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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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Music Week [450 - 459]Monday, June 12, 2017 Music Week
Music: Current count 28254 [28225] rated (+29), 385 [383] unrated (+2). Barely less than the thirty that for me marks a productive week, but close enough, especially given that my cutoff for the week's report was relatively early, and since then I'm already as I write this up to seven records for next week. I've continued to add items to the Music Tracking file, especially from early "so far" lists (although I ran out of patience when I tried to scoop up the 2017 jazz review list from All About Jazz). I've been picking promising (well, in some cases just much touted) records from the list, and getting the usual hit-and-miss results. I found two A- records there: a rapper who surprised me, and a pop star who still sounded convincing after four plays. The hardest call was the Mountain Goats' Goths, which probably got six plays without clearly making the grade -- still, a damn nice album. Two records I didn't spend much time on but you might turn out to be more to your taste: MUNA and Jay Som. The other A- is American Epic: The Soundtrack, which is the tip of an iceberg that includes much more I haven't found time to deal with, notably a 5-CD box and a bunch of individual artist compilations for genres (Blues, Country) and artists I already have serviceable anthologies by (Carter Family, Mississippi John Hurt, Blind Willie Johnson, Leadbelly, Memphis Jug Band). Chances are any of those would do you well. But the box is a lot to focus on coming off the computer, and I wouldn't be able to review the doc -- always important with reissues -- without actually getting my hands on the product. As for the original music, I haven't seen the PBS shows, and don't know where to begin. The whole thing is much like the Ken Burns jazz and Martin Scorsese blues campaigns, except I'm much less engaged. As for the mid-year lists (and obviously we're still close to a month shy), so I'm working from a short and arbitrary sample. Without resorting to math, I'll give you my subjective impression of how this list would shape up if we had more data. Also, I've included my grades, where known, in brackets:
The top slot is a slam dunk. The next three could go any way, with XX a clear leader in UK, Misty in US, and Sampha broader (but not so deep) everywhere. I think RTJ3 is underrepresented, probably because its release straddled the New Year. The sample is skewed toward hip-hop, so I tended to slide those records back a bit (especially Drake, which showed up on the third most lists). Also I pushed Christgau favorites Lekman and Magnetic Fields up (onto) the list (the latter quite a bit, but also note that its Metacritic score is very high). Some other, somewhat less likely, possibilities: Ryan Adams: The Prisoner; Arca [B]; Joey Bada$$: All-Amerikkkan Bada$$ [A-]; Cloud Nothings: Life Without Sound [**]; Future: Hndrxx; (Sandy) Alex G: Rocket; Japandroids: Near to the Wild Heart of Life [**]; Kehlani: SweetSexySavage [*]; The New Pornographers: Whiteout Conditions [***]; Paramore: After Laughter [***]; Priests: Nothing Feels Natural [**]. Also on my "first pass" list: Mary J. Blige: Strength of a Woman [***]; Julie Byrne: Not Even Happiness; Charly Bliss: Guppy; Feist: Pleasure [B]; Future Islands: The Far Field; Girlpool: Powerplant [B]; Gorillaz: Humanz; Jlin: Black Origami [**]; Aimee Mann: Mental Illness; Rick Ross: Rather You Than Me; Sorority Noise: You're Not as ___ as Your Think; Stormzy: Gang Signs & Prayer [*].
