Tom Hull: Tom Hull - on the Web

I wrote a fairly long political post over the weekend, only very indirectly occasioned by recent events, although it's impossible to totally block out Trumpism and its discontents. The actual stimulus was reading Eric Hobsbawm's 2003 autobiography, Interesting Times: A Twentieth-Century Life, specifically the part where he offers a leftist's observations on the Thatcher demolition of civil society, and the hollow Blair response. With Reagan and Clinton, that all seems pretty familiar. And while in many ways Trump is the linear descendent of Nixon, Reagan, and the Bushes -- even his utter contempt for legalities isn't unprecedented -- he now seems to be breaking things just to show that he can.

Probably thanks to reading Hobsbawm, I've been revisiting the Trump/Fascist arguments, so I wound up spending way too much time today on a John Ganz post, There Was Never Any "Fascism Debate". As I recall, there was, but the academic end was mired in arbitrary definitions, and the popular end was if anything counterproductive. After the election, I was convinced that it was a waste of time. I still think it has no potential to influence anyone's politics, and mostly serves people like me as a chance to flaunt one's historical knowledge, it is very hard for people to understand the present except via historical analogy, and there are very few antecedents who come close to Trump's extraordinary impact. While there are still quite many variations, and we're still nearer the beginning than the end of Trump's reign of terror, it's the shoe that comes closest to fitting.

The question then is what can one learn from the analogy? Very little, I suspect, about the Führer himself, but if you look at his deputies, his active and passive supporters, his mass of fans you will find unnerving similarities. Even more worrisome is how ineffectual anti-Nazi resistance was, both from the liberals and social democrats who underestimated him and even more so from the leftists who understood the threat perfectly yet were powerless to stop him. There is, as yet, little reason to be that pessimistic, or to surrender even if one were, but it is clear that Trump is doing not just the bad things we expected, but more that we didn't (or couldn't without exposing ourselves as fantasists). And that Trump's acts will not only get worse, but will leave a lasting print that may never be excised.

My post goes into some of that, but obviously much more is still kicking around in my head. I still have no plans to write about this, or much of anything else. My only addition so far to my planning documents has been to open a still-empty file on house projects. I've spent three days so far on one, which initially seemed too simple to bother writing up (although, somewhat less formally, I did mention it in the notebook): fixing up the ramp into the shed -- something I've wanted to do for years, which now merged with my wife's request to do something to keep the dog from digging under the shed. It's going very slow, and I'm exhausted today, but at least I've started to feel like I have it under control.

Recovery from eye surgery is also going slowly, and hard to gauge, with more erratic or just uncertain moments. Makes it hard to get on with life, so I've tended to let everything slip. I still haven't done the frozen file thing, and I have very little idea what new albums are coming up. The only reason I have much new jazz to report is that it's easier to pick an album out of my promo queue than it is to figure out some good prospect from the media. But I did get a boost this week from Robert Christgau's March Consumer Guide, which netted four A- records, four high B+(***), and one more B+(**), none of which were particularly on my radar. I have the three records I had previously heard -- Mdou Moctar: Funeral for Justice, GloRilla: Glorious, and Marshall Allen: New Dawn -- graded somewhat lower, after brief encounters. Incidentally, I have GloRilla's 2024 mixtape, Ehhthang Ehhthang, a notch high, and two recent Allen features -- Sun Ra Arkestra: Lights on a Satellite and John Blum: Deep Space -- at A-.

Four of the Christgau picks, plus one of my jazz albums, led me to dig into unheard back catalog, so there's quite a bit of Old Music this week. I was at one point tempted to start up a 2025 Metacritic file, as an aid in prospecting, but I wound up making little if any further changes to the 2024 file, despite my expectation of doing so. (One reason I didn't was that it was straining my eyes.) Still, like much else, up in the air for now. I have few (if any) expectations for next week. (Although I do want to get more done on the shed Tuesday, before the next cold front blows through on Wednesday. By the way, in local news last week: A highway pileup in western Kansas shows how dust storms can turn deadly; also numerous reports of fires around Kansas last week. The weather is keeping pace with all the other Trumpian weirdness, and there's no reason not to blame him for that too. Campaigning to promote disasters isn't exactly causality but is close enough to count.

By the way, I added the Chills album after the initial cutover, so it's not counted in the weekly census. It is tempting to add the reissue of Studio's 2006 album West Coast, but I'm just nearing the end of a first play. I've been posting preview notes on the week's A- records on Bluesky. Initially I was able to link to Bandcamp pages, but I've run into a few snags lately, where I try to offer the best links I can find. I'm up to 35 posts and 68 followers there now.

Bad Bunny: Debí Tirar Más Fotos (2025, Rimas Entertainment): Puerto Rican rapper/singer, big star in his niche ("Spotify's most streamed artist of the year, 2020-2022"), sixth studio album. I've listened to, and enjoyed, most of them, without ever quite graduating to fan, which may be chalked up to my incomprehension of the language, or could suggest that the rhythm falls just short of making such concerns academic. B+(***) [sp]

Bag of Bones: No One Gets Saved (2023 [2024], 577): British avant-jazz quartet: Riley Stone-Lonergan (tenor sax, from QOW Trio), Rick Simpson (piano), Oli Hayhurst (bass), Will Glaser (drums), first group album. B+(**) [sp]

Towa Bird: American Hero (2024, Interscope): British pop/rock singer-songwriter, born in Hong Kong, "half-Filipino, half-English" started on Tik Tok playing "guitar riffs over other artists' songs," first album. B+(***) [sp]

Robert Sarazin Blake: Let the Longing Run Wild & Free (2025, Same Room): Singer-songwriter, dozen-plus albums since 1996. B+(**) [sp]

Charly Bliss: Forever (2024, Lucky Number): Power pop group from New York, Eva Hendricks the singer, third album, the others from 2017 and 2019 -- long enough ago that I had forgotten how much I liked Young Enough (about as much as I like this one). A- [sp]

The Chills: Spring Board: The Early Unrecorded Songs (2025, Fire): The late Martin Phillipps wrote the songs in the early 1980s, probably before the New Zealand group's 1988-92 breakthrough albums. No recording dates given, but Phillipps, who died at 61 in 2024, is credited with electric guitar and vocals on all songs, along with four others who joined the 2021 edition of the band, so these versions are not old demos. At 20 songs, they arguably went overboard, but half are remarkable, and we're unlikely to get more. A- [sp]

Helene Cronin: Maybe New Mexico (2025, self-released): Previously unknown country singer-songwriter from Texas, fourth album since 2013 (per Discogs; website has the first of those as an EP, along with a couple more). "We're story tellers and ocean walkers," striking ones about wastes of people and land, from a war-addled rifleman to a stripped mine. A- [sp]

Jonah David: Waltz for Eli (2024 [2025], Swish Tap): Drummer, first album as leader, side credits back to 2004 but mostly with Matisyahu. Varied lineups, most with sax, piano (or organ), and bass, guitar on three tracks, vocals (Anna Perkins) on two, trumpet (Jeremy Pelt) on one. B+(*) [cd]

FACS: Wish Defense (2025, Trouble in Mind): Chicago post-punk band, name a tribute to Factory Records, so think Joy Division/New Order with edges less honed, or if you remember them (as I do) the 2007-15 band Disappears, where all members of this trio -- Brian Case (guitar/vocals/keybs), Jonathan van Herik (bass), and Noah Leger (drums) -- got their start. My main caveat is that their sound is so consistent it's hard to pick the better albums out from the also-rans, not that I'm sure there really are any. A- [sp]

Satoko Fujii Tokyo Trio: Dream a Dream (2024 [2025], Libra): Super-prolific Japanese pianist, this one a trio with bass (Takashi Sugawa) and drums (Ittetsu Takemura), drags a bit in spots, but is brilliant often enough. A- [cd]

Funkrust Brass Band: Make a Little Spark (2024, self-released): New York band, 20-piece group (at least at one point), "mixes post punk, disco, EDM, metal, funk, Balkan brass and New Orleans second line, with snazzy uniforms, choreography, megaphone vocals, and all-original music." Two earlier (2017-19) albums fall short of LP-length, and their collection of demos and remixes isn't much longer, but this one counts, and I'm a sucker for a good tuba section. A- [sp]

Future: Mixtape Pluto (2024, Freebandz/Epic): Atlanta rapper Nayvidius Wilburn, 17 mixtapes since 2010, first studio album was Pluto in 2012. I've never quite understood the difference, nor can I tell you what distinguishes trap from hip-hop, but if you set up a 2x2 plot on those two axes even I could assign this to the trap/mixtape quadrant. B+(**) [sp]

Freddie Gibbs: You Only Die 1nce (2024, ESGN): Rapper, actual last name Tipton, debut 2013, sixth solo studio album. Title refers back to his 2017 album, You Only Live 2wice. B+(**) [sp]

Muriel Grossmann: MGQ Live in King Georg, Köln (2022 [2025], Powerhouse): Austrian saxophonist (tenor, soprano, alto here), a "spiritual jazz legend" -- which mostly means she's moved by the holy spirit of John Coltrane -- with her quartet: Radomir Milojkovic (guitar), Abel Boquera (organ), and Uros Stamenkovic (drums). B+(***) [sp]

Patterson Hood: Exploding Trees and Airplane Screams (2025, ATO): Drive-By Truckers singer-songwriter, released three solo albums 2004-12 along with group albums, this his fourth (not counting the pandemic-filler Heathen Songs). Too quiet to keep my attention, but interesting enough when I do notice. B+(***) [sp]

Lady Blackbird: Slang Spirituals (2024, Foundation Music Productions/BMG): Jazz singer-songwriter Marley Munroe, based in Los Angeles, second album, has muscled up the production to the point where it's no longer recognizable as jazz, but so far she's making the power work. B+(***) [sp]

Ben Markley: Tell the Truth (2024 [2025], OA2): Discogs credits him with three 1976-81 albums, but another source has him born in 1981, and when you click on "Credits" those three albums vanish (replaced by two others from 1975-77), with his plausible credits starting in 2007, and own albums in 2009. He has six of the latter, including a couple big band efforts, plus one by Live Edge Trio. He's a pianist, and composed all originals, for this postbop quintet with Wil Swindler (alto sax) and Steve Kovalcheck (guitar), plus bass and drums. B+(*) [cd]

Mdou Moctar: Tears of Injustice (2025, Matador): Tuareg singer-guitarist from Niger, steady stream of albums since 2013, started getting some notice after Matador signed him/them in 2021, especially for the 2024 album Funeral for Justice. This is an acoustic remake, recorded after a coup made return problematical for touring musicians. I've made no effort to decipher the words or politics -- the coup itself was notable here for sending US troops in Niger packing, which I took to be good news all around, but I have no idea what the actual impacts there are. In any case, the words mean nothing to me, but slowing them down and quieting the guitars seems as valid as ever. B+(***) [sp]

Isabelle Olivier: Impressions (2024 [2025], Rewound Echoes): French h arpist, a dozen albums since 1997, takes title and inspiration from Coltrane, but her "genre melding" touches on folk themes filtered through euroclassical. B+(**) [cd] [03-21]

Juan Perea: Lightkeeper (2022-24 [2025], Zoho): Pianist, based in Chicago, seems to be his debut at 68, kicks off with "Oye Como Va," followed by seven originals and a reprise. Eric Marienthal plays notable alto sax on three cuts. B+(*) [cd]

Jim Snidero: Bird Feathers (2024 [2025], Savant): Alto saxophonist, 28th album over 40 years, decided to mark the occasion with a collection of Charlie Parker tunes, although he slipped four standards into the mix: "These Foolish Things," "Embraceable You," "The Nearness of You," "Lover Man" -- not songs I associate with Parker, but the liner notes explain the connections. Trio with Peter Washington and Joe Farnsworth, an exemplary mainstream rhythm section, as rooted in swing as in bop. Very nicely done, without a hint of danger or irony. B+(***) [cd]

Mitch Towne: Refuge (2024 [2025], Cross Towne): Organ player, Discogs lists 8 side credits back to 1999, but this seems to be his first album as leader, a trio recorded in Omaha with Tetsuya Nishiyama (guitar) and Jeffery Johnson (drums), playing six originals and a piece by Kenny Kirkland. B+(*) [cd] [04-04]

University of Nevada Las Vegas Jazz Ensemble 1: Let the Good Times Roll (2024 [2025], Vegas): Chances are pretty much any music school in the country could assemble a band like this (I've run across similar efforts from UNT and Toronto). No real reason to search them out, or to get snippy about talented students playing repertory (or their first stabs at originals). But this one is pretty enjoyable, thanks largely to song selection (starting with the title). I wouldn't even mind hearing more vocals, at least from ringer guest Laura Taylor, whose "Alright, Okay You Win" is a highlight. B+(**) [cd]

