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An occasional blog about populist politics and popular music, not necessarily at the same time. LinksLocal Links Social Media My Other Websites Music Politics Others Networking Music DatabaseArtist Search: Website SearchGoogle: Recent Reading
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Blog Entries [250 - 259]Monday, July 3, 2023 Music Week
Music: Current count 40512 [40476] rated (+36), 14 [9] unrated (+5). I wrote another substantial Speaking of Which yesterday. Well, it didn't seem like such a big deal until I started to wrap up, and added another 1300 words in the form of an 11-point summary of the current state of the Ukraine War. Well, not exactly "current state," which implies a reckoning of the battle lines and various economic factors, which I regard as minor and possibly trivial. What does matter is the mental state of the protagonists, which on both sides remains locked in bizarre belief that the war should continue to play out. I'll resist the temptation to write another 1300 words here, but I do insist that while the decision to invade was solely Russia's fault, and the efforts to thwart the invasion were justifiable, the unwillingness to even start to negotiate a peace deserves blame on both sides. Laura Tillem cut out the Ukraine part and posted it to Facebook. It's already disappeared from my feed. In case you missed it, I also published a TV Midyear Report last week. Since then, Endeavour ended, more or less successfully, so B+. The second episode of Ridley brought its case to a close, but I gather there are two more episodes to go, with another closed case. It's pretty solidly in B+ territory. We're still waiting for the last episode of Deadloch, which is only getting better. And I've started season 3 of The Great, and I'm enjoying it immensely (though still impatiently waiting for Peter III's demise, and a bit bothered by rumors that Nicholas Hoult is coming back as another character). Favorite Facebook meme of the day: "People who wonder if the glass is half empty or half full, miss the point. The glass is refillable." Weekly rated count continues to drop, as I've been starting off most days with something classic from the cases, before trying to find something new to check out. This has taken some scratching, but I wound up with four A- records, all (I think) initially suggested by members of the Expert Witness Facebook group, many of whom have spawned Substack newsletters. (It could be that I found LaVette on my own, but her records has been much admired by group members in the last few days.) I should construct a list, or at least add them to my "Music" navigation menu, but don't feel up to it today. For a while, I toyed with the idea of setting up my own Substack, but it still doesn't feel right, and the more people who do it, the less inclined I feel. I thought of doing Madonna after news she was hospitalized. After a strong ending, I could have gone with an A-, but I noticed on Wikipedia that my grade for the previous one-CD sampler was B+(***), and finally decided that works here as well. Why make them extra work? It shouldn't be hard to compile an A- compilation of her post-1990 work, given that half of the albums are already there. Note that the Pet Shop Boys have a similar compilation, but I haven't been able to stream it yet. Also not getting done today is the indexing I put off for last month's Streamnotes. Maybe next week. Other projects are falling by the wayside. The one that bothers me most is that the Sony CD changer upstairs is broken, so I haven't had any bedtime music for several weeks now. Seems like it's probably just a broken belt, but I haven't even managed to take it apart to see -- at least beyond removing the top, which allowed me to rescue the CD. New records reviewed this week: JoVia Armstrong & Eunoia Society: Inception (2021 [2023], Black Earth Music): Percussionist, credited here with hybrid cajon, the group adding "5 Strings," bass, and guitar. Fusion of some sort, lots of riff without much rhyme. B [cd] Tor Einar Bekken/Inga-Mei Steinbru: Jungle One Jungle Two Jungle Blues (2023, self-released): Piano and drums duo, the former with records as Dr. Bekken back to 1995, the latter apparently not in Discogs. B+(**) [bc] Ice Cold Bishop: Generational Curse (2023, Epic): Los Angeles rapper, hasn't made it big enough for Wikipedia yet, debut album not yet in Discogs (which has 2022's single), credit jammed together in all-caps but Pitchfork review repeatedly refers to "Bishop." Tight loops, hard to follow, with high voices tracked cartoonishly but something deeper in the message. A- [sp] Samuel Blaser: Routes (2021-22 [2023], Enja): Trombonist, from Switzerland, couple dozen albums since 2008, mostly plays free jazz but pays tribute here to reggae great Don Drummond, with Alex Wilson (piano/organ/melodica), Alan Weekes (guitar), Ira Coleman (bass), Dion Parson (drums), Soweto Kinch (alto sax/vocals), Michael Blake (tenor sax), and Edwin Sanz (percussion), with Scratch Perry dubbing on two tracks, and extra trombones on another. B+(***) [sp] Pony Bradshaw: North Georgia Rounder (2023, Black Mountain Music): Country singer-songwriter from north Georgia, fourth album. B+(**) [sp] Dee Byrne: Outlines (2021 [2023], Whirlwind): British alto saxophonist, has a couple previous albums, leads a sextet, with trumpet, clarinet, piano, bass, and drums -- only name familiar to me is Olie Brice (bass). B+(**) [sp] Shirley Collins: Archangel Hill (2023, Domino): Venerable British folk singer, now 87, returned from a 38-year hiatus in 2016, with a second album in 2020, and now this third one. Voice continues to wither, as does the songs. B+(*) [sp] Chuck D as Mistachuck: We Wreck Stadiums: Homage to Rap & Baseball Heroes (2023, SpitSLAM): Public Enemy front man Carlton Ridenhour, feeling nostalgic about his baseball cards, ten years younger than me, which is close enough I recognize the players he namechecks. Interesting as that is, his beats are what I'm more nostalgic for. B+(***) [sp] McKinley Dixon: Beloved! Paradise! Jazz! (2023, City Slang): Rapper from Virginia, fourth album. B+(*) [sp] The Sofia Goodman Group: Secrets of the Shore (2023, Joyous): Jazz drummer, based in Nashville, second album, with saxophonists Joel Frahm and Dan Hitchcock, clarinet, guitar, keyboards, bass, and drums, performing Goodman originals (three with co-credits). Fairly luxe postbop. B+(*) [cd] [07-14] Daniel Hersog Jazz Orchestra: Open Spaces: Folk Songs Reimagined (2022 [2023], Cellar): Canadian trumpet player, second big band recording, big name soloists include Kurt Rosenwinkel (guitar), Scott Robinson (reeds), Noah Preminger (tenor sax), and Frank Carlberg (piano). Seems like I should have recognized most of the folk songs, but they tend to get lost in the arrangements. B+(*) [cd] Bettye LaVette: LaVette! (2023, Jay-Vee): Soul singer, raised in Detroit, was 16 when she recorded her first hit in 1962 but struggled after that, until the breakthrough of her 2003 album A Woman Like Me. All tracks here were written by Randall Bramblett, who I remember as a singer-songwriter in the mid-1970s, who dovetailed into soul but couldn't pull it off himself. LaVette can, and then some. A- [sp] Brennen Leigh: Ain't Through Honky-Tonkin' Yet (2023, Signature Sounds): Country singer-songwriter, based in Nashville, ten-plus albums since 2002 (and still doesn't have a Wikipedia page). Starts with a song about escaping Hope, Arkansas. B+(***) [sp] Mach-Hommy/Tha God Fahim: Notorious Dump Legends Vol. 2 (2023, self-released): New Jersey rapper Ramar Begon, Haitian parents, spent much of his childhood in Port-au-Prince. First EPs in 2011, many albums since 2017, this a short one (27:31). B+(*) [sp] Gabriela Martina: Homage to Grämilis (2023, self-released): Jazz singer-songwriter, from Switzerland, second album, backed with guitar (Jussi Reijonen), accordion (Ben Rosenblum), piano (Maxim Lubarsky), bass, and drums. B+(*) [cd] [07-14] Okwy Osadebe and Highlife Soundmakers International: Igbo Amaka (2023, Palenque): Nigerian, the son of Chief Stephen Osita Osadebe (1936-2007), an Igbo highlife star in Lagos from his first album in 1958. During the 1970s, highlife was eclipsed by juju and afrobeat, but I always found the early stuff especially charming, as is this slight update. A- [sp] Brandon Ross: Of Sight and Sound (2019 [2023], Sunnyside): Guitarist, short list of records since 2004, played in Harriet Tubman and other groups. Music here -- with Kevin Ross (bass guitar), Chris Eddleton (drums), and Hardedge (sound design) -- was presented to accompany paintings by Ford Crull. B+(*) [sp] Rome Streetz: Wasn't Built in a Day (2023, De Rap Winkel): Rapper Jerome Allen, busy since 2018, produced by Big Ghost LTD, who sometimes gets a co-credit here. B+(*) [sp] Marina Sena: Vicio Inerente (2023, Sony Music Brasil): Brazilian singer-songwriter, second album. B+(***) [sp] Isach Skeidsvoll: Dance to Summon (2021 [2023], Ultraääni): Norwegian pianist, has several albums, the one I've heard is a duo with his brother Lauritz, who plays soprano sax here. Also with Espen Songstad (tenor sax), Aksel Øvreas Reed (baritone sax), Peder Skeidsvoll (pocket trumpet), bass, and drums, with everyone also credited with percussion, some with voice. They make a very impressive noise, but I'm not quite up to it all. B+(***) [sp] Sam Smith: Gloria (2023, Capitol): British singer, first album (2014) was a big hit, others have followed suit, even this fourth one, after he (ok, they) went non-binary. Has a rich, but limited, soul crooner voice, increasingly turned into a choir here. B [sp] Emilio Solla/Antonio Lizana: El Siempre Mar (2023, Tiger Turn): Pianist, from Argentina, based in New York, started with the band Apertura (1983-89), most of his albums are steeped in tango. Joined here by the Spanish flamenco-rooted saxophonist, who also sings, with smaller front cover print for Jorge Roeder (bass) and Ferenc Nemeth (drums). B+(*) [cd] Sonar With David Torn and J. Peter Schwalm: Three Movements (2022 [2023], 7d): Swiss quartet, with two guitarists (Stephan Thelen and Bernhard Wagner), bass (Christian Kunther), and drums (Manuel Pasquinelli) -- tenth album since 2012, sometimes considered math rock (due to the intricate rhythms, or maybe because leader Thelen is a mathematician), but complex enough for jazz with no real hint of fusion. Joined here by guitarist Torn, who's appeared on several of their albums, and Schwalm (electronics). B+(**) [sp] Joanna Sternberg: I've Got Me (2023, Fat Possum): Singer-songwriter, visual artist, multi-instrumentalist, based in New York, second album. Holds your attention with just guitar or piano and voice. A- [sp] Sundy Best: Feel Good Country (2023, self-released): Country duo, Kristofer Bentley and Nicholas Jamerson, from Kentucky, five albums 2012-16, split up in 2018, announced a reunion in 2020, which finally led to this. B+(*) [sp] Pictoria Vark: The Parts I Dread (2022, Get Better): Singer-songwriter, bassist from Iowa City, actual name Victoria Park, has a previous double-EP called Self-Titled (2018). Rob Sheffield is enough of a fan that he brought this to a "Pazz and Jop" podcast with Robert Christgau, who hasn't weighed in yet. I don't have much to say, either. B+(*) [sp] The War and Treaty: Lover's Game (2023, Mercury Nashville): Michigan duo, Michael and Tanya Trotter, fourth album, first with a major label, which is pushing them as Americana, but their roots are in blues and gospel. B+(**) [sp] Wild Up: Julius Eastman Vol 3: If You're So Smart, Why Aren't You Rich? (2023, New Amsterdam): Large Los Angeles group, conducted by Christopher Rountree, their third foray into the composer's work. B+(***) [sp] Jess Williamson: Time Ain't Accidental (2023, Mexican Summer): Alt-country singer-songwriter, from Austin but based in Los Angeles, four previous albums, but is probably best known for her duo project Plains, with Katie Crutchfield. B+(***) [sp] Denny Zeitlin: Crazy Rhythm: Exploring George Gershwin (2018 [2023], Sunnyside): Pianist, has recorded extensively since 1963. Solo here, a bit of percussion, on eleven Gershwin compositions (no title tune, but "Fascinating Rhythm" appears). B [sp] Recent reissues, compilations, and vault discoveries: Joel Futterman: Inneraction (1984 [2023], Mahakala Music): Avant-jazz pianist, originally from Chicago, debut 1979, has co-led important groups with Kidd Jordan, Hal Russell, and Ike Levin. This reissues his third album, with Jimmy Lyons (alto sax), Richard Davis (bass), and Robert Adkins (drums), with Nat Hentoff's original liner notes. B+(***) [bc] Madonna: Finally Enough Love: 50 Number Ones (1982-2019 [2022], Warner, 3CD): I can only imagine what it was to grow up with Madonna, but I got a glimpse when walking in New York, when the young daughter of a friend saw an iconic photo of Marilyn Monroe in a store window, and exclaimed. But from the few times I got stuck listening to radio in the 1980s, I got the sense that she produced most of the decade's memorable pop music (seems I only got Prince via albums). Her albums were rarely as great as the singles, but 1990's The Immaculate Collection was just that. That ended with "Vogue," which is track 11 on the first disc here. She never got better than that, but I count nine A/A- albums since, vs. four before, so she's entitled to a career-spanning compilation. This has a couple of dubious covers from back when she was toying with becoming a crossover star, but then she settled back into her dance groove, and hired the best beats she could afford, for a final disc that is serviceable but rather short of immaculate. B+(***) [sp] Arthur Russell: Picture of Bunny Rabbit (1985-86 [2023], Audika): From Iowa (1951-92), moved to New York in 1973, studied electronic music, became music director of the Kitchen (a famous avant-garde spot), played cello, later moved into dance music, releasing an album as Dinosaur L. His legend has grown since his premature (AIDS) death, especially with the 2004 release of The World of Arthur Russell. This new discovery is a sketchy minimalist piece of solo voice, cello, keyboards, guitar, harmonica, and echoes. B+(**) [sp] Old music: Johnny Adams: There's Always One More Time (1983-97 [2000], Rounder): Rhythm and blues singer (1932-98), from New Orleans, ranged into gospel and jazz, had some minor hits in the 1960s, signed with folk-oriented Rounder in 1983, which is where this -- an entry in the label's "Rounder Heritage" series of compilations -- picks up. B+(**) [sp] Christer Bothén 3: Omen (2019 [2021], Bocian): Swedish bass/contrabass clarinetist, albums as far back as 1982, spent time in Mali learning donso n'goni (which he was introduced to by Don Cherry), also in Morocco. Trio with Vilhelm Bromander (bass) and Konrad Agnas (drums). B+(***) [bc] Bashful Brother Oswald: Dobro's Best (1976 [2008], Gusto): Beecher Ray Kirby (1911-2002), from Tennessee, played Dobro resonator guitar, notably in Roy Acuff's Smoky Mountain Boys. He recorded four albums for Rounder, as well as isolated albums for a few other labels. Most (11 of 12) of these songs appeared on his 1976 album for Gusto, 14 Songs, which is the only one on Spotify. B+(*) [sp] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, July 2, 2023 Speaking of WhichStarted this early enough, but can't say as I brought much enthusiasm to it. Links are down to 63, words to 4752 (as I'm typing this, so a bit more [PS: now 68 links, 6061 words]). Main news was that the Trump Supreme Court finally (well, once again) lived up to our fears. It is, as Biden pointed out, still too early to resort to radical measures like expanding the court, but more and more people are grasping the need for bringing the Court back into the political mainstream. Still, the Court's partisan rulings aren't way out of whack given the still substantial extent of Republican power in Congress and in the States. What we need more than speculation about changing the Court is robust electoral victories. For instance, would the Court invalidate a law (as opposed to an executive order) that explicitly forgave student debt? Would the Court chuck out a voting rights act that applied to all states? Would the Court question a law which directs the EPA to regular carbon dioxide emissions? With this court, maybe, but until you pass the laws, we don't know. And until you get the power to pass such laws, you have no chance of expanding the Court (or impeaching a couple egregious examples). I wrote quite a bit about Ukraine below. I should probably consolidate my recent points into something succinct (much more so than my still-useful 23 Theses on Ukraine). At the risk of being too schematic, let me point out:
By the way, if you have some kind of publication and would be interested in reprinting the above on Ukraine, let me know, and I'll work with you on it. At present, this is a one-pass draft, with a couple extra points wedged in as seemed appropriate. As usual, this is a quick scan through the usual sources. No doubt I missed much, but that's inevitable. Top story threads:Trump, DeSantis, and other Republicans:
The Supreme Court:
Climate and Environment:
Ukraine War:
Around the world:
Other stories:Phyllis Bennis: [06-30] A tale of two tragedies at sea. Lindsey Bever: [06-29] President Biden uses a CPAP machine for sleep apnea. Here's what to know. Not sure this should be news, but good on him. I use a CPAP machine, and sleep much better for it, and never doze off during the day or evening, as I sometimes did before. I know many other people who use them. My father didn't, but suffered severely. He dozed off literally every evening in front of the TV. A cousin asked him how he decides when to go to bed. His answer: when I wake up. Mark Hill: [06-29] A billionaire baseball owner failed to extort Oakland, so he's scamming Nevada instead: "John Fisher, an heir to the Gap fortune, is being handed hundreds of millions of taxpayer dollars to screw over A's fans by moving his team to Las Vegas." Author notes that the move has "revived the national debate over public funding for private sports clubs," and adds that it's been proven that "the public never gets its money's worth." The debate it should stimulate is about expropriating the errant teams and redistributing ownership to the fans. That is, by the way, the reason the Packers are still in Green Bay, despite the fact that there are about 150 larger markets a greedy owner could shop the team to. Elizabeth Kolbert: [06-26] How plastics are poisoning us: Draws on Matt Simon: A Poison Like No Other: How Microplastics Corrupted Our Planet and Our Bodies. I personally cannot imagine how we could go on without plastics. (Kenneth Deffeyes, who wrote Hubbert's Peak about the impending "peak oil" crisis, believed that even after we ran out of oil for fuel, we'd still need what little was left to make plastics.) But we're hearing more and more about this, and it's not going to let up. Mike Lofgren: [07-01] There's no such thing as a conservative intellectual -- only apologists for right-wing power: "From Burke to Buckley to Patrick Deneen, we've seen a 200-year history of defending the indefensible." Starts with the famous Lionel Trilling quote which dismisses conservative thinking as "irritable mental gestures." I wouldn't go as far as the title, but that's largely because I've never been comfortable calling myself an intellectual. Over the last couple centuries, intellectuals have mostly emerged from the conservative class, and have occupied rarefied positions in establishment-controlled institutions, which they rarely failed to serve. It's hard for me to deny that Friedrich Hayek, John Von Neumann, or T.S. Elliot were real intellectuals, even if they were often wrong. However, as Trilling claimed, the dominant intellectual tradition in America was liberalism, which allowed for dissent and debate, and expected progressive (but not revolutionary) change. But as the Cold War heated up, and even more so with Reagan's win in 1980, conservative instincts gave way to reactionary ones, as the right sought to build its own politically charged intellectual world, from which liberals and worse would ultimately be purged. On the other hand, the more they insist that truth be politically theirs, the less credibility they have. Conservative public intellectuals like William F. Buckley often came off as empty rhetoric wrapped up in a gauze of snobbery -- a tradition that continues today with the likes of George Will and David Brooks, but has more often given way to even baser impulses. The subject here is Deneen, who wrote Why Liberalism Failed and has a new book: Regime Change: Toward a Postliberal Future. You don't need an extended survey to see why such books don't deserve to be taken seriously (despite Deneen's real academic credentials), but Lofgren indulges you. Here's a bit:
That the first line could easily have come from Joseph Schumpeter (1883-1950; there must be earlier examples but this one is explicit) just reminds us how timeless the imminent demise of the upper class has been. The only thing that's changed of late is that the whines have become ever more shrill, and the proposed remedies ever more crude. I've tracked conservative thought as expressed in recent books (they're here, but so is everything else, so it might be useful to break them out into their own file), and they've gotten so deranged of late that it's hard to give them any credit at all. Blaise Malley: [06-20] Do laws preventing Chinese from buying US land even make sense? I'm inclined to say yes, because I think local ownership is better than distant ownership, especially across borders. Sure, it doesn't help that these laws are being pushed by Republican presidential candidates -- Ron DeSantis (FL) and Doug Burgum (ND) recently signed bills to this effect -- combined with jingoistic anti-Chinese bile. I'd go further and say that companies should be employee-owned, and that land should either be owner-occupied or regulated (some form of rent control). Timothy Noah: [06-30] Bidenomics is working -- here's why the business press won't say so: "To economics journalists, bad news is always just around the corner -- especially when a Democrat is in the White House." He blames the business press, but it's something deeper than that: "Democratic presidents consistently outperform Republicans on managing the economy. This isn't anything new. It's been true for the past century. Folks just don't want to believe it." Part of the reason, I think, is that rank-and-file Democrats are never really satisfied with the greater growth under Democratic presidents, largely because it rarely trickles down to their own bottom lines. And that's partly because the long-term trend has been toward greater inequality, and Democrats have abetted that trend, largely in pursuit of donors. On the other hand, Republican presidents always claim to be presiding over perfect economics, even with more or less major recessions in each of them. Lots of pundits want Democrats to brag more, but I doubt that's going to do the trick. Better to point out the myriad ways Republicans are plotting to screw virtually everyone over. Alex Shephard: [06-24] He made a mess of CNN. Now he's ruining Turner Classic Movies too. "David Zaslav, whose Chris Light hire butchered CNN, is vandalizing TCM, a beloved cultural institution." Jeffrey St Clair: [06-30] Roaming Charges: Strange coup. Admitting he has no idea how the war in Ukraine will end, he doesn't have anything definitive to add about Prigozhin's mutiny, but voice a thought that's also occurred to me: "I've always believed that fragging of officers by US troops did more to end the US's rampages in Vietnam than the peace movement back home." At the very least, fragging ended the draft, which meant that the war could no longer be fought the way it had been for ten years. Russia's use of "conscripts and convicts" (as well as private militias like Wagner, and he also mentions "Chechen paramilitaries under the control of Ramzon Kadyrov, who has repeated urged the use of tactical nuclear weapons against Ukraine," so another less than happy camper) has got to be a vulnerability. (On the other hand, note that Ukraine is also using conscription, much more aggressively than Russia is, but it seems to be less of a morale problem, most likely because Ukrainians are defending their own land from invasion.) Nikki Haley tweeted this:
Haley was born in 1972, by which time America had been divided by the civil rights movement and the racist reaction, by the Vietnam War and antiwar dissent, by women's liberation and a reaction that would soon kill the ERA, and by various cultural issues. She must have been pretty isolated to view those times as idyllic. I was born in 1950, before most of those fractures, in a period that could plausibly be remembered as a Golden Age of affluence and shared-interest, but the last word I would pick to describe my childhood is "easy." I mostly remember those years as demanding a lot of hard work. And threatening various terrors if we didn't work hard enough, or if we failed, or sometimes just for the hell of it. And we were fairly well insulated from the plight of the poorest. We never had to worry about where the next meal would come from, or that we might be evicted, or that we couldn't afford to see the doctor, in large part because we had little reason to fear that my father might lose his union job. True that people today have things to worry about that we didn't. But that doesn't mean that we had it easy. As for Biden's role in ruining our country, I suppose that's easier to argue than it is to make a case that Haley or any other Republican could lead us into a promised land. But most of the things I can fault Biden for are cases where he simply went along with bad ideas other were pushing, and a number of those he seems to have grown out of. He's easy to mock, but he's the first president in my lifetime who's surprised me favorably. (To be fair, Haley surprised me favorably when she took those Confederate flags down, but she's not exactly playing that up in her campaign.) St Clair's response to the Haley tweet:
Ask a question, or send a comment. Monday, June 26, 2023 TV Midyear ReportOn something of a lark, I started jotting this down while working on Speaking of Which, linking to the Washington Post list. As it grew, I decided to hold it back, giving me a couple extra days to play with it. I've pretty much given up on watching movies. For one thing, the story arc timing is almost always both too long or too short: too long because the 2-3 hour time chunk tries one's patience, especially given how clichéd most movie story arcs are; and too short because there's very little you can do with characters in the given chunk of time. TV started getting more interesting when they learned to develop the stories and characters over multiple episodes, instead of always returning to the rest state of traditional TV series. And the lengths got shorter, flexible enough to fit the story -- not that it isn't annoying when they decide to split stories over multiple seasons. It also helped to get past the family censors -- although the rise of anti-heroes isn't something I'm particularly happy with. My wife, Laura, and I watch a couple hours late each night. She watches some more during the day, which I may or may not notice. She also watches news -- she's much more engaged in daily politics than I am -- and she's still interested in movies, although finding 2-3 hour chunks of time can be difficult (cartoons and classics tend to be shorter). Sometimes, I'll watch something on my own, usually late, but it's hard for me to find time. Two lists follow. The first starts with a qualification of how much (or often, how little) I've seen, followed by an explanatory note. This falls far short of a review or even description, but may help explain my reaction. The notes inevitably include spoilers, so if you're phobic about that, sorry. (I tried to implement some workaround code, but failed and gave up. I understand why, but don't see a workaround.) For some entries, I've included a letter grade, which is a summary judgment on nothing more than how much I enjoyed the show. The grades are probably scaled lower than my music grades, but that's partly because we're talking about whole series, not individual episodes. (Also, note that grades are for this year only. Shows that I've only seen previous seasons from aren't graded.) As a rule of thumb, anything with a B or higher was pleasant enough to watch, and not a waste of time. That there's nothing lower below just signifies that I didn't have the patience to finish anything worse. The lists consulted are as follows (the Washington Post was the first). The shows appeared in one or more lists, and are divided into two sets: ones I've seen at least some of, and ones I've never seen. I've also added shows to the first list that didn't make any of the consulted lists, but which we watched. These are marked [*].
I also looked at several more lists to try to remind myself of TV shows that we've seen that didn't show up in the best-of lists. These shows, in this first section, are marked with [*]. Abbott Elementary, Season 2: Seen: first season, working on second. Comedy. Feels a little claustrophobic with just five teachers and two other adult regulars, all finely drawn and brilliantly acted caricatures, but that seems to be some constraint of the workplace sit-com universe. More troubling is the lack of significant roles for children in a series that's ostensibly about teaching them. B+ All Creatures Great and Small, Season 3: Seen: all. Based on a series of books about a Yorkshire veterinarian named James Herriot, proceeds from 1937 to the call up for war in 1939 (with gruesome flashbacks to the Great War). The veterinary work often makes me wonder, but you get lots of countryside and animals, and while the home life isn't exactly idyllic, you wish them the best. And fear for the war, which the young Tristan Farnon foolishly signed up for, not least to prove himself to his older brother, who still bears the scars of the previous war, and would rather spare him the trauma. A- Atlanta, Season 4: Seen: some of the first season, none since. Donald Glover's riff on aspiring rappers. Didn't stick (or I didn't stick with it). Barry, Season 4: Seen: all. Third season could have sufficed, as it ended with Barry arrested, facing the rest of his life in jail, so fourth season always seemed superfluous. First three episodes have him in jail, and are dead-ass boring, until a few brilliant moments of botched assassination turned into escape. Then they jump ahead eight years, revealing him in a desert hideaway ith Sally Reed, who evidently had nothing better to do, and their young son. That episode was boring, too. Then events shook Barry out of his torpor, leading to a final reckoning, and a reprise as folklore. Ends about as well as it could. B Big Sky, Season 3: Seen: first season, and not sure we got all of it. Set in Montana, about a highway patrol cop and a trucker who pick up prostitutes and sell them to traffickers. The trucker gets mad at a couple teens and snatches them, and things go bad from there. False start with the ostensible hero, a PI named Cody, getting killed in the first episode, leaving his wife and his partner-lover to carry on. By the end of what we've seen, the cop is dead, and the trucker has slipped away. [*] Bloodlands, Season 2: Seen: not sure about Season 1. Police drama set in Northern Ireland, where a DCI goes bad initially to cover up something he did during the "troubles" period, but it's really the gold. B [*] The Brokenwood Mysteries, Season 9: Seen: all. Mystery set in northern New Zealand, built around idiosyncratic Detective Mike Shepherd and his local crew (most dependably his Sergeant Kristin Sims, and most eccentrically a Russian medical examiner). This season he seemed more distracted than usual -- one problem being the meeting of his ex- and would-be future wives, which turns out badly. A long-time favorite. A- [*] The Conners, Season 5: Seen: Hit and miss, but not so much lately. The family from Roseanne, rebooted without the matriarch, the vacuum more than filled by now-adult daughters, Darlene and Becky. [*] The Consultant: Seen: one episode. Christoph Waltz plays a creepy corporate "fixer" in a high-tech world he doesn't particularly relate to (but, I'm guessing, he does understand a thing or two about capitalism and/or crime). Cunk on Earth: Seen: one episode. Pseudo-documentary, Diane Morgan (Cunk) goes around interviewing and misunderstanding experts while regularly cycling back to a refrain of "Pump Up the Jam." Dalgliesh, Season 2: Seen: all. British murder mysteries, based on novels by PD James, with Bertie Carvel playing the titular character. Fairly classic. B+ [*] Deadloch: Seen: working on it (6/8). Murder mystery set in Tasmania, with two mismatched women detectives, a preponderance of lesbians, a peculiar sense of humor, and a series of ill-fated prime suspects. So far: A- Death in Paradise, Season 12: Seen: all. A long-time favorite, set in the fictional Caribbean island of Saint Marie, where brilliant but odd British DI's are sent to solve a regular series of murders, each with a set of visiting suspects, the perpetrator deduced in a final scene each week. A- [*] The Diplomat: Seen: all. The political angle is completely implausible, and the war game scenario is scarcely any better, but at least it's not Madame Secretary. The power marriage between the Wylers also strains credibility. The acting, on the other hand, is superb, as is the flow, and the various mismatches add a gratifying dimension of comedy. Also, the comedy doesn't come at the expense of competency (unlike, say, Veep, where incompetency is the point). Season ends prematurely, with the story only half-baked, keying up a second season. It's not like we shy away from genius detective shows because they're nothing like real world cops. A- Endeavour, Season 9: Seen: working on it (2 episodes down, of 3); all previous, plus most of the 1987-2000 Morse this is a prequel to, and the later Lewis spinoff. Classic British detective series, set 1965-72. A few new cases, more or less tied to old cases (many too old to recall), trying to wrap up the series, so the next/last episode will be crucial. Probably: A- Father Brown, Season 10: Seen: All earlier, working on this season. Slightly ridiculous crime sleuthing drama, where the priest of a village that seems to be all Catholic has a knack for figuring out crimes, even with the interference of a series of hapless inspectors. Fairly major supporting cast shake up this season, as Sorcha Cusack's fussy parish secretary has been replaced by a suitably odd pair, and Tom Chambers is back as Inspector Sullivan, exiled from Scotland Yard and more aggravating than ever. Of course, we love it. B+ [*] Godfather of Harlem, Season 3: Seen: Some of first season. Forest Whitaker plays a fictional Harlem mob boss, fresh out of prison in the early 1960s. Much of the interest is in the intersection with historical characters like Adam Clayton Powell Jr and Malcolm X. [*] The Great, Season 3: Seen: two seasons. An "occasionally true" but comedic portrayal of Catherine the Great, Empress of Russia 1762-1796, got stuck in 1762 as Nicholas Hoult's portrayal of Peter III saved him from the death that is prerequisite to Catherine's greatness, leaving us with a highly entertaining royal court opera. Laura wasn't interested in this one, so I've only just found out about it. I'll get to it in due course. Hopefully, the third time will be the charm. Happy Valley, Season 3: Seen: all. British ex-detective-turned-beat-cop wrapped up in nearly unbearable psychodrama. Laura was annoyed enough to drop it, but I insisted on slogging through, and the payoff at the end is satisfying. The lead, played to Sarah Lancaster, is bitter, bottled up, and threatening to explode, mostly due to a villain so psychotic I've finally gotten past remembering the very nice vicar he played in Grantchester. Happy enough with the ending that I might wind up remembering it better, but it's been a rough road getting there. B+ History of the World, Part II: Seen: first episode). Sketch comedy jumping around history, same as with Brooks' 1981 film. Hunters, Season 2: Seen: first season only. Conspiracy series starting in 1977, with a group of Nazi hunters who ultimately discover a hidden Fourth Reich, led by Eva Braun, with a geriatric but still living Hitler. Some choice acting, headlined by Al Pacino, with Dylan Baker playing a Nazi secret agent who kills everyone present, including his family, when he is recognized at a barbecue he is hosting. I wasn't aware of a second season, but the first ended with the reveal of Braun and Hitler. [*] Love and Death: Seen: one episode. Set in small town Texas from 1978, church choir singers turn to adultery and wind up with murder. Supposedly based on a true crime. Don't see much point to it. The Marvelous Mrs Maisel, Season 5: Seen: all. Portrait of a Jewish comedian who isn't Lenny Bruce, but keeps bumping into him. I've loved all of this, but Laura dropped out for the middle seasons, and heckled parts of this one. (The Jewish schtick is laid on very thick, but she also dislikes the stand up.) Problem here is that it tries to wrap up the long story after her big break, while holding the break off until the last episode, so suffers lots of time jumps, many into a rather dubious future. On the other hand, the first four seasons struggled with throttling her brilliance with setbacks delaying her success, probably suspecting that once it hit it'd be as boring as it turned out. B+ Miss Scarlet and the Duke, Season 3: Seen. Set in Victorian England, Eliza Scarlet is the daughter of a PI, determined to continue her late father's business, despite much prejudice to the contrary. In this she is reluctantly aided by Scotland Yard DI William Wellington, and a Jamaican underworld figure named Moses Valentine. B+ [*] Mrs. Davis: Seen: one episode. Too scattered, but if I had to watch more, I probably would. Supposedly has something to do with AI. The Murdoch Mysteries, Season 16: Seen: caught up through season 15; haven't found new one yet. Police drama set in Toronto c. 1900, the title character a brilliant innovator, his doctor-wife even more modern, his sergeant given to flights of fancy that often foreshadow the future, his superintendent helps keep the rest grounded. Livened up with guest cameos for numerous historical figures. Great fun. NCIS, Season 20: Seen: all of this, and several recent seasons, probably going back to season 11, when Ziva David left and Eleanor Bishop joined. Laura watched it from much further back, but quit during or after season 18. Requires considerable suspension of one's critical facilities, but has redeeming features, including expert teamwork, and a general sense of honor and decency (even if it's sappy soft on the military; at least every episode starts with a dead Marine or Sailor, and the cases usually reflect corruption both within and beyond the ranks -- everyone else, of course, is impeccably disciplined). I don't miss Gibbs, whose replacement is more an amiable chaperone than a psychotic leader. Also nice not to have any Afghanistan story arcs, although I'm afraid Russian nemesis is on the rise. As for the spinoffs, we watched NCIS: New Orleans for a while, but quit before they canceled it. I've missed out on the occasional overlapping story lines, but probably haven't missed much. B [*] Party Down, Season 3: Seen: one or two episodes, rebooted from two seasons 2009-10 I've never seen. Comedy series about would-be actors working for a catering firm, played by actors recognizable enough this feels like slumming. Funny enough. Perry Mason, Season 2: Seen: all. Radical prequel which cannot possibly evolve into the famous TV show, making me wonder whether the source books have any relationship to either. But this works as grimy Los Angeles noir, with the familiar names recast as black, gay, or (for Mason himself) as a seedy PTSD drunk. One case per season, hopeless until miraculously saved (but not half so miraculous as most weeks of the TV show). B+ Poker Face Seen: all. Natasha Lyonne plays a lady whose uncanny ability to spot lies gets her into and out of lots of trouble, solving murders Columbo-style but being on the lam herself not having the authority of most detectives. (A symbiotic relationship with an FBI agent developed late helps.) Episodes are structured oddly, with one thread up to a murder, then a step back in time that integrates Lyonne's character, allowing her to do her thing. Fun enough. Sets up a second season, with a new nemesis replacing the (now deceased) old one. B+ Rabbit Hole: Seen. Mega conspiracy plot starring Kiefer Sutherland as a corporate spy facing a global conspiracy based on the idea that whoever controls big data can run the world, but the specific mechanism seems to be to find and use blackmail, which turns people like security guards into automatons doing the conspiracy's bidding. Many flashbacks and, worse, hallucinations acting as false flags -- most immediately recalled, but some leave you confused (e.g., did Miles Valence survive his skyscraper jump, adding to a long list of characters who faked their deaths?). Entertaining as long as you're amused. B [*] Ridley Seen: working on it (just one episode so far). British crime drama, Adrian Dunbar plays a retired DI brought in to consult on something possibly related to one of his cold cases. The Righteous Gemstones, Season 2: Seen: bits (Laura's watching). Danny McBride comedy about a megachurch dynasty, has some good actors. Review touts: "outlandish set pieces, absurd but gripping action sequences, awkward invective and clumsy love." From what I've seen (or sometimes just heard), that seems plausible. Sanditon, Season 3: Seen. Unfinished Jane Austen novel, set as the tides were changing from landed aristocracy to rising bourgeoisie, and as the young heroines aren't in quite as much hurry to get married. More rough spots this time than I would have liked, but it does all come to an agreeable end. A- Shrinking: Seen: couple episodes. Therapists, a genre I've never warmed to. (I totally skipped In Treatment, which Laura loved.) I took a quick dislike for the main character, a depressed widower played by Jason Segel, but there's little appeal elsewhere, aside from straight man Harrison Ford. Sister Boniface Mysteries, Season 2: Seen: all. A spinoff from Father Brown, one major difference being that the Sister gets encouragement from her Inspector, who hires her as a consultant, and generally steps back while she solves the cases. Also, unlike Father Brown, she's pays little attention to saving souls, and she's a lot funnier -- a delight, as are the rest of the cast, even the Reverend Mother. A- [*] Somebody Somewhere, Season 2: Seen: all this year, most of season one. Comedy, set in a part of Kansas I've never set foot in, with people I scarcely recognize (although I'm not sure my late sister wouldn't have known them all). B A Spy Among Friends Seen. Kim Philby's defection to the Soviet Union, with flashbacks to his time, going back to the 1930s, as a double agent, revolving around his close friendship with fellow agent Nicholas Elliott (played by Damian Lewis). B+ [*] Stonehouse: Seen. Matthew Macfayden plays a 1970s British MP who fakes his own death to dodge an inadvertent scandal, going from bad to worse. B Succession, Season 4 Seen: all. There have never been any sympathetic characters here, let alone rooting interests in the contest of heirs. But it's been quite watchable for three seasons, mostly as an exposé of the lush and damaged lives of the ultra-rich. But, I'm almost reluctant to admit, it finally got good in this year, not least because of how brutal and harrowing it turned once stakes turned real. A Ted Lasso, Season 3: Seen: all. Jason Sudeikis plays a folksy football coach from Wichita rebounding from a broken marriage. He goes to England as the butt of a joke, which his good humor turns around. As ingratiating as he is, the best characters are all around him, and the balance between the coaches, the players, and the business end (somehow, "management" doesn't feel right here). The final season feels a bit rushed, and Lasso's final return to his wife doesn't make much more sense than his departure. A- The Tower, Season 2: Seen. Police drama, set in London, the first series about two people (a cop and a young girl) who fell to their deaths from Portland Tower, where two witnesses (one a cop) prove less than helpful -- while the police have their own problems. Second season picks up the police, running them through another wrenching case. Seems like it ends abruptly, after setting up a second story line about an undercover shot at a gangster. B+ [*] Vienna Blood, Season 3: Seen. Mystery series set in 1900s Vienna, where detective Oskar Reinhardt draws on young psychologist Max Liebermann to solve the usual run of murder cases. They make an engaging pair. B+ [*] White House Plumbers: Seen. Early WWII novels aimed for realism, but over time they became increasingly surreal, at least through Catch 22 and Slaughterhouse Five. Something like that is happening with Watergate art, moving from the very straightforward All the President's Men up through last year's Gaslight, and now this, which aims for laughs by focusing on the "third-rate burglars." John Dean is the common denominator in the last two, which helps you calibrate the shift. So do the wives and children, largely unheard of before. B+ [*] Seems like there must be more, but I'm hard pressed to recall at the moment -- hence the dependency on lists. Of course, we're still catching up on 2022, and sometimes older items as we stumble across them. The Nordic Murders (a German series, originally titled Der Usedom-Krimi) is one we particularly liked. We are, of course, at the mercy of our various streaming sources, which offer a lot of stuff we have little interest in, but seem to miss (or delay) much that we do. These are additional series that appeared in the best-of lists. I haven't seen any of them (except perhaps a trailer).