More 2017 best of (so far) lists:
I should also note that Robert Christgau has a review of several books by Terry Eagleton: With a God on His Side. New records rated this week:
Recent reissues, compilations, and vault discoveries rated this week:
Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, June 5, 2017 Music Week
Music: Current count 28225 [28187] rated (+38), 383 [387] unrated (-4). Published April's Streamnotes last Wednesday. I usually try to make a push at the end of the month to find a few more A-list albums, but gave up after nothing but the Paul Rutherford archival tape clicked. I stopped adding records late Tuesday and posted mid-day Wednesday, but as it turned out Wednesday netted seven good records: 1 A- (Lord Echo), 3 B+(***) (Heliocentrics, Sleaford Mods, Chris Stapleton), and 3 B+(**) (Gato Libre, Ryan Keberle, Umoja). A good start for a better June column. Still, I decided I needed to do some better research for the future. For some years now, I've kept a file I call Music Tracking: basically a long list of the year-to-date's releases. Records I have physical copies of are shown in blue (220 so far this year) -- I add them to the list during unpacking -- and other records I've sampled off the internet and written about are in green (110). For most of this year that's all I've done with the file (although previous year's files have been much more extensive). But the idea is to sort the unheard records into four priorities (0, 1, 2, 3), where: 3 = things I must hear; 2 = things I want to hear, or things lots of other people think I should hear; 1 = things some people think are worth hearing, but I'm not in much of a rush; and 0 = things I've noticed but have no real interest in. The 0 priority albums don't show up in the default presentation, but when I search the source file I'll find them (and think, no bother looking into that further). This year I haven't been using 0 or 3, but I do find myself searching for priority 2 records for something to listen to. So last week I added a bunch of albums to the file. I got these first by going through AOTY's Highest Rated Albums of 2017 list, jotting down everything in the top 200 and a few things I recognized as interesting below that. I then used the "Source" option to select specific publications, and picked up the top 25 for most of them (I skipped Alternative Press but have since gone back and picked up their 90+ ratings). Also, in a few cases that review a lot of varied records, I went deeper (Pitchfork, PopMatters, Guardian -- those three had 100+ records rated 80+). I probably need to go back and probe a few other sites deeper, and maybe check Metacritic's album releases by score list, and look at a few mid-year best-of lists: thus far I've checked Billboard, DJBooth, Entertainment Weekly, Mass Appeal, NME, Observer [Hip-Hop], Observer [Jazz], Thrillist; I also see new lists from: The Free Weekly, The Musical Hype, Spin, The Telegraph, and Uproxx. (Note that I've opted not to pursue several lists of minor interest and/or unfriendly to my browser: FACT, HotNewHipHop, Loudwire, Metal Storm, PopCrush, Sputnik, Time.) I also notice there are a few things on Phil Overeem's First Quarter Report I haven't heard. including his top rated Harriet Tubman album (also number 2 for Chris Monsen). The file currently lists 105 priority 2 albums and 503 priority 1, so there should be enough there to keep me busy in weeks ahead. New records rated this week:
Recent reissues, compilations, and vault discoveries rated this week:
Old music rated this week:
Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, May 28, 2017 Music Week
Music: Current count 28187 [28166] rated (+21), 387 [397] unrated (-10). As this weekly post falls on Memorial Day, I'd like to dedicate it our fallen heroes: not those who lost their lives in the many pointless wars this nation has waged since shortly before I was born, but to those who spoke, wrote, and often demonstrated against those wars, especially those who recognized how tightly war was bound up with social and economic injustice, who saw the struggle against both as equally necessary. Foremost in my mind today are Alice Powell and Mary Harren, who late in their lives became good friends as well as comrades, and Elizabeth Fink, one of the finest, most steadfast, and most principled legal minds of our generation. I could, of course, come up with a few dozen more names of people I've known, and many more who inspired me from a distance -- David Dellinger is one of the latter I often find myself returning to. And, thankfully, there are many more still living, still struggling to turn minds and souls against America's fascination with empire and its attendant inequality and injustice. Among the living one