Wavy Bagels With Driveby: A Carfull (2024, Break All): Queens rapper Jackie Mitchell and producer Oscar Torres Jr., each with one other recent album. B+(**) [sp]

WDR Big Band: Bluegrass (2025, MCG Jazz): Westdeutscher Rundfunk, founded 1956 when the Köln radio station split off from Hamburg's NDR (Norddeutscher Rundfunk) and pivoted to jazz, where they've proven a ready source for big band backing. Discogs credits them -- usually as WDR Big Band Köln (or Cologne) -- with 104 albums since 1981, many under the names of guest directors (most prominently: Lalo Schifrin, Vince Mendoza, and Bob Mintzer -- at the helm here) or guest stars. Mintzer arranged ten more or less recognizable bluegrass tunes here, and solos on tenor sax and EWI, with Darol Anger (violin) and Mike Marshall (mandolin) guest stars. A nice exercise unlikely to have any lasting impact in either world. B+(*) [cd]

Rodney Whitaker: Mosaic: The Music of Gregg Hill (2024 [2025], Origin): Mainstram bassist, from Detroit, many side credits since 1985 (Roy Hargrove, Orrin Evans, Wynton Marsalis), over a dozen own albums, in 2019 he kicked off a now extensive series of albums of the compositions of Gregg Hill, back here with what may be the best one yet, largely thanks to stellar performances by Terell Stafford (trumpet/flugelhorn) and Tim Warfield (tenor/soprano sax), with Rick Roe (piano) and Dana Hall (drums). Also four vocals by Rockelle Whitaker, which I'm less enthusiastic about but they do add another dimension to Hill's work. B+(***) [cd]

Helene Cronin: Restless Heart (2014, self-released, EP): First album, six songs, 22:28. Sounds nice enough, but no songs really stand out. B+(*) [sp]

Helene Cronin: Belong to the River (2015, self-released, EP): Second album, just a bit longer (7 songs, 24:43), but her sound is striking from the start, as are several of the songs -- including a couple I might object to on politico-philosophical grounds but are too observed to get upset over ("Dangerous," on hazards as childhood learning experiences, and "Lucky Me," on how soldiers make you free). B+(**) [sp]

Helene Cronin: Old Ghosts & Lost Causes (2019, self-released): First full album, 11 songs, 42:23. Good songwriter, but tends to stay understated. B+(*) [sp]

Helene Cronin: Landmarks (2023, self-released): Second full album, 12 songs, put extra effort into the songs, and developed a real band sound. B+(***) [sp]

FACS: Negative Houses (2018, Trouble in Mind): After a pretty impressive 2010-16 run, Disappears bassist Damon Carruesco departed, breaking up the band. But the other three musicians regrouped, with second guitarist Jonathan van Herik moving over to bass, adopting this new name connected to Factory Records -- UK home of Joy Division, which rather more dramatically turned into New Order. This first album preserves their sound, but it's mired in trauma. B+(*) [sp]

FACS: Lifelike (2019, Trouble in Mind): Second album, unless 6 songs, 29:22 demotes it to EP status (as Spotify thinks). A bit slow off the mark, but the last song holds up for 8:21. B+(*) [sp]

FACS: Void Moments (2020, Trouble in Mind): Third album, 7 tracks, 30:34. Solid sound, doesn't develop much. B+(*) [sp]

FACS: Present Tense (2021, Trouble in Mind): Fourth album, 7 tracks, 35:14. Having commented above on how consistent the appeal of Disappears was, and noting the continuity of their latest album, I now have to admit that they fell into a sustained rut -- although their previously heard fifth proper album, Still Life in Decay (2023) did start to step back up. B+(*) [sp]

FACS: Maggot Brain 020324 (2024, self-released): Back cover reads: "Smashed Plastic Anniversary 20192024." Live set as dated, celebrating their 5th anniversary, released as a "Bandcamp exclusive," which included a limited vinyl run. I found this first when looking up "Wish Defense" -- the title song of their 2025 album, which first appeared here. Good dry run for the new album. B+(***) [bc]

Funkrust Brass Band: Dark City (2017, self-released): First album, or EP if you're bothered by the 26:57 run time for seven songs. Not sure how many musicians are in this edition, but the concept is fully evolved, backed with ample brass. B+(***) [sp]

Funkrust Brass Band: Bones and Burning (2019, self-released, EP): Second outing for the "20-piece post-apocalyptic disco-punk brass band playing all original music with megaphone vocals, heavy tuba bass lines, thundering percussion and searing brass melodies." But with just four songs, 18:10, we'll count it as an EP. B+(***) [sp]

Patterson Hood: Killers and Stars (2004, New West): Drive-By Truckers singer-songwriter since 1998, they were just taking off when he released this modest solo effort. B+(*) [sp]

Laura Taylor: Cry Me a River: A Tribute to Julie London (2000 [2001], Quicksilver): Standards singer, based in Las Vegas, details scarce, but after hearing her as an emeritus guest on the UNLV big band album I wanted to hear more. Discogs lists backing vocal credits back to 1978 (mostly with Diana Ross), but no jazz until 1989-90 with Steve Kuhn. AMG co-credits this to guitarist Joe Lano, but his name doesn't appear on the cover. Back cover has him under "featuring," along with Tom Warrington (bass). The songs are taken at a crawl, which suits them all. B+(**) [sp]

Laura Taylor: My Funny Valentine: Memories of Chet Baker (2002, Staying Power): Not as memorable a songbook, but enough to work with, especially with Steve Kuhn (piano), Eddie Gomez (bass), and Lewis Nash (drums). She makes no effort to match Baker's voice or phrasing, other than by taking even the slightest songs slow, which she can do because her own voice is so exquisite. B+(***) [sp]

Laura Taylor: Mountain Greenery (2006, Staying Power): I'm not finding any credits for this (even the duet partner in "Straighten Up and Fly Right") but the arrangements are varied, including drenching strings for the "Porgy and Bess Medley" -- one suggestion is that she picked out instrumentals for her Vegas act, making this some kind of ritzy karaoke. I didn't recognize the title song, but Rodgers & Hart wrote it, with Mel Tormé and Ella Fitzgerald covers. Nothing else, least of all "One Note Samba," got past me. B+(**) [sp]

Laura Taylor: Have Mercer on Me: Laura Taylor Sings Johnny Mercer (2010, Staying Power): A great and varied song book, which she handles with considerable aplomb. No idea who plays on this, but there is some nice sax, as well as piano trio. B+(***) [sp]

Laura Taylor: Dancing in My Feet (1979, Good Sounds): Evidently she did start off as a disco singer, with the title single the theme song for a TV show, Disco Magic. This was produced by T.K. Productions in Florida, presumably related to Terry Kane's TK Records label -- best known for KC & the Sunshine Band and George McRae's "Rock Your Baby" -- although this came out on another Miami-based label. This is a better-than-expected disco obscurity, with the title song recommended for anthologistsm, but I'm also impressed with the ballad "Sad Is the Song." B+(**) [sp]

I want to share a fairly long quote, which has some relevance to the present situation (as well as being interesting on its own) from Eric Hobsbawm's 2003 memoir, Interesting Times (pp. 274-277, although I'm going to break this up by paragraphs, so I can add some notes):

Hobsbawm, whose father was British and employed in the colonial empire (making him British), was born 1917 in Alexandria, and grew up in Vienna (home to his mother) and Berlin. He joined the Communist Party in Berlin c. 1930, and moved to England in 1933 to live with relatives, and remained a party member until his death in 2012, despite various misgivings, especially after 1956. So he always identified as a member of the left, effectively outside, but not disinterested in, the fray of British electoral politics. The chapter is called "A Watcher in Politics," and the pages leading up to this quote touch on a number of prominent figures in the post-Wilson, pre-Blair Labour Party: names I only vaguely recognize (Tony Benn, Denis Healey, Michael Foot, Neil Kinnock, Arthur Scargill), and events (strikes, schisms), I have little knowledge of. But my sense from this is that Labour didn't just duck for cover, as most Democrats did instead of facing up to Reagan, but strong left resistance didn't work any better than the cowardice and/or indifference of the moderates.

More about why anti-Thatcher resistance failed below, although far short of all that can or should be said. One thing to note here is that while the US left was as strongly anti-Reagan, it was much smaller and more marginalized, partly because the Red Scare purges ran much deeper here (especially in the unions, which were further weakened by 30 yers of Taft-Hartley), and the mass energy of the old left had largely been harnessed and diverted by the New Deal, which had replaced socialism as a quasi-utopian ideal. (We don't need to accept the argument that socialism was impossible in the US due to frontier individualism. The drive toward socialism was effectively blunted all over the west through fairly basic reforms, although the word was most strenuously decried in the US.)

This is basically about the political tactics of people who never had enough power to need tactics. Given that nothing was likely to work, why kick yourself (or others in some sense comrades) for failed choices? Of course, I've seen many debates like this on the American left, where the track record is no better.

This, indeed, was the general predicament of socialists in Britain from the middle 1970s on. Things fell apart for moderate reformist social democrats as well as for communists and other revolutionaries. For Marxists and non-Marxists, revolutionaries and reformists, we had in the last analysis believed that capitalism could not produce the conditions of a good life for humanity. It was neither just nor in the long run viable. An alternative socialist economic system, or at least its forerunner, a society dedicated to social justice and universal welfare, could take its place, if not now then at some future time, and the movement of history was plainly bringing this nearer through the agency of state or public action in the interest of the mass of the wage-earning classes, implicitly or explicitly anti-capitalist. Probably never did this look more plausible than in the years immediately following the Second World War, when even European conservative parties were careful to declare themselves anti-capitalist and US statesmen praised public planning. None of these assumptions looked convincing in the 1970s. After the 1980s the defeat of the traditional left, both political and intellectual, was undeniable. Its literature was dominated by variations on the theme 'What's Left?' I contributed to it myself. Paradoxically, the problem was far more urgent in the non-communist countries. In almost all the communist regimes the collapse of a widely discredited 'really existing socialism', the only socialism officially extant, had eliminated any other kind from the political scene. Moreover, it was reasonable enough for people there to place their hopes, even sometimes their utopian hopes, in an unknown western capitalism, so obviously more prosperous and efficient than their own broken-down systems. It was in the west and south that the case against capitalism remained convincing, especially that against the increasingly dominant ultra-laissez-faire capitalism favoured by transnational corporations, backed by economic theologians and governments.

While the left suffered political defeats in the 1980s, at least in the US and UK, the notion that it was eclipsed intellectually was never more than a hideous con job, bought mostly by liberals who never made the effort, not least because they never cared. What I will grant is that two fairly big residual notions had to be discarded: one is that the Soviet state had failed, both relative to the west and in its own terms, which led not just to collapse but to a deep well of cynicism; the other, related, was that we lost faith in the regenerative power of revolution, which actually dates back beyond 1917 to 1776 and 1789, and had been replenished as late as Vietnam and Cuba. A third problem should also be mentioned: the increasing immiseration of the masses ebbed and started to retreat after WWII, at least in the "advanced" world, which made it harder to see the proletariat as the political vanguard driving socialism -- an idea which itself was fading into utopian dreams.

Those were scarcely problems for leftists like myself, who always saw the history of the left as subject to the exigencies of its times and the limits of subversive imagination. In my view, Marx was -- as Benjamin said of Baudelaire -- a secret agent: of the bourgeoisie's secret discontent with its own rule. Modernist art and science were just other facets of a single drive that could only achieve equilibrium through equality and universality, yet didn't fully trust either. So socialism was really just a mirage: something the brain concocts to fill in the void of an unseeable, and possibly unattainable, future. It doesn't matter that Marx got side-tracked by Hegelian dialectics, or that Lenin and Mao siezed political opportunities and tried to pass them off as revelations. Sooner or later, the flaws would become clear.

More on the 1992 United Kingdom general election, where John Major's Conservative Party won a landslide over Neil Kinnock's Labour, after extensive polling showed the race close.

The problem, of course, is that Blair's Labour Party, having won power, no longer needed any kind of critique about what was wrong with capitalism, and opposed any effort to rock their boat. After all, hadn't they just won? But in adopting so much Thatcherism, they too were bound to collapse under the dead weight of bad ideas and corrupt practices, as indeed they eventually did. But even out of power, they still saw no need for critique, as they had simple faith that the Conservative would fail again, letting them back in. (Which is basically all you need to know about Neil Starmer, whose recent win was inevitable and underwhelming.)