Ask a question, or send a comment. Monday, June 26, 2023 Music Week
Tweet: Music Week: 40 albums, 4 A-list, Music: Current count 40476 [40436] rated (+40), 9 [12] unrated (-3). Another big Speaking of Which yesterday: 6163 words, 98 links. I started on Thursday, so the Prigozhin putsch drive caught me midstream. Upon reflection, the critical detail that's rarely reported is that Putin had moved to force Wagner back under Russian military command, so the revolt was a reaction to an existential threat. Anti-Russian pundits enjoyed themselves immensely this weekend by taunting Putin as weak, but at several critical junctures it was Prigozhin whose hand was forced. Also, it was rather clever of Putin to allow Prigozhin an exit ramp to Belarus. The big question now is how much of the Wagner army will join Prigozhin in Belarus. My guess is that it won't be much, so the net effect will be equivalent to house arrest. There Prigozhin will still remain as a potential political threat to Putin, but he's given up on being a military one. And while Putin is often regarded as a front man for the oligarchs, it's worth remembering that Prigozhin's not the first one Putin forced to heel. None of this strikes me weakness. Sure, the war is still a disastrous miscalculation, and Putin is likely to be judged for that mistake eventually. But not yet. Looking around this morning, one link worth adding is Heather Digby Parton: Trump's messianic appeal can't be replicated. One thing I've never understood about these "Revelations" scholars is why none of them recognize Trump (or, before him, GW Bush) as the Antichrist. As one who doesn't believe in that crap, this isn't a point I'm inclined to belabor, but given the assumptions, doesn't it seem pretty obvious? Parton also gets into a story I didn't bother with, which is how Moms for Liberty got caught quoting Hitler, then had to beat a retreat. Pro tip: you're much less likely to make this mistake if you don't believe in the same things Hitler believed in. Parton quotes "Ryan Helfenbein @ the Faith & Freedom Coalition Gala": "If you don't control education, you can't control the future. Stalin knew that. Mao knew it. Hitler knew it. We have to get that back for conservative values." The problem with this isn't that he aligned conservatism with bad examples. The problem is thinking that the future is purely a creation of will, and as such subject to thought control (or more precisely, by keeping people from thinking for themselves). One of the most important truths about the world today is that we need lots of people who are capable of thinking critically and creatively when faced with new problems, because they're coming all the time. That's way up there with we have to learn to accept and respect people different from ourselves, because we can't afford to fight all the time. It's not that conservatives have no good ideas -- some traditional values should be honored, and some change should be resisted -- but their inability to grasp such fundamental concepts, along with their defense and promotion of greater social and economic hierarchy, has made them not just wrong but dangerously so. I've been pretty bummed about lack of progress, even on previously simple home projects. But while writing on book projects has been hard to get into, cranking out the weekly Speaking of Which still comes easy, and almost seems therapeutic. Same could be said for Music Week, but I'm more anxious to get it out of the way, thinking that will open up a new week of opportunity. Those frustrations, along with trouble finding things to listen to, led me to start off the last couple days with something old from the cases (leading to a couple tweets). That threatened to suppress the ratings count, but turns out not by much. Peter Brötzmann died last week, at 82, ending a 56-year career that literally spans the entire German (and for that matter, European) avant-garde. I've often had trouble with his exuberant cacophony -- his Penguin Guide crown album, 1968's Machine Gun, is a mere B+(**) in my list -- but I've occasionally found items to A-list, including this year's set with Majid Bekkas and Hamid Drake, Catching Ghosts, and, to pick an example where the noise is transcendent, 2009's Hairy Bones. Chris Monsen got me going when he linked to Sprawl. Among new releases, I've never cared much for Jason Isbell, and had the new one wrapped up at B+(***), until I gave it a couple more plays. Also benefiting from extra attention was Mother Earth, a side trip after checking out the latest Tracy Nelson album. I remembered having at least one of their albums, but hadn't filed a grade. Jeffrey Callahan posted a request for mid-year lists on Expert Witness. Few returns as yet, but Clifford Ocheltree identified "only three items strike me as durable":
I suppose you can derive my list from here, but I wouldn't put much stock in the order, which reflects initial slotting but little sorting. Last Monday in the month, so I've opened a new monthly Streamnotes archive for July. But indexing for June will have to wait -- no need holding this post up for a bunch of busy work. I'll also do a post of notes on television shows, probably tomorrow. Diminishing returns have me given up on mid-year music lists, but similar lists exist for television (and probably movies, which I've lost all interest in). Not on any list so far is Deadloch, a mystery series set in Tasmania that still has a couple episodes to come. Body count is too high to really call it a comedy, but it often is very funny. New records reviewed this week: Charlie Apicella & Iron City Meet The Griots Speak: Destiny Calling (2022 [2023], OA2): Guitarist, eighth album, usually plays groove-oriented fusion/soul jazz (his 2019 album was called Groove Machine), surprises here by hooking up with "legends of the 1960s NYC loft scene": Daniel Carter (saxes, flute, clarinet, trumpet, piano), William Parker (bass, doson ngoni), and Juma Sultan (congas, percussion). He means 1970s (Sultan was born in 1942, Carter 1945, Parker 1952). B+(***) [cd] Asake: Work of Art (2023, YBNL Nation): Nigerian singer-songwriter Ahmed Ololade, stage name is his mother's, second album. B+(**) [sp] Atmosphere: So Many Other Realities Exist Simultaneously (2023, Rhymesayers Entertainment): Underground hip-hop duo from Minnesota, Sean Daley (Slug) and Anthony Davis (ANT), many albums since 1997. B+(***) [sp] Blue Cranes: My Only Secret (2022 [2023], Jealous Butcher/Beacon Sound): Quintet from Portland: two saxes, keyboards, bass, and drums. Eighth album supposedly moves in new directions, but fusion that only intermittently passes as jazz has trouble sustaining interest. B [cd] [08-11] Chris Byars Quartet: Look Ahead (2023, SteepleChase): Tenor saxophonist, largely invented what we might call "retro-bop," which he is likely to extend into a career comparable to what Scott Hamilton did with "retro-swing." Quartet with Pasquale Grasso (guitar), Ari Roland (bass), and Keith Balla (drums). Not as explicit as many of his albums, just comfortable in his secure worldview. B+(***) [sp] The Ekphrastics: Special Delivery (2023, Harriet): Indie band picks obscure name, writes pleasant songs I don't quite get. B+(*) [sp] Amanda Fields: What, When and Without (2023, Are and Be): Country singer-songwriter, first album, likes them slow and sweet, although it's not quite that simple. B+(**) [sp] Béla Fleck/Zakir Hussain/Edgar Meyer: As We Speak (2023, Thirty Tigers): Banjo player, born in New York, debut 1979, expanded beyond bluegrass to jazz and world music. Second album with Hussain (tabla) and Meyer (bass), joined by (featuring credit on cover) Rakesh Chaurasia (bansuri, an Indian bamboo flute). B+(*) [sp] Caesar Frazier: Tenacity (As We Speak) (2022, TrackMerchant): Organ player, from Indianapolis, recorded three albums 1972-78, then nothing until 2018. Gets a shot here with mainstreamers Eric Alexander (tenor sax), Peter Bernstein (guitar), and Vince Ector (drums). B+(*) [sp] Caesar Frazier: Live at Jazzcup (2023, Stunt): The organ player goes to Sweden, where his pickup group includes Johannes Wamberg (guitar), Kresten Osgood (drums), and Jonas Kullhammar (tenor sax), whose extra edge is critical. B+(**) [sp] Noah Haidu: Standards (2023, Sunnyside): Pianist, from New York, sixth album since 2011, last one was dedicated to Keith Jarrett, now this one is keyed to the 40th anniversary of Jarrett's Standards Trio. With bass (Buster Williams or Peter Washington) and drums (Lewis Nash), plus Steve Wilson (sax, but back cover says drums) on four tracks. B+(**) [cd] Ben Howard: Is It? (2023, Island): British singer-songwriter, branded folk but leaning into electronics, which is more electropop than techno. B+(*) [sp] Jason Isbell and the 400 Unit: Weathervanes (2023, Southeastern): Singer-songwriter, started in Drive-By Truckers, went solo in 2007 and started co-crediting his band in 2009. Reputation precedes him, but I've never had the patience to figure out whether it's deserved. But he's singing as passionately as ever, and for once the sound is ingratiating enough to invite further inspection. For instance, consider: "I thank God you weren't brought up like me, with all that shame and certainty." A- [sp] Christine Jensen: Day Moon (2023, Justin Time): Alto/soprano saxophonist, from Canada. Quartet with Steve Amirault (piano), Adrian Vedady (bass), Jim Doxas (drums). B+(**) [sp] Stephen Jones & Ben Haugland: Road to No-Where (2021 [2023], OA2): Saxophone (soprano/tenor) and piano duets, plus trumpet/flugelhorn (Kevin Whalen) on two tracks. Originals divided 2-3 in favor of the pianist, with four standards. Opens with a lovely "Without a Song." B+(**) [cd] Kaisa's Machine: Taking Shape (2022 [2023], Greenleaf Music): Finnish bassist Kaisa Mäensivu, second album, with new group members Tivon Pennicott (tenor sax on 5 tracks), Max Light (guitar), Sasha Berliner (vibes on 2), Eden Ladin (piano), and Joe Peri (drums). Postbop with spirit and edge. B+(**) [cd] [07-07] Ryan Keberle's Collectiv Do Brasil: Considerando (2023, Alternate Side): Trombone player, from Indiana, based in New York, albums since 2007, second Collectiv Do Brasil album, this one recorded in São Paulo with Felipe Silveira (piano), Felipe Brisola (bass), and Paulinho Vicente (drums). Brazilian tilt is subtle. B+(**) [cd] [07-14] Kill Bill: The Rapper: Fullmetal Kaiju (2023, Exociety): Rapper Dennis Nettles, half-dozen previous albums since 2014. Underground, with slack beats and sly jokes, and a bit of weirdness that hasn't fully registered yet. B+(**) [sp] Gordon Lee Quartet: How Can It Be? (2022 [2023], PJCE): Pianist, based in Portland, been around a bit, with a 1990 Quartet album and his 2004 GLeeful Big Band. With Renato Caranto (tenor sax), Dennis Caiazza (bass), and Gary Hobbs (drums). B+(**) [cd] Bill Lowe and the Signifyin' Natives Ensemble: Sweet Cane: Suites and Other Pedagogical Prompts (2021 [2023], Mandorla Music): Plays bass trombone and tuba, not much under his own name but side-credits back to 1975, played with Frank Foster early on, Henry Threadgill, Darrell Katz, has been a regular in the Aardvark Jazz Orchestra. Group here has vocalist Naledi Masilo and a fairly stellar lineup: Taylor Ho Bynum (cornet/flugelhorn), Hafez Modirzadeh (alto sax/hoof-seed rattle/b'kongofon), Kevin Harris (piano), Ken Filiano (bass), and Luther Gray (drums). B+(***) [bc] Greg Mendez: Greg Mendez (2023, Forged Artifacts, EP): Singer-songwriter from Philadelphia, third "album," I see him being compared to Alex G, which doesn't do much for me. Eight songs, 23:08. B- [sp] Tracy Nelson: Life Don't Miss Nobody (2023, BMG): Started in the rock group Mother Earth (1967-71), aside from the 1980-93 stretch has recorded regularly since, slotted variously as folk, country, and/or blues without evolving much. Credibly covers some obvious songs, along with a couple of her own. And for a guest spot, Willie Nelson takes her "Honky Tonkin'." B+(**) [sp] Linda May Han Oh: The Glass Hours (2023, Biophilia): Bassist, born in Malaysia, raised in Australia, based in New York, sings some but it's mostly Sara Serpa's scat here, crowding out Mark Turner's tenor sax, with Fabian Amalzan (piano + electronics) and Obed Calvaire (bass). B [sp] Jacques Schwarz-Bart: The Harlem Suite (2021 [2023], Ropeadope): Saxophonist from Guadeloupe, parents were writers and family traveled widely; he studied at Berklee, but always worked elements from the French Caribbean into his music. Debut 1999. B+(*) [sp] Dave Scott: Song for Alice (2022 [2023], SteepleChase): Trumpet player, debug 1996, sixth album on this label since 2007, a quintet with Rich Perry (tenor sax), Gary Versace (piano), Johannes Weidenmueller (bass), and Mark Ferber (drums). B+(**) [sp] Don Toliver: Love Sick (2023, Cactus Jack/Atlantic): Second-generation rapper-singer from Houston, third album. Falls off when he sings. B [sp] Ray Vega & Thomas Marriott: East West Trumpet Summit: Coast to Coast (2021 [2023], Origin): Trumpet players, long on the label but from opposite coasts, backed by Orrin Evans on piano, plus bass and drums. Three Marriott originals, the rest jazz standards, including Mingus and Cherry, although my favorite is their "Girl Talk." B+(***) [cd] Recent reissues, compilations, and vault discoveries: Dave Douglas and Elan Mehler: If There Are Mountains (2019 [2023], Greenleaf Music): Mehler's a pianist, based in New York, several albums back to 2007, split the compositions here with the trumpet player, many songs with lyrics sung by Dominique Eade. Group also includes John Gunther (sax, clarinet, bass clarinet), bass, and drums. Originally released on vinyl-only Newvelle in 2020. B+(*) [sp] Johnny Hodges Septet: In Concert: Falkoner Central, Copenhagen, March 17, 1961 (1961 [2023], SteepleChase): The alto sax great, leading a septet of Ellington veterans -- Ray Nance, Lawrence Brown, Harry Carney, Al Williams, Aaron Bell, Sam Woodyard -- through his usual songbook. One treat is Nance singing "Don't Get Around Much Anymore" and "Just Squeeze Me," and playing violin on the closer. B+(***) [sp] Muddy Waters Blue Band Featuring Otis Spann: Live Paris 1968 (1968 [2023], Lantower): Live set from La Salle Pleyel (39:38), originally released on France's Concert in 1988. Spann, of course, is the pianist. B+(**) [sp] Old music: Peter Brötzmann/Alexander von Schlippenbach/Sven-Åke Johansson: Up and Down the Lion-Revised (1979 [2010], Olof Bright): Avant-sax with piano and drums, Johansson also opening on accordion, five improv pieces (57:13). The pianist is a big help here, inspiring some of Brötzmann's most thoughtful playing. A- [bc] Peter Brötzmann/Maleem Mahmoud Gania/Hamid Drake: The Wels Concert (1996 [1997], Okka Disk): Recorded in Austria. Gania is a Moroccan guembri master, also sings, and Drake plays drums, tablas, and frame drum, with the alto/tenor saxophonist also playing tarogato and e-flat clarinet. B+(***) [bc] Peter Brötzmann: Sprawl (1996 [1997], Trost): Discogs has artist name as Sprawl, based on no other print on the cover, but it's a one-shot quintet, and the Bandcamp page credits the German saxophonist, over Alex Buess (reeds/electronics), Stephen Wittwer (guitar), William Parker (bass), and Michael Wertmüller (drums). Brötzmann just died at 82, leaving a huge body of work, and this one was singled out by fans. I've often had trouble when he simply blasted away, but this one conveys its power through subtler means. A- [bc] Peter Brötzmann/Peeter Uuskyla/Peter Friis Nielsen: Noise of Wings (1999-2001 [2009], Jazzwerkstatt): Tenor sax, drums, bass, the leader also playing tarogato and clarinet, which softens his screech just enough. B+(***) [sp] Peter Brötzmann/William Parker/Hamid Drake: Never Too Late but Always Too Early: Dedicated to Peter Kowald (2001 [2003], Eremite, 2CD): Dedicated to the late German bassist (1944-2002), but recorded a year earlier, so subtitle is most likely an afterthought (but Brötzmann had a long association with Kowald, and Parker seems to have also developed a close relationship). Two long multipart pieces, and two extras, total 114:48. Good example of what they do. B+(***) [sp] Peter Brötzmann/Michiyo Yagi/Paal Nilssen-Love: Head On (2007 [2008], Idiolect): Yagi plays koto, a Japanese string instrument, which moderates the alto/tenor sax, albeit only a little, and rarely when he charges ahead. The drummer helps out. B+(**) [bc] Rory Gallagher: Big Guns: The Very Best of Rory Gallagher (1970-90 [2005], Capo, 2CD): Irish rocker (1948-95), started in blues-rock power trio called Taste, went solo in 1971, recorded eleven studio albums, released three live albums during his life, many more since. I never paid him any heed, and sat on this set until I scratched my last old unrateds from the database, but decided to give it a spin when I found it shelved. Nice package, with an ample booklet, and more music than anyone needs. Not bad, but nothing I'd pull out ahead of Stevie Ray Vaughan, or Cream. B+(*) [cd] Mother Earth: Living With the Animals (1968, Mercury): Blues-rock band from California, first album, group name from the Memphis Slim song, title song (and a couple more) by R. Powell St. John, Jr., who sings some but is upstaged by Tracy Nelson. B+(*) [sp] Mother Earth: Make a Joyful Noise (1969, Mercury): Second album, prophetic title, divided into a "City Side" and a "Country Side," Tracy Nelson shares lead vocals with three guys, the backups divided between Earthmen and Earthettes, the band including pedal steel guitar and a horn section. In short, they want to have it every which way. But oddly enough, they all work, even if this seems a bit heavier and more dated than some of their contemporary roots-rockers. A- [sp] Mother Earth: Satisfied (1970, Mercury): Third album, Tracy Nelson fully in charge of the vocals, which I count as a plus. B+(***) [sp] Mother Earth: Bring Me Home (1971, Reprise): Fourth album, singer stronger than ever, songs not so much. B+(*) [yt] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, June 25, 2023 Speaking of WhichThe Washington Post Editorial Board headline today is actually rather sensible (and hopefully sobering): Putin's humiliation means new dangers for Russia -- and the world. Still, given the dangers, maybe "humiliation" isn't the word we should be using. While the odds that Putin would resort nuclear weapons were never very high, it should be understood that they do go up with every humiliation, with every time he gets pushed back into a corner. The only way out of this trap is a negotiated settlement based not on the balance of power but on generally recognized principles, notably self-determination. And to bring that about, we still need a stable Russia. Blowing it up and replacing Putin with even crazier leaders isn't the way. The Washington Post Editorial Board also wrote another piece that should be sobering but probably isn't: [06-24] Is there enough money to rebuild Ukraine? In it, they fantasize about getting Russia to pay for the rebuilding, which may be "an unarguable moral case" but is also a total non-starter. (Remember when LBJ promised to pay for rebuilding Vietnam?) Meanwhile, the fact that Americans are asking these questions suggests that they don't intend to pay either. One problem is probably that the Post editors are reading their own war propagandists, like David Ignatius: [06-24] Putin looked into the abyss Saturday -- and blinked. From what I can gather, it looked like Prigozhin was the one who took the easy way out. But then the former Iraq War apologist has been writing pieces like this all along: [06-06] D-Day dawns for Ukraine. As usual, it's impossible to get to everything. I do hope this is the last time I ever devote a whole section to Hunter Biden. Even with this much, I doubt I really got adequately into the Republican reaction, or their continuing obsession with him. Sure, he could serve as an example of why nepotism and influence-peddling are wrong, but that's not a point Republicans are going to make. Tax cheating and gun buying are things they normally celebrate. Top story threads:Trump:
DeSantis, and other Republican lowlifes:
Hunter Biden: The president's son agreed to plead guilty to two tax misdemeanors and admitted to the facts of a rather dubious gun charge. The plea deal would give him three years of probation, plus a diversion on the gun charge, so it is expected that he will not go to jail. This should bring to a close one of the sillier outrages of the "lock her up" era, but Republicans have invested so much in it they can't bear the idea of letting go. Besides, what else to they have to run on? Certainly not policy ideas. On the other hand, it's hard to have much sympathy for him, even if you buy that he was railroaded. His influence-peddling schemes may not have been illegal, but probably should have been. (Had they been, that would wipe out a large swathe of Washington's upper crust, and good riddance to them.) And as a person, he seems to offer little to respect much less admire. But that, too, is hardly grounds for prosecution, and if it were, I can think of lots to put in line ahead of him.
Law and the courts: The Alito scandal broke last week, under Li Zhou below. It's beginning to look like Leonard Leo not only grooms conservatives for the Supreme Court, he hooks them up with billionaire patrons to keep them on the straight and narrow. And, let's face it, no one in recent history has been more narrowly partisan than Alito.
Environment:
Ukraine War: High hopes for Ukraine's counteroffensive have precluded any interest in diplomacy, but so far: [06-23] Early stages of Ukrainian counteroffensive 'not meeting expectations,' Western officials tell CNN. On the other hand, the head Wagner Group, a mercenary outfit Russia has employed especially at Bakhmut, has "declared war" on Russia's military command, which may signal a rebellion or even a coup against Putin. I cited this piece last week, by Anatol Lieven and George Beebe, which now looks prophetic. This is very much a developing situation. I'm citing some articles as it develops, but (as with the "counteroffensive") note that nobody knows very much. One thing that does seem clear is that Prigozhin's beef with the Russian command (and Putin?) isn't over whether to continue the war, but how to fight it more effectively. Lieven and Beebe ended their piece with: "however bad things are in Russia, they can always get worse." PS: As of Sunday afternoon, the key events are: Wagner occupied Rostov (Russia's "southern command" center), and started to march on Moscow; Putin condemned them harshly ("Those behind the mutiny will pay"), then Belarus president Lukashenko negotiated a stand down, which will allow Prigozhin and those who revolted with him to relocate to Belarus.
Sunday morning, Max Blumenthal tweeted: "Everything we said about
Russia yesterday was an insane lie or completely wrong, now check us
out on the White House ex-propaganda minister's show today." He's
referring to "Inside with Jen Psaki," where the guests constitute
a war council: Michael McFaul (former Ambassador to Russia), James
Stavridis (Admiral), Anne Applebaum, Elissa Slotkin (Representative),
and Nancy Pelosi (House Speaker Emerata). So the "we" isn't meant to
include Blumenthal, but most likely it applies to him as well -- he
has spent the last year attacking Ukraine and military support from
US/NATO so exhaustively it's hard to draw a line between his stand
against the US-led empire and his willingness to repeat Russian
propaganda. But it's easy to imagine these five going gaga over
the prospect of a revolution against Putin, even from the right [1] Blumenthal quotes Applebaum as saying: "Yet even the worst successor imaginable, even the bloodiest general or most rabid propagandist, will immediately be preferable to Putin, because he will be weaker than Putin." Weaker, but still armed to the teeth with nuclear weapons. Around the world: Indian president Narenda Modi visited Washington last week, which occasioned much agonizing over India's human rights record, and Biden's willingness to overlook it. That actually strikes me as respect due to leader of another nation -- respect that the US, with its compulsion to divided the world up between friends and foes -- rarely shows. Which doesn't mean that the parties weren't up to no good.
Other stories:Dean Baker: [06-25] Why the RFK Jr., Rogan, Musk outrage machine doesn't bother Big Pharma. Also see Sarah Jones, below. Tim Dickinson: [06-15] Is America already in a civil war? Interview with Bradley Onishi, author of Preparing for War: The Extremist History of White Christian Nationalism -- and What Comes Next. I have to admit that my eyes glaze over when I read these pieces about the Christian Right, given that my own faith is so lapsed that they seem to be from a completely different planet. The idea that anyone, much less than 30% of all Americans, believe in predispensationalism just boggles my mind -- even though I now realize that one of my more memorable conversations with my grandfather (1895-1965) was about exactly that. I never took him to be insane, but in that moment he was. Andrea González-Ramirez: [06-23] One year without Roe: "All the ways abortion bans have affected pregnant people, providers, and clinics, by the numbers and in their own words." Also:
Constance Grady: [06-22] When you can't separate art from artist: Interview with Claire Dederer, author of Monsters: A Fan's Dilemma, a meditation on how to feel about art produced by people who turned out to have committed other reprehensible acts. (Michael Jackson, Woody Allen, and Bill Cosby are among the first-named, along with Pablo Picasso, Ernest Hemingway, and Roman Polanski.) I'm only bringing this up because my wife read the book, so it came up in conversations I never really answered. But I do have two core reactions: one is that I believe that works of art stand on their own the moment they are released (you might argue that copyrights and residuals argue differently, but I've never cared much for boycotts either); the other is that people are complicated but only turn monstrous when they take or are given power over others. So this isn't a dilemma I often engage in. I won't deny that some works of art embody their creator's damaged psyches in ways that merit little or no respect (e.g., Ayn Rand's novels). But the problem there is the art, not the artist (not that Rand, herself, wasn't quite some piece of work). Greg Grandin: [06-21] Cormac McCarthy's unforgiving parables of American empire. Sarah Jones: [06-24] Anti-vaxxers don't want a debate; they want a spectacle. Image here, with a mask reduced to the space of a Hitler moustache grafted onto a picture of Anthony Fauci, and the caption: "Stop! Faucism," is one way of saying, I'm so dumb, no point arguing with me! One of the most disturbing things about the Republicans (and one of the most Republican things about RFK Jr) is how completely, based on nothing but symbolism and bile, anti-vaxxers have taken over the collective consciousness of the GOP. Naomi Klein: [05-08] AI machines aren't 'hallucinating'. But their makers are. Too broad a subject to simply endorse her take, although the core idea that AI will serve the powers that control it, which means that in a system of rapacious capitalism, that's what it will mostly be used for. The details are messier. The word "theft" gets thrown around a lot, which needs to be squared with a stiff critique of so-called "intellectual property" rights. Eric Levitz: [06-23] The recession that didn't happen: Well, didn't happen yet -- Jerome Powell is still promising further rate increases, his pause explained by worry over failing more banks (the health and wealth of banks, after all, being the Fed's true raison d'être). Nicole Narea: [06-22] What happens now that the Titanic submersible search has ended in tragedy. Not that you need more, but:
Joseph O'Neill: [03-21] One man's foray into the heartland of the far right: Review of Jeff Sharlet's The Undertow: Scenes From a Slow Civil War. Alex Park: [06-16] 'Freakonomics' was neoliberal bullshit: "A look back at the bestselling book franchise that taught people to 'think like economists,' by which it meant 'think cynically and amorally.'" The bestseller was written by Steven D Levitt and Stephen J Dubner, and published in 2005, and sold over four million copies, spawning a sequel and other exploitations. I never read it, but I've read several other think-like-an-economist books (the most disturbing being Steven Landsburg's Armchair Economist, which left me haunted by "the principle of indifference"). I don't know about neoliberal, but I've been reading John Quiggin's Economics in Two Lessons, and I have little doubt that Freakonomics qualifies as what Quiggin calls "Lesson One economics": if it looks "cynical and amoral," that's because the theory doesn't allow for anything else. Heidi Przybyla/Shia Kapos: [06-23] No Labels declines to reveal just who is funding its third party bid. I don't think I've mentioned this "centrist" group, with its plot to offer the distraction of a presidential candidate not aligned with either major party. I've had plenty of opportunities from Democrats who have been whining about third-party candidates on the left since Nader in 2000. This year their pet peeve is Cornell West -- for some reason they assume that they should pocket the votes of everyone on the left, even if they offer nothing in return. But this year, they're even more worried about No Labels siphoning away center votes they do bend over backwards to woo. After all, Biden in 2024 is the only possible protection against Trump (or some equally vicious MAGA maniac), and everyone should be willing to put up with a lot of waffling and compromise to keep that from happening. The fact that the money behind the operation is secret just adds to the air of conspiracy. As does the flirtation with conservative Democrats like Manchin and Sinema, which makes it look like they are prioritizing capturing Democratic votes. I suspect that, like most third party efforts, it won't ultimately amount to much, and is likely to serve as a protest outlet for more disaffected Republicans than Democrats, so may even help Biden. But in any case, the answer isn't to whine. It's to come up with a better campaign, and win so big the third parties are irrelevant. Tweets:Dr. David A. Lustig @drdave1999:
Ask a question, or send a comment. Monday, June 19, 2023 Music Week
Music: Current count 40436 [40392] rated (+44), 12 [16] unrated (-4). I published another fairly long (5592 words, 96 links) Speaking of Which last night. Lots of important points there. I noticed a few more mid-year album lists:
A few more, like Boston Globe and Times of London, were paywalled, and others no doubt missed Google's net. I doubt if they change the listings I presented last week very much. They drove much of my listening this week, as did Robert Christgau's June Consumer Guide -- although in the latter case it mostly got me to relisten to albums that I possibly had shortchanged previously. Two of them I bumped up a couple notches, although even now I'm wondering if one might have been more correct. The rest I left as is, with Wednesday's Rat Saw God headed for a lower grade before the last couple cuts showed some promise. It's one of the five or so best-regarded albums of the year, which leaves me feeling wildly out of synch with current music trends. Pretty out of synch with his Consumer Guide, too, although I will note that the África Negra compilation got an A- from me back in May 2022. I updated the Consumer Guide database at Robert Christgau's website. It had gotten considerably in arrears, although the practice of withholding reviews nine months to give his Substack subscribers some exclusivity makes it seem more like a bookkeeping exercise. Still, something I should be doing more regularly, if only to keep from having to rediscover how to do it. I've been playing the original Hairspray soundtrack a lot. While the dance songs are as great as I remembered, the real earworm is the slow dance number, Gene Pitney's Town Without Pity. The lyrics still resonate: "How can we keep love alive/ how can anything survive/ when these little minds tear you in two." Indeed, the "little minds" the film sends up in the early 1960s have returned to hector us, even more stunted and deformed than before. New records reviewed this week: Gracie Abrams: Good Riddance (2023, Interscope): Singer-songwriter from Los Angeles, first album, soft-spoken and very steady. Trails off a bit toward the end. B+(***) [sp] Amaarae: Fountain Baby (2023, Interscope): R&B singer, Ama Genfi, born in New York, raised in Atlanta and Ghana, where she is based now. Second album. Interesting in various subtle ways until the punk "Sex, Violence, Suicide" erupts, which makes one wonder about the rest. A- [sp] Roxana Amed/Frank Carlberg: Los Trabajos Y Las Noches (2022 [2023], Sony Music Latin): Argentinian singer, albums since 2004, has developed some jazz cred of late, which the pianist and a group that includes Adam Kolker (clarinets/tenor sax), Simon Willson (bass), and Michael Sarin (drums) adds to. Still goes slow, laden down with art song. B+(*) [cd] Kelsea Ballerini: Rolling Up the Welcome Mat (2023, Black River, EP): Singer-songwriter, slotted as country but doesn't quite have the sound (Lana Del Rey is more her archetype). Dropped this on Valentine's Day, thinking about her recent divorce, which helps add some gravitas. Six songs, 15:54. B+(**) [sp] Bar Italia: Tracey Denim (2023, Matador): British lo-fi group, third album, Italian-born Nina Cristante the main singer. Grows on me but no clear idea why. B+(***) [sp] Michael Bisio/Timothy Hill: Inside Voice/Outside Voice (2022 [2023], Origin): Bassist, mostly associated with avant-garde, here in a rather spare duo with the guitarist-singer. Centerpiece is "I Fall in Love Too Easily," which isn't easy at all. B+(*) [cd] Robert Sarazin Blake: One Summer Night: Live at the 2018 Subdued Stringband Jamboree (2023, Same Room): Folkie singer-songwriter, more than a dozen albums since 1996. B+(**) [sp] Blondshell: Blondshell (2023, Partisan): Singer-songwriter Sabrina Teitelbaum, father a hedge fund mogul, recorded an EP and some singles as BAUM, first album under this alias. Wikipedia has a long section on "Personal Life," which I read as read as "rich people are fucked up too, but can afford fancier labels." B+(*) [sp] Eddie Chacon: Sundown (2023, Stones Throw): Half of the 1990s neo-soul duo Charles & Eddie -- with Charles Pettigrew (1963-2001) -- returned to music with a 2020 album, now this one, an understated quiet storm. B+(*) [sp] Davido: Timeless (2023, DMW/Columbia): Nigerian afropop star, David Adeleke, actually born in Atlanta, grew up in Lagos, studied business in Alabama, returned to launch his career -- no doubt helps that his father is one of the richest people in Nigeria. Fourth album. B+(**) [sp] Indigo De Souza: All of This Will End (2023, Saddle Creek): Singer-songwriter, from North Carolina, father "a Brazilian guitarist who was absent during much of her childhood," third album. Half impressed me, scales up poorly. B+(*) [sp] Jeremy Dutton: Anyone Is Better Than Here (2023, self-released): Drummer-composer, first album, side credits back to 2018 with James Francies (piano here) and Joel Ross (vibes). Also draws on spot help from Ben Wendel (sax on 8/12 tracks), Mike Moreno (guitar on 7), and Ambrose Akinmusire (trumpet on 2), plus bass (Matt Brewer or Daryl Johns). B+(**) [cd] En Attendant Ana: Principia (2023, Trouble in Mind): French group, third album, songs in English, Margaux Bouchaudon the singer. Reminds me a bit of Belle & Sebastian, but doesn't connect as readily. B [sp] Alexander Hawkins Trio: Carnival Celestial (2022 [2023], Intakt): British pianist, cover notes "with" Neil Charles (bass) and Stephen Davis (drums). B+(*) [sp] Phil Haynes/Drew Gress/David Liebman: Coda(s): No Fast Food III (2022 [2023], Corner Store Jazz, 2CD): Drummer, from Oregon, album credits since 1984, often with the late Paul Smoker. Released the first No Fast Food album, with Gress (bass) and Liebman (sax, usually soprano), in 2014. Nice free jazz play, the discs short enough they could have been combined (31 and 35 minutes). B+(***) [cd] Keigo Hirakawa: Pixel (2022 [2023], Origin): Pianist, born in Japan, raised in Ohio, has at least one previous album. Postbop quintet with Rafael Statin (reeds), guitar, bass, and drums. Fast, with some particularly hot spots. B+(**) [cd] Javon Jackson: With Peter Bradley: Soundtrack and Original Score (2021-22 [2023], Solid Jackson): Tenor saxophonist, nominally a soundtrack for a documentary on the painter/sculptor (b. 1940), but sounds like a fairly tight group set, with Greg Glassman (trumpet) on most tracks, backed by plain (Jeremy Manasia), bass (David Williams), and drums (Charles Goold or McClenty Hunter). B+(***) [cd] JustVibez + Negro Justice: Art of the Craft (2023, self-released): Nashville hip-hop duo, Negro Justice the rapper, Justvibez the producer. B+(**) [bc] Killer Mike: Michael (2023, Loma Vista): Atlanta rapper Michael Render, five albums 2003-12, since then has focused on his duo with El-P, Run the Jewels. Looks back here, with gospel effects. B+(**) [sp] Larkin Poe: Blood Harmony (2022, Tricki-Woo): Southern roots-rock band, principally sisters Rebecca and Megan Lovell, originally from north Georgia but based in Nashville, regular albums since 2011. Guitars aplenty. B+(*) [sp] Model/Actriz: Dogsbody (2023, True Panther Sounds): New York band, first album after several singles (first in 2017), Cole Haden the singer/auteur, his angst rising from sonic depths -- I wouldn't call it noise, but it does remind me of where that rose from in the early 1980s. B+(***) [sp] Meshell Ndegeocello: The Omnichord Real Book (2023, Blue Note): Singer-songwriter, originally Michelle Lynn Johnson, adopted name (from Swahili) has been streamlined over the years. Thirteenth album since 1993, her credit "instrumentation, vocals, liner notes," with fifteen other musicians credited on one or two songs each. B+(*) [sp] Pony: Velveteen (2023, Take This to Heart): Jangle-pop band fronted by Sam Bielanski, songs co-written with Matty Morand; second album. B+(*) [sp] Smokey Robinson: Gasms (2023, TLR): Now 83, early Motown songwriter, fronted the Miracles, went solo in 1973, couple dozen albums since, this the first set of new material since 2009. Title refers to moments of pleasure, a concept that includes but extends beyond sex, not that he's lost interest in such things. B+(**) [sp] Rust Dust: Twere but It Were so Simple (2023, Omad): Singer-songwriter Jason Stutts, based in Brooklyn, plays guitar, second album, contemplating the cosmos. B+(**) [sp] Samia: Honey (2023, Grand Jury): Singer-songwriter from New York, last name Finnerty, second album. B+(*) [sp] Shalom: Sublimation (2023, Saddle Creek): Singer-songwriter, raised in South Africa, based in Brooklyn, exotic credentials at odds with the very straightforward (but far from boring) rock framework. That lifts the introspection up enough to be notable, even a bit fun. B+(***) [sp] Edward Simon: Femeninas: Songs of Latin American Women (2023, ArtistShare): Venezuelan pianist, moved to US when he was ten, studied in New York, based in San Francisco, couple dozen albums since 1994. Featuring credit for Mexican singer Magos Herrera, with the band also listed on the cover: Adam Cruz (drums), Reuben Rogers (bass), and Luis Quintero (percussion). Includes a three-part piece by Simon (lyrics by Herrera), plus eight songs as advertised (two from Brazil also feature guitar by Romero Lubambo). B+(*) [cdr] Son Volt: Day of the Doug: The Songs of Doug Sahm (2023, Transmit Sound): Country-rock band led by Jay Farrer, after Uncle Tupelo broke up. Eleventh album since 1995. B+(*) [sp] Marty Stuart and His Fabulous Superlatives: Altitude (2023, Snakefarm): Country singer, debut 1978, never a big star but had some success in the 1990s, as he started to build his reputation for bluegrass. Dubbed this band in 2003, this his ninth album under the name. Slow start, recovers toward the end. B [sp] Stuck: Freak Frequency (2023, Born Yesterday): Postpunk band from Chicago, second album, Greg Obis the lead singer. What marks it as "post" is that the instrumentals get more energetic. B+(**) [sp] Uncle Waffles: Asylum (2023, Kreativekornerr): South African amapiano dj, born in Eswatini (Swaziland for you old-timers), second album, reportedly a viral breakout. Beats. Lots of beats. B+(**) [sp] Rufus Wainwright: Folkocracy (2023, BMG): Famous parents (Kate McGarrigle, Loudin Wainwright III), immortalized as a baby in one of the latter's more memorable songs, debut album 1998, ten albums later, a collection of covers (five traditional folk songs, one of his own, one by Schubert, others eclectic), most joined by guest singers, produced by Mitchell Froom. Has a few moments. B [sp] Youth Lagoon: Heaven Is a Junkyard (2023, Fat Possum): Alias for Trevor Powers, three albums 2011-15, this is his fourth. [sp] Recent reissues, compilations, and vault discoveries: Roger Bekono: Roger Bekono (1989 [2023], Awesome Tapes From Africa): From Cameroon (1954-2016), played guitar and sang, Discogs only lists one more album beyond this minor four song, 30:15 gem. B+(**) [sp] Ernesto Djédjé: Roi Du Ziglibithy (1978-82 [2022], Analog Africa): Singer from Côte D'Ivoire (1947-83), recorded from 1970 up to his "mysterious" death (Discogs lists six albums). Dates not given, but the four songs (25:52) can be tracked back to four albums. B+(**) [sp] Sonny Rollins With Heikki Sarmanto Trio: Live at Finlandia Hall, Helsinki 1972 (1972 [2023], Svart): Live set with a pickup band, although the keyboardist (playing Fender Rhodes here) is a pretty big deal in Finland, with Pekka Sarmanto (bass) and Esko Rosnell (drums). After a spoken intro, they expand greatly on "Night and Day," "My One and Only Love," and "St. Thomas." It's impossible to hear the latter and not smile wide. A- [sp] Nkono Teles: Love Vibration (1982-84 [2023], Soundway): From Cameroon (d. 2011), based in Nigeria, "one of a small handful of pioneers of the Nigerian electronic music scene in the 1980s." Six tracks (33:02), three from 1982-84 albums, which seems to have been his peak period. Would slot nicely into one of those Nigerian disco compilations. B+(**) [sp] Ali Farka Touré: Voyageur (1991-2004 [2023], World Circuit): Legendary guitarist-singer from Mali (1939-2006), unveils nine previously unreleased jam tracks, as charming as ever. B+(***) [sp] Neil Young and the Santa Monica Flyers: Somewhere Under the Rainbow: Nov. 5, 1973 (1973 [2023], Reprise, 2CD): First disc features Tonight's the Night, recorded earlier that year but unreleased until 1975. But note there's another -- if memory serves, better sounding -- live version, from Sept. 20-22 with the same band (Nils Lofgren, Ben Keith, Billy Talbot, Ralph Molina), released in 2018 as Roxy: Tonight's the Night Live. I've liked many of Young's live albums, but this one seems especially unnecessary. B [r] Old music: Big Joanie: Sistahs (2018, Daydream Library Series): Afro-British g-b-d trio, Stephanie Phillips the singer, first album (a second came out in 2022), advertised as postpunk but I don't really hear it -- did help get them opening slots for Sleater-Kinney and Parquet Courts and a label co-owned by Thurston Moore. B+(***) [sp] Fokn Bois: Coz Ov Moni (2010, Pidgen Music): Hip-hop duo from Ghana, names given as M3NSA and Wanlov the Kubolor -- ok, Bondzie Mensa Ansah and Emmanuel Owusu Bonsu. First album, soundtrack to "the first pidgen musical film in the world." B+(**) Fokn Bois: Fokn Wit Ewe (2012, Pidgen Music): Second album, more accessible in English. They get on track with a chant thanking God they're not Nigerians, then admitting that Liberians are even worse. Later they beg Somalians to "Help America," and luxuriate in extraterrestial sex. I take these, and not just the skits, to be jokes, like the title. A- [sp] Fokn Bois: Coz Ov Moni 2 (Fokn Revenge) (2014, Pidgen Music): Another soundtrack, presumably a sequel to the original "pidgen musical" film. More jokes, no doubt, as they even permeate the music. B+(**) [sp] Fokn Bois: Fokn Ode to Ghana (2016, Hobo Truffels/Yoyo Tinz): Effectively a remix of a various artists instrumental album Ode to Ghana (2014, Hobo Truffels), with the raps added and the original artists billed as producers. A mixed bag. One sobering piece claims Obama for Kenya and goes: "Thank God we're not an African-American." B+(**) [sp] Grade (or other) changes: Taj Mahal: Savoy (2023, Stony Plain): Eclectic roots bluesman Henry Saint Clair Fredericks, started in 1965 in a group with Ry Cooder called Rising Sons, reunited last year in a Sonny Terry/Brownie McGhee tribute. Goes back even earlier here, reminiscing about Chick Webb in the Savoy Ballroom (some years before he was born in 1942). He sticks to top shelf songs here, risking comparison to Ray Charles, Louis Armstrong, Louis Jordan, Jimmy Rushing -- even the sureshot Maria Muldaur duet, "Baby, It's Cold Outside." Of course, he has his own take, but I wonder how useful this really is. [was: B+(**)] A- [sp] Water From Your Eyes: Everyone's Crushed (2023, Matador): New York duo, Nate Amos and Rachel Brown, specify pronouns but not instruments, several albums since 2017, although this is the first one to get any real notice. Disjointed, which seems to be the sound of the year -- one that makes me despair of ever being hip again, but much here that I do appreciate. [was: B+(**)] A- [sp] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, June 18, 2023 Speaking of WhichCalling time on this, 10 PM Sunday evening. The most obviously missing story is something on the heat waves in Asia and Texas. Also, note that while the non-Trump Republican section is short, it's pretty ominous, and even worse things are lurking down in the miscellaneous section. Top story threads:Trump: He was arrested on Tuesday, pled innocent, and was allowed to leave. Republicans are so sure he's guilty they're already talking about pardoning him. Some "law and order" party they are!
DeSantis, and other Republican scum:
Climate and environment, disastrous and new-normal:
Courts and the law:
Ukraine War: The "counteroffensive" has officially started, but there's little reporting on it -- the best the cheerleaders of the New York Times can muster is: [06-18] Ukraine appears to make a small gain in the south as counteroffensive continues.