I should mention is Gail Pellett, who I knew briefly in St. Louis in the early 1970s. She was a graduate student in the sociology department at Washington University, and I was in several classes with her and ran into her socially and politically. She graduated and left for Boston, then a couple years later moved to New York, working in public radio and teaching journalism. In 1980 she got a job as a "foreign language expert" for Radio Beijing in China, and spent a year there trying to fit in and ultimately getting rejected (or at least dejected). A couple years ago she wrote a memoir of her time in China, Forbidden Fruit, which I recently read. Terrific book, taught me a lot about the post-Mao transition in China -- the scars of the Cultural Revolution and the fitful reforms of Deng Xiaoping's zig and zag toward economic reform and prosperity minus democracy. But it also filled in some earlier and later history of Gail I never knew, and reminded me how much I adored her when our paths crossed. Also note all the music she mentions. Those years were the ones that got me interested in music and its social context, so she probably had something to do with all that. Relatively light week of record processing: partly because I was distracted with all the Trump nonsense, partly because I took some time off to paint the fence and cook, partly because I'm having a lot of trouble making up my mind about good-but-not-great albums. Two of those inched into the A- column this week, with a couple more falling arbitrarily short (Cuong Vu was probably the most tempting, followed by Diet Cig and Klaus Treuheit, with Shakira most volatile (only 2 plays, could go either way), and I still haven't made up my mind on Riverside after 6-7 plays). Feeling a big nostalgic, so I made fried chicken, biscuits & gravy, and green beans tonight -- the chicken and gravy like my mother taught me (and they came out near-perfect), but I cheated a bit on the rest (much to the meal's detriment: I used a microwave bag of green beans and some really old Bisquick that didn't rise). Just for us, so I wasn't too embarrassed, but I can do better. Looks like I need to post Streamnotes tomorrow or Wednesday. Draft file currently has 106 albums, so the post will be lighter than usual, not that I've slacked off too badly this month. Still don't have many good non-jazz leads to chase down. New records rated this week:
Recent reissues, compilations, and vault discoveries rated this week:
Old music rated this week:
Unpacking: Found in the mail last week:
Ask a question, or send a comment. Tuesday, May 23, 2017 Music Week
Music: Current count 28166 [28141] rated (+25), 397 [394] unrated (+3). I spent pretty much all of Sunday and Monday cooking birthday dinner for my sister, Kathy, after spending a good chunk of Saturday shopping. During that time I mostly played oldies, especially 50 Coastin' Classics, which never sounded better. She requested a couple Indian curries "and all the fixin's" so I did what I could. I wound up making (mostly from Julie Sahni's Classic Indian Cooking):
Half of the dishes were made on Sunday then reheated, again taking hints from Sahni. I had hoped to make kadhi (chickpea dumplings in yogurt sauce), but got cold feet, then added several relishes/salads that seemed easier. Too many dishes, but not many complaints: the lamb and fish were luxurious, the four vegetables dishes superb, the rice a little bland but sumptuous, the yogurt/okra lovely, the chutneys/pickles intense. I meant to fry up some frozen, store-bought paratha but it slipped my mind in the rush to serve everything (which, by the way, was on scheduled time). For dessert we had spiced tea, flourless chocolate cake, and store-bought vanilla ice cream. We had eight people for dinner. Fairly extravagant, but I've made at least three larger Indian dinners -- a birthday dinner in NJ consumed 22 onions, whereas this one only took 10. Aside from the chutneys, the tomato-cucumber-onion (the least impressive dish), and the rice, not a lot of leftovers. Seems like a lot of work, but I don't get many chances to do something nice for others, nor to feel like I'm actually being productive -- e.g., as opposed to just reacting to the worldwide train wreck. (Expect a belated Weekend Roundup mid-week, and a Streamnotes by end-of-month.) The jazz guides are up to 661 + 527 pages, still less than midway in the Jazz '80s-'90s database file. I never expected the 20th century to reach 700 pages, but that now seems likely. Still, I think, only has 1/4 to 1/3 as many records as The Penguin Guide, which has long been my bible. The 21st century file should still more than double in length, and it's not inconceivable that the pair will top 2000 pages. One side effect of that work