In America, Bill Clinton played the same role as Blair, with Obama and Biden stuck in his ruts, free of analysis or principles, and blessed with opponents so odious they can make you think you have no alternative. Still, aside from the rich donors who fund them -- and who often as not work both sides of the party divide -- the neoliberals have no real political base, except in the minds of actual liberals, who are so terrified by the right, and so willing to settle for next-to-nothing, that they're willing to follow the anointed nouveaux riches who spout the right verities while doing nothing to inhibit the slide into oligarchy. Worst still, their pandering to right-wing talking points only encouraged the right to make more extreme demands, secure in their understanding that "centrist" Democrats would at most offer the the sort of lame opposition that could easily be lampooned, and which would offer them to claim the high ground of strong and decisive leadership.

Not that I enjoy flogging a dead horse, but it might be useful to recap Clinton's legacy: his adoption of Greenspan's austerity, anti-government program, which he took so seriously he declared "the era of big government is over," launched a program (led by Al Gore) for "reinventing government," and eventually reached the holy grail of a balanced budget (a feat curtly discarded by Dick "deficits don't matter" Cheney); his campaign for NAFTA and other anti-union trade agreements, which not only wiped out manufacturing jobs but by decimating Mexican agriculture triggered the "illegal" immigration that fueled the rise of Trumpism; his lame surrender to Powell on civil rights for homosexual soldiers, and ultimately on every other "defense" budget demand, as well as his "Defense of Marriage" act; persistent bungling on every foreign policy front, from inept incoherence in Somalia and Haiti to the reduction and rape of Russia and the rearmament of NATO, to the commitment to regime change in Iraq, the sham peace process in Israel, and the first volleys in what Bush later christened as the Global War on Terror (bombing Afghanistan and Sudan to provoke reprisals from Al-Qaeda); the "end of welfare as we know it"; the "Washington Consensus" which pushed the "developing world" ever deeper into debt, triggering financial crises for which the only acceptable solution was imposing greater austerity; his repeal of Carter-Glass and hasty deregulation of financial markets (especially derivatives), which led directly to the crash of 2008; his demolition of the Democratic Party into his own personal political machine, which was largely accomplished by destroying Democratic majorities in Congress and at state and local levels, ensuring that regardless of what he might say to the party base, he would only be able to pass laws permitted by the Republican opposition (which, thanks to Newt Gingrich, preferred to gain credibility by fighting him over cutting deal that would bind them to his disasters); and which over all set standards for cant, mendaciousness, and corruption which cut deep enough into the American psyche that even someone as obviously defective as Trump could campaign against.

The Hobsbawm quote was written in 2003, so it doesn't follow further analogies between US and UK politics, the most interesting of which was the emergence of renewed left leadership with Corbett in the UK and Sanders in the US, and the nearly fanatic efforts of moneyed elites in the "left-center" parties to quash any signs of principled rebellion, while the right has been left free to stray into increasingly extremist policies (Brexit in UK, Trump in US). But it mostly interests me as an example of how real leftists think and maneuver in a political system which allows them no genuine representation. In a proportional representation system, one could imagine building a small but like-minded party and gaining a toe hold which could grow and maybe even be bartered into a coalition. But the UK's "first-past-the-post" system militates against third parties (although for some reason the Liberal Dems have survived, often with disproportionately low representation, and districts have allowed sectional parties to prosper), and the US system is even harder to break into.

Central to Hobsbawm's analysis is his conclusion that not just revolution but any sort of system-changing socialism hasn't been possible in the the western democracies, at least since the "Golden Age" of 1945-1973, which made up a major section of his The Age of Extremes: 1914-1991. I think he's right, but we needn't go into why right here, let alone the many things this implies, let alone the various permutations among countries where the path to affluence and democracy was more checkered. Although we should note that the orchestration of the Cold War had repercussions in domestic relations, especially in the US and UK, which weakened labor and gave license to finance capital's predatory instincts, ultimately bringing us back to a degree of class polarization we haven't experienced since before WWII.

The first thing to note is that in the last 80 years there have been many left variants in the US/UK -- from here on we'll simply ignore the rest of the world, and probably blur some of the US/UK differences[*] -- with varying grievances, prospects, and hopes. But what they all have in common is extreme political marginalization, which was the point of the Red Scare. Hobsbawm notes that the anti-left hysteria was much worse in the US than in the UK, but he still has many stories of how his membership in the CP was held against him. I never had any CP interest, partly because: I was born 33 years after him, missing the Great Depression, the Nazi rise to power, WWII, and memory of the Korean War, McCarthy, the death of Stalin, and the tumult of 1956; partly because I was far removed from its milieu, unlike some friends I only met much later; and partly because the CPUSA never seemed to be anything more than a joke.

But while the left has often suffered setbacks, it never really vanished, because it's based on the eternal faith that ethically reasoned solutions are always possible, a belief that resurfaces after every disruption and disaster: during and after WWII; in the 1960s with the new left issues (civil rights, war in Vietnam and elsewhere, women's liberation, ecology and environment, the cultural revolution); and in the as-yet-unnamed now, which has started to look perilous enough to send folks back to their 1930s history books (part of the reason I'm reading Hobsbawm).

I've been a pretty diligent observer of American politics since the mid-1960s, and I became a fairly serious student of the Marxian intellectual tradition at least by 1970, so I've been in a ideal position to note any correspondence between Democratic politics and leftist political thought. So believe me when I tell you that there is none. The Democratic politicians who have been most damned for being too far left -- Adlai Stevenson, George McGovern, Edward Kennedy, Howard Dean, Elizabeth Warren -- were nothing of the sort. The closest you come is with mild-mannered reformers who picked up bits of framing from the older left and can play can play them as rhetoric, like Jesse Jackson and Bernie Sanders. I don't mind -- I'm pretty mild-mannered myself -- but I still think that when you shortchange the critique, you have trouble coming up with the best solutions.

What attracted me to Marxism in the late 1960s was the depth of insight and understanding as well as the idea that proper answers to problems would lead to a more just society. I discovered reason and enlightenment there, and in many ways doing so saved my life, allowing me to dispense with all sorts of kneejerk reactions and prejudices (e.g., grudges I had built up as defensive mechanisms against my schooling). After a few years, I stopped reading Marxism, because I understood the analysis so well that I could read anything and find what I needed. So I no longer counted myself as a Marxist, but I never lost the notion that people who understood Marx were much smarter than those who didn't, or that people who identified with the left, even if their understanding was suspect, were simply better people (not superior, which would be anti-left, but better).

It's quite possible that I had already internalized the insight that revolutionary change in America was impossible and not even desirable. I was, after all, inclined to flip Marx's maxim, to say that the real point wasn't to change the world but to understand it. Hobsbawm's motivation thirty years earlier was the opposite: he joined the KPD for the politics -- not just the goal of changing the world for the better, but the dire immediate need to fight the fascists -- then wound up reading Marx on the side. Later on in the book, he apologizes:

The last 40-45 years has been a disaster for the left, both in the UK and the US, and not because our heads and/or our hearts were in the wrong. The UK history in the Hobsbawm quote is just the start of this ordeal. So whose fault has that been? I don't doubt that we've made mistakes. I could imagine compiling a catalog of fallacies that have popped up here, there, and everywhere. Still, I've never noticed most of what I hear other people complain about, and what I have noticed is often blown way out of proportion. Perhaps more helpfully, I could also imagine writing a guidebook, which starts with principles and develops them through practical exercises. The key definition is that you're on the left if you favor more equality, more freedom, and more mutual support -- which the right opposes, because they seek an order that is hierarchical, privileged, and enforced (preferably by concent, but often resorting to violence and intimidation, enveloped in a web of deceit and pretension). Given this definition, right and left have fundamentally different views of justice.

And since both see government as a means for securing justice, they contend over its direction. That's where politics comes into play. In a democratic framework, the left should have a huge advantage, in that many more people stand to benefit from equality, freedom, and mutual support than the right can muster in favor of elite-imposed order. So the right does whatever it can to disparage and discredit the left, ascribing false motives, hidden agendas, any whiff they can come up with of unsavory behavior, and/or simply denying the possibility of left policies ever working. Left thinkers can easily see through these tactics, but left politicians spend most of their time fending off the barrage of attacks and innuendo. That rarely works, but the patrons of the right have one more trick up their sleeves: capture the opposition party, and seed it with ineffectual candidates who, even if they win, can accomplish little if anything. Clinton, Blair, and Obama were all ruling class wannabes. In power, they consistently chose their own gilded futures over the needs of the people who voted for them. No wonder the masses turn cynical and hopeless.

It's quite clear now that Trump is going to self-destruct, most likely fairly quickly, and that some Democrat will return to power with a mandate to undo, or at least patch over, much of the damage. What Democrats need to do right away is to establilsh a loud and vigorous opposition, not just to slow down the destruction, but to make people understand that it's the Republicans who are responsible for the damage, and that what they're doing is intrinsic to their nature -- their commitment to various aspects of the right-wing playbook. You don't have to be a leftist to get screwed over by Trump, so we should be happy to support opponents from every angle. In particular, people in the center should learn to appreciate leftists when they can be effective. Leftists, too, need to defer to others when they're more effective. Evils as bad as Trump need broad coalitions to back them down.

What Democrats need to do for the next election is slightly different: they need to find effective ways to talk about what Republicans are doing, who they are hurting in the process, and why they're hell bent on doing such damaging things. As part of this, they need to listen to what people are saying, figure out what problems concern them, and come back with realistic solutions: there is no single answer, so you have to figure out what makes sense, and what you can do within your own principled framework. I suspect that most of the principles and many of the policies that prove most promising will come from the left. The left exists because problems need solutions, and in most cases real solutions come from the left. But to make any meaningful changes, they need to appeal to a significant majority of voters, not just squeak through into a divided, do-nothing government.

To do that, they need to rebuild the party from the ground up. And to do that, they need to come up with a coherent and realstic plan for addressing real problems: not just the usual laundry list of favors for lobbies. Republicans have huge advantages with their massive propaganda network, the pernicious interests of business lobbies, their gerrymanders and dominance in the courts. On the other hand, their policies are unpopular and/or dysfunctional. And while they are very good at inciting rage against government, that's less useful when they are the government. Their "Trump will fix it" slogan fooled many people, but for how long?

While I appreciate the serious work of practical politicians to oppose and counter Trumpism, as well as the efforts of activists to keep their issues active, I agree with Hobsbawm that "critique is more important than ever."

[*] The most obvious one is that the left/center party in the UK is called the Labour Party, so is conscious of its original ties to working class unions, going back to a time when those unions were self-consciously anti-capitalist. Hence there once was a left tradition there which Hobsbawm argues as lately died off. The Democratic Party in the US fills the same ecological niche, but goes all the way back to the plantation slaveholder class and such later paleo-conservatives as Grover Cleveland. It only became the party of labor in the 1930s, when Franklin Roosevelt co-opted the unions as part of his plan to rescue and stabilize capitalism by consolidating large organizations limited by countervaling powers. Hence, unions were never dominant in the Democratic Party, but were generally satisfied by New Deal policies and the collective WWII effort, and when they started to lose favor, they found they had no alternatives (the Republicans were even worse, and third party efforts were quixotic, especially with the US deindustrializing and shedding union jobs even faster). Also worth mentioning is the distinct role of racism in the US, the various effects of the closing and reopening of immigration, and massive technological changes -- factors which also affected the UK, although perhaps less radically than the US.

Supposedly on the mend, although the left eye feels a bit worse than it did a week ago, or maybe I just expected better, so I'm more troubled by the twitches and flashes. I have discontinued the 7-day eye drops, leaving me with just the prednislone. Still a couple weeks before I see the doctor again. Until then, no schedule for the right eye.

It's hard to say that anything personal is back to normal in what is evidently an extremely abnormal period in American history. I'm not back to following the political world in any detail, but I have signed up for a Bluesky account, where I am following 25 and have 33 followers. I salted my following list by looking at Robert Christgau's, which gave me a couple of political sources and more friends and music critic colleagues. My wife's list yielded some more of both, but she's only following 31, with 23 followers (but pretty inactive with just 2 posts).

For whatever it's worth, my current list of political oracles is: Ryan Cooper, David A. Graham, Doug Henwood, Kevin M. Kruse, Scott Lemieux, Adam Serwer, Astra Taylor, and NonZero. There's a good chance that I would add any of the people I currently follow on X if I ran across their handles (especially if you let me know who you are; I've searched for a couple, but thus far to little avail).