Around the world:
Other stories:Dean Baker:
Niccolo Barca/Tommaso Grossi: [06-15] The damage Silvio Berlusconi (1936-2023) leaves behind: "The notorious tycoon and former Italian prime minister is gone, but his toxic legacy remains." Before Trump, there was another billionaire who sought office to flamboyantly flount his ego. With his death (and his neo-fascist successor), I'm surprised not to see more on their analogies, including a stretch out of office before coming back, and various skirmishes with the law. Ok, found one:
Zack Beauchamp: [06-15] What a new conservative call for "regime change" in America reveals about the culture war: Review of Patrick J Deneen's new book, Regime Change: Toward a Postliberal Future. Deneen, a political science professor at Notre Dame, previously wrote Why Liberalism Failed in 2018. I grew up reading fairly radical critiques of liberalism, and only softened my view as liberals lost power and prestige and stopped being the ones chiefly responsible for American imperialism and instead became fair-weather defenders of people with little power that conservatives like to pick on. So I can imagine writing books with titles like these, but not this crap, which boils down to a program of seizing power for self-appointed right people and using that power to marginalize or suppress everyone else, resulting in a well-ordered utopia of well-behaved automatons. One problem with liberals is they cut fascists too much slack. Frederick Clarkson: [06-17] "Unfriending" America: The Christian right is coming for the enemies of God -- like you and me. Inside the "New Apostolic Reformation (NAR), a movement at the cutting edge of Pentecostal and Charismatic evangelicism, which is now the second largest Christian faction in the world after the Roman Catholic Church and the largest growth sector in American and global Christianity." Fabiola Cineas: [06-17] The "anti-intellectual attack" on higher ed will take years to undo: Interview with Irene Mulvey, president of the American Association of University Professors (AAUP), noting more than 50 bills in 23 states aimed at "chilling academic freedom." Could have filed this under DeSantis. David Cohen: [06-16] Daniel Ellsberg, who exposed the truth behind the Vietnam War, dies at 92. "Some called Ellsberg a hero and others branded him a traitor." Count me in the hero camp. As far as I know, there has never been any "top secret" document more in need of exposure than the deep history of mistruths and bad faith exposed in The Pentagon Papers. More on Ellsberg:
Michael Hiltzik: [06-13] A farewell to James G Watt, environmental vandal and proto-Trumpian: Reagan's infamous Interior Secretary (1981-83) has died, at 85. His most Trumpian attribute was a loose tongue that repeatedly offended everyone but mining company executives, although it's worth noting that eventually he was (per Wikipedia) "indicted on 18 counts of felony perjury and obstruction of justice and accused of making false statements before a federal grand jury investigating influence peddling at the Department of Housing and Urban Development," which was settled when he "pleaded guilty to one misdemeanor count of withholding documents." More:
Sarah Jones: [06-15] What the censors want. Same question raised by Jane Smiley: [05-30] What are the book banners afraid of? It's not just that they want to hermetically seal young people in a cocoon that celebrates the conservative order. "They are afraid of readers -- especially young readers -- learning the truth about humans, about American history, about, perhaps, their own lives." They talked less about banning books in my day, because it was effectively done before any schools could get their hands on contraband. My reaction was to seek out anything else I could find, and, well, look how I turned out. Jay Caspian Kang: [06-13] What was Nate Silver's data revolution? I've sometimes wondered whether I should read Silver's book (The Signal and the Noise, 2014). I avoided statistics when I was a sociology major (much to my regret), but I've picked up a general understanding since then; even if I still lack technical skill, I have an interest in and feel for data. But scanning through the book sample on Amazon doesn't reveal much I don't already know. Nor is this piece especially enlightening, least of all about Silver's recent defenestration from FiveThirtyEight. On the other hand, it does highlight a new stats/gambling competitor, Split Ticket. Their Initial 2024 Presidential Ratings are almost exactly what you'd expect. Ed Kilgore: [06-16] Why do so many Americans think Biden is doing a bad job? That's a good question. I'm afraid it boils down to Republicans never missed a beat in trashing Biden, Democrats rarely fighting back, and the media's predilection for bad news and/or controversy, and their lack of interest in context or complexity. It also hurts that Biden's not much good at speaking for himself. Context matters, because most of our current problems have been developing for decades, making change hard, especially given entrenched Republican power centers. Climate change is probably the clearest example, but workers have been losing ground since the 1980s, inequality has been increasing, the military has been growing (to no good effect), diversity has been increasing (along with a more virulent backlash). The net effect is a sense of decline, which Republicans rail against, blame and exacerbate, while Democrats craft weak reforms and try to exude confidence (without much conviction). The easiest response here is to list the many ways Democrats are not as bad as Republicans, while glossing over the cases where there isn't much difference (foreign policy, especially the Ukraine War; support for the military; policing immigration; bailing out banks). Even there, it's possible to hope that Democrats will improve. But even where Biden has fallen short, the solution isn't to throw him out -- the only hope is to elect more Democrats. Related:
Ezra Klein: [06-18] 'What the hell happened to the California of the '50s and '60s?': Talks with California Gov. Gavin Newsom about permitting problems, especially environmental impact studies that are slowing down and often killing decarbonization projects needed to save the environment. While consideration of environmental impacts is important, it shouldn't be crippling, as is often the case. Republicans have made "permitting reform" a hot-button issue, with a view to pipelines and mines that are being held up, but it's also obstructing "green energy." Reading this, two thoughts came to mind: one is that California wouldn't exist as we know it had the water projects of the early 1900s had to pass environmental impact studies (one can argue whether that would be good or bad, but it's certainly big). The other is that the first principle of the New Deal was "do something." One looks back at the 1930s and marvels at how much they did, how fast and cheap it was. And sure, much of what they did was build dams, but they changed people's lives, mostly for the better. A progressive movement that can't do that is going to have a hard time surviving, much less flourishing. Naomi Klein: [06-14] Beware: we ignore Robert F Kennedy Jr's candidacy at our peril: Useful if you're considering giving him a second thought. I read his 2005 book Crimes Against Nature: How George W Bush and His Corporate Pals Are Plundering the Country and Hijacking Our Democracy, which seemed solid enough, but in retrospect was an easy target. He dedicated that book to his then-wife ("the real environmentalist in the family"). He filed for divorce in 2012, and four days later she killed herself. He moved to Los Angeles, married an actress, and within months was railing against vaccines. As Klein documents, he went crackers after that, including his hate book (The Real Anthony Fauci, published by right-wing Skyhorse Publishing). One more point I'd like to add is that I really hate the idea of dynastic politics (and more generally the whole nepotism dynamic, and for that matter inherited wealth -- which better describes Trump than entrepreneur, not that new money can't be obnoxious either). Also on Kennedy:
Eric Levitz: [06-14] Larry Summers was wrong about inflation. He argued that "we need two years of 7.5 percent unemployment or five years of 6 percent unemployment or one year of 10 percent unemployment" to contain inflation. Of course, he'd argue that it's still not contained, even if levels have dropped significantly. But the problem isn't just that Summers is often wrong. It's the ways in which he's wrong, and his obliviousness to the human toll that he argues for. Jaclyn Peiser: [06-17] How Instant Pot went from coveted appliance to bankruptcy: Regardless of "post-pandemic trends," the real culprit is private equity, which robbed the company (Instant Brands) blind while saddling it with excessive debt. Thomas Piketty: [06-15] The wealth of (some) nations: French economist, author of major works Capital in the Twenty-First Century (2013) and Capital and Ideology (2020) as well as more pointedly political collections of essays, interviewed by Felicia Wong and Michael Tomasky. Kelsey Piper: [06-14] Four different ways of understanding AI -- and its risks: I'm surprised this isn't illustrated with a simple four quadrant chart, where one axis is how important AI will be (really big to fairly minor) and the other is how useful or troubling it will be. The piece does mention four quadrants, but only focuses on the "big and good" corner. I think the more important questions are whether access to AI will be restricted to enhance corporate profits, and whether the AI itself will be engineered to further corporate interests. Of course, the same thing can be said about software in general, and the line between crude deterministic software and AI is already rather blurry (e.g., in shopping for an electric toothbrush I found models that advertise AI, which almost certainly is far short of I). There are also questions of whether AI is subordinate to human decision making or autonomous, and whether it is able to command mechanical power (self-driving cars are a case in point), and therefore how fast it can act, or how hard it is to halt. The author's "four quadrants" depend a lot on these questions. Related:
Alex Shephard: [06-12] The rise of independent voters is a myth: Well, it feels better to think of yourself as an independent, as opposed to someone who blindly follows party choices you have little or no control over. Also, both parties share one major negative: both spend much of their time chasing donors, offering to do their bidding. And both parties are bound to the military and the residues of imperialism, even though we have nothing but sorrow to show for their last twenty (or, hell, seventy-five) years of belligerence. Democrats have the extra burden of having repeatedly ignored and undercut the interests of most of their voters. Republicans have the extra burden of nearly everything they try backfiring. So it's easy to see why many people prefer to distance themselves from such a dysfunctional system. But the self-proclaimed centrists rarely offer any sort of alternative. Rather, they embrace the worst of both parties, a muddle of clichés. Alex Skopic: [06-13] How the lottery became a substitute for hope: I knew a guy who signed all his email with a definition of lottery: "a tax on stupidity." My quick take was that it's a tax on hopelessness. It offers people an extremely small chance of becoming rich, which could be seen as a good deal if your actual real life chances were even slimmer. But it also depends on people believing that becoming rich is the answer to their problems. Jeffrey St Clair: [06-16] Roaming Charges: All the girls around him say he had it coming. Starts with a quote from the late Cormac McCarthy: "Life is brief and to have to spend every day of it doing what somebody else wants you to do is not the way to live it." Then he mentions Trump, but just to point out he's no whistleblower (his counterexample is Julian Assange, who Trump's DOJ prosecuted, and Biden's is still after). Then: "When I think about the many victims of the Espionage Act, my thoughts immediately go to Ethel Rosenberg," who was convicted and executed not for treason but for "being engaged in a conspiracy to 'commit espionage.'" A crucial figure in that execution was Trump's old mentor, Roy Cohn, who personally lobbied the judge to sign the death warrant. Trump fancies himself as the victim of a "witch hunt," but while he's earned a desire among many for vengeance, he doesn't grasp the most basic principle of actual witch hunts, which is less to punish the initial target than to smoke out more witches. Arthur Miller wrote The Crucible to point out how much McCarthyism had in common with the Salem witch trials -- two episodes in American paranoid thought that are now widely regretted (if not fully: one can imagine DeSantis setting up tribunals to interrogate witnesses -- "are you now or have you ever been woke?" -- and demand that they name names; and while none of the recent laws criminalizing aid and advice on getting an abortion specifically mention witches, the history there runs pretty deep; by the way, later down there's a Pat Robertson quote about the "feminist agenda" which lists "practice witchcraft" among other evils, like "leave their husbands" and "destroy capitalism"). St Clair shows a meme, where Trump says "In reality, they're not after me . . They're after you. I'm just in the way." But where was Trump when "the feds came for crack users, welfare mothers, immigrant families, striking workers, jaywalkers, whistleblowers, and medical pot users"? He was mostly cheering them on. "There are 2 million people currently incarcerated in US prisons and jails. There are 5 million formerly incarcerated people in the US. 20 million people have been convicted of felonies. 80 million have some kind of criminal record. They've already come for and gotten almost all the rest of us." Then there's a quote from DeSantis vowing "We will fight the woke in education, we will fight the woke in corporations, we will fight the woke in the halls of congress." St Clair:
Colin Woodard: [06-16] The geography of gun violence: Most likely interesting for the map, which was the subject of Woodard's 2011 book American Nations: A History of the Eleven Rival Regional Cultures of North America. But the differences in gun deaths are striking (3.5 and 3.8 at the bottom, 12.2 in the Far West and 15.6 in the Deep South, and a few outliers even higher). Notable tweet, from Dean Baker (linked to a Washington Post editorial you can chase down yourself):
Ask a question, or send a comment. Monday, June 12, 2023 Music Week
Tweet: Music Week: 54 albums, 2 A-list, Music: Current count 40392 [40338] rated (+54), 16 [16] unrated (-0). I wrote another long Speaking of Which (5822 words, 105 links). Started early to capture the tweets at the bottom, then had to restructure twice after Trump was indicted. Even pulling the Trump pieces out, I still had more pieces in the section on other Republicans. Anyone who fancies that DeSantis might be less bad than Trump should read the Ezra Klein piece. The environment section is a bit skimpy, especially in my comments, but the pieces (and even the titles) speak for themselves. The Ukraine stories drew me out more, but I still never got around to making the most obvious point, which is that this week's horrible stories are the natural consequence of not negotiating an end to the war a year ago, and not preventing it two-to-eight years ago. Further down, the Irin Carmon and Sarah Jones interviews remind us of the real world impacts of Republicans' obsession with controlling pregnancy. The Dean Baker and Ryan Cooper pieces remind us that Pharma profits are rigged by policy choices that can be changed. The James Galbraith piece works as a tombstone over the debt fiasco. As I recall, he wrote a similarly belated piece on the 2008-09 bank bailouts, which argued that we should have let the banks fail, and put the public money into helping those who got hurt, as opposed to those who were responsible for the recession. Given how little progress we've made on getting the banks to work for the general good, it's hard to say he's wrong. And the Zachary Carter piece points out current myths about inflation, and points to better solutions than the classic Volcker recession. (And yes, let's call it that, unless you can convince me that it's really Milton Friedman's fault -- not implausible, given his contribution to NAIRU.) Lots of good-but-not-great records below. Stereogram seems to have been first out of the gate with a "best of 2023 so far" list. At least, that's the first one I saw. By the time I counted, I had heard 33 (of 50) albums on the list (probably closer to 40 now, but I've lost track). Then I started looking for more, and found the following:
I did a partial tabulation (probably 10 of 13 lists, skipping the last three added -- if memory serves, Mixmag, Pitchfork, and Saving Country Music). This gives the following frequency of mentions (almost none of the lists were ranked, so no point trying to weight them). The following records appeared three or more times (numbered by count; my grades in brackets):
I have six A- records there. Christgau has just two so far, and his (JPEGMafia and Boygenius, both full A) aren't in my six. Two I haven't heard yet. I'll probably fix that, but given that the only Metallica album I've heard so far landed at C-, it's hard to see much point. This probably skews a bit more toward hip-hop than my recent EOY aggregates, but I count that as a plus. On the other hand, virtually no country (even "Americana") or jazz made the lists. I don't know of anyone who's done a "best jazz so far" list, but I can copy one out from my always-changing scratch list:
Don't put much stock in the order: this has been haphazardly assembled since January and I haven't done any editing, let alone rechecking. Not that it makes much difference these days, but ** indicates streamed or downloaded, with the rest on CD (pretty sure there's no vinyl here. Of this list, the only albums I'm more than 50:50 confident will end up in the top ten in year-end critics polls are McBride, Threadgill, and Lewis (on Anti-), although AEC, Benjamin, Moran, Smith, and/or Lowe could surprise; NIS is a real left field prospect. In most of these cases, the artists are sufficiently well-known, but the labels have little if any track record at getting the music out to critics. PS: Three more links: The Week; Subjective Sounds; i-D. New records reviewed this week: 6lack: Since I Have a Lover (2023, Interscope): Singer-rapper Ricardo Valentine, born in Baltimore but grew up in Atlanta. B+(**) [sp] Amber Arcades: Barefoot on Diamond Road (2023, Fire): Alias for Dutch singer-songwriter Annelotte de Graaf, third album since 2016, following EPs going back to 2013. B+(*) [sp] Vicente Archer: Short Stories (2022 [2023], Cellar): Bassist, first album as leader but has 70+ side credits, starting with Donald Harrison in 1999. He wrote three (of ten) pieces here, with pianist Gerald Clayton contributing one and drummer Bill Stewart two. B+(**) [cd] Nanny Assis: Rovanio: The Music of Nanny Assis (2023, In + Out): Brazilian singer-songwriter, percussionist, has some forty years experience but not much on Discogs. Lines up a notable array of jazz musicians for this career review. B+(**) [cd] [06-23] Baby Rose: Through and Through (2023, Secretly Canadian): Soul singer, born 1994 in Washington, DC; full name Jasmine Rose Wilson; second album after a mixtape and a couple EPs (one with J Dilla). Her default is a slow ballad, sometimes sultry, occasionally livened up by a guest rapper. B+(*) [sp] Beach Fossils: Bunny (2023, Bayonet): Indie band from Brooklyn, fourth album since 2010. Fairly mild with a little jangle. [sp] BigXthaPlug: Amar (2023, United Masters): Texas rapper, poppin' his "shit on a whole other level." B+(*) [sp] Black Country, New Road: Live at Bush Hall (2023, Ninja Tune): British group, from Cambridgeshire, their first two albums (2021-22) much hyped and highly regarded -- I liked them well enough, but can't say I was much of a fan. Then lead singer Isaac Wood up and quit before the second appeared. The other six members persevered, promoting May Karshaw and Tyler Hyde to lead vocalists, going on the road to sort out a new batch of songs. This is the result, decent enough, though I'm still not much of a fan. B+(*) [sp] Bully: Lucky for You (2023, Sub Pop): Band alias for singer-songwriter Alicia Bognanno, fourth album, looks back to 1990s grunge. B+(**) [sp] Gail Caesar: Guitar Woman Blues (2023, Music Maker): From Virginia, b. 1984, probably her first album, an acoustic set singing over guitar. B+(**) [bc] Conway the Machine: Won't He Do It (2023, Drumwork/Empire): Buffalo rapper, lots of mixtapes from 2014 on, third studio album. B+(**) [sp] Clarence "Bluesman" Davis: Shake It for Me (2023, Music Maker): Born 1945 in or near Eufala, Alabama, where he still lives. Seems to be his first album, but has a steady sound, with a little extra jangle to the guitar -- reminiscent of the label's 2020 compilation Hanging Tree Guitars. A- [bc] Ensemble 0: Jojoni [Made to Measure Vol. 49] (2023, Crammed Discs): Minimalist group from France, founded in 2004 and directed by Stéphane Garin and Sylvain Chauveau. Seven pieces here, built around drum machine and jangly percussion. B+(**) [sp] Feeble Little Horse: Girl With Fish (2023, Saddle Creek): Indie pop band from Pittsburgh, second album, lo-fi and off-kilter and occasionally glitchy, the vocals only approximately in tune, which is close enough. B+(***) [sp] Feist: Multitudes (2023, Polydor): Canadian singer-songwriter Leslie Feist, sixth studio album since 1999, two of which charted top-20. At her most solemn, sounds a bit like Joni Mitchell, but builds a bit more on top, and is more interesting when she does ("Borrow Trouble"). B+(*) [sp] Tomas Fujiwara's Triple Double: March On (2019 [2023], self-released): Drummer, assembled this group -- his usual trio with Taylor Ho Bynum (cornet) and Mary Halvorson (guitar), plus a second one with Ralph Alessi (trumpet), Brandon Seabrook (guitar), and Gerald Cleaver (drums) -- for his 2022 album March. This download-only "EP" is an outtake: three tiny slivers of sound, plus the 31:27 title piece. B+(***) [dl] Jack Harlow: Jackman (2023, Generation Now/Atlantic): Best-selling white rapper from Louisville, never heard of him until I saw him hosting Saturday Night Live, by which