is that every now and then I check Napster for missing jazz records, as I did with banjoist John Gill's early work. I was pleased to find many recordings on Stomp Off, long one of the best trad jazz labels. As you're probably aware, most of my higher picks are avant-garde, but I've always had a soft spot for trad jazz, and even more so for small group swing (which I swear was the cradle of rock and roll). So I went on a bender here, checking out Gill, his trumpet buddies Duke Heitger and Chris Tyle, and records I had missed by two pianists I liked, Ted Des Plantes and Keith Nichols. Biggest problem here is that they're hard to sort out on just one or two plays -- they nearly all sound good, but differentiating isn't as easy. Second biggest problem is that Stomp Off is probably the most media-adverse label in the world -- they don't have a website, and almost none of their records are listed by Discogs -- so it's been very hard to get any info on them (the most reliable source is The Penguin Guide, plus occasionally I've found back cover scans which at least give credits, release dates, and song lists. Probably quite a few more to check out in weeks to come. In contrast, new jazz seems to sit in my changes for 3-4 plays regardless of whether it's much good or not, so I'm making slow progress through the queue. (The unpacking below is longer than usual because I forgot to post last week's intake.) And the only non-jazz records I checked out last week were two from Robert Christgau's Expert Witness (couldn't find the newer, and longer, Daddy Issues last week, but it's there now, so next week). I'm just not aware of much I want to seek out there, at least for now. New records rated this week:
Old music rated this week:
Unpacking: Found in the mail last two weeks:
Music Week
Ask a question, or send a comment. Monday, May 15, 2017 Music Week
Music: Current count 28141 [28119] rated (+22), 397 [399] unrated (-2). A bit surprised that the rated count isn't any higher. I couldn't think of much to stream on Napster, so decided to focus on the jazz queue, and most of those records were instantly forgettable. However, the two I did like took a lot of time -- Amado was pretty automatic, but still got many plays before I finally wrote something, while Miwa had to overcome my normal "that's nice" reaction to piano trio. The other new A- record was reviewed by Robert Christgau here. (Christgau also published a piece in the Voice last week: Songs of Love and War: Syria's Omar Souleyman.) I keep expecting a new Downloader's Diary from Michael Tatum any day now, so thought I should check before posting this, and found instead something he posted back on February 20: Orts from the 2016 Table -- just three reviews: American Honey (A+), Car Seat Headrest: Teens of Denial (A), and De La Soul and the Anonymous Nobody (B). I should add them to his Archive -- but later this week, I think, or maybe when the first 2017 column appears. I didn't do anything for Mother's Day other than write my long Weekend Roundup, but the day before I tried making one of the few non-traditional dishes from my childhood: Spanish rice with pork chops. I made it the way Mom might have made it: using Zatarain's boxed rice kit (add water, a can of diced tomatoes, butter). As best I recall, she browned the pork chops, then baked them with the rice, but I did it all on the stove top, starting the rice in one pot while I browned the chops in a deep skillet. I then dumped the partly cooked rice on top of the chops, covered, and turned the heat low to finish. The mix had long-grain rice, dried onions, and spices. It wouldn't be hard to come up with a scratch recipe -- Google has many suggestions. Mom almost never made rice -- this was the only real dish I can recall, but I vaguely remember her making Minute Rice as a side some time. Much later I taught her how to make Chinese fried rice to go with 1-2-3-4-5 Spare Ribs, but she most often just made the latter -- especially after she got my sister to pre-mix the ingredients, so she just ad to measure out 1/2 cup. I hope to write up some sort of cookbook/food memoir built around her cooking (but with a few of my things slipped in). I have her recipe cards, but they're mostly disappointing and unrepresentative: too many things that she collected from friends and family to be polite -- way too many casseroles and jello salads -- but never made again. The main things that are well covered are cakes, cookies, and candy. Virtually absent are meats (she fried, or sometimes roasted, them), gravy, and vegetables (mostly boiled to death). I don't recall her ever consulting a cookbook (though she may have had one, possibly Betty Crocker) but she did crib recipes off cans and boxes, which is where she got the idea for baking fried steak in mushroom soup. I've tried recreating some of her dishes, and had generally good results, so that will eventually go into the book. Other big project last week was to repaint the steel fence on the south side of the back yard. Got everything scraped earlier last week, then painted primer on 2 (of 7) penels on Saturday. Slow going, will probably take most of this week to finish (or longer, allowing for periodic storms). New records rated this week:
Recent reissues, compilations, and vault discoveries rated this week:
Ask a question, or send a comment. Monday, May 8, 2017 Music Week
Music: Current count 28119 [28096] rated (+23), 399 [396] unrated (+3). Something I missed for yesterday's Weekend Roundup, but two TPM stories gave me pause: White House Blames Obama for Trump Hiring Flynn, and Obama Warned Trump Not to Hire Flynn as National Security Adviser. Seems typical that Trump would do the opposite of what Obama recommended then blame Obama when he turned out to be right. This illustrates the extraordinary extent to which Trump has based his own agenda on the desire to reflexively undo everything Obama has done over the past eight years -- to effectively erase the Obama administration from American history. Moreover, this contrasts sharply with Obama's own considered efforts to maintain continuity when he replaced GW Bush, despite the latter's dreadful legacy of failure. I've long felt that Obama's emphasis on continuity was terrible political strategy -- he gave up the option of continuing to blame the lingering problems he inherited (like the Great Recession and the continuing wars in Afghanistan and Iraq) on the person/party responsible for them, he made it possible for Americans to forget and forgive. The astonishing result was that two years later the Republicans could surge back as the party of resentment against America's corrupt elites. I've long felt that Obama cut not just his own but his party's throat because he bought so deeply into the myths of American Exceptionalism, and that compelled him to rationalize and defend his country even when it had gone wrong. Trump, clearly, has no such scruples or ideals, so it's hardly surprising that his reflexive contempt of Obama so often strikes against Obama's idealized America. One might expect his blind contempt to backfire more often than it has, but unfortunately the Democrats are still more inclined to defend their cherished myths -- e.g., Hillary's "America's always been great" -- than to recognize real problems, identify their causes, and propose real solutions. I'd also like to add that in thinking about the French elections I posted a tweet, which I'll expand a bit here to get past the 140 character cramp:
My point is that an honest recollection of what Republicans have done and tried to do since Reagan would have shown them to be as dastardly and disreputable as the Vichy-rooted National Front. But the media insists on treating Republicans -- even ones as vile as Trump, Cruz, and Ryan -- as respectable Americans, even though that requires massive amnesia. I'm reminded once again of Tom Carson's metaphor of America (embodied in the quintessentially all-American Mary Ann) as a perpetual virgin, regrowing her hymen after every act of intercourse. Unfortunately, the only people still suckered by this myth of American purity are elite Democrats, and their disconnection from reality is killing their party and sacrificing their voters. Not much to say about music this week. Rated count is down, probably just because I've been slow, though I can point to repairing a fence as a distraction, and I took a couple breaks to make nice dinners-for-two (since our social entertaining seems to have withered to nothing). I did find a good record from Buffalo (one of my favorite towns) -- or perhaps I should say it found me. Among the high B+ list (all jazz) the pecking order is probably: Fiedler, Oh, Dickey, Durkin. Three of those came from Napster, as did four jazz records from the next tier down (Preservation Hall, Watson, the two Parker duos). Still have a couple dozen CDs in the mail queue, but lately they haven't been amounting to much. Still, this week's unpacking looks relatively promising. Christgau's Expert Witness last week featured several rap records: Kendrick Lamar's Damn (an A- here last week), two each by Migos and Future (haven't heard yet). He also publisher two pieces last week: Who the Fuck Knows: Covering Music in Drumpfjahr II (something he did for the EMP Conference), and Rob Sheffield Explores How the Beatles Live on Inside Our Heads. There's also an interview Tom Slater did with him at Sp!ked Review. Modest progress collecting the Jazz Guide reviews: currently at 635 + 436 pages, through Eliane Elias in the Jazz '80s file (27%). New records rated this week:
Old music rated this week:
Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, May 1, 2017 Music Week
Music: Current count 28096 [28064] rated (+32), 396 [397] unrated (-1). Most of what's listed below appeared in Saturday's Streamnotes, so old news there. I made a last minute stab at checking out some 2017 non-jazz releases, and continued that after the column posted. No additional A-list albums after the column, but Body Count's Bloodlust came close -- actually a remarkable album, just one I didn't want to give the extra spins that probably would have moved it over the A- cusp. Ardor & Zeal is a bit less in every respect, including a bit less irritating to a metal-phobe like myself. For Christgau on those two records, look here. Christgau also praised the new Brad Paisley record, the biggest flop of four (I think) overrated full-A records he's found this year (Jens Lekman, New Pornographers, Khalid -- OK, I gave the latter an A-, the others high B+). I like Paisley in small doses, but he never seems to approach album-length without wearing out his welcome, either because his Nashville rock gets boring or because he says something stupid (often both, like here). After grading, I read a bunch of Facebook comments on Bob's review, and it seemed like quite a few were closer to my position. On the other hand, I don't have any non-jazz this year remotely close to full-A: the non-jazz set of the 2017 list-in-progress are (with Christgau grades where known): Orchestra Baobab (A-), Run the Jewels (A-), XX, Jesca Hoop, Kendrick Lamar, Tinariwen (**), Craig Finn (B+), Conor Oberst (A-), Syd (A-), Arto Lindsay, Matt North (A-), Angaleena Presley (A-), Colin Stetson, Khalid (A-). (I normally count Stetson as jazz -- he's a saxophonist -- but he crossed over into post-rock and that's where pretty much all of his critic/fan bases are.) That's 14 records, vs. 22 jazz records (38.9% non-jazz), actually not far from what I had before the EOY lists started rolling in last year. But before last week's 5-0 the split was 9-to-22 (29.0% non-jazz), so I was right to shift focus. I'd do a better job of keeping up if more people I trusted wrote more often. Maybe we'll see some 4-month lists soon. As you may have noticed, I bumped up the grade on Stanley Cowell's Departure #2. I was on the fence at the time, but hedged low until I remembered how much better it was than the 4-5 good Cowell records I played after it. Really pleased that so many SteepleChase albums have appeared on Napster. Lots to catch up on there. New records rated this week:
Recent reissues, compilations, and vault discoveries rated this week:
Old music rated this week:
Grade changes:
Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, April 24, 2017 Music Week
Music: Current count 28064 [28033] rated (+31), 397 [401] unrated (-4). Rated count up this week, probably because I didn't find nearly as many A-list records as last week: the two I came up with got (I think) three plays each, as did a couple of high HMs -- African River came closest, although I wound up deciding it was a slightly uneven follower of several better albums, starting with the band-naming (and hugely recommended) Ekaya, and the Dawkins-Iyer record only had one spot I kept tripping on. I did only give Idles -- currently number three on Chris Monsen's 2017 favorites list -- one spin, finding myself more impressed than interested. I haven't yet found his number two Harriet Tubman -- probably a download link in my mailbox -- and I wasn't that taken with his top-rated Angles 9 album (although I liked their smaller group Live in Coimbra and Live in Ljubljana discs), and I've never rated anything by Martin Küchen less than B+(**). A few more things I haven't heard down the list: Atomic, Lithics, Priests, Led Bib (in the queue but temporarily lost), Cloud Nothings, Necks. Made a little more progress in the Jazz Guide compilation: 20th Century up to 619 pages, 21st 372, so I'll probably his 1000 pages sometime this week. Since last time I reported, that's up +9 and +34, so at this point (Seamus Blake, 10% into "Jazz 80s") the latter is growing four times as fast. I think I was just starting the file last week, so some quick envelope math suggests I'll finish it in another nine weeks (end of June), with 20th Century growing to 700 pages and the 21st to 778. After that it should be all post-2000 (aside from relatively small files for Latin and pop jazz). The calendar says I should post April's Streamnotes file later this week. Draft file is currently shorter than usual, especially for new music (58 records, 94 total). So I imagine I'll scrounge around for some scoops, but don't really expect to find much. I also