For my own part, I've made 22 posts to Bluesky, which includes 18 original posts, 2 self-replies, and 2 more replies, so I'd like to think there is some value in following me there. Since setting up my account there on Feb. 13, I've made 8 posts on X, and 2 replies. My current thinking is that I'll continue to post blog announcements and make occasional replies on X, but will make a bit more effort on Bluesky. In particular, I've started posting notices when I come up with A/A- grades, as opposed to making you wait for Music Week. I may at some point extend this to a few lower-graded albums, but this week the pick hits have been coming so fast I haven't been tempted.

Of course, I don't mean to discourage you from following me on X: I have 625 followers there, but my last five posts have view counts in the 76-88 range (with 1-3 likes per post, and 1 total reply), so that number doesn't seem to mean much. I do find that even when I use their algorithmic "For You" feed, most of what I find there is still useful. It's only when I wander into the replies lane that I see any indication that it's become a cess pool of rage and inchoate thought. For instance, at the moment, I'm seeing in my "For You" feed: Nathan J Robinson, Eric Levitz, Rick Perlstein, Keith Gessen, Yanis Varoufakis, Samuel Moyn, Ian Millhiser, Kate Willett, Jeremy Scahill, and a half-dozen names I don't recognize but welcome. (I cut the list short at Max Blumenthal and Jeet Heer, who are less reliable but sometimes interesting.)

The big advantage I see Bluesky having over X is readers can follow links instead of having to separately google titles. My first idea there was to use it to recommend thoughtful articles, as I have done for years in Speaking of Which. I did a couple of those, and expect I will do more, but I haven't read much worth reporting after the first two. (Probably my oversight, as bad times tend to write themselves.) So much of what I know I pick up from X and Bluesky. And while I'm nowhere near reviving weekly political reviews, I've written Daily Log bits in my notebook every day from March 5 through yesterday. Nothing terribly important there, but I am thinking about a few things.

The one "normal" thing I did last week was listen to a lot of music. I'm not really done with 2024 yet, but I found it easier to pick 2025 CDs out of the promo queue than look for 2024 stragglers, so just went with it until I accidentally played a couple that aren't out yet. After I caught up, I finally opened my mail, and fell way back behind again. So the 2025 list is finally real, even though I haven't frozen the 2024 list yet. (Maybe next week. I figure I'm best off kicking this post out first.)

Also advancing, but not absolutely finished, is the 2024 EOY Aggregate list. Main thing I did last week was to add a bunch of Uproxx Music Critics Poll voters, which pushed the Metafile Legend list up to 610 sources. My first pass was to just pick out all of the names I had counted in previous years, but then I decided to explore a bit, so I picked out a few albums that struck me as underrated, then checked the voter list for each, and added some (or all) of them. Main thing I wanted to do was to nudge the totals toward more hip-hop. The biggest list I focused on was Doechii's 10th place Alligator Bites Never Heal -- only a B+(***) album for me, so not a big favorite of mine, but I thought it might reveal a little more underground interest than Kendrick Lamar and Tyler, the Creator (both same grade for me) -- which for now at least pushed the album from 7th to 4th place (behind Charli XCX, Lamar, and Beyoncé, passing MJ Lenderman, The Cure, and Waxahatchee). I also did a bit with Sabrina Carpenter (still in 13th, but -4 now vs. -27 last week).

I just checked, and see I'm no longer blocked from Facebook (but had to jump through some hoops to login). I'm still upset, and not likely to be posting anything there in the near future, but it was nice to see some updates from true friends. I logged in from a different machine than the one I'm writing on, which should also cut down on my activity.

I've made next to no progress on my planning documents. It's hard to develop any enthusiasm for attempting much of anything. Which may be a good thing if all you're interested in is music reviews, because that seems to be the path of least effort.

PS [03-12]: I was pleased to see that my number of Bluesky followers increased from 33 to 56 the day after I posted this. I haven't posted anything new there since the notice, but I figure if I add a postscript, I can post the notice again. I can also post a notice to my answer to a question about my embarrassingly paltry reading of fiction. Good question, and I'm likely to jump on anything that gives me a chance to write a bit of memoir -- which is arguably what I should be doing, instead of fretting about social media followers.

No new A- records yet this week, although I have a couple high B+ albums (Rodney Whitaker, Jim Snidero). While those albums don't quite do it for me, they are almost certain to strike a chord with some of my readers. Some of my favorite records from the 1970s were Christgau B+ grades: two in particular he sent me promos of, perhaps suspecting I would fall for them (Overcoats, by John Hiatt; Hirth From Earth, by Hirth Martinez; I wasn't quick enough to write about them in the Voice, but I did write about them in Terminal Zone, and I reviewed Martinez's second album in The Voice). My high B+ albums from 2024 include a bunch that topped other critics' lists, like: Kendrick Lamar, Beyoncé, Doechii, MJ Lenderman, Adrian Lenker, and Tyler the Creator -- before rechecks and upgrades also: Charli XCX, Waxahatchee, Sabrina Carpenter, and Vampire Weekend. Among the top 20 in my EOY Aggregate, my only initial A- reviews were for Billie Eilish, Kim Gordon, and Patricia Brennan, followed down to 50 by Hurray for the Riff Raff, Beth Gibbons, Charles Lloyd, Jamie XX, Amyl and the Sniffers, and Kali Uchis.

One reason I haven't generated much news this week is that we went a couple friends' house for dinner after posting Monday, then I served a small dinner for another couple on Tuesday. Both led to long, fraught political discussions, as both couples are more activist-inclined than we are (especially me). I remain convinced that much of what Trump is doing is simple gaslighting, meant to drive his opponents crazy fighting against impractical, untenable proposal flares. However, with Trump it's hard to tell what is real and what is not, since both agendas are heavy on stupid and/or insane. It's going to be a long four years. And maybe not yet now, but November 2026 will be a key date to try to limit the damage by flipping Congress (and gaining more traction in state and local races). Until then it's important to expose what they are doing, and to highlight the bad faith, shoddy thinking, and blatant corruption they're operating with.

No pics on the Tuesday dinner, which was a pretty minimal effort, with no extra shopping. The main dish was leftover brisket, delicata squash, and sweet potatoes, which I had initially cooked Sunday. I had very little available to complement it, but made mustard slaw from a small head of cabbage, and sliced some carrots for tzimmes (braised in lemon juice -- recipe called for orange -- with extra spices and golden raisins. For dessert I made black & white cookies, and served them with ice cream. Aside from the slaw, those were all first-attempt dishes, and came out very nice. (Well, the brisket was a little weird: I bought one of those packages already prepared for making corned beef, without realizing how much salt was already in the marinade, so first pass came out like corned beef with a surreal amount of salt and spice -- not something my wife was inclined to complain about, but I'm usually pretty good at pushing the seasonings up to a level just shy of too much, and this time I overshot. I soaked and drained the leftovers, which brought the salt back within normal range.)

I might as well note here that Christgau's March Consumer Guide appeared today, and it's mostly stuff I wasn't aware of. The exceptions were three albums I played once (or maybe twice) and filed as various shades of B+: Marshall Allen's New Dawn, GloRilla's Glorious and Mdou Moctar's Funeral for Justice. I should circle back around, but will note that I've rated four previous Moctar albums at A-, whereas Christgau has only previously reviewed one Moctar album (at ***). Also I had GloRilla's other 2024 album (er, mixtape, Ehhthang Ehhthang) at B+(***), a notch above Glorious, but I couldn't swear either way.

As for Allen, my footnote is that he recorded two other albums shortly before his 100th birthday, and both of those made my 2024 A-list: Deep Space, by John Blum Quartet Featuring Marshall Allen, and Lights on a Satellite, by Sun Ra Arkestra [Under the Direction of Marshall Allen]. So I count myself as a fan, but I wasn't all that impressed by New Dawn. Still, I'm pleased he was.

I'll get to more of those records next week. I was aware that the Charly Bliss record existed, and thought about playing it on a couple occasions, but forgot how much I liked their second album. Towa Bird was on three EOY lists, but too low to catch my attention. Aside from Allen, the 2025 releases were all news to me. FACS seems to be related to a 2009-16 group I liked, Disappears -- check out Pre Language (2012).

Ambrose Akinmusire: Honey From a Winter Stone (2023 [2025], Nonesuch): Trumpet player, from Oakland, debut 2008, landed on Blue Note in 2011 and quickly emerged as a top-rated player, his fame further extended by a guest spots with Kendrick Lamar. Second album since his move to Nonesuch, ambitious in his use of strings and vocals (notably Kokayi's freestyles). B+(**) [sp]

Steve Allee Big Band: Naptown Sound (2024 [2025], Jazzville): Pianist, released his first album in 1979, not a lot since then (aside from his The Bob and Tom Show work). I know him mostly through trios, but he co-led a big band in the late 1990s, and is back with another one here. Or maybe the same one? Sounds very run of the mill. B [cd] [03-15]

Marshall Allen: Red Dawn (2024 [2025], Mexican Summer): Alto saxophonist, joined Sun Ra's Arkestra in 1958, has led the ghost band since 1995, started work on this shortly after his 100th birthday, also playing kora and EWI, leading a large band with a string section and guest vocalist Neneh Cherry. I'm seeing hype for this as his "debut" album, although I have eight previous albums under his name in my database, not all co-credited to Sun Ra Arkestra. B+(*) [sp]

Russ Anixter's Hippie Big Band: What Is? (2024 [2025], self-released): Arranger and conductor, started playing bass in a Grateful Dead tribute band, leads a scraggly commune of 11 musicians -- 3 reeds, 4 brass (including French horn), vibes/xylo/congas, guitar, bass, drums -- through what will pass for hippie standards, including "Dixie Chicken," "Free Man in Paris" (segueing into "Freedom Jazz Dance"), "She Said She Said," "Saint Stephen" (paired with what I recognize as the theme music to Treme), "Uncle John's Band" (which slides into some James Bond movie music), "Into the Mystic," "Whipping Post," "What Is Hip?" This music is less recent than the Berlin, Porter, and Arlen show tunes were in the 1950s when they became jazz staples, so why not have fun with them now? Note guest spots for Stephen Bernstein and Oz Noy. A- [cd]

Barry Can't Swim: When Will We Land? (2023, Ninja Tune): Scottish electronica producer Joshua Mainnie, first album after several EPs (starting 2021). Half is really terrific. Made the Mercury Prize short list. B+(***) [sp]

Tim Berne/Tom Rainey/Gregg Belisle-Chi: Yikes Too (2024 [2025], Screwgun/Out of Your Head, 2CD): Alto sax, drums, and guitar trio, one studio album from April, following a live set a month earlier in Seattle. Some fine stretches here, but slips and slides a bit. Slight edge to the live disc (which I accidentally played first). B+(***) [cd]

Benjamin Booker: Lower (2025, Fire Next Time/Thirty Tigers): Singer-songwriter from New Orleans, third album since 2014, defies categorization. B+(**) [sp]

Alan Chaubert: Just the Three of Us: Me, the Trumpet and the Piano (2021-23 [2025], Pacific Coast Jazz): Swiss trumpet/piano player (video shows him playing left-hand piano while fingering the trumpet with his right), studied at Berklee, recorded this trio -- seems to be his first album -- in NJ, backed with bass (Belden Bullock) and drums (Jon Di Fiore), playing jazz standards, where Monk and Evans figure prominently. B+(**) [cd]

Chlöe: Trouble in Paradise (2024, Parkwood/Columbia): Last name Bailey, started at 11 in the sister duo Chloe x Halle (two albums 2018-20), second solo album. [sp]

Alex Coke & Carl Michel Sextet: Situation (2024 [2025], PlayOn): Third group album, leaders play flute/sax and guitar, filling out the group with harp, pedal steel, bass, and vibes, so let's call this "chamber jazz," and file it away. B [cd]

Liz Cole: I Want to Be Happy (2024 [2025], self-released): Standards singer, from Los Angeles, first album, doesn't spoil indelible standards nor redeem Brazilian pieces (although faster beats slower), wrote a bit of lyric to an Errol Garner composition, ends with Tom Waits. B [cd]

Sylvie Courvoisier/Mary Halvorson: Bone Bells (2024 [2025], Pyroclastic): Swiss pianist, albums since 1997, this a duo with the famous guitarist. Engages slowly, but pays off in the end. A- [cd] [03-14]

Ermelinda Cuellar: Under a Lavender Sky (2024 [2025], self-released): "Texan-Peruvian" vocalist (Houston-based, of Peruvian descent, sings mostly in Spanish), wrote a couple songs, covers more -- including "Poinciana," "Song for My Father," and some Jobim -- quite ably. B+(*) [cd]