time he had two albums out: with this one, his AOTY scores are { 60(4), 48(10), 55(6) }, with tags: corny, overhated, white, mid, pop rap, bad. I'd say underwhelming, but pretty decent. B+(*) [sp] Heinali: Kyiv Eternal (2023, Injazero): Ukrainian electronica producer Oleg Shpudeiko, over a dozen albums since 2010. Ambient drone, thankfully not interrupted by cruise missiles. B+(*) [sp] Ian Hunter: Defiance Part 1 (2023, Sun): Some young dudes manage to get old, in this case 83. He hasn't been especially prolific, with this his first studio album since 2014. But he seems in good voice, and rounded up a famous dudes to help out, although not even Ringo Starr or Jeff Beck are older. B+(*) [sp] Illegal Crowns: Unclosing (2022 [2023], Out of Your Heads): Quartet, major talents, in given order: Tomas Fujiwara (drums), Taylor Ho Bynum (cornet/flugelhorn), Mary Halvorson (guitar), Benoit Delbecq (piano). Three tracks each except Bynum. Seems like it should be sharper but everyone fits tightly in their chamber jazz concept. B+(**) [cd] Império Pacifico: Clubs Hit (2023, Variz): Electronica duo from Portugal: Luan Bellussi and Pedro Tavares. Second album, neat beats and blips. Six tracks, 35:56. B+(**) [sp] Boldy James & Rich Gains: Indiana Jones (2023, self-released): Rapper from Atlanta via Detroit, eleventh album since 2013, co-credited with various producers, this the first with Gains. Low-key delivery, bleak aesthetic, tucked in tight. B+(**) [sp] Lil Yachty: Let's Start Here (2023, Quality Control Music/UMG): Atlanta rapper Miles McCollum, was barely still 19 when his debut, Teenage Emotions, dropped. Fifth album here, time for a reboot. The cover, with its mismatched face parts, is genuinely disturbing, suggesting AI run amok -- or psychedelic, which seems to be the default music tag, whatever that means (mostly clouds of guitar-and-keyboard wash). He's turned into a singer. Give him a beat and some edges and he might develop into a third-generation Prince. B+(*) [sp] Mandy, Indiana: I've Seen a Way (2023, Fire Talk): Group from Manchester, UK, with French vocalist Valentine Caulfield and Scott Fair (guitar), with Simon Catling (synth) and Alex MacDougall (drums). Group name a variant on Gary, Indiana, presumably chosen for their post-industrial klang, although the steel industry abandoned Gary long ago. B+(**) [sp] Gia Margaret: Romantic Piano (2021-22 [2023], Jagjaguwar): Pianist, from Chicago, two previous albums which generally slot as ambient. Twelve short pieces (26:42), most solo but occasionally picks up some help. B+(*) [sp] Ryan Meagher: AftEarth (2021 [2023], Atroefy): Guitarist, based in Portland, sixth album, quartet with Tim Willcox (sax), Andrew Jones (bass), and Charlie Doggett (drums). Most impressive when they risk a little noise, but they offer a nice mix in any case. Packaged with a 62-page booklet of pen-and-ink drawings by Tina Granzo, themed to the pieces, or vice versa. B+(***) [cd] Metro Boomin: Heroes & Villains (2022, Boominati/Republic): Hip-hop producer Leland Tyler Wayne, has co-credits with 21 Savage, and a previous album which exposed his superhero theme. This offers one side each way, but I'm more stuck by his steady hand. B+(**) [sp] Metro Boomin: Spider-Man: Across the Spider-Verse [Soundtrack From & Inspired by the Motion Picture] (2022, Boominati/Republic): Payoff for his superhero obsession, a Marvell soundtrack tie-in, with enough budget for a star-laden guest list. Still, the thirteen pieces are about what you'd expect in the hip-hop producer's third album: the music is a bit more varied, the lyrics every bit as forgettable. Meanwhile, a separate release credited to Daniel Pemberton collects 107 minutes of background score as Spider-Man: Across the Spider-Verse [Original Score]. I'll pass on that one. B+(*) [r] Janelle Monáe: The Age of Pleasure (2023, Bad Boy): Funk/pop star, from Kansas City (the one in Kansas), dropped last name Robinson, fourth album, a more modest effort than her last couple, clocking in at 31:49, but still a delight. A- [sp] MSPAINT: Post-American (2023, Convulse): Postpunk band from Hattiesburg, Mississippi; substitutes a synthesizer for the usual guitar, backed by bass and drums, with a singer going as Deedee. B+(**) [sp] Nakibembe Embaire Group: Nakibembe Embaire Group (2023, Nyege Nyege Tapes): Ugandan group, Nakibembe is their home town, embaire is large wooden xylophone. [sp] Kevin O'Connell Quartet Featuring Adam Brenner: Hot New York Minutes (2023, Ignoramus Music): Pianist, started with Clifford Jordan in the late 1980s, although he doesn't have much under his own name. Brenner plays sax, the quartet rounded out with bass (Paul Gill) and drums (Mark Taylor). B+(**) [cd] Oddisee: To What End (2023, Outer Note): DC rapper Amir Mohamed el Khalifa, father from Sudan, tenth album since 2008, underground beats, weaves a half-dozen mostly unknown guests into a tight tapestry. "What does it matter if it's less or more the same?" B+(***) [sp] Dave Okumu & the Seven Generations: I Come From Love (2023, Transgressive): Singer-songwriter, born in Vienna, moved to UK when he was ten, fronted The Invisible (2009-16), solo album in 2021, also part of London Brew, production credits include Jessie Ware. Rather hard for me to follow, although the spoken word reminds me of Gil Scott-Heron, and the few words I catch reinforce the link. Some (slim) chance I'm massively underrating this. B+(*) [sp] Panic Shack: Baby Shack (2022, Brace Yourself, EP): Postpunk group from Cardiff, Wales; Sarah Harvey the lead singer. Six songs, 18:20. B+(**) [sp] P!nk: Trustfall (2023, RCA): Pop singer-songwriter, Alecia Moore, ninth studio album since 2000. A bit more ballad-heavy than I'd prefer. B+(**) [sp] Shelton Powe: Shelton Powe (2022, Music Maker): Blues singer-guitarist, b. 1957, in the "Piedmont finger-style guitar tradition of his parents and elders." Also has a thing for religious songs, which he sings as casually as "Railroad Bill." B+(**) [bc] Caroline Rose: The Art of Forgetting (2023, New West): Singer-songwriter from Long Island, tried her hand at folk/country, moved on to more pop/rock, fifth album since 2012. "Only the rich get second chances." And: "come on babe, take all this pain, and learn to love yourself again." B+(*) [sp] Esther Rose: Safe to Run (2023, New West): Singer-songwriter, originally from Michigan, tried New Orleans before moving to New Mexico; first recorded (2013) with then-husband Luke Winslow-King, fourth solo album since. B+(**) [sp] Frankie Rose: Love as Projection (2023, Slumberland): Singer-songwriter, was in several bands -- Crystal Stilts, Dum Dum Girls, Vivian Girls -- before going with her name in Frankie Rose and the Outs in 2010. Sixth solo album since. B [sp] Jeffrey Scott: Going Down to Georgia on a Hog (2023, Music Maker): Nephew of John Jackson (1924-2002), a Piedmont bluesman who gave up playing in 1949, then got "discovered" in the late 1960s, a readymade classic. Many details about Scott are unclear, but he runs a farm, raises hogs and Texas longhorns, does side work as a mortician and long-haul truck driver, and picks and sings his way through a dozen folk blues, some well known. Voice reminds me of a different Jackson, an even older Memphis songster, Jim Jackson (1876-1933). B+(***) [bc] Screaming Females: Desire Pathway (2023, Don Giovanni): New Jersey band, eighth album since 2006, Marissa Paternoster the lead screamer and (presumably) only female. B [sp] Paul Simon: Seven Psalms (2023, Owl/Legacy): Past 80, wrote this "meditation on faith and death" in the middle of the night, flowing out of dream time, then jammed all seven pieces into one 33:02 cut that seems much longer. B [sp] Skech185 & Jeff Markey: He Left Nothing for the Swim Back (2023, Backwoodz Studioz): Rapper Willie McIntyre Jr. and producer Markey, vocals a harsh growl but the beats keep coming. B+(**) [sp] Sparks: The Girl Is Crying in Her Latte (2023, Island): Brothers Ron and Russell Mael, brilliantly lampooned their jangly falsetto shtick with their sophomore title (A Woofer in Tweeter's Clothing), tempted me with their next two albums, after which I grew annoyed and tuned out. But fifty years later, they're still at it, garnering more praise than ever, but still annoyiong. B- [sp] Squid: O Monolith (2023, Warp): British band, from Brighton, second album, Ollie Judge the singer and drummer. This is gnarly enough I wonder if they have the potential to be something like Pavement. But I doubt it, and I'm not even sure that would be a good idea. B+(**) [sp] Superviolet: Infinite Spring (2023, Lame-O): Columbus, Ohio group, first album, principally Steve Ciolek (vocals, guitar, keyboards). B+(*) [sp] Tinariwen: Amatssou (2023, Wedge): Tuareg (Saharan) group, originally from northern Mali with ties to Algeria and Libya, date back to 1979 but first album available elsewhere didn't appear until 2001. This is their ninth, and least exciting -- not sure if the weariness is theirs or ours. B+(*) [sp] U.S. Girls: Bless This Mess (2023, 4AD): Toronto-based band led by American expat Meghan Remy, eighth album since 2008. B+(**) [sp] Water From Your Eyes: Everyone's Crushed (2023, Matador): New York duo, Nate Amos and Rachel Brown, specify pronouns but not instruments, several albums since 2017. B+(**) [sp] Zulu: A New Tomorrow (2023, Flatspot): Hardcore band from Los Angeles, first album after a couple EPs, fifteen short tracks (28:45). Soul samples and spoken word pounded rough and ragged. B+(*) [sp] Recent reissues, compilations, and vault discoveries: Walter Bishop Jr.: Bish at the Bank: Live in Baltimore (1966-67 [2023], Reel to Real): Pianist (1927-98), father was a drummer of some note (played with Jabbo Smith in the 1920s; wrote several songs of note, including "Swing, Brother, Swing" and "Jack You're Dead"), started with Art Blakey in 1948, recorded with Charlie Parker, Miles Davis, Hank Mobley, and Gene Ammons, leading his own groups from 1961. Quartet here with Harold Vick (tenor/soprano sax, flute), Lou McIntosh (bass), and Dick Berk (drums). Two sets, separated by six months. Vick is especially solid here, at least on tenor. B+(***) [sp] Alan Braxe/Fred Falke: The Upper Cuts [2023 Edition] (2005 [2023], Smugglers Way): French house pioneers, the famed album originally credited to Alan Braxe & Friends, with Falke sharing most song credits. B+(***) [sp] Clifford Jordan: Drink Plenty Water (1974 [2023], Harvest Song): "Long-lost vocal jazz session," originally recorded for Strata-East, with Donna Jordan Harris and David Smyrl vocalists (plus three backup singers) and a nine-piece band including Bill Hardman (trumpet), Dick Griffin (trombone), Charlie Rose (tenor sax), and Stanley Cowell (piano), plus cello, drums, and two basses (Bill Lee credited for arrangements). I'm not wild about the more vocalese stuff, but Smyrl's "Talking Blues" is worth a listen, and the instrumental version holds up, too. B+(***) [cd] RP Boo: Legacy Volume 2 (2002-07 [2023], Planet Mu): Chicago-based footwork producer Kavain Space, follows up his 2013 Legacy (his first album) with a second collection of early rhythm tracks. B+(*) [sp] Tyler, the Creator: Call Me if You Get Lost: The Estate Sale (2021 [2023], Columbia): Los Angeles rapper Tyler Okonma, debut mixtape 2009, his sixth album Call Me if You Get Lost (2021) a big critical as well as commercial hit. I was surprised to see this pop up on a mid-year list; alternatively, I was surprised I hadn't heard of a new album before. But it turns out this is just a reissue, padded out with eight extra tracks from the same sessions, pushing the length to 77:02. I've never been much of a fan, but gave the original album a B+(***). The extra tracks aren't bad, but the main thing they add is length, so: B+(**) [sp] Old music: None. Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, June 11, 2023 Speaking of WhichI see that Nathan Robinson's Current Affairs has launched a biweekly News Briefing via Substack. If the free first issue is anything to judge by, it's better than what I've been trying to do (e.g., below) over the last several years. Still, I stopped cold when confronted with the paywall (Substack's minimum $5 per month, or $50 per year). Nonetheless, I got an email within minutes saying, "You're receiving free posts from Current Affairs Biweekly News Briefing." (I did nothing more, but maybe they glommed onto a cookie, as I'm a non-paying subscriber to a couple other Substack newsletters. The way they do this makes it impossible for my wife and me to share Substack accounts, which disinclines me from doing anything with them at all.) By the way, apologies for the paywalled content linked to below. My wife subscribes to a lot of stuff (New York Times, Washington Post, etc.), which I piggyback on, so I don't notice when it's not free. On the other hand, the titles usually work as an outline, and my comments are always visible, never joined to a shakedown or any other kind of scam. If Current Affairs (or anyone else) wants to fold stuff I write here into their own offerings, more power to them. Just don't charge me for it. I continue to be bothered by my lack of progress on any other writing front, despite the relative ease with which this weekly compendium practically writes itself. Top story threads:Trump: I started collecting before the Trump indictments dropped, but that only partially obsoletes Andrew Prokop: [06-08] Trump's next indictment is looming -- and the evidence against him is trickling out. Prokop also wrote: [06-08] Trump says he's been indicted again: The Mar-a-Lago classified documents case, explained; and [06-09] The detailed, damning new Trump indictment, explained.
DeSantis, and other Republicans: I originally wanted to keep all the sociopaths together, but the Trump volume argued for a separate section. Still, the only significant difference seems to be that he got caught -- something that in happier times he derided John McCain for:
While the following articles aren't strictly about Republicans, this seems like a good place for them:
Fire and smoke:
And other environmental disasters:
Ukraine War: Most observers are reporting that Ukraine seems to have started their "counteroffensive," albeit with little fanfare. Their only discernible victory so far is in getting journalists to say "counteroffensive" instead of "[Spring] offensive" -- we still need to make clear that Russia is the aggressor in this war. It's been pretty clear all Winter that Zelensky has no intention of negotiating until he first gives his fancy new war weapons -- especially the tanks -- a chance to tip the scales. While I wouldn't be surprised if Ukraine manages to claw back much of the territory they lost in 2022, the only solution is still negotiation, and the only reasonable basis for negotiation is the self-determination of the people involved. Until both sides realize that, the destruction continues. And if you think this week's dam destruction was a disaster for everyone, wait until the fighting overwhelms the Zaporizhzhia nuclear plant (already endangered, especially denied water from the dam).
World:
Other stories:Dean Baker: [06-07] Owning up to mistakes and pandemic deaths: "It would be a huge step forward for both public health and US foreign policy if we could begin down the road of freely sharing health care technology rather than trying to bottle it up so that a small number of people can get very rich." Also see Ryan Cooper, below. Zack Beauchamp: [06-11] How the right's defeats gave us the anti-LGBTQ moment: "The American right is returning to its homophobic roots." I figured the culture war over LGB was pretty much settled, but T opened it up again, largely, I think, because the right will embrace any non-economic grudge they can get any leverage on. (Gas stoves is an almost comical example.) Economic issues are trickier, because helping the rich get richer isn't all that popular, even among caste-conscious Republicans. Beauchamp's thesis is less convincing, but the right has few rivals when it comes to nursing grudges and stoking paranoia about vast left conspiracies. Otherwise, they might have to face responsibility for their repeated failures. Irin Carmon: [06-06] When pregnancy is the crime: "An exit interview with Lynn Paltrow, who has spent decades representing women jailed for miscarriages and stillbirths." Zachary Carter: [06-06] What if we're thinking about inflation all wrong? "Isabella Weber's heterodox ideas about government price controls are transforming policy in the United States and across Europe." With visions of magical markets dancing in their heads, economists hate price controls (even if coupled with wage controls, which softens the blow because economists also hate people), it's easy to see how they fell for the Volcker maneuver as the only proper remedy for inflation. But it's a very blunt, indiscriminate instrument, kind of like engineering a flood to put out a house fire. It may eventually work, but the collateral damage is immense, and may not even solve the real problem. This recent round of inflation always struck me as caused by two things: the first is temporary supply chain kinks, which made it possible for companies to price gouge, some of which stuck given that most companies preferred profit to volume; which was possible due to increasing monopolization of damn near everything. Monopoly rents had trailed limits to competition because customers resist price increases, making companies reluctant to squeeze their every advantage, but the dam broke, companies could take whatever the market would bear. For proof, consider that most companies have been raking in record profits while others pay their premiums. Weber has some interesting ideas for price controls -- often ones that avoid the bureaucratic overhead of the old OPA, although with modern computers you'd think that overhead could be slashed. Ryan Cooper:
James K Galbraith: [06-09] Next time, dammit, just default: "Democrats feared a monster called 'default' -- but it's just another Washington scare story." Makes sense to me. In fact, makes me wonder why I didn't see something like this before the deal -- although parts of it are somewhat familiar. It's actually an old story where the Left (or its compromised proxies in parties like the Democratic) are called on to sacrifice their own goals in order to save capitalism, on the premise that not doing so would hurt worse. Sarah Jones: [06-11] "It's not just the fringe who are committing these violent acts": Interview with Julie Burkhart, who runs the only clinic that provides surgical abortions in Wyoming. She formerly worked for the late George Tiller here in Wichita. Peter Kafka: [06-07] Firing Chris Licht won't fix CNN. Licht drew flak for his efforts to move CNN toward the "center," especially the synthetic news event he billed as a "Trump town hall, but Kafka attributes his firing to the exposure in Tim Alberta: [06-02] Inside the meltdown at CNN. Alberta says "Licht felt he was on a mission to restore the network's reputation for serious journalism." I'm not sure that "serious journalism" is even possible on TV given diminished attention spans, but if one wanted to try, the obvious way to go about it would be to look beneath the headlines and start to notice the interests that corrupt and distort understanding.
Robert Kuttner: [06-09] Remembering William Spriggs: "A life devoted to pursuing economic justice." Died this week, at 68. Dylan Matthews: [06-10] Labor unions aren't "booming." They're dying. "Unions won't come back without fundamental changes to bargaining." Ian Millhiser:
Nathan Robinson:
Greg Sargent: [06-08] How Pat Robertson created today's Christian nationalist GOP: The Christian Broadcasting Network founder died at 93. Interview with Rick Perlstein.
Jeffrey St Clair: [06-09] Infamy at sea, cover-up in DC: Israel's attack on the USS Liberty: In 1964, two American ships in the Gulf of Tonkin reported being fired on, which LBJ quickly blew up into the casus belli that justified America's escalation of war against Vietnam. Three years later, another American ship was attacked at sea, this time killing 34 US sailors and injuring 174. LBJ was still president, but the only thing he escalated this time was the amount of foreign aid sent to the attackers. This is an old piece, from a 2004 book, but perhaps the story is new to you? Maureen Tkacik: [06-02] Days of plunder: A review of two recent books on the most malign force in modern capitalism: Gretchen Morgenson/Joshua Rosner: These Are the Plunderers: How Private Equity Runs -- and Wrecks -- America, and Brendan Ballou: Plunder: Private Equity's Plan to Pillage America. Opens with more than you want to know about PetSmart, but that's just one example. Robert Wright: [06-07] AI is at a dangerous juncture: It's hard to know just where to hook into this argument, mostly because it's unclear what AI is going to do -- the most obvious thing is to increase speed and productivity of data-intensive operations -- or more pertinently what it could do that we don't want it to do. One thing that makes that alarming is that for many years speed has been viewed as the holy grail of war (from blitzkrieg to the decision to respond to a nuclear first strike). Still, the question we should ask isn't how AI can give us (or them) an advantage in waging war, but whether our model of defense through deterrence hasn't been thorough discredited (e.g., in Ukraine). One comment here: "AI will not be regulated properly because companies will always put profits over everything else." For all the talk about the need to regulate AI, I've never seen a concrete proposal for doing so. My best guess is that the first movers want it regulated to keep future competitors out -- that's actually a common regulation strategem. What would make more sense to me is not to regulate what AI can do but to regulate the business you can do with it, starting with how it can be monetized. A good start would be to deny any patents on it, which would disincentivize developers, especially from doing unsavory things with it. One could go a step further and require that the source code be free (in the GNU sense). For starters, that would make it publicly inspectable (and again it would disincentivize bad actors). And certainly, the products of AI shouldn't be copyrightable. (Thus far, as I understand it, they are not.) Of course, if we start talking along these lines, the current companies' push to regulate is going to evaporate. As long as politics are driven by greedy parties, this isn't likely to happen, but if the threat is real, how can we afford not to?