hope to do a book post sometime this week. I haven't done one since August 21, and a lot has happened since then. I will note that I've started reading Gail Pellett's remarkable memoir of 1980, the year she spent working as a "foreign expert" for Chinese radio. I knew her back in St. Louis in the 1970s, so I'm recognizing some things and I'm learning even more -- not least about her background, which for some reason I never enquired into when I could. Something else I should (but probably won't) do is to write up some thoughts on Ian Kershaw's Fateful Choices -- ten moves from 1940-41 that dramatically broadened the wars that started in the late 1930s. The book would probably have been better had he started earlier and included more on the earlier decisions that led up to the war: Japan's decision to invade China in 1937, Germany's to carve up Poland in 1939, the German-Russian pact that allowed Germany into Poland, the Anglo-French decision to declare war on Germany but not Russia over Poland. Of course, those in turn should be backtracked: Japan's previous attack on Manchuria in 1929, Italy's attacks on Ethiopia and Albania, the mix of intervention and avowed neutrality over the Spanish Civil War, and the so-called "appeasement policy" toward Germany. Before that, of course, is the detritus of the first World War, and before that you get the relatively late efforts at empire building by Germany, Italy, Japan, and the United States. In many ways the best book on all this is Nicholson Baker's Human Smoke -- at least he brings all these threads together, albeit too schematically. One thing I learned there was how artfully Franklin Roosevelt maneuvered Japan and Germany into attacking, allowing him to enter the war with broad popular support -- something most Americans weren't interested in until it happened. Various other books I've read recently helped fill in details: Kershaw, Ira Katznelson's Fear Itself, and most of all James Bradley's The China Mirage. But Baker still has the most important insight: that the only people who tried to stop this cascade of bad choices were the pacifists, not only because they were the ones who anticipated the disaster to come, but because they were the ones most sensitive to the injustices which preceded it. Well, also the people less adverse to fighting who were later dismissed as "premature antifascists." New records rated this week:
Recent reissues, compilations, and vault discoveries rated this week:
Old music rated this week:
Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, April 17, 2017 Music Week
Music: Current count 28033 [28009] rated (+24), 401 [404] unrated (-3). Lowest rated count February 27 (20), second lowest this year. About the only excuse I can think of is that the relative bumper crop of A- records took a lot of extra time -- even the ones on Napster were more likely to get three than two spins, and the Perelman-Shipp CDs have proven nearly impossible to rank or even to sort out -- though they've been a constant pleasure to play. I'll also note that my office space has turned into a horrible mess, where the normally FIFO new jazz queue is now a teetering pile. I need to do a lot of "spring cleaning" -- especially moving trays of CDs to shelves, a fairly hideous task given deterioration of my eyesight. Anyhow, my short-term workaround has been to play old music on the computer, the selections suggested by wherever I'm stuck in compiling my last fifteen years of jazz reviews into two book files. I'm at the stage where I'm going through the database files and fishing the reviews out of a large text file. I just finished Jazz (1960-70s), so next one up is the even longer Jazz (1980-90s), then the really huge Jazz (2000- ), plus post-2000 vocalists, separate files for Latin and Pop Jazz, and some scattered names I've filed elsewhere (Avant-Garde, Classical, New Age, maybe Africa or Latin or Electronica?). The 20th Century file is growing slowly now -- mostly records that came out before I started writing seriously about jazz, plus some later reissues -- at 610 pages (271k words), but the 21st Century file is picking up speed, with 338 pages (159k words). Given how long the last database file took, I can't even imagine when I'll be done (in the sense of finishing the compilation phase. (August? October?) And I expect the result then will be terribly redundant and shot full of holes -- certainly not something a real publisher might take any interest in. To come up with something useful I'd have to go back and take each artist in turn, write a short bio and critical summary, and fill in a few holes. I might also need to take less of a kitchen sink approach -- just focus on "notable" (especially "recommended," maybe even "essential") albums