Deepstaria Enigmatica: The Eternal Now Is the Heart of a New Tomorrow (2022 [2025], ESP-Disk): Quintet from Memphis named for a rare deep-sea jellyfish, listing Chad Fowler (sax), David Collins (guitar), Alex Greene (keyboards), Khari Wynn (bass, credited as Misterioso Africano), and Jon Scott Harrison (drums). I found another group that latched onto the same name, with somewhat similar cosmic speculation (If Life on Earth Is to Abscise Than I Have Forever Been Quantized), but this one adds a bit of Memphis boogie to the free jazz fusion. A- [cd]

Jorrit Dijkstra: PorchBone (2023 [2024], Driff): Dutch alto saxophonist, based in Boston, debut 1992, was a leader in the Steve Lacy tribute band Whammies, seems to mean this title as a group name (per Discogs; Bandcamp credit is Jorrit Dijkstra's PorchBone). Only group album, preceded by Porch Trio -- with Nate McBride (acoustic/electric bass) and Eric Rosenthal (drums) -- joined here by a trombone trio (Jeb Bishop, Michael Prentky, Bill Lowe). B+(***) [bc]

Kenyon Dixon: The R&B You Love (2023, self-released): R&B singer-songwriter from Watts, seems to have been lurking in the background at least since 2015, although Discogs doesn't have most of what's in Wikipedia, and even Google doesn't shed much light on the shift from this 17-track, 44:24 digital album to two evidently related EPs released in 2024. B+(**) [sp]

Doseone/Steel Tipped Dove: All Portrait, No Chorus (2025, Backwoodz Studioz): Rapper Adam Drucker, from Idaho, got some notice recently for an album with Buck 65, but has a long history with Anticon (Buck 65's first label). Steel Tipped Dove is producer Joseph Fusaro, who has close to 20 albums since 2014. B+(**) [sp]

Paul Dunmall: Red Hot Ice (2024, Discus): British avant-saxophonist, has over 200 albums since 1986, impossible for me to keep up with, but often worth the efforth. He plays tenor and C soprano here, in a nonet -- with trumpet, trombone, baritone sax, guitar, two keyboardists, bass, and drums -- plus a few more for handclaps and electronics. B+(**) [sp]

Paul Dunmall/Kevin Figes: Duos (2022 [2024], Discus): Saxophone duets, both also playing a range of clarinets and flutes. Figes, also British, has many fewer albums as leader, but has side credits back to 1994. Interesting within its limits. B+(*) [sp]

Joe Elefante: Joe Elefante's Wheel of Dharma (2024 [2025], self-released): Pianist, Discogs only has a couple side-credits, Google thinks he's a singer, website shows five albums, including a big band and The Elefante Family Just in Time for Christmas. This is basically a hard bop album, with trumpet (Freddie Hendrix), sax (Erena Terakubo), bass, and drums. B+(*) [cd]

Ensemble C: Every Journey (2024 [2025], Adhyâropa): British pianist Claire Cope, second album, features vocalist Brigitte Beraha, the group expanded from 7 to 11 members. While there is much to be impressed with here, I find myself enjoying very little of it. [PS: Cites Maria Schneider, Pat Metheny, and "Michael Brecker's Grammy-winning 2004 Quindectet album" as inspirations.] B [cd]

Satoko Fujii GEN: Altitude 1100 Meters (2024 [2025], Libra): Japanese pianist, tons of albums since 1995, this a sextet with two violins, viola, bass, and drums (also some electronics from the violist), which lands it near the heavy end of the scale. B+(***) [cd]

Daniel Garbin: Rising (2023 [2025], 6x20): Guitarist, also plays sitar, from Romania, teaches at CUNY (Queensborough Community College), website has sections on mathematics and photography as well as music, seems to be his first album, originals (some co-written by Simona Pop), groove pieces I was perhaps too readily inclined to dismiss. B+(*) [cd]

LP Giobbi: Garcia (Remixed) (2024, Round): Jerry Garcia remixes, Discogs gives him co-credit, some vocals I could or should recognize, revived with hopping new rhythm tracks. B+(**) [bc]

Philip Glass: Philip Glass Solo (2021 [2024], Orange Mountain Music): Major minimalist composer, b. 1937, range includes soundtracks and operas, some relatively popular. This is solo piano, as was his 1989 Solo Piano. Very nice. B+(***) [sp]

Keiji Haino/Natsuki Tamura: What Happened There? (2024 [2025], Libra): Guitar and trumpet duo, the former gets top billing, possibly for raw vocal power, and possibly for pushing this over the edge, and scraping it bloody in the process. Most often I shy away from records this harsh, but here I'm convinced. Probably helped that it's just one 35:43 piece, so not only didn't wear out its welcome, but got a couple extra plays. A- [cd]

Jon Irabagon: Server Farm (2023 [2025], Irabbagast): Saxophonist (tenor and sopranino here), got big here, leading a 10-piece group with only one member -- Levy Lorenzo (kulintang, laptop, electronics, vibraphone) -- not previously well-known to me. Big and bold, although I don't care for the vocal. B+(***) [cd]

Rodney Jordan: Memphis Blue (2020 [2025], Baxter Music): Bassist, one previous album in my database, side credits from 1999, especially with Marcus Roberts and René Marie. Quintet with trumpet (Melvin Jones), sax (Mark Sterbank), piano (Louis Hervieaux), and drums (Quentin E. Baxter), mostly blues, a mix of jazz tunes (Gigi Gryce, Mulgrew Miller, "Autumn Leaves") and originals (last one is called "The Art of Blakey"). B+(***) [cd]

Laura Jurd & Paul Dunmall: Fanfares & Freedom (2023 [2024], Discus): Trumpet player, best known for her group Dinosaur, and long-established avant saxophonist, both British, leading a nonet through a piece commissioned by the Cheltenham Jazz Festival. B+(***) [sp]

Karl Latham: Living Standards II (2024 [2025], Dropzone Jazz): Jazz and rock drummer, side credits back to 1988, album title refers back to a 2016 album (which Discogs probably has the label wrong on), a guitar-bass-drums trio covering rock tunes like "Day Tripper," "Low Rider," "White Rabbit," and "White Room." Same concept here, the group expanded to include keyboards, extra percussion, and vibes ("special guest" Wolfgang Lackerschmid -- much of Latham's jazz discography is on his albums). The songs strike me as more obscure, but I've never paid much attention to Stephen Stills or Adrian Belew (of course, I do still recognize the Doors, Led Zeppelin, and Steppenwolf). B+(*) [cd]

Steve Lehman Trio + Mark Turner: The Music of Anthony Braxton (2024 [2025], Pi): While I've rated 69 Braxton albums -- looking at the list suggests I still have a lot of work to do -- I've never gotten a good sense of him as a composer, while having no doubts as to his chops, especially on his marvelous standards albums. On the other hand, several of his students have made superb albums from his compositions, and Lehman's own work, both as alto saxophonist and composer, over the last 20+ years has few peers. He wrote two pieces here, to go with five Braxtons and one Monk, and added the tenor saxophonist to his trio with Matt Brewer (bass) and Damon Reid (drums). A- [cd]

John Mailander's Forecast: Let the World In (2024 [2025], self-released): Nashville-based fiddle/mandolin player, seems to have started in bluegrass (Molly Tuttle, Billy Strings, Bruce Hornsby) but "moved beyond." Group name from a 2019 album, reused in 2021. Stringed instruments, drums, some sax, one vocal, feels rural but nothing that yells hoedown. B+(**) [cdr]

Michi: Dirty Talk (2025, Stones Throw): Pop/r&b singer from Los Angeles, first album. B+(*) [sp]

Jackson Potter: Small Things (2024 [2025], Shifting Paradigm): Guitarist, from Minnesota, debug album in 2021 seems to have vanished, new one is a quintet with dueling horns -- Alex Ridout (trumpet) and Troy Roberts (tenor sax) -- plus bass and drums, with voice and extra alto sax (Jaleel Shaw) on one track. B+(**) [cd]

Noah Preminger: Ballades (2024 [2025], Chill Tone): Tenor saxophonist, from Brooklyn, debut 2011, hype sheet suggests a connection to John Coltrane's 1963 Ballads, but unclear what that is, beyond the piano-bass-drums backing, and the slow, gorgeous crawl through a different set of songs. B+(***) [cd]

Redman: Muddy Waters Too (2024, Gilla House): Rapper Reginald Noble, from New Jersey, debut 1992 went gold, as did next four albums through 2001 (or six with collaborations, including one with Method Man). Fifth album since (including another with Method Man), this first since 2015 runs 32 songs, 81 minutes. B+(**) [sp]

Rick Roe: Tribute: The Music of Gregg Hill (2024 [2025], Cold Plunge): Pianist, has albums from 1994 and 2005, both Monk-themed, has side credits on a couple other tribute albums to Hill, a composer based in Michigan with no real discogrpahy of his own, but nearing a dozen tribute albums of late. Trio with Robert Hurst (bass) and Nate Winn (drums). B+(**) [cd]

Gina Saputo: Daydream (2024 [2025], GSJQ Productions): Standards singer, based in Los Angeles, several albums since 2003, backed by piano/bass/drums, with guest horns on several tracks. Opens with "You're No Good," but everything else is more standard (give or take a Monk). B+(**) [cd] [04-18]

Mark Scott III: Soft Light (2024 [2025], Miller Three Publishing): Guitarist, studied at UNT, based in Austin, first album, trio backed by bass (Ben Triesch) and drums (Mike Gordon). Has a light, steady touch. B+(**) [cd]

Sentient Beings: Truth Is Not the Enemy (2024, Discus): Quartet, album title from a 2023 album originally filed under John Butcher, replaced here by John O'Gallagher (alto sax), joining Faith Brackenbury (violin/viola), John Pope (bass), and Tony Bianco (drums). B+(***) [sp]

Stress Eater: Everybody Eats! (2024, Silver Age): Czarface spinoff, from 7L & Esoteric with Kool Keith in lieu of Inspectah Deck, longtime denizens of a comic/cosmic underground, this time with a focus on food. A- [sp]

Omar Thomas Large Ensemble: Griot Songs (2024 [2025], Omar Thomas Music, 2CD): Composer/arranger, Brooklyn born, parents Guyanese, studied at NEC, Maria Schneider protégé, third album (none I can find on Discogs, although they have one credit from 2013). My eyes can't decipher the print I have, so I'll just let this one run. Big for sure, or is grandiose the word? B+(*) [cd]

Warmdüscher: Too Cold to Hold (2024, Strap Originals): British post-punk group, name is German for "warm showerer" ("a derogatory term referring to somebody who is perceived as a wimp, or as not tough enough for life"), fifth album since 2015. B+(*) {sp]

Simón Willson: Bet: Live at Ornithology (2024 [2025], Endectomorph Music): Bassist from Chile, based in New York, side-credits since 2016, second album as leader, quartet with Neta Raanan (tenor sax), Evan Main (piano), and Kayvon Gordon (drums), recorded live. Raanan got some Debut notice in the 2024 FDJCP, and gets pushed even harder here. B+(***) [cd]

Paul Dunmall/Paul Rogers/Tony Orrell: That's My Life (1989 [2023], 577): British saxophonist, plays soprano here, Discogs credits him with 201 albums since 1986 (325 credits), so this is a fairly early set, a live tape from Albert Inn in Bristol, backed by bass and drums. I've only sampled him lightly (18 albums, 4 A-), so don't have much sense of how consistent he is, but this one sizzles all the way. A- [sp]

The Laws of William Bonney Saxophone Quartet: 1993-2007 (1993-2007 [2023], Acheulian Handwave): Saxophone quartet of Jeffrey Morgan (alto), Martin Speicher (sopranino/alto), Stefan Keune (sopranino/tenor), and Joachim Zoepf (soprano/baritone) -- each with fairly substantial discograpies (Morgan's possibly longest, but least known to me; Zoepf was in Kölner Saxophon Mafia, long on my shopping list but never found). Eleven tracks from four dates, no group records released. (Their namesake was better known as Billy the Kid, 1859-81). B+(***) [sp]

Jorrit Dijkstra/François Houle/Karlis Silins/Kenton Loewen: Coastlines: Music of Steve Lacy, Volume I - Quartets (2022 [2023], Afterday): The alto saxophonist previously recorded three volumes of Lacy tunes in the Whammies, returns here with a Canadian clarinetist who also has a long history with Lacy, who recruited the bassist and drummer (mostly associated with Gordon Grdina, but like Houle based in Vancouver). B+(***) [bc]

Jorrit Dijkstra/François Houle: Coastlines: Music of Steve Lacy: Volume II - Duos (2022 [2023], Afterday): Same idea, but loses a critical step without the rhythm section. B+(*) [bc]

Kölner Saxophon Mafia: Die Saxuelle Befreiung (1984, Jazz Haus Musik): German saxophone sextet (at least at this point), founded 1981, so a few years after World Saxophone Quartet (1977) and ROVA (also 1977). First studio album, after 1982's Live. They seem less focused on harmonics, and more on the intricacies of composition and flow, although results are mixed. B+(**) [sp]

Kölner Saxophon Mafia: Unerhört - Stadtklänge (1984 [1985], Jazz Haus Musik): Third album, the second side a 4-part suite. More ambitious, but also more refined. B+(***) [sp]

This will be another perfunctory installment, just noting the few albums I've managed to check out, with minimal embellishment or commentary. I'm effectively stalled, a state unlikely to change any time soon. I've had a rough week, although perhaps not as bad as I had feared. I expect more of the same, although I suppose I should be cheered that the arctic chill has retreated into usual Winter gloom. Also that two minor surgeries have moved to done from looming, and while I can't say I've recovered, I've survived no worse than expected.

