto this mini-LP (originally a cassette). I never really got into them for reasons I never bothered to figure out, but their sonic appeal was clear even here, their penchant for slipping in and out of time something that can now been seen as anticipating 1990's groups like Pavement. The rest of the demo tape was released in 2002 as Pixies, but I haven't heard it. B+(*)
Pixies: Surfer Rosa (1988, 4AD/Elektra): Official first album. Again, the appeal is primarily sonic, fancy guitar riffs over an urgent beat with little else especially clear. One thing that throws me is a short rant called "You F*ckin' Die" that doesn't seem to be on the original album. B+(*)
Primal Scream: XTRMNTR (2000, Astralwerks): Scottish group, best known for their third album, Screamadelica (1991, not on Rhapsody). Dense, industrial-grade guitar-bass with synth washes, often danceable. One might worry about lyrics like "Swastika Eyes," but not the music. A-
Radiohead: Pablo Honey (1993, Capitol): First album from one of the biggest groups to emerge in the 1990s. One of the first lyrics I noticed was "I want to be Jim Morrison" -- OK, but at this point this is more of a guitar band, and more impressive for that. B+(**)
Radiohead: The Bends (1995, Capitol): Second album, on most songs the guitar gives way to sweet, lonely vocals, so it's good to bump into something like "My Iron Lung" where you get some actual thrash. B
Radiohead: Hail to the Thief (2003, Capitol): Sixth studio album, runs 14 songs, 56:31, a lot to focus on for an album that doesn't focus on much of anything. B+(*)
Slayer: Reign in Blood (1986, Def American): Speed (and/or thrash) metal group, fast anyway, wish I could quantify that for you but not one of my skills. Words are probably full of shit, but they're fast too, no point pondering. I enjoyed the first wave of bands dubbed metal -- roughly Led Zeppelin to Blue Oyster Cult -- but something happened in the early 1980s that turned metal into a cult music and made it incomprehensible to me, and damn annoying as well. Looking at this band's pics, I'd guess that was Kiss, a group that was always a joke but also provided a seed for young bands that wanted to push their logic into ever more extreme directions. Slayer, I suppose, is transitional, which makes this rather tolerable. (Or maybe it's just Rick Rubin producing?) B
Slutever: Sorry I'm Not Sorry (2010, self-released, EP): First recording, notes that "Rachel & Nicole both play guitar, drum, and sing" and that it was "recorded in a bathroom and hot, sweaty room, Philadelphia" and "overdubbed in bedrooms, Seattle and Los Angeles." Six songs, 12:22, sound so tinny I can't make out a word. B
Slutever: Slutever Demos (2013, self-released, EP): At eight tracks, 27:53, their most substantial effort ever but they're not the sort who'd risk their no-long-player strategy by packing on too much weight. Two songs they later released as a single ("1994/Spit") verify that these are indeed demos, even if they are much better recorded than their first EP. B+(*) [bc]
Smashing Pumpkins: Gish (1991, Caroline): A rather proggish band that emerged on the artier end of the 1990s grunge spectrum, led by Billy Corgan, who eventually became the only constant through their discography. First album, demonstrated their ability to fill a stage. B
Smashing Pumpkins: Siamese Dream (1993, Virgin): All Christgau had to say: "hooked on sonics." I'm afraid I didn't even get that much, although "Sweet Sweat" does sound better after the sonic freak-out than it would have on its own. B
Smashing Pumpkins: Melon Collie and the Infinite Sadness (1993, Virgin, 2CD): A sprawling 28-track album, 121:39 on 2-CD, longer still on triple (or quadruple) vinyl, with an "extended edition" stretched to 351:19, nearly six hours. There is clearly merit both in the harder and softer tracks, but figuring out what/when/where is a task bound to take a lot more effort than I feel up to. B
Elliott Smith: Either/Or (1997, Kill Rock Stars): Singer-songwriter, third album, basically just sweet and melancholy voice over guitar. B
The Smiths: The Smiths (1984, Sire): Big group in England during the 1980s, one I didn't notice until they split in 1987. The group's appeal depended on how you reacted to singer Morrissey -- Slant described him as "a mordant, sexually frustrated disciple of Oscar Wilde who loved punk but crooned like a malfunctioning Sinatra" -- but much of the early hype revolved around guitarist-cowriter Johnny Marr, unfathomably regarded as some kind of genius. Both seem fairly ordinary here. B+(*)
The Smiths: Hatful of Hollow (1983-84 , Sire): A compilation of early singles and several John Peel sessions, not clear how much of it predates the group's first album, appeared in UK in 1984 to much success but was held back in the US for nine years (with some tracks appearing on the 1987 US compilation Louder Than Bombs). The first thing you notice is that it makes a much better case for Johnny Marr the guitarist. B+(***)
The Smiths: Meat Is Murder (1985, Sire): Second studio album, self-produced, I find this rolls past me without anything registering much, even the singer's perpetual whine. Cover photo is from Vietnam, but as they say, "Barbarism Begins at Home." But I think not with meat. B
