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Blog Entries [50 - 59]Monday, November 20, 2023 Music WeekNovember archive (in progress). Music: Current count 41210 [41160] rated (+50), 9 [22] unrated (-13). Another Speaking of Which last night. I didn't have much time to work to search out stories, even less to annotate them, but did manage a couple hours for yet another iteration of my appropriately, I would say, simple-minded solution to the Israel's war on Gaza. It's just that simple: stop it. If you don't, you'll ultimately wind up inflicting so much self-damage you won't care how much hurt you inflicted on others. Little chance of this being recognized by the people in power, who are so smitten by the notion that all their problems can be solved by force. They're wrong. But they are capable of doing immense harm in their flailing and thrashing. On Wednesday, I sent out an initial round of 205 invitations to cast ballots in the 18th Annual Francis Davis Jazz Critics Poll. I've sent 15-20 more invitations out since then, and will send out a few more over the next week or two. Deadline is December 15. I'm pleased with the results so far, including 14 ballots submitted, and another 60 commitments to vote. One of the perks of running the Poll is that I get tips on lots of new albums I hadn't heard (or in many cases even heard of). I add these to my tracking file (currently 1046 jazz albums, 1255 non-jazz). You can see a number of them already below, and I suspect that new ones will be most of what I listen to in the coming month. So far 182 records have received votes. I've added the ones I haven't heard (59 music albums + 10 old, so 38% of total) to my EOY Jazz List (scroll down to the 2% note). Of course, there's also an EOY Non-Jazz List. I've done virtually no recent prospecting for non-jazz records, as I'm trying hard to finish off my 2023 promo queue, as well as keep up with jazz ballot picks. Consequently, it's lagged more than usual (especially more than last year). That will probably change if/when I start collecting EOY lists. At the moment, that seems like a really insane thing to contemplate, but I've described it as "my favorite waste of time," so if some time opens up, I'm more likely to waste it than I am to write some magnum opus on why US foreign policy is totally bankrupt. Let alone one on 2024 elections, as I've fallen into the 20% of Democrats who no longer smile on Biden. (If you doubt why, you obviously haven't been reading lately. Go back to yesterday's link to Biden's op-ed, which most likely his aides told him is today's match for JFK's "Ich bin ein Berliner" speech.) Two new books under the "Recent Reading" widget. I enjoyed Christopher Clark's Revolutionary Spring so much I decided to read a bit more about 1848, something a bit more about the revolutions that didn't happen, hence China Miéville's book on The Communist Manifesto. It turned out to be more on the text, and less on the history, than I wanted, but still left me with warm and fuzzy feelings for my own flirtation with the red side. It also reminded me that not so long ago, no one could conceive of radical change -- something a great many saw urgent need for -- coming about without violence. After Viet Thanh Nguyen got banned from the 92nd St. Y for signing a petition calling for a cease-fire in Gaza, I saw an interview with him, and got interested in his new memoir. Then I noticed Nothing Ever Dies: Vietnam and the Memory of War, and figured I should read that one first. Just started it, and I'm already finding things I'd like to share. I've written quite a bit about his subject -- not specifically on Vietnam, but you need only check my birth certificate to see that as the pivotal event in my life. I ordered two more books. One, mentioned at the end of yesterday's post, is Norman Finkelstein's Gaza: An Inquest Into Its Martyrdom, which seems almost quaint now, given how much more devastating Israel's war against Gaza is now than the periodic assaults since 2006. However, as Nguyen should be among the first to point out, the extreme severity of the current genocide depends for its justification on forgetting everything that Israel did previously, lest the Oct. 7 revolt be viewed as anything other than unprovoked murderous frenzy. The other book is the paperback reprint of Carlos Lozada's What Were We Thinking: A Brief Intellectual History of the Trump Era: a book of book reports, that looks like it might be a useful reference. New records reviewed this week: Jason Adasiewicz: Roscoe Village: The Music of Roscoe Mitchell (2023, Corbett vs. Dempsey): Vibraphonist, Chicago's go-to guy for the instrument since the early 2000s. He notes that "tuned metal percussion figures prominently in the sound universe of Roscoe Mitchell," so decided to give it a try with a solo album. Nice, but I don't quite get it. Nice piece of art on the album cover, too. B+(**) [bc] Susan Alcorn/Septeto Del Sur: Canto (2023, Relative Pitch): Pedal steel guitarist, from Baltimore, debut 2000, Discogs credits her with 30 albums. She's joined here by a Chilean folk group, playing and improvising on her compositions, and singing a Victor Jara song to close. B+(**) [cd] Maria Baptist Quintet: Essays on Jazz (2023, self-released, 2CD): German pianist, several albums since 2002, quintet with two saxophonists (Jan Von Klewitz and Richard Maegraith), bass, and drums, a rather rousing postbop group. Long: 108 minutes. B+(***) [sp] John Bishop: Antwerp (2023, Origin): Drummer, from Seattle, runs this mainstream label, which did much to put Seattle in the jazz map, and has since branched out, especially to Chicago, Denver, and wherever UNT alumni gather, and here to Belgium, for a trio with Bram Weiters (piano) and Piet Verbist (bass) -- familiar names, especially if you've been on the label's mailing list. B+(**) [cd] Brian Blade & the Fellowship Band: Kings Highway (2023, Stoner Hill): Drummer, called his 1998 Blue Note debut album Fellowship, which could be taken as the band name, one he's stuck with ever since. With original members Jon Cowherd (keyboards), Myron Walden (alto sax), Melvin Butler (tenor/soprano sax), and Christopher Thomas (bass), the only change Kurt Rosenwinkel taking over guitar (from Jeff Parker). B+(*) [sp] BlankFor.Ms/Jason Moran/Marcus Gilmore: Refract (2022 [2023], Red Hook): Electronica producer Tyler Gilmore, has a couple previous albums, joined here by two well known jazz musicians, on piano and drums. The electronics help out, and the pianist is formidable, though it all slows down on the backstretch. B+(***) [sp] Jane Bunnett and Maqueque: Playing With Fire (2023, True North/Linus Entertainment): Canadian soprano saxophonist, formed a bond with Cuban music early in her career (1992, Spirits of Havana), fourth album with this Cuban-Canadian group. I don't doubt the authenticity of the percussion, but I have trouble hearing the vocals as even jazz-adjacent. B+(*) [sp] Emmet Cohen: Master Legacy Series Volume 5: Featuring Houston Person (2023, Bandstand): Pianist, has a few volumes from 2011 on featuring his own estimable work, along side this series, which started with Jimmy Cobb, Ron Carter, and Tootie Heath before moving on to the saxophonists, adding Benny Golson to the Heath volume, followed by George Coleman, and now Person -- who, by the way, sounds fabulous right out of the gate. With Yasushi Nakamura (bass) and Kyle Poole (drums). A- [sp] Sylvie Courvoisier: Chimaera (2022 [2023], Intakt, 2CD): Swiss pianist, many albums since 1997, leads a sextet through a series of extended compositions, inspired by painter Odilon Redon ("a universe of symbolism, dreams and fantasy"). Group includes two trumpets (Wadada Leo Smith and Nate Wooley), Christian Fennesz (guitar/electronics), Drew Gress (bass), and Kenny Wollesen (drums/vibes). This would sit nicely in one of Smith's recent boxes. A- [sp] Dry Thrust: The Less You Sleep (2020 [2023], Trost): Trio of Georg Graewe (organ), Martin Siewert (guitar, electronics), and Didi Kern (drums). Graewe is well known as an avant-pianist. The other have been kicking around the fringe since the late 1990s, with Kern's background mostly in noise-rock (but lately he's popped up with Gustafsson and Vandermark). Interesting but scattered: your basic organ trio improvising not on soul-groove but on no-wave noise. B+(*) [sp] Antoine Drye With Strings: Retreat to Beauty (Oblation Vol. 3: Providence!) (2021 [2023], Cellar Music): Trumpet player, 2003 debut titled Oblation, so this has been slow coming. Strings just add some sweetener, setting up the voice at the end. B+(*) [sp] George Freeman: The Good Life (2022 [2023], HighNote): Guitarist from Chicago, at 96 still the younger brother of saxophonist Von Freeman. Two sessions here, one with organ (Joey DeFrancesco, a couple months before he died) and drums (Lewis Nash), the other with bass (Christian McBride) and drums (Carl Allen). B+(**) [sp] Eric Friedlander: She Sees (2023, Skipstone): Cellist, reconvenes his 2020 Sentinel band -- hard-edged guitarist Ava Mendoza and percussionist Diego Espinosa -- and adds electric bassist Stomu Takeishi. B+(*) [sp] George Gee Swing Orchestra: Winter Wonderland (2023, self-released): Bandleader, formed his swing band in 1980, and a later 10-piece group called Jump, Jive & Wailers (after the Louis Prima song), but I'm not finding albums for either. (I have a 2007 release in my database.) Xmas music always brings out the bah humbug in me, and this did at first, but the brass section softened me up, then I loved their take on the merely Xmas-adjacent "Baby It's Cold Outside" (criss-crossing vocals by Hilary Gardner and John Dokes, not quite Armstrong and Fitzgerald but really great). I even found myself enjoying "The Christmas Song" after that (if not "O Tannenbaum" and "Jingle Bells"). B+(**) [cd] Grupo Frontera: El Comienzo (2023, VHR Music): Mexican-American group from Edinburg, in the southern tip of Texas. First album. B+(**) [sp] Gabriel Guerrero & Quantum: Equilibrio (2019 [2023], Origin): Pianist, born in Colombia, based in New York, website shows this as third album as leader vs. one side credit, Discogs has the split 0-5. Group here is mostly quartet, with sax (Seth Trachy), bass, and drums, with strings on one track and percussion on another, playing complex originals. B+(**) [cd] David Ian: Vintage Christmas Trio Melody (2023, Prescott): Pianist, can't find him on Discogs but AAJ shows four previous albums: three Vintage Christmas titles, plus one for Valentine's Day. Trio with bass and drums. Best I can say for it is that mid-way I forgot that I was listening to Xmas music, but looking at the song list doesn't suggest why. B [cd] I.P.A.: Grimsta (2022 [2023], Cuneiform): Norwegian group, fifth album since 2009: Atle Nymo (tenor sax/contrabass clarinet), Magnus Broo (trumpet), Mattias Ståhl (vibes/soprano sax), Ingebrigt Håker Flaten (bass), and Håkon Mjäset Johansen (drums). B+(**) [dl] Val Jeanty/Candice Hoyes/Mimi Jones: Nite Bjuti (2021 [2023], Whirlwind): Most often title is given as group name, but the individuals (drums/electronics, vocals, bass) also appear on the cover. Jeanty is Haitian, mostly shows up adding electronic mojo to jazz artists (Kris Davis, Wallace Roney, Terri Lyne Carrington). Nice balance against the bass. Vocals could show up on trip-hop. B+(**) [sp] Hannah Marks: Outsider, Outlier (2022 [2023], Out of Your Head): Bassist (electric & double), from Brooklyn, out on a jazz label but initially sounds more punk (Sarah Rossy singing), then arty, then Nathan Reising inserts a nice alto sax solo, then, well, I don't know. B+(*) [cd] Sarah McKenzie: Without You (2023, Normandy Lane Music): Australian jazz singer, pianist, sixth album since 2011, wrote four songs here, the rest Brazilian standards, mostly Jobim. Done expertly, notably because the guitarist is Romero Lubambo. B+(*) [cd] Hedvig Mollestad Weejuns: Weejuns (2022 [2023], Rune Grammofon): Norwegian guitarist, double live-album debut with new trio: Ståle Storløken (organ) and Ole Mofjell (drums). B+(***) [r] Ivo Perelman/Matthew Shipp: Tryptych I (2022, SMP): Tenor sax and piano duo, relationship goes back at least to 1996, amounts to well over a dozen duo albums, and another dozen-plus trios. First of three more, all released on the same day. B+(***) [bc] Ivo Perelman/Matthew Shipp: Tryptych II (2022, SMP): Original idea here was to put these duets together in a single "CD-LP-Cassette-Box-Set [which] was specifically recorded for three types of formats." My guess is that the 12-track, 55:42 Tryptych I was the CD, and that this 2-track 36:27 is the LP. Impossible for me to tell whether the music is the same or different, but it's easily equivalent. B+(**) [bc] Ivo Perelman/Matthew Shipp: Tryptych III (2022, SMP): Reading the fine print more closely, I find that this ("Side A" and "Side B," 30:58) is the cassette version, "a contemplative set with a dramatic ambience." B+(***) [bc] Jason Roebke: Four Spheres (2022 [2023], Corbett vs. Dempsey): Bassist, has played in many Chicago avant groups since 2000. Quartet here with Edward Wilkerson Jr. (tenor sax, alto clarinet), Mabel Kwan (piano), and Marcus Evans (drums), all (curiously enough) also credited with metronomes. B+(**) [bc] Dave Sewelson/Stephen Moses/Jochem van Dijk/Steve Holtje: Orca Uprising (2023, MechaBenzaiten): Baritone saxophonist, long-time member of Microscopic Septet, with drums, electric bass, and keyboard. B [bc] Russ Spiegel: Caribbean Blue (2023, Ruzztone Music): Guitarist, albums go back to 1985, has an organ-drums trio here, plus picks up some guests, including Brian Lynch (trumpet 4 of 10 tracks), Tim Armacost (tenor sax on 6, flute on 1), and Hendrik Meurkens (chromatic harmonica on 3). B+(**) [cd] Trio Grande: Urban Myth (2023, Whirlwind): Will Vinson (alto sax, wurlitzer, synths), Gilad Hekselman (guitar), Nate Wood (drums, bass) -- the first two writing three and four pieces, with two covers (Roy Hargrove, Nik Kershaw). First cut points to some funk-fusion, but they're way too multi-faceted to stay there, especially when Vinson returns to his first calling. B+(**) [cd] Trio San: Hibiki (2022 [2023], Jazzdor): Trio of Satoko Fujii (piano), Taiko Saito (vibes), and Yuko Oshima (drums), first for the trio, a live set from a festival in Berlin. Takes a bit to get going, and moves uneasily when it does, but impressive slow and somber, more so vibrant. B+(***) [cd] Anna Webber/Matt Mitchell: Capacious Aeration (2023, Tzadik): Duo, tenor sax/flute and piano. High level, but sketchy. B+(**) [sp] Mars Williams/Vasco Trilla: Critical Mass (2021 [2023], Not Two): Duo, reeds and toy instruments for Williams -- a Hal Russell disciple, Vandermark Five founder, acid jazz renegade, and author of several An Ayler Xmas volumes -- drums and percussion for Trilla. Some noise, some drone, some inspired jazz. B+(***) [sp] Joe Wittman: Trio Works (2023, self-released): Guitarist, from New York, has a previous album, this one a trio with Daniel Duke (bass) and Keith Balla (drums), playing six originals and two covers ("Sweet Lorraine" and "Born to Be Blue"). Mainstream guitar groove, nicely done. B+(**) [cd] Joe Wittman/Vito