Abby Zimet: [06-04] A rank immunity: Henry Kissinger is still a war criminal: I thought we had flogged this not-year-dead 100-year-old carcass enough over the last couple weeks, but couldn't resist tipping you to the Wonder Wart-Hog detail used as an illustration. If you can stand more, try Jonathan Guyer: [06-08] I crashed Henry Kissinger's 100th-birthday party: "The elite love him but for some reason won't say why." Notable tweet from @sorrelquest:
From Zachary D Carter:
Ask a question, or send a comment. Monday, June 5, 2023 Music Week
Music: Current count 40338 [40292] rated (+46), 16 [38] unrated (-22: 16 new, 0 old). I published a Speaking of Which Sunday evening. I collected a few links early, but didn't touch it for most of Friday and Saturday -- cooked a little dinner -- so it came up short (45 links, 2846 words, the shortest since Dec. 27 last year). Rated count should be down too, but I cheated, massively. It's a one-shot deal, and I'm happy it's done. Ever since I've been blogging reviews, I've started each post off with a slug line, noting how many records I've rated (week and total), plus how many I had sitting around unrated. In the early days, I bought a lot more than I could listen to quickly, and then I started getting promos, including some I had little interest in, so the number combined those. In March, 2003, I rated 13 albums, bringing me to a total of 8080, but also added 78 unrated albums, which put me at 899. The unrated count continued to grow over the next couple years, hitting an all-time high of 1157 in July, 2004, before I finally started whittling away at it. By the end of 2008 I got it down to 757, but it shot up as high as 886 in 2011 and 882 in 2012, before finally dropping below 600 (Dec. 2012), 500 (Dec. 2014), 400 (Mar. 2015), 300 (Aug. 2018), 200 (Oct. 2021), and 100 (June 2022). I finally got it down to 27 a couple months ago, and it's been stuck at that level since then. Aside from a couple boxes that I never found time for, the remaining albums were proving very hard to locate. Last week I dug through a neglected shelf of loose, unpackaged promos, and found four of them. On closer inspection, only one of the four was even worth cataloguing (a Campbell Bros. advance that turned out to be pretty good). The other three (two label samplers and a 14-minute live single that was probably never released as a product) I just commented out of the database. After that, and looking in some more desperate places to no avail, I decided to wipe the slate. Henceforth, unrated albums will only be items in the current demo queue (or new purchases). A few things from the list that I either found or could stream show up in Old Music below. Everything else is noted in the Unrated Closeout section below. In some cases I went ahead and ascribed grades (pretty conservatively, I think): some were based on memories, some from sampling similar material, and a couple were minimal estimates based on general familiarity. In other cases, I was too unsure to bother. If/when I do manage to find and play any of those items, I'll revisit the grades, or add them as ordinary old music discoveries. Probably meaningless to anyone else, but feels like a weight lifted. Been having trouble thinking of new things to play. The Music Tracking file has grown to 881 items, of which I've rated (or have unrated) 414. I'm pretty sure that's behind last year's pace -- if you figure four months (forget January, which is catchup for 2022), we're a third of the way through. I won't be surprised if I slack off as the year progresses. Depends on how the non-music writing comes along. I did manage to wrap up the May, 2023 Streamnotes file. Quite a bit of good music in it. New records reviewed this week: Christian Artmann: The Middle of Life (2021-22 [2023], Sunnyside): Flute player from Germany, studied at Berklee, Princeton, and Harvard Law, based near San Francisco, fourth album, backed with piano (Laszlo Gardony), bass, and drums, with vocals (Elena McEntire) on three tracks. B [cd] [06-02] BC Camplight: The Last Rotation of Earth (2023, Bella Union): Alias for Brian Christinzio, sixth album since 2006. B [sp] Buselli/Wallarab Jazz Orchestra: The Gennett Suite (2023, Patois, 2CD): Indiana-based big band, led by Mark Buselli (trumpet) and Brent Wallarab (trombone), with the latter handling most of the composer-arranger duties. Ninth album since 2002, starts with pieces from the Gennett early jazz label, punches them up, and builds some more. Comes with a hardcover booklet, which explains the history, including King Oliver, Jelly Roll Morton, Louis Armstrong, Bix Beiderbecke, Hoagy Carmichael, and the New Orleans Rhythm Kings. B+(***) [cd] André Carvalho: Lost in Translation Vol. II (2022 [2023], Clean Feed): Portuguese bassist, with André Matos (guitar) and José Soares (sax). Quiet, bordering on atmospheric. B+(*) [bc] Clark: Sus Dog (2023, Throttle): British electronica producer Chris Clark, thirteenth album since 2001. B [sp] Mario Costa/Cuong Vu/Benoît Delbecq/Bruno Chevillon: Chromosome (2022 [2023], Clean Feed): Portuguese drummer, leads a quartet with trumpet, piano, and bass. B+(*) [bc] Depeche Mode: Memento Mori (2023, Columbia/Mute): Big UK synthpop band in the 1980s, have released a new album every 3-4 years since (up to 2017, so this one comes after a six year break), all 15 albums charting top-ten in UK (as did 8 in US) -- although this is the first I've bothered with since 1993. This one got exceptional reviews, but it's hard to discern what the fuss is about, or to imagine what my inattention missed. B- [sp] Dropkick Murphys: Okemah Rising (2023, Dummy Luck Music): "Celtic punk" band from Boston, dozen albums since 1998, recorded this one in Tulsa. B+(*) [sp] Bob Dylan: Shadow Kingdom (2021 [2023], Legacy): Soundtrack to a film of Dylan and a coterie of masked musicians in a studio, playing mostly 1960s-vintage songs, few hits but most recognizable enough, ending in a sly instrumental. I was struck by the furious way Dylan ripped into his songs on the solo side of Before the Flood. Well, this is the opposite of that: fond, light-hearted, scarcely nostalgic. B+(***) [sp] Kari Faux: Real B*tches Don't Die! (2023, Drink Sum Wtr): Rapper Kari Rose Johnson, third studio album plus several mixtapes. B+(*) [sp] Debby Friday: Good Luck (2023, Sub Pop): From Nigeria, raised in Montreal, moved on to Vancouver, then Toronto. First album, no agreement on genre (electronic, hip-hop, industrial). Only one this reminds me of is Patti Smith, but digging for music roots, substitute Cabaret Voltaire for MC5. A- [sp] Ladytron: Time's Arrow (2023, Cooking Vinyl): English electropop group, seventh album since 2001. Helen Marnie the lead singer, backed by synthesizers and some guitar. B+(*) [sp] SG Lewis: AudioLust & HigherLove (2023, PMR/EMI): Initials for Samuel George, British electropop/disco producer, second album, with singles going back to 2015. Structured as two LPs, fits onto a single 62-minute CD. Not a lot of vocal presence, but I'm just as happy with the vamps. B+(***) [sp] The Mark Lomax Trio: Tapestry (2022 [2023], CFG Multimedia): Drummer, should be esteemed as one of the world's best but remains little known, offers "a four-movement tone poem inspired by four pieces in Johnson's Tapestry series." (Johnson?) The Trio includes the even more unjustly unknown Edwin Bayard (tenor sax) and an unidentified bassist (Tim Hullett?). A- [os] M83: Fantasy (2023, Mute/Virgin): French synthpop band, principally Anthony Gonzalez, ninth album since 2001. B [sp] Brian McCarthy Nonet: After|Life (2022 [2023], Truth Revolution): Alto/soprano saxophonist, has a couple previous albums. Group includes trumpet, trombone, three more saxophones, with piano, bass, drums. Some fine solo work, less distinctive ensemble. B+(**) [cd] Noshir Mody: A Love Song (2023, self-released): Indian guitarist, based in New York, half-dozen albums since 2000. Short album (32:42), nice flow, flugelhorn solo (Benjamin Hankle), ends with a vocal (Kate Victor). B+(*) [cd] Nourished by Time: Erotic Probiotic 2 (2023, Scenic Route): Marcus Brown, from Baltimore, debut album (after a 7-inch called Erotic Probiotic). Mixed bag of soul moves. B [sp] Orbital: Optical Delusion (2023, London): Electronic music duo, from England, brothers Phil and Paul Hartnoll, tenth album since 1991. B+(*) [sp] Overmono: Good Lies (2023, XL): British electronica duo, brothers Ed and Tom Russell (aka Tessela and Truss/MPIA3). First album, after a dozen or more EPs and DJ mixes since 2017, although each has work back to 2011 under their aliases. B+(*) [sp] Pere Ubu: Trouble on Big Beat Street (2023, Cherry Red): Punk progenitor from Cleveland, group named for Alfred Jarry's definitively pompous and callous pataphysician, first EP in 1975, David Thomas (now 70) the distinctive singer and weirdo. Sound and wit still sharp, but could be more tuneful. B+(**) [sp] Rozi Plain: Prize (2023, Memphis Industries): Actual surname Leyden, English singer-songwriter, half-dozen albums since 2008. B+(*) [sp] The Selva: Camarão-Girafa (2021 [2023], Clean Feed): Portuguese trio: Ricard Jacinto (cello, electronics, harmonium); Gonçalo Almeida (bass, electronics), and Nuno Morão (drums). Third album. B+(**) [bc] MF Tomlinson: We Are Still Wild Horses (2023, Prah): Initials for Michael Francis, singer-songwriter, second album, title track runs long (21:01, after a three-track, 19:47 first side). Vocals seem slight, but develops some muscle tone toward the end. B+(*) [sp] Juanma Trujillo: Contour (2021 [2023], Clean Feed): Guitarist from Venezuela, based in New York, fourth album, has some juice, backed here by Kenneth Jimenez (bass) and Gerald Cleaver (drums). B+(**) [bc] Dara Starr Tucker: Dara Starr Tucker (2023, Green Hill Productions): Jazz singer-songwriter, originally from Tulsa, fifth album since 2009. Covers are most striking ("September Song," "Just a Closer Walk With Thee"). B+(**) [cd] Tanya Tucker: Sweet Western Sound (2023, Fantasy): Country singer, seems like she's been around forever but she started very young, so she's barely 65. Western airs, ending with a song called "When the Rodeo Is Over (Where Does the Cowboy Go?)" -- not one of the three she co-wrote. B+(**) [sp] Yves Tumor: Praise a Lord Who Chews but Which Does Not Consume (Or Simply, Hot Between Worlds) (2023, Warp): Sean Lee Bowie, originally from Knoxville, moved to California at 20, fifth album (at least under this alias). I filed him under electronic, but that's not (or no longer) right. B+(**) [sp] Water From Your Eyes: Everyone's Crushed (2023, Matador): New York duo, Nate Amos and Rachel Brown, specify pronouns but not instruments, several albums since 2017. B+(**) [sp] Young Nudy: Gumbo (2023, RCA): Atlanta rapper Quantavious Tavario Thomas, fourth studio album after a mess of Slimeball mixtapes. B+(*) [sp] Recent reissues, compilations, and vault discoveries:
Old music: The Campbell Brothers: Can You Feel It? (2005, Ropeadope): Steel guitar-playing gospel group, early records titles on Arhoolie were often plays on Sacred Steel (1997-2001). Jazz-funk-fusion label Ropeadope picked them up for this one album, where they deliver not just what you'd hope for but a good deal more: instrumental covers of classics with a steel guitar twist, plus some raise-the-rafters vocals for timely breaks. A- [cdr] The Campbell Brothers Featuring Katie Jackson: Pass Me Not [Sacred Steel Guitars - Vol. 2] (1997, Arhoolie): First album for brothers Charles (pedal steel guitar; also primary arranger, and for that matter pastor of Rochester's House of God, Keith Dominion), Darick (lap steel guitar), Phillip (electric guitar/bass), and Carlton (drums), with Jackson singing, perhaps a bit much. B+(**) [sp] Cesaria Evora: Distino Di Belita (1990, Lusafrica): Cape Verde's most famous pop singer (1941-2011), nicknamed Barefoot Diva, also Cise and Queen of Morna. Early album, draws on fado and I'd add a light touch of Weill, with a more lilting rhythm. B+(**) [r] Cesaria Evora: Miss Perfumado (1992, Lusafrica): One of the Cape Verdean star's more famous albums, strikes me as steady, which is not an improvement. B+(*) [r] Forever, for Always, for Luther: Volume II (2006, Rendezvous): Sequel to a 2004 subtitled A Tribute to Luther Vandross (GRP), leads off again with Kirk Whalum, followed by a comparable (but different) roster of smooth jazz luminaries (e.g., Norman Brown for Paul Jackson Jr., Najee for Mindi Abair), including vocals from Maysa, Patti Austin, and Will Downing. [Have promo cdr.] B [sp] The Swimmers: Fighting Trees (2007, Mad Dragon): Indie rock group from Philadelphia, first of two albums, leans toward jangle pop, has some appeal. B [sp] Unrated CloseoutBack when I bought lots of CDs, I added them to the database with grade 'U' -- unrated, waiting my attention. At one point the Unrated list topped 1100 albums. I've gradually whittled it down over the years to less than 30, which roughly speaking divide into two categories: records I can't find, and records I can locate but don't feel like listening to (some of these are big box sets that would take up major time). For my own sanity, I've decided to clean out the category here. Some I found and reviewed above. Some I've gone ahead and assigned grades to (based on my memory, not especially trustworthy here, but sometimes supplemented by sampling). Some of these I may find later and review as makes sense. Unless noted otherwise, I just commented out my 'U' grade and added a note-to-myself. ("Dropped from database" means I decided I shouldn't even track it as an album.) Absolut Null Punkt: Absolut Null Punkt (2003 [2004], Important): Japanese band (1984-87), reformed in 2003. Album (almost certainly a CDR) not listed in Discogs, could possibly be Live in Japan. Dropped from database. Derek Bailey/Pat Metheny/Gregg Bendian/Paul Wertico: The Sign of 4 (1996 [1997], Knitting Factory, 3CD): Improv clash of two guitarists and two drummers. Had CD, and remember having trouble with it. Penguin Guide 4-star, but others hated it. Fair grade: B Berkeley Guitar 2006 (2006, Tompkins Square): Effectively a sampler; found CDR but dropped from database. Big Stick: Drag Racing Underground (1989, Albertine): As best I recall, a noise rock band with a drag racing fetish. Discogs doesn't list, but AMG has this as a 23-track CD. Later compilation Some of the Best of Big Stick has some overlap. I have it at B+(**), so this is probably some kind of: B+ Boston Horns: Shibuya Gumbo (2008, Boston Horns): Funk-jazz group, seven albums 2001-11. No recall. Brazil Today! Volume 2 ([1984], Polygram): Classic selection (16 tracks) of MPB, dates not provided. Label should be Philips. Not sure whether this or another album (not in database) was my introduction to Brazilian music. Césaria Evora: Nova Sintra (1990 [1998], West Wind Latina): Cape Verdean singer, have four other albums rated (two at A-). This appears to be a reissue of Distino Di Belita, reviewed above, making this redundant (but since I have a copy somewhere under the other title, I'll count it twice). Grade: B+(**) Funkatronic: Live at Discover Festival Burlington, VT (2002, self-released, EP): Three-song promo (length 14:28), found CDR, not in Discogs, band doesn't appear to have released anything else, so no harm dropping from database. Rory Gallagher: Big Guns: The Very Best of Rory Gallagher (1970-90 [2005], Capo, 2CD): Irish rocker (1948-95), probably deserves a best-of, but I've never played any of his 14 records. Iscathamiya: Zulu Worker Choirs in South Africa (1986, Heritage): Compilation recommended by Christgau, related to the mbube made famous by Ladysmith Black Mambazo, but tougher (or so I hear). Fairly safe guess: B+ Flaco Jimenez: El Sonido de San Antonio (1980, Arhoolie): Tex-Mex legend, tons of stuff in print but not this. Probably ex-LP: B+ JSL Records 20th Anniversary Sampler (1988-2006 [2008], JSL): Label sampler, found CDR but dropped from database. Hazard/Fennesz/Biosphere: Light (2001 [2004], Touch, EP): Turns out I had this listed twice, once under various artists (each has his own section) and once as listed. The latter was graded: B Mind Over Matter Music Over Mind: Matador (2004, Soundz Impossible): Not in Discogs, but aka MOM2, with Bobby Hill and Thomas Stanley. Probably got this because Stanley is a friend of a friend, and could kick myself for losing it. Bassist Luke Stewart played in a later iteration of group (Chris Downing was on this record). No idea. Astor Piazzolla: Themes Originaux (1982, Jonathan): Probably ex-LP. Some early albums sound uncomfortably classical. I think this is one, but cannot be sure, and I'm reluctant to guess. Astor Piazzolla: Tristezas de un Doble A (1987, Rounder): Could be LP or CD. Again, hard to guess. I have nine Piazzolla albums graded in database. Leslie Pintchik: Live in Concert (2010, Pintch Hard, DVD+CD): Jazz pianist, probably got waylaid (and for that matter ignored) due to DVD packaging. Six other albums in database are various levels of B+, so most likely this is also some kind of: B+ Richard Pryor: . . . And It's Deep, Too! The Complete Warner Brothers Recordings (1968-92 [2000], Rhino, 9CD): Christgau graded this A+. I don't doubt that he was a genius, but I rarely listen to comedy albums, and don't feel like spending 9-10 hours -- even if I could bag extra credit by breaking out the original albums. But I do know where it is, and figure this is a lazy, minimal grade: B+ Elba Ramalho: Personalidade ([1987], Verve): Brazilian star, many records, this a sampler, only one in my database. Hank Snow: The Singing Ranger, Vol. 4 (1969-84 [1994], Bear Family, 9CD): Country star from Canada. I was a big fan, and grabbed this big box when I could, but never got through it all. Maybe some day. The five Bear Family boxes (the first is called The Yodelling Ranger) total 39 CDs. This is the only one I have. Spire: Live in Geneva Cathedral/Saint Pierre (2004 [2005], Touch, 2CD): Ambient/minimalist concert, pieces by seven artists, the most famous being Henryk Górecki and Fennesz, the first disc heavy on the organ. Alan Stivell: Zoom 70/95 (1970-95, [1997], Dreyfus, 2CD): Legendary Celtic harpist from Breton in France. One other item in my database at B+. Almost certainly have CD somewhere. I don't have a lot of patience for this music, but minimal grade is: B Mel Tormé: The Mel Torme Collection (1944-85 [1996], Rhino, 4CD): Career-spanning box set of one of the more important jazz singers of the 1950s. I feel negligent for not getting to this. Little chance that this is not some kind of: B+ Neil Young: Archives Vol. 1 (1963-1972) (1963-72 [2009], Reprise, 10CD): Another big box I never made it through. (Bought it when Borders was going out of business, and not sure I even tried.) Safe guess: B+ Unpacking: Found in the mail last week:
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