The Smiths: The Queen Is Dead (1986, Sire): Spin picked this as the 5th greatest album of the last 30 years, or should I say slotted it between Daft Punk's Discovery and Radiohead's OK Computer? Title cut definitely takes the music to a new level, which makes much of the rest sound like filler. B+(**)
The Smiths: The World Won't Listen (1984-86 , Sire): Guessing on the US release date -- this second odds and sods collection appeared in the UK on Rough Trade in February 1987 and promptly went into Sire's sausage machine to be turned into Louder Than Bombs later that year. The singles mix adds some snap early on, but they run short of material. B
The Smiths: Strangeways, Here We Come (1987, Sire): Fourth and last studio album -- Morrissey would move on to a solo career without skipping a beat, while Johnny Marr pretty much vanished (until a 2013-14 mini-comeback). Whatever tension existed between the two is buried in their routine performances, the songs a little wordy but that's the singer's trademark. B
The Smiths: Rank (1986 , Sire): Live best-of, a handy contract filler once the group broke up. Not a group I have any sentimental attachment to, but this seemed to pick up a little when Morrissey introduced "Ask" ("latest single"), and I liked the one they rocked out on. B+(*)
The Smiths: Singles (1983-87 , Reprise): Eleven singles from the four albums (six in album versions), plus seven more that were collected on compilations (six on Louder Than Bombs). They don't strike me as an especially strong singles band, but the selection is consistently tighter and stronger than the source albums. A-
The Smiths: The Sound of the Smiths (1983-87 , Reprise, 2CD): First disc adds five tunes to the 18-cut Singles, and second disc adds more stuff -- mostly b-sides but also the title cut and three other songs from The Queen Is Dead. I figure that makes the first disc a slight improvement over Singles, while the second just broadens the picture. Michael Tatum, who is much more of a fan than I am, favors this option. He could be right, but having slogged through all of this I'm still not sure this is an essential, or even a very important, band. A-
The Stone Roses: The Stone Roses (1989, Silvertone): Manchester band, considered a very big deal in the UK when their eponymous debut album dropped. I missed this one but bought and liked their second and last from 1994 (admittedly one I scarcely remember), so I was surprised to see how indifferently Byrds-ish this one started out. Picks up a bit toward the end. B+(*)
Jamaaladeen Tacuma: Jamaaladeen Tacuma's Coltrane Configurations (2008 , Jazzwerkstatt): Bass guitarist, closely associated with Ornette Coleman during his Prime Time run. Modelled on the Quartet, with Orrin Evans on piano, Tim Hutson on drums, and Tony Kofi handling the tenor role with great aplomb on alto sax. Starts with a 15:23 "India" and closes with a 11:05 "A Love Supreme." B+(***)
Tears for Fears: The Hurting (1983, Mercury): British new wave/synthpop band, principally Roland Orzabal and Curt Smith on guitar and bass, plus extra keyb/drum programming. Debut went number 1 in UK charting three singles that aren't immediately obvious but their cloistered drama grows on you. B+(*)
Tears for Fears: Songs From the Big Chair (1985, Mercury): A bigger hit, at least in the US, although only "Shout" stands out, and the preponderance of slow songs undercuts both the new wave grind and the synthpop bubble. B
Tears for Fears: The Seeds of Love (1989, Mercury): Third album, another bestseller (UK 1, US 8), but the only single is a belabored Beatles rip ("Sowing the Seeds of Love"), and the dramatic vocals elsewhere range from kitsch to sludge. B-
TLC: CrazySexyCool (1994, La Face): Hip-hop era R&B vocal trio (T-Boz, Chilli, Left Eye), cut three albums before 2002 when the latter was killed in a car accident, sold 65 million albums and went bankrupt for their trouble. This is their second, the big one, but I'm having trouble sifting the hits from the filler (OK: "Waterfalls"; "Creep"). B+(**)
TLC: Fanmail (1999, La Face): A stronger album, I think, which has as much to do with production values as anything else -- less hip-hop, for instance, but better pop hooks. B+(***)
A Tribe Called Quest: Midnight Marauders (1993, Jive): Third album, beats soft and jazzed up a bit, several rappers floating around the rhythm, one of those underground things that threatened to break out, partly because they snuck so much tradition inside. A-
A Tribe Called Quest: Beats, Rhymes and Life (1996, Jive): Hard to distinguish this from its two fine predecessors, but I find it a big lighter, airier, and don't deem that a minus. A-
A Tribe Called Quest: The Love Movement (1998, Jive): Fifth and final album -- Q-Tip moved on to release Amplified the following year. They stay well within their limits. B+(**)
U2: Achtung Baby (1991, Island): In the late 1970s I made a point of tracking down everything Eno was associated with -- even the Portsmouth Synphonia albums -- so expected something more out of this big Irish band than they ever delivered, only to give up before their marginal prog move here. "One" at least is one of their better songs. B+(*)
U2: Zooropa (1993, Island): Several surprises here, including receding vocals and electronic textures that finally suggest producer Eno is having an effect -- still, don't believe the reviews that regard this as EDM -- and a country song at the end ("The Wanderer") that sounds like it was written for Johnny Cash, not least because Cash guests on it. B+(**)