I had the root canal last Monday, and go back to dentist for a crown on Wednesday, which should be uneventful. I had cataract surgery on my left eye on Thursday, and went back for post-op exam on Friday. I've written about it at more length in my notebook, but no need linking much less reiterating all that here. Both of these events seemed rather ominous coming out of the anaesthetic, but improved significantly the day after. The eye is still blurry, but I'm told that a day later my vision with it had improved from 20/80 to 20/50. I was cleared to drive home, and did confidently. Since then, it's hard to gauge further improvement. It is still not as good looking at computer or reading as the also-not-very-good right eye, but I'm fairly functional with the combination.

Still, "functional" does not mean I have much if any ambition to work on anything, including figuring out my future writing life. Aside from the paltry few records below, the only things I've written in recent days were the surgery write-up, a list of highly-rated television shows, and a post-dream tweet:

I didn't initially cross-post this on Bluesky, figuring I'd keep my powder dry there until I figured out what I wanted to do, but seeing as I had 27 notifications there this morning (vs. 2 on X), I let it rip (adding the book title).

I couldn't very well excerpt, much less explicate, Hobsbawm in that format, but the gist was that by 1932, the Weimar Republic parties had lost their credibility and their ability to govern, but the left had nowhere near the power to initiate a revolution, despite seeing the obvious need for one. As for the Nazis, they too were unable to seize power on their own, but were ultimately gifted it by aristocratic conservatives who deluded themselves into thinking they could control Hitler as a tool. Hitler offered them a degree of popularity they could never muster on their own. They, in turn, gave Hitler the power to destroy the whole nation.

But their decision to do so wasn't driven by necessity. The KPD, while growing as the SPD lost credibility through ineffectiveness, was far from being able to rise to power, and if sensible people just managed to keep their heads and smooth out the kinks in a badly shaken economy, both the Communists and the Nazis would have faded back into the Weimar muddle. The right picked the Nazis not because they had to, but because they relished the idea of using Nazi stormtroopers to impose their will on an unruly public.

A few months ago, I was thinking that the mainstreaming of the "Trump is a fascist" meme was simply bad tactics: the few people who even remotely understood it had already made up their minds on Trump — most against, but there are some people who like that aspect of Trump — while everyone else was simply confused. But now I'm beginning to realize that there are very few historical analogies, especially well known ones, that capture the present moment with such resonance and depth. And also that the real problem isn't the right fringe that Trump has rallied to power, and certainly not the leftists who see catastrophe unfolding so clearly, but the emboldened "center-right" who see Trump as their ticket to growing their already ridiculous oligarchy, and the cowardly "center-left" who have dissolved into nothingness.

Historical analogies are almost by definition always wrong, but we have few other techniques to clarify out thinking. But rather than start with "is Trump Hitler?" perhaps we should start with "is American Weimar?" Very few Americans know anything significant about Weimar Germany (or any other period of German history, even the Nazi period), but among the few that do, some on the left and more on the right could make a few connections. To the extent that you do, Trump and Hitler, regardless of their differences, are too unique to map to anyone else. The real question is who, in Trump's world, plays the role of Papen, Hindenburg, Krupp, Schleicher, et alem? (Thälmann is irrelevant to the handover of power, as are the more famous minions Hitler promoted and/or eliminated.)

I wouldn't expect much precision in such personal analogies, but general types keep returning in various guises — much as Napoleon III reinvented his namesake as farce. I'd also point out that much of Weimar was unique and specific to its time and place, while contemporary America is no less so. (A good background reference here is Barrington Moore's Social Origins of Dictatorship and Democracy, which includes several more comparative studies.)

Initially I retyped a promising piece from the following page (p. 58), which didn't quite get to where I recalled it going, but since it's typed, I'll offer it anyway:

This reminds me that I long ago broke the habit of marking up books. (I was taken aback some months ago when I opened up my old copy of Dialectic of Enlightenment and found that it was more underlined than not, mostly in ink.) The Hobsbawm books are full of bits I can imagine wanting to refer back to. (I found the quote above only by looking Papen up in the index.)

As my tweet suggests, I now think one has to look at all three Trump presidential campaigns to get a coherent picture of how he works, what his appeal is, and how badly Democrats have bungled the "assignment" of talking about him. (Chait's term in quotes, which despite its inherently snide air is useful for focusing on the one essential asked of every Democrat who's run against him, which is to beat him. Any other compromise is forgivable, but letting him win is not.) We also have to pay considerable heed to the Sanders campaigns, and the intense preoccupation of centrist Democrats with stopping Sanders even at their own expense.

Such ideas continue to percolate in my head while I'm otherwise doing next to nothing. Sorry about that, but I'm not ready to "face the music" (even when it's just music). I spent a lot of time last week fiddling with the jigsaw puzzle — which requires eyesight, but not so critically — and watching TV. I didn't get much of the latter done, but did finish Feud: Capote vs. the Swans — L gave up after 2-3 episodes, but I hung on and watched the 4th — picking up with the 5th (easily the best, with Chris Chalk as James Baldwin; way too much drinking himself to death after that, while the aging "swans" hardly seemed worth the trouble, although Jessica Lange's ghost of a mother added some value). I also watched Get Millie Black (which L had started without me, but we finished up together).

It's her TV, so unless I get impose, I only get to watch what she wants when she wants, and mostly this week she wanted to watch Oscar movies. To that end, we watched Anora, which milked 10 minutes of plot for 139 minutes of overkill editing, and The Substance, which was horrible — although both had a fair amount of what one friend calls "redeeming social value." With that, I've seen 3 (of 9) Best Picture nominees (the other is Conclave; L went ahead and saw Emilia Pérez without me, as well as 3 animation nominees — although I did catch the end of Memoirs of a Snail).

I watched the first 30-40 minutes of the Oscars, and found myself irritated or worse by virtually everything starting with the host change to Conan O'Brien — another reminder that elections have consequences? Sure, I haven't watched Jimmy Kimmel since the election, but not because I want to live in a world devoid of humor and meaning, where "the times" are only whispered about in hushed, ominous tones. While I took comfort from Kimmel's ridicule of Trump, I came away thinking that we have to find new ways of talking about Trump and his posse to his base. Still, that's no reason to back off when you're right.

Only thing to note on this week's music is that I finally dipped into the 2025 demo queue. I can't say I felt the need to move on, but found it took minimal thought to pull the next item from the queue, especially compared to searching out more 2024 prospects. Of the latter, note that the two A- albums came from Chuck Eddy's 150 Best Albums of 2024, which I belatedly added to my EOY Aggregate.

I suppose I should also note that I've added a fair number of individual top-10 lists, drawing mostly from the Uproxx Music Critics Poll. I originally went through the critics list and picked up names I recognized (pretty much anyone I had picked up in a previous EOY Aggregate). But at some point, I decided it would be ok to skew the results a bit toward hip-hop, so I grabbed the voter lists for several well-regarded albums, especially Doechii's Alligator Bites Never Heal -- now in 7th place, which also helped lift Kendrick Lamar's GNX to 2nd, Beyoncé's Cowboy Carter to 3rd, and Tyler, the Creator's Chromakopia to 11th. (I didn't go through their voter lists, but those three albums picked up more than other contenders, especially the Cure's Songs of a Lost World (drop from 2nd to 5th) and Adrianne Lenker's Bright Future (4th, I think, to 8th).

Quite possible I'll do a bit more of that sort of thing, and look for a few more lists, although at this point the utility of putting more work into this project is dwindling.

Frank Carlberg: Dream Machine (2023 [2025], Red Piano): Finnish pianist, has a couple dozen albums since 1992, was inspired by a 1959 sci-fi gadget to compose four "Dream" suites (13 pieces in all), with complementary keyboards from Leo Genovese (organ, farfisa, synths), outstanding tenor sax from Hery Paz, backed with bass (John Hébert) and drums (Dan Weiss). A- [cd]

Cumgirl8: The 8th Cumming (2024, 4AD): New York post-punk band and "multi-media collective," "their style and artistic practice are shaped by an opposition to patriarchy and capitalism," debut album 2020, this their second (although I've seen it billed as their first). B+(*) [sp]

Dengue Dengue Dengue!: Agita2 (2024, Club Romantico, EP): Peruvian DJ duo, Felipe Salmon and Rafael Pereira, a couple albums but mostly singles/EPs since 2012. Discogs abbreviates the group name here as "DNGDNGDNG," which in lower case seems to be top slugline on the Bandcamp page. Five tracks (20:40). B+(**) [sp]

Peter Erskine & the Jam Music Lab All-Stars: Vienna to Hollywood: Impressions of E.W. Korngold & Max Steiner (2024 [2025], Origin): Drummer, best known for Weather Report but he has a lot more range than that, with his most memorable early albums as leader being piano trios, and considerable side-work in big bands. Large group here, short of a big band on horns but long on strings, playing hackneyed movie themes arranged by Erskine and Danny Grissett. B+(*) [cd]

Flagboy Giz and the Wild Tchoupitoulas: Live From the French Quarter Fest 2023 (2023 [2024], Injun Money): New Orleans MC, took over the venerable New Orleans Indian group, best known for their Meters-backed 1976 eponymous LP. B+(**) [sp]

Andreas Gerth & Carl Oesterheit: Music for Unknown Rituals (2023 [2024], Umor Rex): German musicians, have fairly substantial credits since early 1990s, but not much more than their two duo albums as leaders. One of the best albums I've heard in the Hassell-Eno "4th world" domain. A- [sp]

Glorygirl2950: Queen of the Land (2024, self-released): Not much on her, some suggestion that her self-released label is UK-based, but Pitchfork review pegs this as "a welcome blast of rowdy Atlanta rap." Accent favors Atlanta. B+(*) [sp]

Brad Goode Polytonal Big Band: The Snake Charmer (2023 [2025], Origin): Trumpet player, called his first (1988) album Shock of the New, recorded four albums (2001-03) with Von Freeman titled Inside Chicago, career since has been vigorously eclectic, including a 2008 anticipation of this group called Polytonal Dance Party. Conventional big band, conducted by John Davis, playing six original compositions and two new arrangements ("Ornithology" is one) by Goode. B+(**) [cd]

Hieroglyphic Being: Quadric Surfaces (2024, Viernulvier): Chicago electronica producer Jamal Ross, prolific since 2008, soundtrack bits for "an abstract animation film by visual artist Gabriela González Rondon," pleasantly bleepy. B+(***) [sp]

Erik Jekabson: Breakthrough (2024 [2025], Wide Hive): Trumpet/flugelhorn player, from Bay Area, side credits from 1996, debut album 2003, eighth own album, has a long list of supporting musicians on most tracks here, including strings, flute, oboe, and some vocals (two tracks). Quite lovely, for the most part, as far as that goes. B+(**) [cd]

Jessica Jones Quartet: Edible Flowers (2020 [2025], Reva): Tenor saxophonist, actually two in the group as husband Tony Jones also plays, as well as sharing most writing/arranging credits, backed here by Stomu Takeishi (bass) and Deszon Claiborne (drums). Free jazz, solid and poised. B+(***) [cd]

Jupiter & Okwess: Ekoya (2025, Airfono): Congolese group led by Jean-Pierre (Jupiter) Bokondji, who grew up as a diplomat's son in East Berlin before returning to Kinshasa to organize his band, which lately has been big in Europe. B+(*) [sp]

Doug MacDonald: Santa Monica Session (2024 [2025], DMAC Music): Guitarist, many albums since 1981, quartet with piano, bass, and drums; three originals, five covers, closing with "Perdido." B+(*) [cd]