to cover up how much of the rest I never managed (or will manage) to get to. On other fronts, Lee Rice Epstein has a nice piece on the late Arthur Blythe (the star, by the way, of the Horace Tapscott album right/below). I also got notes that Alan Holdsworth and Jay Geils died recently. I had hopes of driving out to the EMP Pop Conference in Seattle (April 20-23), but it's clear now I'm not going to make it. Would have been a nice way to break out of my winter rut, but I guess I'm stuck. Not much more to say. Listening to more Stanley Cowell at the moment. By the way, Cowell's debut album is on Napster as Travellin' Man, but I went with the title of the LP I bought back in 1977 (like many old LPs it slipped my mind when I compiled my original rated records list; glad to fill this one in). New records rated this week:
Old music rated this week:
Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, April 9, 2017 Music Week
First, a couple more links I missed last night:
I should also note that there will be a special election here in Kansas to pick the successor to Rep. Mike Pompeo (R-Koch), who has moved on to become Trump's CIA Director. The favored Republican is Ron Estes, who combines the worst aspects of Pompeo and predecessor Todd Tiahrt (R-Boeing) with a markedly lower IQ -- I wouldn't want to pick on someone just because he looks stupid, but all evidence suggests Estes is the real deal. Republicans have plowed a lot of money into this race, but all they've come up with are smears that attack Democrat James Thompson for supporting "late-term abortion" ("he's too extreme for Kansas") and split screens with Nancy Pelosi. Republicans have held the seat since 1994, usually with big margins, and their base has grown as the district has spread out from Wichita. The Nation finally took note of Thompson: see John Nichols: A Berniecrat Takes on Trump and the Koch Brothers in Kansas. I will add that Thompson hasn't tried to make this a referendum on Trump nor does his advertising cite Bernie Sanders. I think he missed an opportunity there, but he has a strong personal story, and his ads have a lot of guns, so we'll see how that plays out. There are also special elections to fill House vacancies in Georgia and Montana. See: Charlie May: A blue wave begins? Republicans may be in trouble in Kansas, Montana and Georgia elections. Music: Current count 28009 [27981] rated (+28), 404 [400] unrated (+4). Round number notice, as I passed 28,000 records rated. At 30/week it takes 8-9 months to accumulate a thousand, so unless I slow down I'll probably hit 29,000 around the end of the year, and 30,000 close to Labor Day 2018. Big assumption. I've certainly slowed down going through the new jazz queue, mostly because this week's four A-listed records on Intakt and Cuneiform got four or more plays each. On the other hand, the records I downloaded or checked out on Napster got much less attention -- usually a single play, which is what kept the week from being a major wipeout. The old music by Herbie Hancock, Freddy Hubbard, and Pete La Roca was suggested as I was slogging through the database adding entries to the jazz guides (currently 590 + 299 pages, so +5 and +13 over the week -- damn slow progress). For Hancock and Hubbard, I stopped after the Blue Notes ran out (well, I included one Hubbard MPS, which had gotten some Critics Poll reissue votes last year). Both artists declined afterwards, and I figured I had heard enough for now. La Roca had two widely spaced Blue Notes and one outlier, and I wound up most impressed by the latter (John Gilmore is the secret ingredient, as he so often was).Other recent jazz albums were suggested by the Downbeat Critics Poll album ballot (Cameron Graves, Heads of State, Derrick Hodge, Kneebody, Julian Lage, One for All, Bria Skonberg, Nate Smith -- Trio 3 and JLCO were also on the ballot but unrated in my queue). Can't say as I had missed much, but now I can say I didn't. I took the time to compile my usual notes. The invite from Downbeat's editor claimed that some critics can fill out the 20-page ballot in 25 minutes, but it took me over six hours, and that only because I skimmed through the backstretch, most often repeating last year's picks rather than taking the extra time to rethink everything. Horrible experience. The non-jazz records were suggested by Robert Chrisgau's latest: obviously, I like the New Pornographers and Shins considerably less, but was pleasantly surprised by Conor Oberst's neo-Dylanisms. I had previously given Old 97's' Graveyard Whistling a B+(***). Still need to check out that Craig Finn record. New records rated this week:
Old music rated this week:
Unpacking: Found in the mail last week:
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