U2: Pop (1997, Island): Post-Eno, the new producers get a compelling pop thrash on occasion (e.g., "Moto") but then the result sounds nothing at all like U2, and when it does it doesn't. B+(*)
Weezer: Weezer (1994, DGC): Los Angeles band's first album, one of those 1990s alt-rock groups that drove me to focus on jazz, not that I paid this particular one enough notice to let them annoy me, nor that their simple rock cheer is all that annoying. First of three eponymous albums (of nine albums through 2014), conventionally color-coded (blue here; green in 2001 and red in 2008). B
Weezer: Pinkerton (1996, Geffen): Second album, shows considerable variety compared to the first album's pop-guitar thrash, which isn't always for the better -- a couple of the early rockers are tighter, and the closer is an acoustic ballad, an apologia. B+(*)
Sometimes further listening leads me to change an initial grade, usually either because I move on to a real copy, or because someone else's review or list makes me want to check it ag
Friday, June 12. 2015
As I'm sure you know by now, Ornette Coleman died yestertoday, age 85. He was the first jazz musician I developed a real interest in and affection for. That was in the mid-1970s, at least 15 years after Coleman made his initial big splash, about the time he was inventing a second wave of jazz-rock fusion, one much more radical than the funk-oriented Miles Davis or the prog of John McLaughlin.
Coleman was part of the first wave of jazz avant-gardists, a group which variously sought to explore and find novel sounds, rhythms, and harmonics -- to violate the known rules of jazz, to do things that are wrong and somehow make them sound right. (Mingus put it most succinctly: "It's like organized disorganization, or playing wrong right.") Most of that wave wound up contributing to the postmodern synthesis jazz students today are taught: what we call postbop. Martin Williams was so impressed with Coleman that he concluded his Smithsonian Collection of Classic Jazz with three Coleman pieces (plus a Coltrane), arguing that [early] Coleman was the endpoint of the classic jazz tradition. Yet even today most novices find [early] Coleman puzzling before they are swept away. I saw this at work when my hip-hop-loving nephew wanted to get acquainted with jazz and I handed him The Shape of Jazz to Come.
Later Coleman pushed further and harder, but by the time he cut his last album, 2006's Sound Grammar, all the stars aligned: no jazz record in the past decade (or really, ever -- and I've been involved in a lot of critic polling on such things) has been so universally exclaimed. It even won the Pulitzer Prize that had so notoriously been denied Duke Ellington. Yet it sounded so offhand you could imagine him knocking sequels out every year -- so it seems odd that it came ten years after his previous album, and nine years before his death. He had remained active well into last year -- playing at a tribute concert in his honor in Brooklyn (and suing to keep the ablum from being released). He never got comfortable with the record business as he hopped from label to label, taking long breaks, never settling in -- he didn't even seem to be happy with his own labels, going back to Artist House in the late 1970s. One imagines he has hoards of tapes that greedy heirs will eventually dump onto the market. Or respectful ones, given that his son Denardo has been his preferred drummer ever since puberty in the 1970s. (Denardo first played on an album in 1966 when he was 10, but it took him a while to finally push Ed Blackwell, Billy Higgins, and Shannon Jackson out of the picture.)
My semi-obligatory database dump:
Miscellaneous Albums: side-credits, compilations, live albums that only appeared much after the fact:
Selected albums I have not heard:
Miscellaneous unheard live albums:
I expect many more live albums will appear in the future, especially as his estate swings into action, and as Europe's 50-year copyright limit legitimizes more bootlegs.
An informal scan indicates that at least 500 albums have Ornette Coleman compositions on them (maybe more than 600; I couldn't check, but "Lonely Woman" is undoubtedly the song leader). I'd hazard a wild guess that two dozen or more albums are tributes/dedicated to Ornette Coleman: most obviously, everything by Old and New Dreams (Don Cherry, Dewey Redman, Charlie Haden, Ed Blackwell -- note that Coleman outlived all the members of his ghost band); also (hard to check this precisely): Affinity [Joe Rosenberg], Borah Bergman, Paul Bley, Charlie Haden, Dave Liebman, Pat Metheny, Paul Motian, Jamaaladeen Tacuma, John Zorn.
Ornette Coleman was one of the few jazz musicians Robert Christgau continued to review regularly. His own Consumer Guide reviews are here. This reminds me that the first time I heard Dancing in Your Head was when Bob played it for me. The symphony theme was the most deliriously joyful piece of music I had ever heard. That wasn't the first time I heard Coleman, but it pushed my interest to a higher level.
Some links as others write about Coleman:
Some older pieces:
For a final word, Sonny Rollins (quoted in Gans, above):