Polyfillas: Rude Boys of England E.P. (2024, self-released, EP): Brit band from Sunderland (on the North Sea, near Newcastle), Ava and Jamie Dangerous sing, play guitar, wrote the songs, backed with bass and drums: two old-fashioned punk anthems, the "reggae-tinged" 8:30 title track, and "two acoustic numbers" -- total 21:37. Experiments, I figure, each with a small measure of promise. B+(*) [bc]

Praktika: Balani Factory (2023 [2024], Blanc Manioc): Electronica duo from Finland, Heikki Rinkinen and Risto Eskolin, debut album 2016, impresses with a cornucopia of beats. A- [sp]

Valknee: Ordinary (2024, TuneCore): Japanese rapper, released an album in 2019, not sure what else. Jumps pretty hard to start with. Still, short as it is (10 songs, 26:42) it doesn't quite sustain. B+(**) [sp]

Vincenzo Virgillito: Precondition (2017 [2025], self-released): Italian bassist, born in Sicily, based in London, side credits since 1994 but this is his first as leader, and for that matter his first solo album. B [cd]

Jeong Lim Yang: Synchronicity (2023 [2025], Sunnyside): Bassist-composer, from South Korea, based in New York since 2011, has a previous (2017) album. Quartet here, focus on viola (Mat Maneri) and piano (Jacob Sacks), with Randy Peterson on drums. Enchanting. B+(***) [cd]

Adrian Younge & Ali Shaheed Muhammad: azz Is Dead 22: Ebo Taylor (2025, Jazz Is Dead): Hip-hop producers back with another installment (7 songs, 26:06) in their anti-jazz series, each new volume featuring someone semi-famous from way back when (usually the 1970s), in this case the now 86-year-old Ghanaian highlife star (who also appeared on last year's various artists sampler, JID 21). B+(*) [sp]

ZA!/Tomás De Perrate: Jolifanto (2024, Lovemonk): Barcelona band, active singe 2006, combines "African beats, noise, thick distortions, vocal loops, free jazz, sounds from the shepherds of Tuva, Balinese polyrhythms, math rock, dadaism, drones," etc. De Perrate is a flamenco singer of some note. Sounds, indeed, like all that got dumped into the blender. B+(**) [bc]

Andreas Gerth & Carl Oesterhelt: The Aporias of Futurism (2021, Umor Rex): I was so struck by Music for Unknown Rituals, I went back to the previous album, which more clearly shows their roots in avant-electronica, minus the acoustic touches and rhythmic quirks that made the later album so appealing. This has its own, more somber, appeal, almost industrial. B+(*) [sp]

Unpacking: I have a half-dozen still-unopened packages on my desk. Check back next week.

I've had a very rough week, or at least the last couple of days, and at the moment I'm so depressed I have nothing to say on this or any other subject. The only rationale I could come up with for posting this at all is that this way I won't have to give it another thought for the rest of the week.

This is the last Monday in February, so I've marked the archive file closed, and opened a new one for March, but I haven't done any bookkeeping (probably for months, but certainly not this month). I haven't forked off a frozen copy of my 2024 List, which is usually an end-of-February thing. I did review a few 2025 promos below, on a particularly miserable day when the Internet couldn't be trusted, but since then I've gone back to sifting crumbs from 2024. Neither pursuit netted much.

The one thing I should mention is that I answered some questions. Also that I'm on Bluesky (link to left), and not on Facebook. No more news to speak of.

It occurs to me that an update wouldn't be amiss here. I rushed this out Monday evening, just to get past it, while being very uncertain how the week was going to week was going to develop, other than that I had much to worry about. I'm scheduled for cataract surgery on Thursday, Feb. 27. While the prognosis for such surgery is usually very good, the short-term effects seem to be very hard to gauge. I am told, for instance, to expect that eyesight will be blurry (perhaps very blurry) for as long as a week. Even after that, my eyeglass prescription is likely to be way out of whack until after the second eye is operated on, and it too heals. I'm also reading things like bruising around the eye ("black eye") is to be expected. While my sight has been declining for years, with many things -- like reading print on CD cases -- practically impossible, I'm expecting the short-term disruption to be . . . well, I really have no idea.

Nonetheless, I had a more pressing (and depressing) problem on Monday. I had developed a dental problem over the previous week, and went in to have it checked that afternoon. We decided to do a root canal and crown, which took a little more than 3 hours. When the novocain finally wore off, I found myself with the exact same pain I had started out with, making me wonder if the dentist had missed the actual problem and done something irrelevant. I was also led to believe I'd be needing antibiotics and narcotics for pain, so I filled those prescriptions, but -- wisely it turns out -- waited before starting them.

I was pretty wiped out that evening, when I posted this, but next day wasn't too bad. The temporary crown has some annoying imperfections, but no significant pain, and no reason to think the tooth was infected. I also had to start eye drops for the surgery on Monday. I've always hated and dreaded eye drops, but by Tuesday was starting to get the hang of it, so I think that will be ok. Just, for now, trying not to think too much about it all.

My wife's birthday was last week, same day as the sole remaining nephew in these parts, so what she wanted to do was for us to go out to some upscale restaurant. However, the weather was awful cold on the day, so she consented to allowing me to cook up a bit of dinner. My self-imposed limit was to only use items in stock. She wanted Ants Climbing Tree, a classic Chinese dish of ground pork and cellophone noodles. I found a pound of ground wild boar in the freezer, so substituted that for the pork. I also found a chunk of boneless pork butt, which I could have used, but thought it might be better in Twice-Cooked Pork: boiled, sliced thin, and stir-fried with bell peppers in a sauce of hoisin, ground bean, black soy, and brown sugar. I made one of my fried rice combos with it, using velveted shrimp, Chinese sausage, stir-fried lima beans, sauteed zucchini, egg, scallions, and pine nuts. Recently, I've been starting fried rice with a shallot, adding some chicken stock to further soften up the rice, and adding a generous sprinkling of curry spices, so the rice could have served as a meal in itself. Dessert was flourless chocolate cake, with ice cream.

After the thaw, we did finally go out to George's Bistro on Tuesday, to see how the pros do it. That was my specific intent in ordering the duck à l'orange with cassoulet: I've made both dishes (only a couple times, and not with great success, but pretty close to what they served). Also had their profiteroles for dessert -- I've made them too, but they really nailed the presentation this time. All in all, a very nice dinner. Does, however, make me want to try something a bit more ambitious.

I had some more things I wanted to mention, but it's gotten late, so I should post what I have, and return when next I'm able. I should note that I finally finished Eric Hobsbawm's The Age of Extremes, which has been an extraordinary read these last few weeks. Not sure what's next: I have a half-dozen candidates readily available, none of which promises to come close in terms of historical depth and global sweep -- unless, as I'm tempted, I just carry on with Hobsbawm's slightly later memoir, Interesting Times.

On the other hand, unclear how much reading I'll be able to do in coming weeks. Also how much music I'll be able to write up. But for now, I can tease you with a couple of album covers, picked up as I've been going through Chuck Eddy: 150 Best Albums of 2024.

Ab-Soul: Soul Burger (2024, Top Dawg): Los Angeles rapper Herbert Stevens IV, sixth album since 2011. B+(***) [sp]

Beatenberg: The Great Fire of Beatenberg (2024, Leafy Outlook): South African pop/rock band, out of Cape Town, fourth album since 2011, as African bands go, they sound a lot like Vampire Weekend, but more consistently African. B+(***) [sp]

BigXthaPlug: Take Care (2024, United Masters): Rapper Xavier Landrum, from Dallas, second album. B+(**) [sp]

Fashion Club: A Love You Cannot Shake (2024, Felte): Alias for Pascal Stevenson, from Los Angeles, who plays most instruments and sings, although the credits include a dozen guest spots. Second album. Has a shoegaze fuzz I like, but I don't know what it means. B+(**) [sp]

Foxing: Foxing (2024, Grand Paradise): Rock band from St. Louis, fifth album since 2013, must have been confused in my mind with someone else, as they're way too hyperbolic for my taste. B- [sp]

Friko: Where We've Been, Where We Go From Here (2024, ATO): Indie band from Chicago, or duo -- Niko Kapetan (guitar/vocals) and Bailey Minzenberger (drums) -- first album, I'm only a bit impressed, and have no idea what genres like "chamber pop" and "noise pop" might mean. B+(*) [sp]

David Gilmour: Luck and Strange (2024, Sony): Famed Pink Floyd guitarist, did a nondescript solo album in 1978, returned with another roughly every decade since, this his fifth (not counting a couple live albums). Some signature guitar, plus keyboards recorded before Rick Wright died in 2008. B [sp]

Girl Ultra: Blush (2024, Big Dada, EP): Pop singer Mariana de Miguel, from Mexico City, released an LP in 2019, and has several EPs since 2017, this one 7 songs, 14:37. B+(*) [sp]

Groovology: Almost Home (2024 [2025], Sugartown): Mainstream jazz quartet from Honolulu, Aaron Aranita (woodwinds, piano) wrote five songs, David Yamasaki (guitar) two more (one reprised), Scott Shafer (drums) two, Ernie Provender (bass) one). B [cd]

Muriel Grossmann: The Light of the Mind (2024, RR Gems): Saxophonist, mostly tenor but plays them all, born in Paris, grew up in Vienna, wound up in Ibiza, 16th album since 2007, quartet with guitar, keyboards, and drums, strong whiff of Coltrane throughout. B+(***) [sp]

Tim Heidecker: Slipping Away (2024, Bloodshot): Folkie singer-songwriter, albums go back to 2000, has a rep for comedy. B [sp]

Eugenie Jones: Eugenie (2024 [2025], Open Mic): Jazz singer, fourth album since 2013, writes about half of her material, with covers like "Natural Woman," "Work Song," "Trouble Man," and "It Don't Mean a Thing." B+(**) [cd]

Justice: Hyperdrama (2024, Ed Banger/Because Music): French electronica duo, Xavier de Rosnay and Gaspare Augé, fourth studio album since 2007, they also have three live albums, six EPs, singles back to 2004. Grammy seems to like them. B [sp]

Jerry Kalaf: Safe Travels (2024, self-released): Drummer, composed this for piano-bass-drums trio plus string quartet (two violins, viola, cello), which gives it classical airs I rarely enjoy. Tolerable enough. B [cd]

Kehlani: Crash (2024, Atlantic): R&B singer-songwriter, last name Parrish, fourth studio album since 2017, along with as many mixtapes. B+(**) [sp]

b>Kehlani: While We Wait 2 (2024, Atlantic): Mixtape, came out a couple months after the studio album Crash, title refers back to a 2019 mixtape. I can't tell much difference. B+(**) [sp]

Khruangbin: A La Sala (2024, Dead Oceans): Psych-surf-dub-funk instrumental rock band, started at St. John's Methodist Church in Houston, name is the Thai word for airplane, first album 2015, after an album with Vieux Farka Touré and two EPs backing Leon Bridges, back on their own, and not totally vocal-free. B+(**) [sp]

Ravyn Lenae: Bird's Eye (2024, Atlantic): R&B singer-songwriter from Chicago, dropped last name Washington, second album after a couple EPs, has a nice groove it but never jumps out of it. B+(**) [sp]

Los Campesinos!: All Hell (2024, Heart Swells): Indie rock band from Wales, name from Spanish translates as "the peasants," released five albums 2008-13, only their second album since. B+(*) [sp]

Nobro: Set Your Pussy Free (2023, Dine Alone): Girl-punk band from Montreal, founded and led by bassist-singer Kathryn McCaughey, first studio album after EPs going back to 2016. Same attitude/vibe as the earlier EPs, but the songs hold up better. A- [sp]

Nobro: Live Your Truth Shred Some Gnar (2021 [2022], Dine Alone): Seven track EP, 20:43, at least on Spotify. Discogs shows 5 releases, all with 11 songs (31:47), most LPs with the title EP on the first side, and the 2020 EP Sick Hustle on the other. B+(**) [sp]

NxWorries: Why Lawd? (2024, Stones Throw): Duo of rapper Anderson .Paak and producer Knxwledge, released an album in 2016, Yes Lawd!, followed by remixes, and now this second album. B+(***) [sp]

Noel Okimoto: Hō'ihi (2024 [2025], Noel Okimoto Music): Drummer, from Hawaii, title translates to "respect, reverance," leads an octet with trumpet and sax, but neither as prominent as the vibes. B [cd]

Pearl Jam: Dark Matter (2024, Republic): Grunge rock band from Seattle, went multi-platinum with their debut in 1991, I've always credited grunge and gangsta with my turn away from rock/pop in the 1990s toward jazz/roots, and it's safe to say I've never had the slightest interest in this band. (Disliking Nirvana, as I did, at least took some will power.) This one I only bothered with once it hit the top of my unheard metacritic list, and I doubt I'll give it a second spin, but as background goes, I've enjoyed virtually every moment of this one, which I'm pretty sure has never happened before. B+(**) [sp]