Dieterle/Jesse Breheney/Josh Davis: Night Out (2022 [2023], self-released): Guitarist's first album, out a few months before Trio Works, with tenor sax, bass, and drums. B+(*) [bc] Miguel Zenón/Dan Tepfer: Internal Melodies (2023, Main Door Music): Alto sax and piano duo, the pianist from France, with an astrophysics degree, has a Goldberg Variations and a Twelve Free Improvisations in Twelve Keys, but is best known for his duos with Lee Konitz. No Latin Jazz for Zenón here. He's just very adroitly tuned into what the pianist is doing. B+(***) [sp] Recent reissues, compilations, and vault discoveries: Fred Anderson: The Milwaukee Tapes, Vol. 2 (1980 [2023], Corbett vs. Dempsey): Tenor saxophonist, born in Louisiana, moved to Chicago, helped found AACM, recorded a bit in the 1970s but mostly got by as the owner of a club, restarting his career when he turned 65 in 1994, most often working with his nephew, drummer Hamid Drake. John Corbett released the first volume of these tapes in 2000 as part of Atavistic's Unheard Music Series (virtually everything there is worth checking out), only now coming out with a second set. Quartet with Billie Brimfield (trumpet), Larry Hayrod (bass), and Drake (drums). B+(***) [bc] Graham Collier: Down Another Road @ Stockholm Jazz Days '69 (1969 [2023], My Only Desire): Bassist (1937-2011), one of the major figures in British jazz to emerge in the late 1960s, leading a sextet here: Hary Beckett (trumpet/flugelhorn), Nick Evans (trombone), Stan Sulzmann (tenor/alto sax), Karl Jenkins (oboe/piano), and John Marshall (drums). This live set expands on five (of six) songs from his third album, Down Another Road. Remarkable compositions and performances. Clearly someone I need to research further. A- [sp] Eric Ghost: Secret Sauce (1975 [2022], Jazz Room): Jazz flutist Eric Barth Sanders, released two albums 1974-75, had his career interupted by a jail sentence for manufacturing LSD, so his claim to "psychedelic" has some credence. With piano, bass, and free-ranging percussion. B+(***) [sp] Milford Graves With Arthur Doyle & Hugh Glover: Children of the Forest (1976 [2023], Black Editions Archive): Previously unissued tapes from the percussionist's archive: a trio date with Doyle (tenor sax, flute) and Glover ("klaxon, percussion, vaccine"), a duo with Glover (tenor sax), and a bit of solo (3:13) to close. Graves is fascinating to focus on throughout. Whether you can largely depends on your tolerance for noise: Doyle has always been a screecher, and often little more, although he brings exceptional energy to his part here. Glover has similar intent, but is much less imposing. B+(***) [sp] Roy Hargrove: The Love Suite: In Mahogany (1993 [2023], Blue Engine): Trumpet player (1969-2018), 1990 debut album was called Diamond in the Rough, led to him winning DownBeat's "rising star" 1991-93, and eventually (2021) entering their hall of fame. Jazz at Lincoln Center commissioned him to do this major piece in 1993, then sat on the tape 30 years? With Jesse Davis (alto sax), Ron Blake (tenor sax), Andre Hayward (trombone), Marc Cary (piano), Rodney Whitaker (bass), and Gregory Hutchinson (drums). Live, sounds great, even with the unconventional climax of scat vocal, long drum solo, and outro credits. Only explanation I can imagine why this was held back so long is that the boss man was jealous. A [sp] Ahmad Jamal: Emerald City Nights: Live at the Penthouse 1966-1968 (1966-68 [2023], Jazz Detective/Elemental, 2CD): A third 2-CD set for the late pianist and his trio, with Jamil Nasser on bass and Frank Grant on drums. Dependably superb, as you'd expect. B+(***) [cd] [11-24] Paul Lytton/Erhard Hirt: Borne on a Whim: Duets, 1981 (1981 [2023], Corbett vs. Dempsey): Duets, drums and live electronics for the famed British drummer, electric guitars and dobro for the German guitarist -- not someone I recalled, but Discogs credits him with 20 albums, and I recognize a couple. B+(**) [bc] Les McCann: Never a Dull Moment! Live From Coast to Coast 1966-1967 (1963-67 [2023], Resonance, 3CD): Pianist, from Kentucky, never seemed to get much respect for his distinctive mix of soul jazz and boogie-woogie, but did get an actual hit record in 1969, with Eddie Harris on Swiss Movement (2.5 stars in Penguin Guide, but in my 1K list). This collects five live dates from Seattle (Penthouse) and one from New York (Village Vanguard), where he does his thing, and keeps doing it until he gets really good at it. (Looks like one cut from 1963 belies the subtitle.) A- [cd] [12-01] Wes Montgomery/Wynton Kelly Trio: Maximum Swing: The Unissued 1965 Half Note Recordings (1965 [2023], Resonance, 2CD): For many years, it seemed like every American jazz guitarist took Wes Montgomery as their model -- a spell even more total than Charlie Parker and (later) John Coltrane held for saxophonists. I've long been skeptical (really for all three), but when Pat Metheny called Smokin' at the Half Note "the greatest jazz guitar album ever made," I had to check it out. I found it, "complete," in a 2-CD compilation, Impressions: The Verve Jazz Sides (probably where I got the Metheny quote), and have since collected CD reissues, the older one giving Wynton Kelly Trio top billing, a later one headlining Montgomery. Metheny's not right, but he's not far off base either: there is some truly remarkable guitar there -- Kelly and the rhythm section (Paul Chambers and Jimmy Cobb) are pretty great, too. What's offered here aren't outtakes from the same session, but snippets from other live shots from the same year and venue, with spoken intros and a revolving cast of bassists (Chambers, Ron Carter, Larry Ridley, Herman Wright, and Ridley again). There are, for sure, short stretches where Montgomery is on top of his game, and those are sublime. And there's a nice booklet, with a Bill Milkowski essays, and some appreciations from other musicians. This fits into Montgomery's discography rather like the Royal Roost broadcasts do for Parker. How indispensable they are is up to you. B+(***) [cd] [12-01] Michel Petrucciani: The Montreux Years (1990-98 [2023], BMG/Montreux): The big jazz festival in Switzerland has been an annual affair since 1967. Dozens of artists have released tapes of their performances there, so it's unsurprising that the Foundation itself would want to get into the act. This draws on four performances by the diminuitive French pianist -- who died in 1999, at 37, of a congenital ailment that is impossible to detect in his masterful playing. Selections include duos with bassist Miroslav Vitous, a quartet with synthesizer, a quintet with Steve Grossman on sax, and a sextet with Stefano Di Battista. This winds up being an excellent sampler. A- [sp] Cal Tjader: Catch the Groove: Live at the Penthouse 1963-1967 (1963-67 [2023], Jazz Detective/Elemental, 2CD): Vibraphonist (1925-82), parents were "Swedish American vaudevillians," moved to Bay Area when he was two, learned to play piano and drums, and tap dance, started out in Dixieland bands, was playing drums in Dave Brubeck's group when he got interested in vibes. There are many testimonials in the booklet here, including one by Terry Gibbs on this story, and how Gibbs "showed him some things," although his knack for "Latin kick" came elsewhere. Tjader's groups from 1953 on were widely recorded. At one point, I tried figuring out who had the most jazz albums among artists I had none from, and Tjader was the easy winner. I picked up a record with Stan Getz after that, but Tjader remains a gaping hole in my expertise. So unlike most recent live archival trawls, I have little to compare this with, giving it an air of fresh discovery. This collects six sets, all quintets with piano, bass, drums, and Latin percussion (especially congas), and it's quite delightful. A- [cd] Old music: Dexter Gordon Quartet: Bouncin' With Dex (1975 [1976], SteepleChase): One of many albums the tenor saxophonist recorded during his years in Copenhagen. First side starts with "Billie's Bounce" and ends with a Gordon original called "Benji's Bounce," with "Easy Living" in between, another Gordon piece and "Four" on the other side. Quartet is the cream of Copenhagen: Tele Montoliu (piano), NHØP (bass), and Billy Higgins (drums). A- [r] Dexter Gordon Quartet: Stable Mabel (1975, SteepleChase): With Horace Parlan (piano), NHØP (bass), and Tony Inzalaco (drums), six standards, ranging from "In a Sentimental Mood" to "Red Cross," most stretched out to 8-9 minutes. B+(***) [r] Dexter Gordon Quartet: Cheese Cake (1964 [1979], SteepleChase): A live radio shot from his early days in Copenhagen, with Tele Montoliu (piano), NHØP (bass), and Alex Riel (drums). Short and sweet. B+(**) [r] Dexter Gordon Quartet: I Want More (1964 [1980], SteepleChase): Another live radio shot from Jazzhus Montmartre in Copenhagen, again with Montoliu and NHØP, this time with Rune Carlsson on drums. This was a prime period for him, and nearly everything sounds great. B+(***) [r] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, November 19, 2023 Speaking of WhichI'm mostly working on the Francis Davis Jazz Critics Poll this week, and probably every week until the first of January, so this weekly exercise is being demoted to a part-time, background project, making it even more cryptic and scattered than usual. Still, let me say a few words up top -- or reiterate, as I've said pretty much the same thing in recent weeks. The main story is, again, Israel's war, which is no longer just against Gaza, but has extended to the West Bank and the border with Lebanon. Israel's leaders have always understood themselves to be at war with the Palestinian people and the broader Arab neighborhood, the purpose of which is to utterly dominate the region, reducing Palestinians to an "utterly defeated people," out of sight and out of mind, effectively dead. You can date their war back to 1948, or earlier. You can find seeds in Herzl's 1896 The Jewish State, which started growing in 1920 when Britain set up its "Jewish homeland," playing its typical divide-and-conquer game. But the idea is older still: at least since 1492, Europeans have moved to new lands and immediately started plotting to subjugate, or better still eliminate, the people they found there. So this first point, that the war did not start on October 7, should be too obvious to have to dwell on. Still, we may treat it as a new phase or level, as the shock of the Oct. 7 revolt gave Israel an excuse to implement the genocide that Zionism always implied. The second point is that the Oct. 7 revolt, and the subsequent retaliation and escalation by Israel, was not necessary, and could easily have been prevented, at least by Israel's current and recent leaders. (Most obviously Netanyahu, but it's hard to discern any fundamental differences going back to, well, Ben-Gurion, with only Sharett and Rabin offering vague and conflicted gestures that might have pointed toward some form of peaceful co-existence.) Israel -- by which I mean its political leaders, a group that could have fit within a meeting room and/or a conference call, and not the whole nation -- could simply have decided to contain the damage of Oct. 7, and not to compound the damage by retaliating. They didn't do so because they've locked themselves into a logic that tries to solve all problems by asserting their power. They may argue that their policies have worked well enough so far, so will work well enough in the future, but they are wrong: they've only appeared to have worked because they've never seriously assayed the costs. The revolt itself could have been prevented in either of two ways. The specific people who organized and led the revolt -- for lack of more precise names, we might as well follow everyone else and call them Hamas, but we're talking about a small and isolated subset of people affiliated with Hamas, and quite probably others not in any way part of Hamas -- presumably had enough free will (but do we really know this?) to have decided not to act. That they did revolt suggests not malice so much as desperation, and mere luck in the outcome. The other way to prevent revolt is to create conditions where Palestinians would have no compelling reason to revolt. There are lots of things that can be done in this regard (and Israel has even, on rare occasions, tried some, which worked as well as they could, as long as they were in place). Almost all internal conflicts end, or simply fade into oblivion, with some kind of accommodation. Israel is peculiarly, but not inevitably, resistant to the idea, but it's the only real path out of their quandry. Given these percepts, I've laid out a fairly simple way to end the war in Gaza, which gives Israel a free hand to implement when they are ready, which is favorable enough to Israeli interests they should be happy to accept, and which accords Palestinians in Gaza a fair hope for respect and recovery. It does not attempt to solve any issues beyond the Gaza front, so does not require Israel to address its abuses of Palestinians within Israel and its other occupied territories, or its border issues with other countries. Very briefly, the steps are:
Note that nothing here requires Israel to dismantle its apartheid regime elsewhere, nor does it protect Israel from war crime and human rights charges (except for Gaza up to the hand off). Nothing here keeps world from showing its reservations over Israel, especially through BDS programs. Israel will remain, for the time anyway, racist and militarist. It just won't have Gaza to kick around any more. Given how much kicking they've done, especially since 2006, that in itself should reduce the conflict, and make other aspects of it easier to deal with, but that ultimately depends on Israelis growing up and becoming responsible citizens of the world, as opposed to their current preference as tyrants over one small patch of it. I'm pretty certain that, given the chance, a democratic Gaza will not tolerate any attacks on Israel. Some Gazans may still decide to join ISIS or other extremist groups, but they will have to go into exile to do so, and will no longer be Gaza's responsibility. Plus, there will be far fewer of them once Israel stops "mowing the grass." Other topics could be added to this, but why complicate things? I believe that there should be a right to exile, which would allow Palestinian prisoners in Israeli jails to leave the country. That would be a better solution than simply trading hostages/prisoners. My guiding rule for negotiations is to try to get to the right answer, one that works for all sides, with a minimum of impacts, and measure to increase trust and transparency. That may not always be possible, in which case you should look for other ways to compensate for perceived losses. (Gaza, in particular, is going to need a lot of aid.) Let's put this part in bold:
Top story threads:Israel:
Trump, and other Republicans:
Biden and/or the Democrats:
Legal matters and other crimes:
Climate and environment:
Economic matters:
Ukraine War and American Geopolitics: While the Ukraine quagmire only deepens, other stories pop up that fit into the broader domain of America's arms racket and imperial ambitions.
Around the world:
Other stories:Liza Featherstone: [11-17] Rich people in the US have been allowed to get way too rich. Paul Rosenberg: [11-19] When a liberal president goes to war: Lessons of the LBJ era are relevant today. Jeffrey St Clair: [11-17] Roaming Charges: Politics of the lesser exterminators. Legacy: [11-19] Gerald "Jerry" Paske: Obituary. I'm saddened to note the death of my first philosophy professor, at 90. He taught the 101 intro course at Wichita State University, a big lecture class, and immediately turned us to reading Charles Sanders Peirce, the most interesting of the American pragmatists, and a perhaps unknowing gateway into the Marburg Neokantians. He always seemed like a decent, sensible guy, but the event that most impressed me was when, immediately after the Attica massacre, he put aside his prepared text and talked extemporaneously about the contempt for humanity that stoked the slaughter. After we returned to Wichita, he had retired, but every now and then he would write letters to the Eagle, always insightful, reliably decent. I found out then that he had written a short book, Why the Fundamentalist Right Is So Fundamentally Wrong. I tried to get in touch with him after my nephew Mike Hull finished his movie, Betrayal at Attica, but I never heard back. [PS: In looking Paske up, I also found out that another of my WSU philosophy professors, Anthony Genova, died in 2010. I took his course on logic, which was mostly symbolic, but the opening section on informal fallacies was eye-opening. There are dozens of examples in the pieces I cite every week.] I also see that Jonathan David Mott, the author of the blog Zandar Versus the Stupid, has passed away, at 48. I can't say as I've ever read him, but got the tip from No More Mister Nice Blog, who wrote: "He was always one of the most perceptive bloggers out there, and I will miss hearing from him as the world goes to hell." I'm reminded that Norman G. Finkelstein published a book in 2018 called Gaza: An Inquest Into Its Martyrdom, which seems a bit premature at the moment, but no more so than it would have been to write a book on how alarming you found Nazi anti-semitism after Kristallnacht in 1938 (or after the Nuremberg Laws in 1935, when the die was cast, but still cloaked under the guise of law). Still, the book goes into great detail on Operation Cast Lead, the Goldstone Report, the Mavi Marmara, and Operation Protective Edge. The preface opens:
It's unfortunate that we keep resorting to Nazi Germany, Apartheid South Africa, the Slave Power in the United States, to provide some historical context for what Israel has done to Gaza, but those are by far the most relevant examples we are mostly aware of. But that's pretty much Israel's peer group. And I suppose those examples do offer one small bit of hope: they offer a range of possible endings to the still unfinished story of Israel and Gaza. In South Africa, reason and decency dismantled Apartheid. The other two regimes were destroyed in war, but not before the Nazis killed 6 million Jews, and lost 12 million of their own. The slave states lost their war as badly, but recovered to create a new system of oppression, which took another 100 years to dismantle (and could still use some work). Ask a question, or send a comment. Monday, November 13, 2023 Music WeekNovember archive (in progress). Music: Current count 41160 [41108] rated (+52), 22 [28] unrated (-6). Spent way too much time the last few days knocking together another Speaking of Which. To little or no avail, I suspect, but that's what we do around here. What I should have been doing was getting the 18th Annual Francis Davis Jazz Critics Poll rolling. I've been saying all along that I'd get the ballots sent out by November 15, which this week is known as Wednesday. I do have the website set up, but have a lot more writing I want to get done -- both to explain the nitty gritty details to users, voters, and myself. The voting itself will be exactly as it was last year, and many years before that. The big problem is deciding who gets to vote, contacting them, and making sure they're on board. We dropped from 156 to 151 voters last year, and I fear that was mostly due to email failures. My fears in that regard got much worse early this year when I discovered that lots of mail from my server wasn't getting delivered. Fixing that was never clear nor simple, so I'm starting from an expectation that this is going to be a tough slog. It would be nice if all my voters read this blog, or some blog I could communicate via, or at least followed me on X, but that's certainly not the case. What I do have to communicate with are two mailing lists. One is kept in my mailer, which I can then run through a "mail merge" extension to generate individualized messages. I have a shortened invite file, which I intend to run through that grinder later this week. Those I consider the official invites. (For late invites, I'll just use that as boilerplate for private messages.) The other is a GNU Mailman list on my server, which more or less has the same addresses (but maintained separately, ugh!). I'm going to send them a "heads up" message before I send out the invites. Then I'll use that list for subsequent updates: probably 2-3 reminders to vote, a deadline notice, an updates or two on publication dates, including a done. Neither of these work as well as I'd like, but they make it possible to keep most people fairly well informed along the way. I thought I'd get started on expanding the voter list more than a month ago, and indeed I did (barely) get started, but once again I'm up against a crunch deadline. I have a few new names ready to add now, and a system set up to find more, but I'm still looking for helpful suggestions. One thing I have discovered so far is that the talent pool isn't lacking. I sent out 200 invites last year, to get 151 ballots back. I'm hoping for maybe 250 invites this year. I doubt it will make much difference to the standings, but 50 more voters will probably add 150 more albums to the overall list, and that, I think, would be a big plus. One thing I do with my tracking file is include any year-old album (2022) that I've only noticed in 2023 (i.e., that wasn't in the 2022 tracking file -- one that included everything that got a vote last year) and I have about 75 such records so far this year. By the way, in this year's file the current jazz count is 952 (603 heard by me). I managed to make a first pass on my EOY files for Jazz and Non-Jazz, currently with 60 and 42 A-list new releases, respectively. We still have a fair ways to go, but that's well below 2022's 75 jazz and way below 2022's 83 non-jazz. For B+(***) albums, new jazz has 145 (vs. 195 in 2022), new non-jazz has 77 (vs. 122 in 2022) The overall rated number is 1085 in 2023 (604 jazz), vs. 1669 in 2022 (898 jazz), so I'm down 34.9% in rated records this year, down 32.7% in jazz, more in non-jazz. HM/A-list jazz is down 26.2%, while non-jazz is down much more, 44.3%. In some sense, I'm not surprised: The 2022 totals were ridiculously high, so I knew I was going to slip, and through the health scares and what not I figured that to be a good thing. I can't keep racking up those numbers, and having passed 41,000, I don't really want to anymore. Those numbers will even out a bit over the next couple months, but the drop from 83 to 42 is pretty extreme. One odd thing is that the last two Christgau Consumer Guides have failed to land a single A- on my list (after 4 in September). I didn't think much of that in October, which still has several albums I haven't found, but only Hemlocke Springs in November inspired so much as a second play. But thus far only 14 of my 42 A-list non-jazz albums got an A/A- from Christgau (2 of which I bumped on re-listens after his reviews). Probably says more about me than him, but I know not what. Lots of records, hastily considered, below. Dave Bayles was actually a post-break listen today (so not in the 52 count), but I figured I might as well report it now. Ortiz, by the way, was a previous Monday listen, so a long stretch where very little blew me away. Naked Lunch, by the way, was in response to a question, but I haven't gotten around to writing it up in answer form yet. One more note: I added some code to the RSS generator to split the feed to just provide Music Week or Speaking of Which files: see the left nav menu, under Networking. I never got much feedback on how the RSS stuff is working (and rarely look at it myself, although my mailer dutifully collects the entries). But I regularly look at No More Mister Nice Blog, and I'd like to get back on his blog roll, so it seemed like a good idea. I also found that the Christgau RSS feed has been broken for months, which nobody pointed out. All that took was a "&" instead of "&" in the content, and kerblooey! New records reviewed this week: Lina Allemano/Axel Dörner: Aphelia (2019 [2023], Relative Pitch): Two trumpet duets, oscillating between ambient and drone with occasional farts. B+(*) [sp] JD Allen: This (2023, Savant): Tenor saxophonist, introduced himself in 1998, mostly works in trios, but this is the first to employ electronics (Alex Bonney) in place of bass, with Gwilym Jones on drums. The electronics works well enough, but it still comes down to the man with the horn. B+(***) [sp] Atlantic Road Trip: One (2023, Calligram): Quintet, recorded in Chicago, so it was probably Scottish alto saxophonist Paul Towndrow tripping, meeting up with trumpet player Chad McCullough, backed with vibes, bass, and drums. B+(**) [cd] Dave Bayles Trio: Live at the Uptowner (2023, Calligram): Drummer, based in Milwaukee, first album, joined by bassist Clay Schaub (who wrote 5 of 9 songs), and trumpet player Russ Johnson (who wrote 3, and arranged the Monk cover). Very nice showcase for Johnson, who has long impressed. A- [cd] Bombino: Sahel (2023, Partisan): Tuareg guitarist and songwriter from Agadez, Niger, Omara Moctar, fifth studio album since 2011, all pretty much equal. B+(***) [sp] Boygenius: The Rest (2023, Interscope, EP): Four songs, 12:06, could easily have fit on The Record, but sucker-priced at $12 for CD, $20 for vinyl. No reason to trust me on them, but I do keep trying, and it's not much of a burden. B [sp] Zach Bryan: Summertime Blues (2022, Warner, EP): Country singer-songwriter, has produced a lot since his 2019 debut, releasing this 9-song, 28:07 "EP" less than two months after his double album American Heartbreak (34 songs, 121:21). B+(**) [sp] Zach Bryan: Boys of Faith (2023, Warner, EP): Five songs, 15:59, title track shared with Bon Iver, another with Noah Kahan. B+(**) [sp] Calcanhar: Jump (2023, Clean Feed): Portuguese duo, João Mortágua (alto/soprano sax) and Carlos Azevedo (piano), both have previous albums, but not many. B+(*) [bc] Chief Adjuah: Bark Out Thunder Roar Out Lightning (2023, Ropeadope): Or Chief Xian aTunde Adjuah, anything but Christian Scott, who's not only lost his name but his trumpet too, here playing n'goni, other African-inspired instruments, and singing, although the latter often draws on the chiefs of New Orleans Indians. B+(***) [sp] CMAT: Crazymad, for Me (2023, AWAL): Irish singer-songwriter, initials for Ciara Mary Alice Thompson, second album, impressive range with some pop hooks, has some serious props, but doesn't quite sit right with me. B+(***) [sp] Mike DiRubbo: Inner Light (2023, Truth Revolution): Alto saxophonist, tenth release as leader, backed by a organ (Brian Charette), guitar (Andrew Renfroe), drums (Jongkuk Kim) trio, soul jazz but in the church of Coltrane. B+(***) [cd] [11-17] Mia Dyberg Trio: Timestretch (2022 [2023], Clean Feed): Danish alto saxophonist, several albums since 2016, free jazz trio with bass (Asger Thomsen) and drums (Simon Forchhammer). B+(*) [sp] Nataniel Edelman Trio: Un Ruido De Agua (2022 [2023], Clean Feed): Pianist, from Argentina, second album, a trio with featured names on the cover: Michael Formanek (bass), and Michaël Attias (alto sax). Quite nice. B+(***) [bc] Phillip Greenlief/Scott Amendola: Stay With It (2017 [2023], Clean Feed): Saxophonist (alto/tenor, also clarinet), new to me but he released a duo with Amendola (drums) way back in 1995, and has racked up another 54 credits (per Discogs) since then, some of which I've certainly heard. Starts impressively free, loses a bit on the change of pace. B+(***) [sp] Fritz Hauser & Pedro Carneiro: Pas De Deux (2022 [2023], Clean Feed): Swiss drummer, his Solodrumming from 1985 is highly regarded. Joined here by Carneiro, on marimba. Pretty minimal. B [bc] Scott Hesse Trio: Intention (2023, Calligram): Guitarist, has a self-released album from 1998, a previous trio on Origin from 2015. Based in Chicago, backed by bass (Clark Sommers) and drums (Dana Hall), plays three originals, covers of Coltrane, Shorter, Coleman, and Kern. B+(**) [cd] The Hives: The Death of Randy Fitzsimmons (2023, Disques Hives): Swedish rock band, released four albums 1997-2007, one in 2012, now this sixth one. I'm unclear on the back story, but some of the sharpest garage rock I've heard in a long time. B+(***) [sp] Horse Lords: Live in Leipzig (2022 [2023], RVNG Intl., EP): Post-rock group from Baltimore, debut 2012, instrumental (sax, bass, guitar, drums, incorporating electronics. Four songs, 21:46. B+(*) [sp] Mikko Innanen/Stefan Pasborg/Cedric Piromalli: Can You Hear It? (2022 [2023], Clean Feed): Sax (sopranino/alto/baritone, oboe), drums, organ, with Lori Freedman voice (two tracks). B+(**) [bc] Guillermo Klein Quinteto: Telmo's Tune (2023, Sunnyside): Pianist, from Argentina, studied at Berklee, based in New York, albums since 1998, most with larger groups. Quintet here with Chris Cheek (tenor/soprano sax), Leo Genovese (piano), Matt Pavolka (bass), and Allan Mednard (drums). B+(**) [sp] L'Rain: I Killed Your Dog (2023, Mexican Summer): Singer-songwriter Taja Cheek, although her songs are more likely to be instrumental vamps with vocals for shading. B+(**) [sp] Liquid Mike: S/T [Self-Titled] (2023, Kitschy Spirit, EP): Indie group from Marquette, Michigan, with guitar (Mike Maple), synth (Monica Nelson), bass, and drums, the first two singing (but mainly him). Fourth album, everyone uses S/T as the title but cover reads self-titled (twice; format suggests they just unwrapped the cassette artwork). Eleven songs clocking in at 18:06 without feeling rushed. Sound immediately reminded me of Dead Milkmen, but not that funny, and much more into layering. B+(***) [sp] Liquid Mike: Stuntman (2021, Lost Dog): First album, 14 songs, 30:39. They sort of got their sound together. Now, content maybe? B [sp] Liquid Mike: You Can Live Forever in Paradise on Earth (2021, Sweet Chin Music, EP): Seven songs, 17:22. B [sp] Liquid Mike: A Beer Can and a Bouquet (2022, self-released, EP): Having found three different labels for their three other releases, I had to punt here. They're all on the same Bandcamp, along with a couple of singles, and no branding to be found there. Nine songs, 22:36, enough to pass for an album these days. B+(**) [sp] Nellie McKay: Hey Guys, Watch This (2023, Hungry Mouse): Started out as a singer-songwriter in 2004, with show biz roots and ambitions, developed as an interpretive singer with her 2009 Doris Day tribute. This is billed as her first album of original material in 13 years. It was recorded in West Virginia with a group called the Carpenter Ants. I'm finding this very confusing, perhaps because it starts off bland and demure, then gets wilder and wierder (including, if I'm following this correctly, plaudits for Hiroshima and Jeremy Dahmer). Highly subject to revision, if I ever have a reason to play this again. B+(**) [sp] Mercury [Nicolas Caloia & Lori Freedman]: Skin (2023, Clean Feed): Montreal duo, double bass and clarinets. A little sketchy, especially with so much focus on the bass. B+(**) [bc] Allison Miller: Rivers in Our Veins (2023, Royal Potato Family): Drummer, debut 2004, original pieces, makes impressive use of a very talented group: Jenny Scheinman (violin), Jason Palmer (trumpet), Ben Goldberg (clarinet/contra-alto clarinet), Carmen Staaf (piano/rhodes/accordion), and Todd Sickafoose (bass), plus some tap dancers. I'm finding it a bit slick and scattered, but perhaps just can't get to the big picture. B+(***) [sp] Steve Million: Perfectly Spaced (2023, Calligram): Pianist, based in Chicago, albums since 1995, quartet here with Mark Feldman (violin), Eric Hochberg (bass), and Bob Rummage (drums). B+(**) [cd] Simon Nabatov 3+2: Verbs (2022 [2023], Clean Feed): Russian pianist, long-based in Germany, the "3" his trio with Stefan Schönegg (bass) and Dominik Mahnig (drums), the "2" adding Leonhard Huhn (alto sax/clarinet) and Philip Zoubek (synthesizers). B+(**) [bc] Simon Nabatov: Extensions (2022 [2023], Unbroken Sounds): Pianist-led sextet, with Sebastian Gille (saxophones) and Shannon Barnett (trombone), plus two bassists and a drummer. B+(***) [sp] Aruán Ortiz: Pastor's Paradox (2022 [2023], Clean Feed): Cuban pianist, based in Brooklyn, has a large and varied body of work. Three more names on the cover: Don Byron (clarinet), Lester St. Louis (cello), and Pheeroan Aklaff (drums), but Yves Dhar takes over cello on two tracks, and Mtume Gant offers spoken word on three, drawing on phrases from Martin Luther King. A- [cd] Ethan Philion Quartet: Gnosis (2023, Sunnyside): Bassist, based in Chicago, debut album in 2022 Meditations on Mingus, offers more meditations with a smaller group: Russ Johnson (trumpet), Greg Ward (alto sax), and Dana Hall (drums). B+(***) [sp] R. Ring: War Poems, We Rested (2023, Don Giovanni): Kelley Deal (Breeders) and Mike Montgomery. B+(*) [sp] Ned Rothenberg: Crossings Four (2022 [2023], Clean Feed): Reeds player (bass clarinet, alto sax, clarinet), debut 1981, finds himself in stealthy company here with Sylvie Courvoisier (piano), Mary Halvorson (guitar), and Tomas Fujiwara (drums). B+(***) [bc] Jerome Sabbagh: Vintage (2020 [2023], Sunnyside): Tenor saxophonist, from France, based in Brooklyn, has a steady stream of mainstream releases since 2004. This one employs Kenny Barron (piano), perhaps looking to renew his lease on Stan Getz. B+(**) [sp] A. Savage: Several Songs About Fire (2023, Rough Trade): Parquet Quarts co-frontman, second solo album, with band work between the first (2017) and now. Music and words evince skill and thought, but only so much one can do with his voice, especially at this tempo. B+(**) [sp] Troye Sivan: Something to Give Each Other (2023, Capitol): Australian pop singer-songwriter, third album. B+(**) [sp] Hemlocke Springs: Going . . . Going . . . Gone! (2023, Good Luck Have Fun, EP): Isimeme "Naomi" Udu, b. 1998 in North Carolina, of Nigerian immigrant parents, expands two freak electropop singles into a 7-track, 21:24 EP. Two great songs, two close enough, three more than ok. B+(***) [sp] Yuhan Su: Liberated Gesture (2023, Sunnyside): Vibraphonist, from Taiwan, studied at Berklee, based in New York, fourth album. With Caroline Davis (alto sax), Matt Mitchell (piano), Marty Kenney (bass), and Dan Weiss (drums). B+(***) [cd] Kevin Sun: The Depths of Memory (2021-22 [2023], Endectomorph Music, 2CD): Tenor saxophonist, I've been very impressed by everything he's done since his 2018 debut, but his effort here to create extended works is less striking. Three pieces here, totalling 82:28, intricately arranged with basic piano-bass-drums, adding trumpet (Adam O'Farrill) on the last two. B+(***) [cd] Grzegorz Tarwid Trio: Flowers (2022 [2023], Clean Feed): Polish pianist, has one previous album and several side-credits. Trio here with bass (Max Mucha) and drums (Albert Karch). The rhythm-heavy opening got my attention. B+(***) [bc] Teen Jesus and the Jean Teasers: I Love You (2023, Domestic La La): Australian girl band, lead singer Anna Ryan, slotted punk but I'm thinking more like Go-Go's, first album after an EP. B+(**) [sp] Trespass Trio Feat. Susana Santos Silva: Live in Oslo (2018 [2023], Clean Feed): One of Swedish saxophonist Martin Küchen's groups -- he plays baritone and sopranino here, with Per Zanussi on bass and Raymond Strid on drums -- with four 2009-17 albums, joined here by the Portuguese trumpet player. B+(**) [bc] Daniel Villarreal: Lados B (2020 [2023], International Anthem): Drummer, from Panama, based in Chicago, second album, a trio with Jeff Parker (guitar) and Anna Butterss (double & electric bass). Seductive groove music. A- [sp] Jennifer Wharton's Bonegasm: Grit & Grace (2023, Sunnyside): Bass trombonist, leads a section here with John Fedchock, Nate Mayland, and Alan Ferber, backed by piano, bass, drums, and percussion. Third group album. Fedchock produced. Ends on an up note, with a vocal about Louisiana hot sauce. B+(***) [cd] Recent reissues, compilations, and vault discoveries: Jouk Minor/Josef Traindl/Jean Querlier/Christian Lété/Dominique Regef: Enfin La Mer (1978 [2023], NoBusiness): Free jazz group, with two pieces dubbed suites (33:50 + 16:43), playing baritone sax/contrabass clarinet, trombone, alto sax, drums, and hurdy gurdy -- most with spotty discographies (Regef has the most side-credits, but nothing as leader). Still, often impressive. B+(***) [cd] Old music: The Hives: Barely Legal (1997, Burning Heart): First album for the Swedish punk band, five years before their Veni Vidi Vicious breakthrough. As coarse as it ought to be. Fourteen songs in 27:21. B+(*) [sp] The Hives: The Black and White Album (2007, A&M/Octone): Fourth album, fourteen songs again, but 47:57. B+(*) [sp] Howard Shore/Ornette Coleman/London Philharmonic Orchestra: Naked Lunch [The Complete Original Soundtrack Remastered] (1991 [2014], Howe): Soundtrack to the David Cronenberg film of the William S. Burroughs novel, mostly (and most forgettably) composed by Shore, who has some eighty soundtracks 1979-2022, including lots of big budget deals (Lord of the Rings seems to be the one he's most famous for). Coleman composed five tracks (plus two in the six-track bonus section), although he plays (and it really couldn't be anyone else) on the Shore-credited "Interzone Suite," and possibly elsewhere, interesting but not enough to sustain the album. I saw the film, but don't remember much of it, nor do I recall much of the book, which I poked around with in my late teens, treating it more as concrete poetry than as any sort of story. B+(*) [sp] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, November 12, 2023 Speaking of WhichI started this mid-week, way too early for what I rarely intend as anything more than casual note-taking, but with elections on Tuesday and the "kiddie-table debate" on Wednesday (credit the quote to SNL's Trump personifier), the stories piled up fast. Most of the early ones just got links, but some inevitably provoked one-liners, and soon enough longer disquisitions ensued. But some of the most important pieces are barely noted, like the Savage and Shafer pieces on Trump's second-term ambitions. (Sure, they're not exactly new news, but the new articles are more detailed and comprehensive.) Still, mostly Israel this week, mostly rehashing points that were obvious from the start of October 7. The story there is, as it's always been, about power and resistance. As noted last week, Gabriel Winant described Israel as "a machine for the conversion of grief into power." That grief brings with it a great deal of anger and righteousness, which goes a long ways to explaining why Israeli power has been remarkably successful for so long. But the problem is that power never quite works the way you want it to. Every effort to exercise power, to impose your will on other people, meets the resistance of what we might as well call the human spirit. And that resistance takes a toll, both physical and psychic, as despite the hubris of the powerful, they too have human spirits. So while the "Israel-Hamas War" since October 7, starting with one spectacular day of rebellion followed by a month-and-counting of relentless, methodical slaughter, has been an object lesson in the massive superiority of Israeli military power, it doesn't feel like a victory, least of all to the Israelis. For one thing, the revolt punctured Israel's long-held belief that power makes them invulnerable. For another, they're slowly coming to realize that they can't kill and destroy enough to stamp out resistance, which will return and flourish in their ruins. And finally, they're beginning to suspect that any victory they can claim will prove hollow. In this understanding, the world is moving way ahead of its leaders, perhaps because the human spirit is concentrated among the powerless, among those whose minds aren't corrupted by their pursuit and cultivation of power. Given this, calling for an immediate cease-fire should be the easiest political decision ever. Even if your sympathies and/or identity is fully with Israel, an immediate halt is the only way to stop adding to the cumulative damage, not just to Palestinian lives but to Israel's tarnished humanity. Because, and we should be absolutely clear on this, what Israel has been doing for more than a month now isn't self-defense, isn't deterrence, isn't even retaliation: it is genocide. That is the intent, and that is the effect of their tools and tactics. Genocide is a practice that the whole world should, and eventually will, condemn. And while the roots of the impulse run deep in Israel's political history, down to the very core tenets of Zionism, we should understand that the actions were conscious decisions of specific political leaders, aided by key people who followed their orders, abetted by political parties that bought into their mindset. While it is very unlikely that even those leaders will ever be adequately punished -- as if such a thing is even possible -- unwinding their support will start to make amends. It feels like I should keep going with this argument, but I'm dead tired, and rather sick of the whole thing, so will leave it at that. I tossed this tweet out on Thursday:
Top story threads:Israel: The ground war, ostensibly against Hamas, as well as the air war, really against all of Gaza, continues as it has since the Oct. 7 prison break. This section quickly gets filled up with opinion pieces, largely due to our vantage point far from the action, partly due to our intimate involvement with the long-running conflict, and the dire need to insist on a cease fire to put a stop to the mounting destruction, and allow for some measure of recovery to begin. So the actual day-to-day details tend to escape my interest. To obtain some sense of that, I thought I'd just list the headlines in the New York Times "updates" file(s):
Some more news articles, mostly from the New York Times:
If you want something that reads less like Israeli Pravda, Mondoweiss has a daily summary:
Here are this week's batch of articles:
Tuesday's elections: Democrats came away with some bragging rights, but none of these results were resounding wins:
We had two signs up in front of our house. Our mayoral favorite lost to the Koch money machine, but our school board pick won.
The "third Republican presidential debate": We might as well split this out from the general morass of Republicanism, even though it did little more than exemplify it. I didn't watch, but my wife did, so I overheard a segment on foreign policy that was several orders of magnitude beyond bonkers.
I generally hate it when people try to make a case by pointing out how a person looks, but I've been having a lot of trouble in following clips of Ramaswamy, not just because he's so nonsensical but because he doesn't seem to have a face behind the mouth that spouts such nonsense. Perhaps this is just something that happens with age, but it's not a problem I see with the other candidates (DeSantis has a face, although it's turned into a self-caricature, a different problem), or most other people. I'm looking at Salon as I write this, and even Ivanka (7 pictures) has some kind of face-in-progress. Her father (8 pictures) has a face, even if it's mostly buried in bronzer. Even Brian Kilmeade, staring as blankly as his brain, has a face. But Ramaswamy doesn't. Trump, and other Republicans:
Biden and/or the Democrats:
Legal matters and other crimes:
Climate and environment:
Economic matters:
Ukraine War:
Around the world:
Other stories:Charles Hirschkind: [11-08] Exterminate the brutes: "Beneath the veneer of a celebrated concern for human rights, the racism that defined 19th century colonialism continues to provide the dominant lens through which the West exercises the subordination of non-Western populations." Another piece about Israel, but I thought I should give it a little distance. Matthew Hoh: [11-10] Armistice Day and the empire: A name change and the catastrophe that followed. It's now Veterans Day, November 11, signifying not the arrival of peace (after WWI) but the endless waste of war. Yarden Katz: [11-09] Are Israelis Jews? Returning to Jewish minority life: Argues that "Israel has erased the Jewish people and destroyed the possibilities for Jews to live in Palestine as non-colonizers. 'Israeli' is a colonial identity we should renounce, because it harms both Palestinians and Jews." Interesting attempt to drive a wedge between identities Jewish and Israeli, then flip them over. Nothing is quite that simple. Jeremy Kuzmarov: [11-10] How Bill Clinton set the groundwork for today's foreign policy disasters. Co-author, with John Marciano, of a book I should have noted when it appeared in 2018: The Russians Are Coming, Again: The First Cold War as Tragedy, the Second as Farce; also Obama's Unending Wars: Fronting the Foreign Policy of the Permanent Warfare State (2019); and forthcoming: Warmonger: How Clinton's Malign Foreign Policy Launched the US Trajectory From Bush II to Biden. Keren Landman: [11-09] It's getting increasingly dangerous to be a newborn in the US. A big part of this seems to be: Alice Miranda Ollstein: [11-07] Congenital syphilis jumped tenfold over the last decade.[ Michaelangelo Matos: [11-05] Documentary review: 'The War on Disco': I accidentally saw a bit of this show, but didn't stick around long enough to evaluate Matos on the subject (although I know him to be one of the best dance-oriented critics around). I always thought the anti-disco rants in the 1970s were more stupid than racist (although what finally shut them up were disco hits by Blondie and New Order, so go figure). Nathan J Robinson: [09-19] Is Thomas Sowell a legendary "maverick" intellectual or a pseudo-scholarly propagandist? Asking the question practically answers itself. One more in a long series of profiles in right-wing mind-rot. Aja Romano: [11-10] What the Hasan Minhaj controversy says about the trouble with storytelling. Robert Sherrill: [1988-06-11] William F. Buckley lived off evil as mold lives off garbage: An archive piece, by one of my favorite journalists fifty years ago, a review of John B Judis: William F Buckley, Jr: Patron Saint of the Conservatives. Sherrill's title bears structural resemblance to his book, Military Justice Is to Justice as Military Music Is to Music. Alissa Wilkinson: [11-09] The long, long Hollywood strikes have ended. Ask a question, or send a comment. Tuesday, November 7, 2023 Music WeekNovember archive (in progress). Music: Current count 41108 [41078] rated (+30), 28 [32] unrated (-4). I had a bunch of things I wanted to get done before this update, and I have damn little to show for it. A bunch of things happened, or didn't happen, last week, but if I try to go into that, it'll be days more before I post anything. Maybe next week I can explain. Meanwhile. I did write another long Speaking of Which, which didn't come out until Monday, pushing Music Week back a day. Rather than wrote more on that here, let me recommend a book about a different time and world that strikes me as especially relevant here: Nicholson Baker's Human Smoke, a chronicle of the prehistory of WWII told through contemporary newspaper clippings: written by the last people who had to figure out the Nazis without having the benefit of knowing how the story ends. One of my distractions last week was figuring out a sequel for my Oct. 27 birthday dinner. I had shopped for a lot of tapas dishes that I didn't have time to make, so we had a second setting a week later (so Nov. 3). I promised last week to write up my notes on the birthday dinner. I finally did this in the notebook. I also looked up some previous Spanish-themed dinners, and came up with a couple of old pics. I also finished the indexing on October Streamnotes. One thing I made very little progress on was setting up the 18th Annual Francis Davis Jazz Poll. I hoped to be able to say more about that here, but that will have to wait until next week. It is still a go, and I hope to send ballot invites out by Nov. 15 (hopefully not much later). Big issue right now is trying to figure out who to invite. I'm surprised as how frazzled I already feel. Another thing I didn't get done was setting up my EOY files, broken out between jazz and non-jazz (as in previous years -- oops, already have links there to my useless stubs). The distractions took time away from listening, but the extra day got the rating count up to 30, including five A-list items from my demo queue (a lot more than usual). Would have had six had I gotten to Aruán Ortiz in time. New records reviewed this week: Rodrigo Amado/The Bridge: Beyond the Margins (2022 [2023], Trost): Portuguese tenor saxophonist, easily one of the top half-dozen in the world since 2000, which should suffice here, but pianist Alexander von Schlippenbach is a special treat here, and the interaction is so masterful Gerry Hemingway and Ingebrigt Håker Flaten got in on the action. Beware: it does get a little rowdy. A [cd] Darcy James Argue's Secret Society: Dynamic Maximum Tension (2023, Nonesuch): Canadian big band composer/arranger, studied under Bob Brookmeyer, fourth album since 2009, an extra large one (111 minutes). Not something I'm inclined to get excited about, but fine soloists, some very nice segments, works as background but gets better when you tune in. B+(***) [sp] Bruce Barth Trio: Dedication (2021 [2022], Origin): Pianist, from Pasadena, first records (c. 1985) were with George Russell, then Orange Then Blue. Trio with bass (Vicente Archer) and drums (Montez Coleman). B+(**) [sp] Rob Brown: Oceanic (2021 [2023], RogueArt): Alto saxophonist, records since 1989, I associate him mostly with William Parker's groups. Solo here. B+(***) [cdr] Rob Brown Quartet: Oblongata (2022 [2023], RogueArt): Alto saxophonist (also plays some flute), joined by Steve Swell (trombone), Chris Lightcap (bass, and Chad Taylor (drums), in a superb free set. A- [cdr] Buck 65: Punk Rock B-Boy (2023, self-released): Venerable rapper from Nova Scotia, dropped this 19-track limited edition cassette (all ten unique copies sold out) by surprise, with a line about the Texas Rangers suggesting he cut that track the day before this dropped. After a layoff, he popped back last year with the superb King of Drums -- so superb I was happy enough when this year's Super Dope sounded just like it. But this one is better still, with the words popping at a pace that justifies his "autodidactic polymath" boast. The beats too, until a change of pace called "Terminal Illiness" seals the deal. A [bc] DJ Shadow: Action Adventure (2023, Mass Appeal): Electronics producer Josh Davis, early records Endtroducing (1996) and, especially, The Private Press (2002), are favorites, with nothing else -- only four studio albums before this one -- close. Synth beats recognizable, but he's lost the ability to hook a vocal sample, like "what you gonna do now?" B+(*) [sp] Kurt Elling: SuperBlue: The London Sessions (2022, Edition, EP): Live rehash of his "Grammy-nominated" 2021 SuperBlue, five tracks (28:12), with Charlie Hunter (hybrid guitar) bringing the funk. He cuts the shit, revealing what could pass for soul (e.g., "Lonely Avenue"). B+(*) [bc] Kurt Elling/Charlie Hunter/Neal Smith: SuperBlue: Guilty Pleasures (2022 [2023], Edition, EP): Vocals, hybrid guitar, drums: Bandcamp page parses this differently (Smith is a "feat."; "Superblue" vanishes), but title and all three names on the cover, as well as a "3" I don't know what to do with. Pretty flash rhythm work recasts the singer as funk, despite the scat. Six songs, 22:08. B+(*) [bc] Kurt Elling/Charlie Hunter: SuperBlue: The Iridescent Spree (2023, Edition): A skilled jazz singer, started out around 1998, highly regarded by most critics but one I can only rarely stand. The partnership with Hunter gives him an agreeable groove to work from, and reins in his worst effects. So more tolerable. Big deal. B [sp] Robert Finley: Black Bayou (2023, Easy Eye Sound): Bluesman from Louisiana, got a late start with a debut at 1962, called it Age Don't Mean a Thing, but in his genre age brings gravitas, which is what it's all about. Seven years later, turns out that even he sees age means something after all. B+(**) [sp] Sue Foley: Live in Austin Vol. 1 (2023, Stony Plain): Blues singer-songwriter from Ottawa, moved to Vancouver and then to Austin, releasing Young Girl Blues in 1992. I always liked her, and much of this is familiar, most likely drawing on her better albums. B+(**) [sp] Lafayette Gilchrist: Undaunted (2022 [2023], Morphius): Pianist, started out in David Murray's quartet, a dozen-plus albums since 1999. Sextet here, with Brian Settles (tenor sax), Christian Hizon (trombone), bass, drums, and percussion. B+(**) [sp] Hermanos Gutiérrez: El Bueno Y El Malo (2022, Easy Eye Sound): Duo based in Switzerland, brothers Estevan and Alejandro, father Swiss, mother from Ecuador, fifth album, produced in Nashville by Dan Auerbach. Very tasteful instrumental music, mostly guitar, not in any niche. A- [sp] William Hooker: Flesh and Bones (2023, Org Music): Avant-drummer, has a long career of going his own way. Drives a sextet here with Ras Moshe (tenor sax/flute), Charles Burnham (violin), On Davis (guitar), and two bassists (Hilliard Greene and Luke Stewart). B+(**) [sp] Russell Kranes/Alex Levine/Sam Weber/Jay Sawyer: Anchor Points (2022 [2023], OA2): Piano, guitar, bass, and drums; half trio (reference to the Nat King Cole Trio), and half with drums. The trio emphasizes the guitar, while the drums gets the pianist going. First album for Kranes, possibly the rest. B+(**) [cd] Lil Wayne: Tha Fix Before Tha VI (2023, Young Money): Mixtape, a distinction I've never understood, but number 29 for those who keep track of such things. Sounded sharp at first, but kept hitting the same point again and again, until it no longer even resembled a point. B [sp] Myra Melford's Fire and Water Quintet: Hear the Light Singing (2022 [2023], RogueArt): Pianist, a major figure since 1990, with Mary Halvorson (guitar), Ingrid Laubrock (tenor and soprano sax), Tomeka Reid (cello), and Lesley Mok (drums). Second group album, a rhythmic tour de force. A- [cd] Joshua Moshe: Inner Search (2023, La Sape): Saxophonist (soprano/alto/tenor, bass clarinet, synth, piano) from Australia, formerly Joshua Kelly, led the "nu jazz" JK Group), so not a debut. Chasing spirits, often over jazztronica beats. Interesting enough until the ululating. B+(**) [sp] David Murray/Questlove/Ray Angry: Plumb (2022 [2023], JMI/Outside In Music): Tenor sax/bass clarinet giant, jamming with the drummer and keyboard player from the Roots. Product status is iffy: runs 14 songs, 136 minutes, which can be streamed now, with a 4-LP box is promised for sometime 2024 ($150, "ships in about six months," which sounds more like a reverse twist on loansharking). The Roots guys aren't much more than fit for purpose here, but Murray is once again a tower of strength. A- [sp] Remembrance Quintet: Do You Remember? (2023, Sonboy): DC-based quintet I filed under bassist Luke Stewart's name, with two reedists (Daniel Carter and Jamal Moore), trumpet (Chris Williams), and drums (Tcheser Holmes), opens their "dig deep into humanity's ancestral stream" with spoken word, asking the title question, answering with unsettled horns and rhythm. B+(***) [sp] Sampha: Lahai (2023, Young): British singer-songwriter, parents from Sierra Leone, last name Sisay, plays keyboards, second album, falsetto adds to the r&b effect. B+(*) [sp] Jeff Sanford's Cartoon Jazz Orchestra: Playland at the Beach (2023, Little Village): Bay Area saxophone/clarinet player, originally from New York, leads a nonet with a couple previous albums, traces his interest in cartoon jazz to Raymond Scott and Carl Stalling (who else?). B+(**) [sp] Jeremy Udden: Wishing Flower (2023, Sunnyside): Alto saxophonist, debut 2006, played with Either/Orchestra before that, also plays Lyricron wind synthesizer here, with Ben Monder (guitar), Jorge Roeder (bass), and Ziv Ravitz (drums). B+(*) [sp] Miki Yamanaka: Shades of Rainbow (2023, Cellar Music): Japanese pianist, based in New York since 2012, fifth album, with Mark Turner (tenor sax), Tyrone Allen (bass), and Jimmy McBride (drums). Turner feels exceptionally relaxed here. B+(**) [sp] Recent reissues, compilations, and vault discoveries: Barry Altschul/David Izenson/Perry Robinson: Stop Time: Live at Prince Street, 1978 (1978 [2023] NoBusiness): Drums, bass, clarinet, joint improv, listed alphabetically, although the drummer is probably the best known these days. Not the greatest sound, but remarkable music. A- [cd] Peter Brötzmann/Sabu Toyozumi: Triangle: Live at Ohm, 1987 (1987 [2023], NoBusiness): Live set from Tokyo, with the German avant-saxophonist in fine form, and a local drummer who's up to the task. B+(***) [cd] Roy Campbell/William Parker/Zen Matsuura: Visitation of Spirits: The Pyramid Trio Live, 1985 (1985 [2023], NoBusiness): Trumpet player (1952-2014), played in various William Parker projects, including Other Dimensions in Music, and later had the Nu Band, with Mark Whitecage. This was an early version of his trio, which did three 1994-2001 studio albums. A bit spotty at first, but terrific when they get going. A- [cd] Kim Dae Hwan/Choi Sun Bae: Korean Fantasy (1999 [2023], NoBusiness): Korean duo, drummer (1933-2003), very much in the center here, with trumpet floating around. B+(***) [cd] Old music: None. Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, November 6, 2023 Speaking of WhichAgain, I swore off working on this during the week, which turned out to pose more than a few problems. Finally opened the file up on Saturday evening. I figured I'd just collect links, and not bother with any serious writing. The supply of inputs seemed endless, and it got late Sunday before I considered tidying up and posting. But I couldn't, due to a computer problem which took several hours to diagnose and about a minute to fix once I recognized it (DHCP tripped me up). By then it was too late, so my posts are shifted back a day once more. Starting up today, I didn't go back to website I had previously visited, but I did have a few more to look up. I also remembered the Gabriel Winant piece at the bottom, so I dug it up, and wasted a couple hours thinking about those quotes, before I scrapped what little I had written. Top story threads:Israel: With more patience, these could have been grouped into a half-dozen (maybe 8-10) subcategories, of which genocide (both actual and imagined) looms large, with significant growth in cease-fire advocacy and repression of anyone favoring cease-fire. The short category is actual military news: Israel has conducted ground operations in northern Gaza for a week, but what they've achieved (or for that matter attempted) isn't at all clear, while Palestinian casualties are continuing to increase, but I haven't made much sense out of the numbers. It does appear that I underestimated the ability of Hamas to continue fighting after their initial suicidal attack was beaten back. Not by a lot, mind you, but they've continued to shoot occasional rockets (nothing you could describe as a "flood," and Israel regularly boasts of shooting 80-90% of them down, so the effect is likely near-zero), and they're offering some degree of ground resistance. Still, a unilateral Israeli cease-fire would almost certainly halt the war, the killing, the destruction. Given that continued punishment just generates future violence, Israel's unwillingness to call a halt to this genocide -- and that's still the operative term, even if Netanyahu hasn't convened his Wannsee Conference yet -- signals only the intent to fight to some kind of Endlösung ("final solution"). I might be tempted to ditch the Nazi references, but they are ones that Israelis understand clearly -- and, one hopes, uncomfortably. Some of the more purely partisan digs wound up in the sections on Republicans and Democrats. Given that the entire American political establishment is totally in thrall to Israel and their right-wing donor cabal, there's little (if any) substance in these pieces, just a lot of chattering nonsense.
Trump, and other Republicans:
Biden and/or the Democrats:
Legal matters and other crimes:
Ukraine War:
Other stories:Dean Baker:
David Dayen: [10-18] The NIH's 'how to become a billionaire' program: "An obscure company affiliated with a former NIH employee is offered an exclusive license for a government-funded cancer drug." Ethan Iverson: [10-30] Louis Armstrong's last word. Paul Krugman: [10-31] The military-industrial-complex: He has a chart arguing that as a share of GDP, military spending is down since Eisenhower's speech, a long-term trend with bumps for Vietnam, Reagan, and Iraq, as well as blips when spending held steady while the economy crashed (2008, 2020). For a counterpoint, see William Hartung: [11-03] What Paul Krugman gets wrong about the military industrial complex. It seems to me that Eisenhower's concern wasn't the money per se, but the evolution of arms industries from mere suppliers to a political force that would make wars more (not less) likely. Damon Linker: [11-04] Get to know the influential conservative intellectuals who help explain GOP extremism: Well, you don't really want to know them, but let's drop a few names you can try to avoid: Costin Alamariu ("Bronze Age Pervert"), Michael Anton (The Flight 93 Election; The Stakes), Patrick Deneen (Why Liberalism Failed; Regime Change), Rod Dreher (Crunchy Cons; Live Not by Lies), John Eastman (indicted Trump lawyer), Stephen Wolfe (The Case for Christian Nationalism), Curtis Yarvin ("Dark Enlightenment"). Also mentioned in passing: Tyler Cowen, Richard Hanania, Sean Hannity, Thomas Klingenstein (Claremont funder), Matthew Peterson, Christopher Rufo, Tucker Carlson. Patrick Ruffini: [11-04] The emerging working-class Republican majority: "The coalition that elected Donald Trump in 2016 was no one-off." No point filing this in the top section on Republicans because no real Republicans were involved in the spinning of this fantasy -- adapted from the author's new book, Party of the People: Inside the Multiracial Populist Coalition Remaking the GOP. Interesting that he takes Thomas Frank's What's the Matter with Kansas? as a pivot, arguing that twenty years later "the villain of the story has switched sides." But his evidence is thin, and doesn't remotely approach policy: what's changed since Kansas is that the gullible GOP base are demanding more blood in their red meat -- the diet of bigotry and fear-mongering the Party tempts them with -- but on a practical level, Republicans are still every bit as dedicated to serving oligarchy by rendering government incompetent and corrupt. It's worth noting that in his later books, Frank turned on Democratic supplicants to the rich -- especially in 2016's Listen, Liberal!, which was harsh on the Clintons (but also Obama, Cuomo, Deval Patrick, etc.) -- but many (most?) Democrats shifted their policy priorities to actually help and expand the middle class. Sure, Trump railed against the corrosive jobs effect of trade deals, but Biden came up with policies to build jobs, and to give workers the leverage to get better pay. Trump talked infrastructure, but Biden is building it. There is still much more to be done, not least because Republicans -- no matter how populist they claim to be -- are obstacles wherever they have any leverage. The Republicans' only response is to ramp up the demagoguery and bullshit. Jeffrey St Clair: [11-03] Roaming Charges: Shrinkwrapped, how sham psychology fueled the Texas death machine. Hadas Thier: [11-04] Sam Bankman-Fried was guilty, and not even Michael Lewis could save him. As someone who regards all of crypto as criminal conspiracy, I was a bit surprised at how quickly and definitively this trial turned, but here it is. Also:
Sean Wilentz: [10-23] The revolution within the American Revolution: "Supported and largely led by slaveholders, the American Revolution was also, paradoxically, a profound antislavery event." Gabriel Winant: [10-13] On mourning and statehood: A response to Joshua Leifer: "How to grieve, what meaning to give those tears, is cruelly a political question whether we like it or not." Leifer's original piece was Toward a humane left, and he later wrote A reply to Gabriel Winant. I'm not here to argue with Leifer (nor with Eric Levitz, whose similar position elicited much more of my thinking in recent weeks), other than to note again that morality is a luxury most enjoyed from a distance, and can easily be used as a cudgel against people who circumstance has deprived of such options. But sure, no complaints here about making the left even more humane (and not just the left, needless to say). But I do want to quote some things Winant said, because I've had similar thoughts but haven't quite found the words:
Also:
No time for me to start unpacking this, let alone building on it, but much more could be said. Ask a question, or send a comment. Tuesday, October 31, 2023 Music WeekMusic: Current count 41078 [41047] rated (+31), 32 [31] unrated (+1). I spent most of last week thinking about, shopping for, and finally cooking up this year's birthday dinner. I've made it to 73, which is +3 from my grandfather, and -4 from my father, so it's starting to weigh heavy on my mind. Dinner was served on Friday, as several guests had schedule conflicts for Wednesday. Menu was Spanish:
I also opened up a couple cans and jars: octopus, sardines, artichoke hearts. I had bought much more for possible tapas, but ran out of time to get them prepared, or in some cases simply organized. I mixed up a batch of sangria to drink, and had my traditional coconut cake for dessert, with vanilla ice cream. (I know, reminds you of the "white cake" in Tarrantino's Django Unchained. Sometimes we can't help being who we are.) I meant to write up notes, and will after this post. They should show up in a future notebook entry (which I've already stubbed out, so the link will work, and eventually get you the information). Facebook entry, including a plate pic, is here. A "memory" entry, with a recycled picture of last year's cake, is here. The actual cake was even uglier, and not just because it was less blindingly white. No complaints, except for the guy who was so phobic about seafood he didn't eat anything until the cake was served. Saturday, I woke up with my vision for how the so-called Israel-Hamas War ends, so I quickly wrote it up as the "First Introduction" to my Speaking of Which. I'm reluctant to call it a proposal, because it is not remotely close to people genuinely concerned with justice for all wanted or hoped for. (I know, for sure, that my wife hates it, and nearly all of my research into the conflict owes to her passionate interest.) And I suppose my plea for someone else to pick up these ideas and run with them is partly due to my reluctance to sign my name to it. I have, ever since my late teens, devoted myself to conjuring up utopian solutions to practical problems. Because, well, I've never pretended to be an activist. I'm just a thinker, so why constrain myself to things that other people consider possible? But I've also developed a good deal of pessimism, and that creeps in whenever I consider what's possible, as engineers must. Instantly, when I heard the news of Oct. 7, I understood that Israel's leaders would want to destroy everything and to kill everyone in Gaza, leaving at most an escape hatch through Egypt. I knew that America's leaders would back them to the hilt, as they've long given up any capacity for independent thought, and they're every bit as committed to force as the Israelis. And I expected Israelis to take advantage of this to step up their attacks on Palestinians in the West Bank and elsewhere. And all of that has happened, just as expected. Hence, my first reaction was to warn that this would be nothing less than genocide. That, too, has been born out, though the point of using the word was to make people conscious of the full danger (and I was far from the only one to raise this alarm). I also intuited how things would play out over time. I can't really explain this, but through all my reading, and a fair number of conversations, I've developed this really complex psychological model of most of the people involved. I intuited that a great many Palestinians would stick in Gaza, even daring Israel to kill them. I doubted that Egypt would have welcomed them anyway, or could have dealt with them (as Israel imagined they could). I also suspected that a great many Israelis, even ones who have clearly demonstrated their racism and militarism, would grow weary of the killing, and embarrassed by their own inhumanity. (One book I kept thinking back to was Richard Rhodes' Masters of Death, where he explained that the Nazis, who are our archetypal example of cold-blooded killers, designed their death camp processes out of concern that killing Jews in the field was traumatizing German soldiers. While Nazis made no secret of their hatred for Jews, the enormity of the Holocaust was only possible through stealth, under cover of war.) As the killing continued, as the rubble grew, some sense of need to limit the war would grow, and Israel's leaders, even as blinded as they are, will eventually need some escape from their own handiwork. What's become more and more clear is that Israel can't hide their slaughter in Gaza. The world can, and will, see it, and will not react kindly to the people responsible. And sure, Hamas will get some share of the blame -- they were uniquely responsible for one day, out of more than three weeks now -- but the fact that the slaughter continues, that it has turned into genocide, is solely the dictate of Netanyahu and his mob, not that you should spare those who have aided, abetted, propagandized, and even championed the massacre (which from where I stand mostly look like Americans). My "vision" is just a way to clean up a particularly sore part of a larger, deeper, and still potentially deadly mess. There are lots of things that should happen afterwards. But what makes it practical now is that the people who are immediately responsible don't have to change character. All they have to do is back off, and let others tend to the wounds. Is that really too much to ask? Apologies to those of you who just want the latest music dope, but you must know how to scroll past my rants by now. I had damn near nothing, other than the Clifford Ocheltree picks down in the Old Music section, before I started writing Speaking of Which on Saturday. But I worked through a steady stream of records once I started writing, so with the extra day came up with a semi-normal week. Among the high B+, National and Angelica Sanchez tempted me to replays, but they didn't quite manage to move the needle. This coming week, I will put up a website for the 18th Annual Francis Davis Critics Poll, and I will start communicating with a few possible voters, trying to gauge interest and identify others who should vote with us. The voters from last year are listed here. They will all be invited back, but please let me know if there are any others you read and find useful. I'd like to see more international critics, although those are particularly hard for me to judge. I'm also tempted to slip in a few more jazz-knowledgeable rock critics -- where I figure the minimal qualification is listen to 200+ jazz albums per year (used to be expensive, but easy enough with streaming) and write about at least 5-10 (or more if you, like me, write real short). I'd welcome suggestions from publicists and musicians, but probably not for yourself or each other. (Not an absolute rule, as we've had the odd exception from time to time.) I'm also toying with the idea of forming an advisory board, if you really want to get deep into the weeds. There's a fair chance I won't be doing this beyond this year, so this might be a chance to eventually step up. End of October, so I still need to do the indexing on the archive file. It's also time to reorganize my 2023 list into separate jazz and non-jazz lists. I've already started expanding my tracking file so I'll be ready to look up jazz albums when ballots start to flow in. And I will probably set up my usual EOY aggregate files, as they build on the tracking file, and have long been one of my favorite wastes of time. New records reviewed this week: Affinity Trio [Eric Jacobson/Pamela York/Clay Schaub]: Hindsight (2022 [2023], Origin): Trumpet, piano, bass; all three write pieces, joined by covers from Cedar Walton (title piece), Charlie Parker (two), "Tin Tin Deo," and "The End of a Love Affair." B+(***) [cd] Constantine Alexander: Firetet (2023, self-released): Trumpet/flugelhorn player, from Chicago, parents Greek, first album (at least first I can find), basically a hard bop quintet, in which the trumpet stands out. B+(**) [cd] Bark: Loud (2023, Dial Back Sound): Husband-wife duo, Tim Lee (bass iv guitar) and Susan Bauer Lee (drums), a subset of the Tim Lee 3, both write and sing, several albums, get some help here. B+(**) [bc] Corook: Serious Person (Part 2) (2023, Atlantic, EP): Singer-songwriter Corinne Savage, apologies for misspelling their name in previous reviews (identity "queer and non-binary," per Wikipedia). Five songs, 14:20. Second sounds like the Moldy Peaches merged into a single person. First and fourth trace the growth of "a pretty cool person." A- [sp] Paul Dunmall/Olie Brice: The Laughing Stone (2021 [2023], Confront): Duo, saxophone (tenor, alto, clarinet, flute, tenor again) and bass. Nicely balanced. B+(***) [bc] The Front Bottoms: You Are Who You Hang Out With (2023, Fueled by Ramen): Hooky indie rock band from New Jersey, formed in 2007 by Brian Sella (guitar/vocals) and Mathew Uychich (drums) with various "touring members" coming and going. Eighth album. B+(*) [sp] Grrrl Gang: Spunky! (2023, Big Romantic): Punkish pop trio from Indonesia, the only female singer Angeeta Sentana, third album, sung in English. Short (10 songs, 24:53), or you could say snappy. B+(*) [sp] Darius Jones: Fluxkit Vancouver (Its Suite but Sacred) (2022 [2023], We Jazz): Alto saxophonist, established his credentials as an Ayler heir in 2009, had a tendency to go overboard, but keeps that in control here, working with four Vancouver-based strings -- Jesse and Josh Zubot on violin, Peggy Lee on cello, James Meger on bass -- with Gerald Cleaver on drums. Preferred typography for the title is "fLuXkit," and they're doing something unreproducible to "its" -- just some of the many things I don't quite get here, but I can dig the long bass solo just fine, and even more so what comes out of it. A- [sp] Sunny Kim/Vardan Ovsepian/Ben Monder: Liminal Silence (2023, Earshift Music): South Korean vocalist, debut 2004 (or 2012), appeared on a 2008 Roswell Rudd album which I wasn't wild about. Here backed with piano and guitar. Slow, arch, music has some points, but I find this sort of classical diva thing hard to take. C+ [cd] [11-10] Frank Kohl: Pacific (2022 [2023], OA2): Guitarist, Discogs has very little but a couple side-credits from 1969, and picture is not at odds with that. I have one previous album in my database. This is solo, not as fancy as the guitarists name-checked in the hype sheet, but really hit the spot on a cold and miserable Sunday morning. B+(***) [cd] Sofia Kourtesis: Madres (2023, Ninja Tune): DJ/producer from Peru, based in Berlin, first album but active since 2014 (maybe 2001). B+(**) [sp] Chien Chien Lu: Built in System: Live in New York (2023, Giant Step Arts): Vibraphonist, from Taiwan, has a previous (self-released) album, quartet here with Jeremy Pelt (trumpet), Richie Goods (bass), and Allan Mednard (drums). Very nice. B+(***) [sp] Vic Mensa: Victor (2023, Roc Nation): Chicago rapper Victor Kwesi Mensah, father from Ghana, officially his second studio album, has a bunch of EPs (one in 2010, rest from 2016). Much of this seems pretty sharp, but too many odd moments that flow sideways, if at all. B+(*) [sp] The National: Laugh Track (2023, 4AD): Indie band led by singer-songwriter Matt Berninger, with most of the music from brothers Aaron and Bryce Dessner, with two more brothers (Scott and Bryan Devendorf) on bass and drums. Tenth album, second this year. A very steady group I can't quite put my finger on. B+(***) [sp] No-No Boy: Empire Electric (2023, Smithsonian Folkways): Julian Saporiti, singer-songwriter from Nashville, parents Vietnamese, Ph.D in American Studies, based in Portland, alias taken from a 1957 novel about a Japanese-American going home to Seattle after two years in an internment camp. Previous albums 1942 and 1975, both remarkable. His music is subtle and nuanced -- even more so than the otherwise similar Sufjan Stevens -- so the stories are critical, and for now a bit beyond my grasp. B+(***) [sp] Alogte Oho & His Sounds of Joy: O Yinne! (2023, Philophon): Frafra gospel group from northern Ghana, the leader flanked by a chorus of two women and backed by an old-fashioned highlife band, the gospel in another language, but the joy is universal. B+(***) [sp] Graham Parker & the Goldtops: Last Chance to Learn the Twist (2023, Big Stir): British pub rock breakout star in 1976, first two records were really great, but my interest waned after 1979's Squeezing Out Sparks (another good one), with a 2-CD comp on Rhino (1993) confirming he had lost it from 1980 on. But he never stopped, with only two breaks of more than three years (1996-2001, 2018-or-2019-2023). I rather doubt that I missed much, but he's in good voice and surprisingly light on his feet here. B+(**) [sp] Ratboys: The Window (2023, Topshelf): Indie band from Chicago, fifth album since 2015, principally Julia Steiner (vocals/guitar) and Dave Sagan (guitar). B+(***) [sp] Mike Reed: The Separatist Party (2023, We Jazz/Astral Spirits): Drummer, born in Germany but long based on Chicago, with a remarkable series of albums since 2006. Marvin Tate's spoken word is arresting, and the music -- Ben LaMar Gay (cornet), Rob Frye (tenor sax/flute), Coper Crain (guitar), Dan Quinlivan (synth) -- loops sinuously, sometimes gravely. A- [sp] The Rolling Stones: Hackney Diamonds (2023, Polydor): British group, big in the 1960s, still big in the 1970s, even now they can still cut a fine blues riff, and the singer has lost little of his commanding presence. Still, they're so used to playing arenas that they've recreated that sound in the studio, perhaps because they don't trust the new songs to sell themselves. They don't. But sound is the bigger problem. What you get from them in the arena is spectacle -- plus rehashes of once-great songs. But with their arena-in-the-studio shtick, all you really get is loud. B [sp] The Angelica Sanchez Nonet: Nighttime Creatures (2021 [2023], Pyroclastic): Pianist, from Phoenix, more than a dozen albums since 2003, many with free jazz saxophonists like Tony Malaby, Ellery Eskelin, Paul Dunmall, Ivo Perelman. Large group here, with an interesting mix of unconventional reeds (Michaël Attias, Ben Goldberg, Chris Speed), brass (Thomas Heberer, Kenny Warren), guitar (Omar Tamez), bass (John Hébert), and drums (Sam Ospovat). B+(***) [cd] Joe Santa Maria: Echo Deep (2023, Orenda): Alto saxophonist, plays four weights here plus flutes, clarinet, and keyboards; based in Los Angeles, several previous albums. Fusion riffs, with guitar, brass and strings. B- [cd] [11-03] Slow Pulp: Yard (2023, Anti-): Indie band from Madison, added singer Emily Massey and moved to Chicago, second album. B+(**) [sp] Steep Canyon Rangers: Morning Shift (2023, Yep Roc): Bluegrass group from North Carolina, debut 2001, have backed banjo-picking comedian Steve Martin on three albums. B+(*) [sp] Dan Tyminski: God Fearing Heathen (2023, 8 Track Entertainment): Bluegrass singer-songwriter, plays guitar in Alison Krauss's band, did an album in 1985, had a bit part in O Brother, Where Art Thou?, has a couple more albums. Finishes strong with a song about Occam's Razor and an ode to Jimmy Martin. A- [sp] Pabllo Vittar: Noitada (2023, Sony Music): Brazilian drag queen Phabullo Rodrigues da Silva, reportedly the most popular one in the world. Fifth album, nine songs (plus a 0:39 "Intro"), clocks in short at 21:55. Dance pop, beats choppy like hip-hop but rather oblique, six co-credits. B+(**) [sp] Pabllo Vittar: After (2023, Sony Music): Remix album, repeating nine titles from Noitada and adding one, most tracks significantly longer (total 36:51), with featured guests. B+(*) [sp] Recent reissues, compilations, and vault discoveries: None. Old music: Big Bill Broonzy: Big Bill's Blues (1937-41 [1969], Epic): First-draft compilation, not of the blues songster's early work (for that, see Yazoo's The Young Big Bill Broonzy and/or Do That Guitar Rag) but moving along. Robert Santelli pegged this at 61 in his top-100 blues album list -- behind the Legacy CD Good Time Tonight (1930-40 [1990], years overlap, but no duplicate songs, with some of his most famous appearing here). Title repeats a 1958 album, and has been used for other compilations. A- [sp] Big Bill Broonzy/Washboard Sam: Big Bill Broonzy With Washboard Sam (1953 [1962], Chess): First LP attributed to either, though Broonzy (Lee Bradley) has many records from 1927 on, and Sam (Robert Brown) played regularly at least back to 1932, crossing paths often enough I've seen reference to them as "half-brothers" (both have disputed birth dates and locales). Not one of Broonzy's more elegant efforts, but keeps digging down, getting that much harder. A- [sp] The Golden Era of Rock & Roll 1954-1963 (1954-63 [2004], Hip-O, 3CD): A sequel to the label's essential The Roots of Rock 'n' Roll 1946-1954, this kicks off with "Rock Around the Clock" and "Gee," hits its stride with "Maybellene" and "Ain't That a Shame" and "Tutti Frutti" and "Whole Lot of Shakin' Going On" and "Peggy Sue," winding up with "Duke of Earl" and "He's So Fine" and "Surfin' U.S.A." So, a good 80% is totally obvious, and the rest is welcome in context, including a couple originals I know better for covers ("Stranded in the Jungle" and "Susie Q"). A [cd] Alogte Oho & His Sounds of Joy: Mam Yinne Wa (2019, Philophon): Their debut album, a trio of gospel singers from the far north of Ghana, discovered by German producer Max Weissenfeldt, rooted in highlife, and exuberantly joyful. B+(***) [sp] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, October 30, 2023 Speaking of WhichPostscript IntroductionNote: It got too late Sunday night before I completed my rounds, much less checked spelling and formatting and did the other bits of housekeeping I need to do before posting, so let this sit overnight. I changed the date to Monday, but didn't make another round. I did add the bits from Twitter, and one more link on the UAW strike, since that not only really matters but wraps up the trifecta. Music Week will be delayed until Tuesday. The extra day has so far been good for two more A- records (surprises at that). By the way, if anyone wants to try reformulating the introduction plan into an op-ed or a more serious proposal, please go ahead and do so (no citation required, but if you want to talk about it, feel free to reach out). I have no standing in mainstream media (or for that matter in solidly left-wing and/or antiwar media), and I have no appetite for throwing myself at their feet. And yes, I understand why the plan as sketched out will be hard for lots of well-meaning folks to swallow. I'm sorry that in politics people hardly ever pay for their crimes. I was 18 when Richard Nixon was elected president, and no one in my lifetime ever deserved to pay more. (Well, maybe Winston Churchill, but he died when I was 14, or Joseph Stalin, who died when I was 2.) But that almost never happens, and even when some measure of justice is meted out, it's never enough. Nixon was granted a pardon, and retired not even to obscurity, but at least out of harm's way. The proposed scheme simply splits off one part of the conflict and arranges it so the sides stop hurting each other. It's urgent to do so because it's turned into a self-destruction pact, as sore to Israel as it is fatal to Gaza. It leaves the rest of the conflict in place, in hopes that Israel will, in good time, recognize that they cannot forever deny Palestinians their dignity. I'm not very optimistic that they will come to their senses, but the odds are better than now, in the fevered heat of war. The key points here are these: you cannot force Israel to do anything they're unwilling to do; you have to give Israel an option that they can choose that doesn't require that they change their fundamental political beliefs; you cannot appeal to the conscience of Israel's leaders, because they don't have a functioning one; you don't have to solve any problem but the immediate one in Gaza; you don't have to deal with Palestine's leaders, because none of them are legitimate; you do have to provide a path where the people of Gaza can live normal lives, in peace and dignity, where they have no practical need to lash out at Israel or anyone else. It is in the interest of the whole world to end this conflict, so it is worthwhile to put some effort into making it work. But for now the only piece you have to solve is Gaza, because that's the one that's spun out of control. First IntroductionFrom early grade school, my favorite subject was "social studies," with geography and history key dimensions. But I also had aptitude for science, at least until an especially boorish teacher turned me off completely. I dropped out of high school, but not finding myself with any other competency, I tested my way into college, where my main studies were in sociology and philosophy. I turned my back on academic studies, but never stopped adding to my store of knowledge -- if anything, I redoubled my efforts after 2000. When microcomputers started appearing around 1979, I bought one, and taught myself to program. Then I discovered that my real skill was engineering -- the practical application of my mindset.Politics turned out to be mostly rhetoric: people were measure by how good they sounded, not by anything they actually did. Sure, social scientists measured things, but mostly their own prejudiced assumptions. But engineers didn't waste their time railing about the injustices of gravity and entropy. Engineers fixed things. And better than that, engineers designed and built things to not break -- or, at least, to serve a useful life before they wore out. So, when I encounter a political problem, I tend to think about it as an engineer would (or should), in terms of function and the forces working against it. I can't be value-neutral in this, nor can anyone, though I'm better at most at recognizing my own prejudices, and at suspending judgment on those of others. A big part of my kit is what Robert Wright calls "cognitive empathy": the ability to imagine someone else's view. This is a skill that is sorely needed, and way too often lacking, in diplomats. (You're most likely to find it in sales, where one is measured on deals made, rather than on political rhetoric that precludes agreement.) So when I encounter a political problem, my instinct is to come up with a solution: an approach that will reduce the conflict in a way that will lead to prolonged stability. It's always tempting to come up with a universal solution based on first principles, but history offers few examples of conflicted sides finding such common ground. That means for most acute conflicts we have to come up with short-range, partial fixes. Over the last twenty years, I've come up with a lot of partial and a few comprehensive solutions to the Israel/Palestine conflict. They've never been taken seriously, by either side, or even by potentially influential third parties. The basic reason is that politically powerful Israelis are unwilling to grant concessions to Palestinians, even a small territory they have no settlement interest in (Gaza), basic human rights, and/or any real measure of economic freedom. There are various reasons and/or excuses for this, but the most important one is that no outside nation nor any possible internal force (nonviolent or not) has anything close to enough power to persuade Israel to change course. So the first rule is you have to give Israel something they would prefer to the course they have charted, which is to lay waste to Gaza, making it uninhabitable to the people who manage to survive their assault. The first lesson Israeli leaders should draw from their war is that while it's easy to kill enough Palestinians to make you look monstrous, it's really hard to kill enough to make any real demographic difference. As long as Palestinians survive and hang onto what's left of their land, they remain to challenge and defy Israeli colonialism, sacrificing their bodies and appealing to international conscience. And while people of good will, many sympathetic to the Palestinian plight, were quick to condemn the violent outbreak, its main effect was to shock Israel into showing their true colors: that domination is based on overwhelming power, and the willingness to use it savagely when provoked. Hence, Israel's response to the uprising -- the deadliest single day in Israel's history -- was first to threaten the total demolition of Gaza and the deaths of everyone who lived there (offering a mass exodus through Egypt as the only path to safety), then a systematic military campaign, starting with massive bombardment and leading to a ground invasion. With over two million people in Gaza, that could amount to the largest genocide since WWII. Israel's one-sided war on Gaza has slogged on for three weeks, with some of the heaviest bombing in recent history, destroying infrastructure, driving more than a million people from their homes, and theatening starvation. The longer this continues, the more world opinion will shift against Israel's brutality, until what little good will remains dissipates in disgust. At some point, Israeli leaders are bound to realize three things: that continuing the killing hurts them more than it helps; that large numbers of Palestinians will stay in Gaza no matter what; and that as long as there are Palestinians in Gaza, the land is of no practical use to Israel. The only viable solution to this is for Israel to cut Gaza loose. The simplest way to do this is to return the mandate to the UN. This doesn't require any negotiations with Palestinians, so it doesn't resolve any issues with Palestinians within Israel, the occupied territories, or refugees elsewhere. Israel simply sets its conditions for the transfer. If the UN accepts, Israel withdraws its troops, and ceases all engagement with Gaza. Given the humanitarian catastrophe unfolding, the UN will have little choice, but everyone would be best served with some minimal understandings. I think the following would be reasonable:
Other items not specified are subject to negotiation, which I imagine will be easier once the break is made, peace is established, and some degree of normalcy returns. Two things I haven't stressed are the desire to disarm Gaza, and the question of inspecting imports to keep weapons from entering Gaza. These things should be implemented voluntarily by Gaza itself. More weapons invites retaliation, which is inevitably collective punishment. As long as Israel retains that right, weapons shouldn't matter to them. Another thing I didn't bother with is the hostage situation. I assume that the hostages will be released, even without negotiation, before amnesty kicks in. Of course, if Hamas is as bloodthirsty as Israel wants you to believe, they could also be executed before amnesty, in which case maybe some negotiation and exchange should take place first. I didn't want to make it more complicated than it had to be. As for the hostages Israel has taken prisoner, that call is up to Israel. Some sort of mass release, especially of prisoners who could be repatriated to Gaza, would be a welcome gesture, but need not be immediate: I hardly think Gaza really needs an influx of radicalized militants, which is the main produce of Israeli jails. Israel gets several major wins here: they gain viable long-term security from threats emanating from Gaza; they give up responsibility for the welfare of Gaza, which they've shown no serious interest in or aptitude for; they get an internationally-recognized clean slate, immediately after committing an especially egregious crime against humanity (they're still liable for future acts against Palestinians, but they get a chance to reset that relationship); they break the link between Palestinians in Gaza and the West Bank, and they tilt the demographic balance in the area Israel controls back to a strong Jewish majority; they get a partial solution to the refugee; and they will have already shown the world how hard they strike back, without having to go complete "final solution." But the biggest concession to Israel is that they get to control the timing, simply because no one can let alone will move to stop them. They can bomb until they run out, which isn't very likely given that the US is already resupplying them. They can kill, maim, destroy, until they run out of targets or simply wear themselves out. Or until they develop a conscience and/or a sense of shame over how world opinion and history will view them. Or until their friends take pity and urge restraint. Or until they start losing more soldiers than they're willing to risk -- the least likely of all, given that nobody is rushing to resupply Gaza with the arms they desperately need to defend themselves (as the US and Europe did for Ukraine). The point -- probably but not certainly short of extermination -- is that eventually Israel will tire of the killing, but still need to dispose of the rubble and the corpses. That's when this framework comes into play. Sooner would be better for everyone, but later is the dominant mindset in Israel today, and one that is unfortunately reinforced by America. What Israel gives up is an endless series of wars and other depredations which make them look like arrogant warmongers, and make them seem malign to most of the people in most of the countries in the world. (Even in the US, even with virtually every politician of both parties in their pockets, their reputation is currently in free fall.) Few Palestinian politicians will welcome this proposal, especially as it isn't even up to them. It's hard to argue that they've served their people well over the years, even if one recognizes that they've been dealt an especially weak hand in face of Israeli ruthlessness. But for the people of Gaza, this offers survival, freedom, and a measure of dignity. And for the world, and especially for the UN, this offers a chance to actually fix something that got broke on the UN's watch 75 years ago and has been an open sore ever since. But sure, this leaves many more problems to be worked on. There are border issues with Lebanon and Syria. There is apartheid, loss of rights, harassment, even pogroms within Israel -- all of which offer reasons to continue BDS campaigns. At some point, Israel could decide to cut off more land to reduce its Palestinian population, but they could also reduce tensions by moving toward equal rights, secure in the expectation of a strong Jewish majority. That might spell the end of the extreme right-wing parties, at least the leverage they've recently held over Netanyahu, and for that matter the end of Netanyahu, who's done nothing but drive Israel over the brink. Meanwhile, all we can really do is to campaign for an immediate ceasefire, both to arrest the genocidal destruction of Gaza and to salvage Israelis from the ultimate shame of their political revenge. The time for both-sidesing this is past. There is little point in even mentioning Hamas any more. This isn't a war. This is a cold, calculate massacre. History will not be kind to the people who laid the foundations of this conflict, and will judge even more harshly those who are carrying it to its ultimate ends. I'll end this intro with something I wrote back on October 9, a mere two days into this "war" (which I initially described as a "prison break and crime spree," before moving on to a comparison to the Warsaw Ghetto Uprising of 1944 -- it's not exactly ironic how often Palestinian suffering echoes calamities in Jewish history):
Bold in the original, and still valid here. And three weeks later, you know who you are. Top story threads:Israel: See introduction above. Just scattered links below, one that caught my interest and/or pissed me off. For more newsy stuff, see the "live updates" from Vox; Guardian; Washington Post. There are also "daily reports" at Mondoweiss.
Also on X (Twitter):
Trump, and other Republicans: Big news this week, aside from Trumps trials and fulminations, was the election of Mike Johnson (R-LA) as Speaker of the House. So he's getting some press, raising the question of why anyone who thought Jim Jordan was too toxic could imagine that he'd be any more tolerable.
Biden and/or the Democrats:
Legal matters and other crimes:
Climate and environment:
Umair Irfan/Benji Jones: [10-26] How Hurricane Otis defied forecasts and exploded into a deadly storm overnight. The Pacific hurricane intensified extraordinarily fast to reach category 5, before hitting Acapulco. Christopher Ketcham: [10-29] When idiot savants do climate economics: "How an elite clique of math-addled economists hijacked climate policy." Starts with William Nordhaus. Elizabeth Kolbert: [10-26] Hurricane Otis and the world we live in now. Ian Livingston: [10-24] Earth's climate shatters heat records. These 5 charts show how. Kasha Patel: [09-25] Antarctica just hit a record low in sea ice -- by a lot. Matt Stieb: [10-26] Scenes of the destruction in Acapulco after Hurricane Otis. Ukraine War:
Around the world:
Other stories:Kelly Denton-Borhaug: [10-29] The dehumanization of war (please don't kill the children): Always two titles at this site, so I figured use both, for this "meditation for Veterans Day," which I could have filed under Israel or Ukraine or possibly elsewhere, but thought I'd let it stand alone. Starts in Hiroshima, 1945 with what Stalin would have called a "statistic," then focuses in on a 10-year-old girl, whose mother was reduced to "an unrecognizable block of ash," with only a single gold tooth to identify her. The author has a book about American soldiers but the theme is universal: And Then Your Soul Is Gone: Moral Injury and U.S. War-Culture. Lloyd Green: [10-29] Romney: A Reckoning review: must-read on Mitt and the rise of Trump: "McKay Coppins and his subject do not hold back in a biography with much to say about the collapse of Republican values." Also on the Romney book:
John Herrman: [10-27] What happens when ads generate themselves? I wish this was the most important article of the week. This is a subject I could really drill down hard on, not least because I think advertising is one of the most intrinsically evil artifacts of our world. And because "artificial intelligence" is a pretty sick oxymoron. Bruce E Levine: [10-27] Why failed psychiatry lives on: Seems like someone I would have gained much from reading fifty years ago (although R.D. Laing, Thomas Szasz, Paul Goodman, and Neil Postman worked for me). Sophie Lloyd: [10-28] Disney's 8 biggest mistakes in company's history: I wouldn't normally bother with a piece like this, but as mistakes go, these are pretty gross. I mean, after their treatment of slavery and Indians, and their mistreatment of lemmings, number eight was an omnibus "A long history of sexism." James C Nelson: [10-27] Just another day in NRA paradise: I suppose I have to note that another crazy person with an assault rifle killed 18 and injured 13 more in Lewiston, Maine, last week. This article is as good a marker as any. You know the drill. If you want an update: Kelly McClure: [10-27] Suspect in Maine mass shootings found dead. Will Oremus/Elizabeth Dwoskin/Sarah Ellison/Jeremy B Merrill: [10-27] A year later, Musk's X is tilting right. And sinking. Nathan J Robinson: I could have split these up all over today's post, but want to point out the common source of so much insight:
Jeffrey St Clair: [10-27] Roaming Charges: That oceanic feeling. Lead section on climate change (remember that?) and environment. I didn't realize that small planes still burn leaded gasoline. Then the dirt on Mike Johnson. Then a much longer list of criminal injustices. Plus other things, like a Nikki Haley quote ("I'm tired of talking about a Department of Defense. I want a Department of Offense.") Evaggelos Vallianatos: [10-27] Slauighter of the American buffalo: Article occasioned by the Ken Burns documentary, which may be an eye-opener if you don't know the story, and adds details if you do. It is a classic case of how insatiable world markets suck the life out of nature, and how the infinite appetites of financiers, who've reduced everything to the question of how much more money their money can make. Richard D Wolff: [10-27] Why capitalism cannot finally repress socialism. This assumes that some measure of sanity must prevail. And yes, I know that's a tautology, as socialism is the sanity that keeps capitalism from tearing itself apart and dissolving into chaos. Nothing from The New Republic this week, as they decided I'm "out of free articles," even though I'm pretty sure we have a valid subscription. Not much there that isn't elsewhere, although I clicked on close to ten articles that looked interesting, before giving up, including one called Kyrsten Sinema's Delusional Exit Interview. AlterNet has a similar article: Carl Gibson: [10-30] 'I don't care': Kyrsten Sinema plans to cash in on Senate infamy if she loses reelection in 2024. Ask a question, or send a comment. Tuesday, October 24, 2023 Music WeekOctober archive (in progress). Music: Current count 41047 [41003] rated (+44), 31 [27] unrated (+4). I took an extra day this weekend. I decided to hold off starting Speaking of Which until late Saturday, and then write intro instead of searching for links. I struggled Sunday with what turned out to be a false start, then wrote yet another intro, taking a break midway to collect some links. It got late, and I decided I should hold off and write up the missing outline points Monday afternoon. Took most of the day before I posted. I then did the cutover for Music Week, but by then I didn't feel like writing any form of this intro, so I sat on it until Tuesday, fairly late. Tuesday afternoon got wiped out in grocery shopping, a first pass toward a birthday dinner later this week. Frankly, I'd rather think about that than this, but last week is in the bag, so I might as well wrap it up quick. Next week will be short. I seriously doubt I'll get any listening in until Saturday. I certainly won't be starting another Speaking of Which. And I wouldn't mind just punting for the year. The world has a long ways to go to catch up with what I've written already. What I do hope to write about next week is the 18th Annual Francis Davis Jazz Poll. I've set up the result directory locally, so I need to post that. The main thing I want to do in the next couple weeks is to expand the voter list. To that end, I'm trying to take a more systemmatic survey of who's writing what. I'd like to extend invites to another 30-50 critics -- probably half outside the US, which (I don't have a reliable count, so I'm only guessing) could double the number of non-US critics. I doubt this will skew the results much, but it should broaden the base. That would be a big plus for people like me who find the bottom two-thirds of the list more interesting than the winners. As for this week, I started off with a premature jazz ballot, where half of the records selected were unheard by me. The Miles Davis archival piece got me looking at recent Fresh Sound reissues, mostly albums from the 1990s when Jordi Pujols set up sessions with many of his cool jazz heroes, and I wanted to hear them all. (I already knew several, especially with Herb Geller and Bud Shank, and also some very good Charlie Mariano records.) Then I read that John Zorn's Tzadik records are returning to streaming platforms. (I followed them fairly close before they picked up their toys and headed home.) Tzadik is much more than Zorn's personal label, but he's so prolific all I managed this week was his own 2023 releases (plus a couple slightly older). Still reading Christopher Clark's Revolutionary Spring, now almost 600 pages in, as the revolutionary hopes get dashed by right-wingers. While I'm not a fan of violence coming or going, that coming from the right is always particularly bitter. New records reviewed this week: Afro Peruvian New Trends Orchestra: Cosmic Synchronicities (2023, Blue Spiral): Large band (10 pieces), directed by composer Corina Bartra, first album, richly textured with engaging rhythm. B+(***) [cd] Dmitry Baevsky: Kid's Time (2022, Fresh Sound New Talent): Russian alto saxophonist, from Leningrad, moved to New York over 20 years ago, great-grandfather was a famous Yiddish ethnomusicologist, has always shown great poise and tone (I count three previous A- albums). Trio with bass (Clovis Nichols) and drums (Jason Brown), plus guest trumpet on three tracks (Stéphane Belmondo). Nine originals with a couple standards and one from Dexter Gordon. Makes it all look easy. B+(***) [sp] Ron Blake: Mistaken Identity (2021 [2023], 7ten33 Productions): Tenor/baritone saxophonist, had three albums 2003-08, this his first in 15 years. With Bobby Broom (guitar), bass (Nat Reeves or Reuben Rogers), and drums (Kobie Watkins). Mainstream sound, Broom really paves the way. B+(***) [sp] Flying Pooka! [Dani Oore & Florian Hoefner]: The Ecstasy of Becoming (2021 [2023], Alma): Saxophonist, plays soprano here and is credited with voice, has side credits back to 2005, with piano here, a German based in Canada. I'd like this better without the voice. B+(*) [cd] Louis Hayes: Exactly Right! (2022 [2023], Savant): Drummer, b. 1937, started 1957 with Horace Silver and Curtis Fuller, played with Cannonball Adderley 1959-65. Scattered albums from 1960, becoming more regular after 1989. Quintet here with Abraham Burton (tenor sax), David Hazeltine (piano), Steve Nelson (vibes), Dezron Douglas (bass). B+(**) [sp] Marie Krüttli: Transparence (2022 [2023], Intakt): Swiss pianist, has trio and quintet albums, solo on this one. B+(*) [r] Martin Lutz Group: LoLife/HiLife (2023, Gateway, 2CD): Danish pianist, group plays what they call "afro nordic soul jazz." The "afro" comes from a childhood spent much in eastern and southern Africa, with the horns recycling riffs you'll recognize from township jive classics, although toned down and stretched out a bit. Organized as two discs, but total is just 41:53. B+(***) [sp] Mendoza Hoff Revels: Echolocation (2023, AUM Fidelity): Noise guitarist Ava Mendoza and bassist Devin Hoff (probably best known for the Nels Cline Singers), with drummer Ches Smith and tenor saxophonist James Brandon Lewis -- the bigger name here, but taking a supplementary role, mostly buried in the mix, but worth listening for. I probably should like this more than I do, but she's never clicked for me. B+(***) [sp] Azuka Moweta & Anioma Brothers Band: Nwanne Bu Ife (2022, Palenque): Igbo highlife band, from Nigeria, seems to be their first album. B+(***) [bc] Gard Nilssen's Supersonic Orchestra: Family (2022 [2023], We Jazz): Norwegian drummer, has played in a number of avant groups since 2002 (Cortex was particularly memorable), runs the trio Acoustic Unity and this unconventional 17-piece big band (7 saxophones, 2 trumpets, 2 trombones, 3 basses, 3 drumsets, everyone adds to the percussion), now on their second album. A- [sp] Ivo Perelman/Nate Wooley: Polarity 2 (2023, Burning Ambulance): Tenor sax and trumpet duo, following up on a 2021 album. B+(**) [bc] Precarious Towers: Ten Stories (2023, Shifting Paradigm): Described as "a Midwestern all-star band," I recognize Sharel Cassity (alto sax/flute) and Johannes Wallman (piano), but they aren't exactly household names, and I'm not sure I've run across the others: Mitchell Shiner (vibes), John Christensen (bass), and Devin Drobka (drums). B+(***) [sp] Matana Roberts: Coin Coin Chapter Five: In the Garden (2023, Constellation): Alto saxophonist, from Chicago, debut 2002 in the trio Sticks and Stones, started the Coin Coin series in 2011, with spoken word narratives exploring ancestral history, this one a "character study" of "an ancestor of Roberts who died from an illegal abortion." B+(**) [sp] Jim Rotondi Quintet: Over Here (2023, Criss Cross): Mainstream trumpet player, originally from Montana, debut 1997, based in Austria these days, joined here by Americans Rick Margitza (tenor sax) and Danny Grissett (piano), plus bass and drums. B+(**) [r] Chris Speed Trio: Despite Obstacles (2022 [2023], Intakt): Tenor sax/clarinet player, originally from Seattle, a dozen or so albums as leader, many side credits (especially Tim Berne, Jim Black, Claudia Quintet). Steady trio with Chris Tordini (bass) and Dave King (drums). B+(***) [sp] Terell Stafford: Between Two Worlds (2023, Le Coq): Trumpet/flugelhorn player, from Miami, debut 1995, mainstream, nice sound, backed by Tim Warfield (tenor/soprano sax), Bruce Barth (piano), bass, drums, and percussion. B+(***) [sp] Sufjan Stevens: Javellin (2023, Asthmatic Kitty): Singer-songwriter from Detroit, I was disappointed he never pushed his "50 states project" beyond Michigan and Illinois, but he's up to ten studio albums now (per Wikipedia; sometimes it's hard to tell what counts and what doesn't). Seems like he's getting more and more baroque. B+(*) [sp] True Stomach of a Bird [Ulf Mengersen/Lina Allemano/Kamil Korolczuk]: Computation Intensive Spontaneousness (2023, self-released): German bassist, with trumpet and electronics. B+(*) [sp] Andrea Veneziani Quartet: The Lighthouse (2022 [2023], self-released): Italian bassist, based in New York, second album, quartet with Kirk Knuffke (cornet), Charlie Sigler (guitar), and Allan Mednard (drums). A very good setting for Knuffke, the guitar a big help. A- [cdr] Jamila Woods: Water Made Us (Jagjaguwar): Chicago poet-rapper turned singer-songwriter, third album. Throws you various looks, most promising. B+(***) [sp] Peter Xifaras: Fusion (2023, Music With No Expiration): Guitarist, also plays keyboards, Discogs lists one previous album, from 2000, website offers another, which like this one credits the Czech Symphony Orchestra, among the more typical electronic beats and fills. B+(*) [cdr] John Zorn: New Masada Quartet (2021, Tzadik): When I heard that Zorn's label Tzadik is returning to streaming streaming, I knew I had my work cut out -- they neve sent out promos, but were on Rhapsody for a while, so I tried to cover them extensively. I figured I'd start with the 2023 releases: Zorn has eight so far, which makes this an average year, but the first entry was this title with a Vol. 2, so I scanned back to catch this one. The original Masada quartet appeared in 1994, with Zorn (alto sax), Dave Douglas (trumpet), Greg Cohen (bass), and Joey Baron (drums). They did a series of albums named after the Hebrew alphabet, then many live albums. Moving on, the new quartet has Zorn, Julian Lage (guitar), Jorge Roeder (bass), and Kenny Wolleson (drums). Maybe it's just that I've been out of touch, but Zorn seems especially fired up here. A- [sp] John Zorn: New Masada Quartet, Vol. 2 (2022 [2023], Tzadik): More of the same. Guitarist Julian Lage seems a bit better integrated, but that may just mean they're playing more at his speed, rather than challenging him to keep up with the saxophonist, who can blow up at any moment (and isn't that what we live for?). B+(***) [sp] John Zorn: The Fourth Way (2022 [2023], Tzadik): Credited to the non-playing composer, but played by Brian Marsella (piano), Jorge Roeder (bass), and Ches Smith (drums) -- the little spine wrapper lists another 13 "Brian Marsella Plays John Zorn on Tzadik" albums. B+(***) [sp] John Zorn: 444 (2022 [2023], Tzadik): No horns, just composer, arranger, conductor here, keyboard-heavy with Brian Marsella on electric and John Medeski on organ, plus electric guitar (Matt Hollenberg) and drums (Kenny Grohowski). This can get too herky-jerky for fusion, but that's not necessarily a plus. It can also settle down into a mild ambiance, not much of a plus either. B [sp] John Zorn: Multiplicities: A Repository of Non-Existent Objects (2022, Tzadik): Half of a book of new compositions, "inspired by the writings and thought of French philosopher Gilles Deleuze," "wildly imaginative and meticulously structured, filled with unexpected twists and turns jumping from rock, jazz, and classical, to funk, metal and more." Zorn calls this group Chaos Magick: John Medeski (organ), Brian Marsella (Fender Rhodes), Matt Hollenberg (guitar), and Kenny Grohowski (drums). B+(*) [sp] John Zorn: Multiplicities II: A Repository of Non-Existent Objects (2023, Tzadik): Described as "the acoustic companion piece to Multiplicities Volume One, ten more compositions, with Brian Marsella switching to acoustic piano, Julian Lage (guitar), Jorge Roeder (bass), and Ches Smith (drums). B+(**) [sp] John Zorn/Bill Laswell: Memoria (2023, Tzadik): Alto sax and bass duo, three live improvs, each dedicated to a recent late great: Pharoah Sanders, Milford Graves, Wayne Shorter. B+(*) [sp] John Zorn: Quatrain (2023, Tzadik): Composed and arranged by Zorn, played by two guitarists, Julian Lage and Gyan Riley. B+(*) [sp] John Zorn: Homenaje A Remedios Varo (2023, Tzadik): Tribute to the Spanish painter (1908-63), who fled Spain in 1937 to escape Franco, and France in 1941 to escape the Nazis, winding up in Mexico. Quartet Incerto again, waxing sublime. B+(***) [sp] John Zorn: Full Fathom Five (2023, Tzadik): More Zorn compositions, played by his quartet Incerto (Julian Lage, Brian Marsella, Jorge Roeder, Ches Smith). Dubbed "modern chamber music." Marsella's touch on Zorn's piano works always impresses. B+(**) [sp] John Zorn: Nothing Is as Real as Nothing (2023, Tzadik): More compositions and conducting, this time a guitar trio, with Bill Frisell joining Julian Lage and Gyan Riley. B+(**) [sp] Recent reissues, compilations, and vault discoveries: Gabe Baltazar Quartet: Birdology (1992 [2023], Fresh Sound): Alto saxophonist (1929-2022), from Hawaii, father born in Manila, got a scholarship to Los Angeles in 1946, and an introduction to bebop (meeting Charles Parker in 1948 in New York). After Army and some time back in Hawaii, he played in the Lighthouse All-Stars, and for Stan Kenton and Oliver Nelson. He returned to Hawaii in 1969, and only has a couple of recordings after that -- although give him a side-credit for Elvis: Aloha From Hawaii. This was recorded in Los Angeles with Frank Strazzeri (piano), Andy Simpkins (bass), and Nick Martinis (drums). Two originals (title comes from his own "Birdology 101"), one by the pianist, one from Russ Freeman, the rest songbook standards (highlight: "In the Still of the Night"). A- [bc] Basie All Stars: Live at Fabrik Vol. 1: Hamburg 1981 (1981 [2023], Jazzline): As with Ellington, Count Basie's big band spun off smaller groups, with or without the leader. Basie recorded a couple 1983 albums after he missed this set, but here Nate Pierce is the pianist, leading a stellar alumni nonet: Marshall Royal (alto sax), Buddy Tate (tenor sax), Billy Mitchell (synth), Harry "Sweets" Edison (trumpet), Joe Newman (trumpet), Benny Powell (trombone), John Heard (bass), and Gus Johnson (drums). B+(**) [r] Eddie Bert Sextet: The Human Factor (1987 [2023], Fresh Sound): Trombonist (1922-2012), original name Bertolatus, played with Stan Kenton 1948-55, then switched to Charles Mingus, then Thad Jones & Mel Lewis -- well, he played with a lot of folks, all kinds. Group here has Jerry Dodgion (alto sax), Carmen Leggio (tenor sax), Duke Jordan (piano), Ray Drummond (bass), and Lewis (drums). B+(**) [bc] Miles Davis Quintet: In Concert at the Olympia, Paris 1957 (1957 [2023], Fresh Sound): Not the trumpet player's legendary Quintet, just a local band but names you should recognize: Barney Wilen (tenor sax), René Urtreger (piano), Pierre Michelot (bass), and American expat Kenny Clarke (drums). B+(**) [bc] Paul Moer Trio: Plays the Music of Elmo Hope (1991 [2023], Fresh Sound): Pianist (1916-2010), last name Moerschbacher, moved to Los Angeles after graduating Miami in 1951, played with many cool jazz luminaries, recorded a couple albums 1959-61, then this trio with John Heard (bass) and Lawrence Marable (drums). The old albums as well as this one were collected on Fresh Sound's 2018 The Amazing Piano of Paul Moer: Complete Trio Sessions 1957-1991. B+(***) [bc] Jack Nimitz Quartet: Confirmation (1995 [2023], Fresh Sound): Baritone saxophonist (1930-2009), joined Woody Herman in 1954, Stan Kenton in 1956, played in the big bands of Terry Gibbs and Gerald Wilson, co-founder of Supersax (1973-88), many side credits, only a few albums under his own name. This one is a quartet with Lou Levy (piano), Dave Carpenter (bass), and Joe LaBarbera (drums). All standards, title from Charlie Parker. B+(***) [sp] The Dave Pell Octet: Plays Again (1984 [2023], Fresh Sound): Tenor saxophonist (1925-2017), originally from Brooklyn but moved to Los Angeles in the 1940s, playing with Les Brown 1947-55, before becoming best known for his 1953-63 Octets. Med Flory (baritone sax) was the only other one who made this reunion, but the arranger list is: Marty Paich, Bob Florence (piano here), Bill Holman, Short Rogers, and John Williams (a former Octet member). B+(**) [sp] Bill Perkins: Perk Plays Prez: Bill Perkins Recreates the Historic Solos of Lester Young (1995 [2023], Fresh Sound): Tenor saxophonist (1924-2003), also plays clarinet, one of the west coast players who came out of the Woody Herman and Stan Kenton bands to define cool jazz -- all devoted to Lester Young, many getting an extra push on Jordi Pujol's label in the 1990s. Helping out here is the Jan Lundgren Trio. B+(***) [bc] Frank Strazzeri and His Woodwinds West: Somebody Loves Me (1994 [2023], Fresh Sound): Pianist (1930-2014), from Rochester, moved to New Orleans in 1954 then on to the west coast. Group here with three saxophonists (Bill Perkins, Jack Nimitz, Pete Christlieb) plus bass and drums. B+(**) [bc] Old music: Eddie Bert Quintet: Kaleidoscope (1953-59 [2005], Fresh Sound): Trombonist, three 1953-54 sessions with Duke Jordan (piano), Sal Salvador (guitar) or Vinnie Dean (alto sax), bass (Clyde Lombardi), and drums, collected by Savoy Jazz under this title in 1987. This reissue adds a fourth set from 1959 (same group as the second), plus a 17:33 live take of the title tune. B+(**) [r] Martin Lutz Group: It's Swing Not Rocket Science (2011, Calibrated): Danish pianist with African roots, looks like his third group album (since 2004), tempted me with the title and lead off with an "African Polka" featuring Marilyn Mazur. Very little doc beyond that. B+(*) [sp] Jack Nimitz and Friends: Yesterday and Today (1957-2007 [2008], Fresh Sound): Appearing a year before the baritone saxophonist's death, this looks like an attempt to build him up a bit of discography. The old set has trombonist Bill Harris with a cast that rotated over three sessions, with various guitarists (Kenny Burrell, Jimmy Raney, Chuck Wayne), bassists (Oscar Pettiford, Russ Saunders), drummers, and strings. The recent one is a quintet with Adam Schroeder (baritone sax), John Campbell (piano), Dave Carpenter (bass), and Joe LaBarbera (drums). B+(**) [sp] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, October 23, 2023 Speaking of WhichAfter a grueling Speaking of Which last week (9497 words, 125 links), I resolved this week not start my article search until Sunday: partly because many of the week's stories are quickly evolving, but mostly because I said pretty much what I wanted to say last week (and much of it the week before). But the way this column comes together is a lot like surfing: you look around, notice an interesting wave, and try to ride it. The process is very reactive, each little bit giving you a glimpse of some still unparsed whole, further obscured by a sort which obliterates order. What I want to do this week is to start by making a few points that I think need to be highlighted, as plainly and clearly as possible.
The next section is my "thesis-oriented" original introduction. (I only got down to 13 before scratching it as the lead and writing the newer one above, but will try to knock out the rest before I post on Monday.) Finally, there is another note on foreign policy at the end of the post, which I jotted down back on Saturday. This week's links came out of a very quick scan of sources. Actually, when I started writing an introduction on Sunday, I intended a numbered list, with about a dozen items on it. What follows is as far as I got, before turning to the shorter statement above.
The October 6 attacks were immediately met with a deafening roar of condemnation, at least in America and probably in Europe, even by people who have long been very critical of Israel's brutal occupation and long history of duplicity and propaganda. That's fine on a personal level, but what Israeli leaders were looking for, and what they heard, was assent to respond with violence in even greater orders of magnitude. When one said "terrorism," they heard "kill them all." When one said "this is Israel's 9/11," they heard "it's time for all-out war." And when Israelis threatened genocidal revenge, and got little or no pushback from their old allies, the die was cast. They would bomb and kill until even they couldn't stand it anymore. And it would happen not because of what Hamas did, but because they had started down this road a century ago. (There's a book called Jerusalem 1913 which offers one credible landmark date.) Because no one ever took the threat seriously enough to stop them. Because they pulled the occasional punch and laughed it off. Because we fellow settler colonists secretly admired them. It's tempting to think that world opinion, not least the rich Americans who bestow so much generosity on Israel, could talk Israel down from this precipice of genocide. In that light, Biden's public embrace and endorsement seems not just foolish but cowardly. I won't argue that it's not. But I'm reminded of something that David Ben-Gurion liked to say: "it only matters what the Jews do." And here, unencumbered by public opinion and other people's morality, they will surely do what they've always wanted to do, and reveal themselves as they truly are. Or at least some of them will: the ones naively given so much deadly power. [PS: Ben-Gurion said a lot of ridiculous bullshit, so scouring Google for an exact quote is hard and painful. Closest I came to this one was "it does not matter what the goyim say, but what the Jews do." But my memory is more to my point.] Two more personal items for possible future reference:
Calling for a ceasefire should be one of the easiest and sanest things any politician can do. That politicians are reluctant to do so suggests that someone is snapping the whip hard behind them. For instance, I just saw this tweet: A senior adviser to [UK Labour Party leader Keir Starmer was asked how many Gazans have to die before Labour will call for a ceasefire. The reply came: "As many as it takes . . ." Top story threads:Israel:
Trump, and other Republicans:
Legal matters and other crimes:
Ukraine War:
Other stories:Brian Merchant: [10-20] On social media, the 'fog of war' is a feature, not a bug. "Even if that haze has occasionally been punctured for the greater good, as when it's been used for citizen journalism and dissident organizing against oppressive regimes, social media's incentive structure chiefly benefits the powerful and the unscrupulous; it rewards propagandists and opportunists, hucksters and clout-chasers." David Pogue: [10-19] My quest to downsize without throwing anything away: "A big old house full of belongings -- could I find them all a new life?" Vincent Schiraldi: [10-16] Probation and parole do not make us safer. It's time to rethink them. Some troubling examples and statistics. Author also has a new book: Mass Supervision: Probation, Parole, and the Illusion of Safety and Freedom. Jeffrey St Clair: [10-20] Born under punches: Counterpunch 30th anniversary. We went to the Global Learning Center's annual banquet on Saturday, where we were lectured by Bob Flax, past executive director of Citizens for Global Solutions, on the need for effective world government. I was pretty much aligned with their thinking 25 years ago, when I started thinking about some kind of major political book. I circulated a draft of about 50 pages to some friends, and every time I mentioned anything in that direction, I got savage comments from one reader. The gist of her comments was: no fucking way anything like that's going to fly. I had to admit she was right, which killed that book idea -- though after 2001 events suggested more urgent political book tasks. Clearly, the idea of a benign global authority which can lawfully arbitrate disputes between nations has considerable appeal. Flax started his presentation by pointing out how the superior government of the US Constitution resolved disputes and standardized practices, at least compared to the previous Articles of Confederation. On the other, every government presents an opportunity for hostile takeover by special interests -- or for that matter, for its own bureaucratic interests. There are, of course, reasonable designs that could limit such downsides, but they will be resisted, and it doesn't take much to kill a process that requires consensus. Consequently, I've found my thinking heading toward opposite lines. Instead of dreaming of an unattainable world order, why not embrace the fact that nations exist in a state of anarchy? It's been quite some time since I looked into the literature, but I recall that a fair amount of thought has been put into functioning of anarchist communities. The key point is that since no individual can exercise any real power over anyone else, the only way things get done -- at least beyond what one can do individually -- is through cooperative consensus-building. The smartest political book to appear in the last 20-30 years is Jonathan Schell's The Unconquerable World -- maybe smarter than Schell realized, as he doesn't spend nearly enough time on the insight of his title. Yet, at least since 2000, efforts to conquer and occupy other parts of the world have nearly all been doomed to failure: the US in Afghanistan and Iraq (and Somalia and Libya and Syria); Saudi Arabia in Yemen; Russia in Ukraine; Israel in Gaza. None of these were what you'd call underdogs, yet they ultimately couldn't overcome the resistance of the people they meant to subdue. (China may prove an exception in Sinkiang, where they have huge advantages, but probably not in Taiwan, where they don't.) Unable to conquer, the only recourse is to deal with the other nation as an equal, to show respect and to search out areas that may be mutually beneficial. American reliance on power projection and deterrence seems to be habitually baked in, which is strange, given that it has almost never worked. On the other hand, what has worked -- at least for US business elites (benefits for American workers are less plentiful) -- has been generous bilateral and multilateral engagement with "allies." Of course, I didn't bring this up in the long Q&A period that followed. A who guy spends all his life working on a nice dream shouldn't have it trampled on just because I'm a skeptic, but also I doubt I could have expressed such a profound difference of opinion in a forum that was predisposed to the speaker. But had I spoken up, most likely I would have held myself to a smaller, tangential question: is anyone in his circles seriously talking about a right to exile? Sure, they are big on the ICC, which they see as necessary to enforce international laws against war crimes and human rights abuses. The ICC rarely works, as it depends on being able to get their hands on suspects. (I think it would work better as a reference court, where it could validate facts and charges, in absentia if necessary, but not punish individuals.) A "right to exile" offers people convicted in one country the chance to go into exile elsewhere, if some other country decides the charges are political in nature or simply unjust. This is both a benefit to the individual freed and to the country, which no longer has to deal with a troublesome person. This is also likely to reduce the level of international hostility that is tied to the perception of people being treated unfairly. And it should reduce the incentive that countries have for prosecuting their own citizens. It could also reduce the need to determine whether immigrants need to be protected as refugees. I've never seen anyone argue for such a right, but it seems to me that it would make the world a slightly better place. (When I looked up "right to exile," most references concern whether a state has a right to exile (or banish) its citizens -- something that is widely frowned upon. I could see combining both meanings, provided there is a willing recipient country, and the person is agreeable to the transfer. I have a few dozen off-the-cuff ideas worth pitching, some simple and practical, others more utopian (for now, anyway). Paul Goodman wrote a book called Utopian Essays & Practical Proposals. That strikes me as a super subtitle, to say the least. His 1949 proposal for a car-free Manhattan still strikes me as a pretty good one. |