Benjie Porecki: All That Matters (2024 [2025], Funklove Productions): Pianist, also plays organ, hype sheet says he has many previous sessions but this is first in my database. Trio with bass and drums. Six originals, four covers (notably Hampton Hawes, and organ for Sam Cooke). Nice album. B+(**) [cd]

Shellac: To All Trains (2017-22 [2024], Touch and Go): Noise rock band founded by Steve Albini (guitar, formerly of Big Black, but better known as a producer), Bob Weston (bass), and Todd Trainer (drums), all credited with vocals, debut album 1994. Sixth studio album, first in a decade, the last sessions recorded shortly before Albini's death. Short (10 songs, 28:13), which is probably just as well. B+(*) [sp]

Jae Sinnett: The Blur the Lines Project (2024 [2025], J-Nett Music): Drummer, I had him filed under vocals but just one here, has a dozen-plus albums back to 1986, runs a fairly hot fusion quintet with Ada Rovatti (tenor sax) and Allen Farnham (keybs), jacking up oldies from Edgar Winter, Steppenwolf, and Led Zeppelin. B+(*) [cd]

Steve Smith and Vital Information: New Perspective (2024 [2025], Drum Legacy): Drummer, fusion group, been around a long time, trio with keyboards (Manuel Valera) and bass (Janek Gwizdala). Fusion, two plays leaving little impression. B [cd]

Dave Stryker: Stryker With Strings Goes to the Movies (2024 [2025], Strikezone): Guitarist, originally from Omaha, came up in soul jazz groups (Jack McDuff, Stanley Turrentine), had a long-running group co-led by Steve Slagle, has been releasing a new album every January for as long as I can remember. This one is different, with a string orchestra arranged and conducted by Brent Wallarab, includes some horns (especially trombones), with the occasional guest soloist. Eleven movie themes. I swear I don't automatically hate every album with strings, but this is a good example of why I enjoy so few. B- [cd]

Rose Tang & Patrick Golden: A White Horse Is Not a Horse (2024, ESP-Disk'): Tang, who "plays in about 30 bands and ensembles in New York and Seattle," wrote the lyrics, and plays guitar, keyboards, and small percussion, improvising with Golden on drums. Earlier in life, she was a "prize-winning journalist," who had studied in China and Australia, and was dubbed by one "high school politics (Maoist/Marxist) teacher" as "Wild Horse Running off the Reins." Motto: "Learn through play. Play by ear. Fuck the rest." Impressive, even on piano, but miffed me a bit when the words lost coherence and the singer tried to compensate with volume. B+(***) [cd]

Leon Thomas: Mutt (2024, EZMNY/Motown): Second album, first singles (2012) released as Leon Thomas III, doesn't seem to be related to the jazz singer (1937-99), although the dates (III was b. 1993) aren't impossible. B+(**) [sp]

Richard Thompson: Ship to Shore (2024, New West): English folk singer-songwriter, goes way back, starting in the 1960s with Fairport Convention. B+(**) [sp]

Louis Armstrong: Satchmo Sings (1955, Decca): Credited as "with Orchestra," musicians unnamed. Brunswick, in 1961, reordered and cycled this as Sincerely Satchmo: Louis Armstrong Sings Standards, citing Sonny Burke, Sy Oliver, and The Commanders. Recording dates could be earlier, with this LP cobbled together from singles. Sounds like standards now, but Armstrong wrote one ("Someday You'll Be Sorry") and most of the others were relatively recent ("I Wonder," "Pledging My Love," "Your Cheating Heart," "Sincerely," "The Gypsy"). I tend to think of his later sessions with Ella Fitzgerald and Duke Ellington as where he matured as a singer, but he was clearly ready here. A- [sp]

Louis Armstrong: Louis and the Angels (1957 [2001], Verve): In the mid-1950s, Armstrong recorded several key albums for Columbia, and in 1957 he recorded at least three albums for Verve -- collected as Pops Is Tops: The Verve Studio Albums and More -- but he doesn't seem to have been done with Decca, his main label for the 1930s and 1940s. Adding to the confusion is that Verve reissued this and a couple more late Decca albums. Ten (of 12) songs here either have "angel" or "heaven" in the title, and the others drop in a lyric. Sy Oliver produced, heavy on the strings and chorus. B- [sp]

Louis Armstrong: Satchmo Plays King Oliver (1959 [1960], Audio Fidelity): He got his start with Oliver in 1923, and followed him from New Orleans to Chicago, quickly outshining his mentor. A big part of the idea here seems to be to revive the old songs in state-of-the-art stereo -- at a time when reproductions of the originals were decidedly scratchy (they have since much improved) -- but the intervening decades have taken a bit of lustre off the music, while Armstrong has developed into a more skilled singer. Twelve songs, backed by "his Orch." (per the label; cover just has the title and a pic of star with trumpet, not cornet). They were his All-Stars at the time: Peanuts Hucko (clarinet), Trummy Young (trombone), Billy Kyle (piano), Mort Herbert (bass), and Danny Barcelona (drums). They were well schooled in this music, but not all that excited. [PS: Discogs lists a number of reissues of this album under various titles, including: Ain't Gonna Give Nobody None of My Jelly Roll (1964, Audio Fidelity); The Best of Louis Armstrong (1964 & 1970, Audio Fidelity; 1970, Camden, Bellaphon, Musidisc; 1993, Exit); Louis Armstrong and the All-Stars (1967, Concert Hall); With Love From . . . (1974, Capri); Louis Armstrong (1980, Impacto); Los Grandes Del Jazz 68 (1981, Sarpe); I Giganti Del Jazz Vol. 68 (1982, Curcio); plus a few more, undated. These are all literal reissues, but there is also an expanded edition, below.] B+(***) [r]

Louis Armstrong & the All-Stars: Satchmo Plays King Oliver (1959 [2000], Fuel 2000/Varèse Sarabande): A CD reissue of the 1960 LP, with a new cover, more credit for the band, and two extra songs, plus eight alternate takes, arrayed inline so you hear most songs twice before moving on. I never cared for that arrangement, and while it seems fairly harmless here, that one scarcely notices it suggests that the original music wasn't all that riveting. [PS: In 2018, Essential Jazz came out with The Complete Satchmo Plays King Oliver, which moved the alternate takes to a second CD, added various 1955-57 tracks of relevant material to the 76:29 "Master Takes" disc, and more 1926-50 tracks to "The Alternate Takes."] B+(**) [sp]

Louis Armstrong/Dukes of Dixieland: Louie and the Dukes of Dixieland (1960, Audio Fidelity): The Dukes were a New Orleans trad jazz band founded by Frank and Fred Assunto in 1948, up to 1974 when another group claimed the name. It's a bit shocking to note that as late as 1957 they recorded an album called Minstrel Time (but the cover shows no evidence of blackface, and I'm more bothered by the Confederate flag on the cover of their 1967 album, On Parade). I don't doubt that they were delighted to have Armstrong join them here, but they made few if any concessions in the song list, which not only includes "South" and "Dixie" but also "Washington and Lee Swing." Armstrong is most in control on the slow "Just a Closer Walk With Thee." [PS: This album was reissued as Louis Armstrong: Yeah! (1965, Fontana).] B [r]

Louis Armstrong & Duke Ellington: The Great Summit: Complete Sessions (1961 [2000], Roulette, 2CD): I've long been confused on this release, probably because the title of my 1990 single CD is The Complete Louis Armstrong and Duke Ellington Sessions, which has exactly the same 17 songs that were reissued in 2000 as The Great Summit: The Master Takes. Those 17 tracks were originally issued on two LPs: Recording Together for the First Time (1961, same artwork but different title as my CD) and The Great Reunion (1963). Ellington wrote (or co-wrote) the songs, and plays piano, but not orchestra: the rest of the band is Armstrong's combo, aside from clarinetist Barney Bigard, who did considerable work with both leaders (but not recently). The band works perfectly: Duke keeps them swinging, while the others support but don't crowd Armstrong, who has never sounded so cool. The first disc always has been a rock solid A. The second, titled "The Making of the Great Summit," goes beyond "complete" with nine alternate takes and a 1:09 "Band Discussion on Cottontail." The music is at best redundant, but the false starts and blown notes are annoying, and the disc as a whole is worthless. Only question is how much to devalue this given that you're unlikely ever to give the second disc a second spin. B+(**) [sp]

Louis Armstrong: Let's Do It: Best of the Verve Years (1957-65 [1995], Verve, 2CD): An entry in Verve's Take 2 series of 2-CD compilations, a mixed bag series which picked up many of Verve's major 1950s artists, sometimes reissuing larger albums (like The Audience With Betty Carter), or combining 3-LPs on 2-CD (e.g., two Ben Webster sets, Music for Loving and Soul of Ben Webster), or sometimes compiling pieces from scattered LPs (like here). Armstrong didn't record a lot for Verve, and only the first duets with Ella Fitzgerald really panned out. They get a fair amount of space here, along with his lesser 1957 albums, and a couple of much later tracks (originally released on Fontana and Mercury). B+(*) [r]

Louis Armstrong: Disney Songs the Satchmo Way (1968 [1996], Walt Disney): Ten songs from Disney entertainments, a minor addition to the his song book efforts, done with a light touch and good humor, which is all you can hope for. Disney's own Tutti Camarata produced, with Maxwell Davies arranging, the strings mostly kept in check. Originally released in 1968 on Buena Vista. CD has new artwork, but no extra music. B+(***) [sp]

Ella Fitzgerald: Ella Loves Cole: New Interpretations by Ella Fitzgerald of the Great Cole Porter Songs (1972, Atlantic): With her interlude at Capitol dead-ended, and Pablo not yet open for business, Granz produced this back-to-basics project, reuniting her with Nelson Riddle to recycle 13 songs from the first of her great Song Books. Unavailable as such on streaming, as Granz repossessed it in 1978 and reissued it as Dream Dancing. B+(***) [sp]

Ella Fitzgerald: Dream Dancing: Ella Fitzgerald & Cole Porter (1972-78 [1978], Pablo): Here Granz reclaims and recycles 1972's Ella Loves Cole, adding two newly recorded songs -- "Dream Dancing" and "After You, Who?" -- with Nelson Riddle arranging and conducting. While the new cuts don't add much, let's give this package a slight edge. But in both cases, the combination of singer, songwriter, and orchestra is a comforting delight. A- [sp]

Ella Fitzgerald/Joe Pass: Take Love Easy (1973 [1974], Pablo): Pass (1929-94, name shortened from Passalaqua), was a guitarist from New Jersey, started recording for Pacific Jazz in 1962, in Gerald Wilson's big band and small soul jazz groups (Richard Holmes, Les McCann) and cool (Bud Shank), but he quite literally came into his own when Norman Granz signed him to Pablo in 1973 and had him record a solo album, revealing enough to be called Virtuoso. Granz recorded him often -- Wikipedia credits him with 50 Pablo albums -- including this first duo with Fitzgerald. My first reaction here is that they take it way too easy, but after a career of dazzling us with speed, she amazes with how slow she can go without stalling. Pass takes it even easier, but adds just enough they return for more albums. B+(**) [sp]

Ella Fitzgerald: "Fine and Mellow" (1974 [1979], Pablo): Subtitle is Ella Fitzgerald Jams with a long list of named stars: Harry Edison and Clark Terry (trumpet), Zoot Sims and Eddie "Lockjaw" Davis (tenor sax), Joe Pass (guitar), Tommy Flanagan (piano), Ray Brown (bass), and Louie Bellson (drums). Lots of good things here, including a stretch where Terry slings even more scat than Ella. B+(***) [sp]

Ella Fitzgerald: Ella Fitzgerald at the Montreux Jazz Festival 1975 [1975 [1993], Pablo/OJC): With his new label, Granz seemed to be in a hurry to fill out the catalog, and the venue was famous enough to justify a live set. Nine songs, starting with "Caravan" and "Satin Doll," peaking with "It's All Right With Me," closing with "The Girl From Ipanema" and "T'aint Nobody's Bizness If I Do." Backed by Tommy Flanagan, Keter Betts, and Bobby Durham -- their names added to the 1993 CD cover. B+(***) [r]

Ella Fitzgerald/Joe Pass: Fitzgerald and Pass . . . Again (1976, Pablo): Fourteen more standards, sung expertly, with solo guitar accompaniment, artful but demure enough one can be excused for missing much of it. B+(*) [r]

Ella Fitzgerald With the Tommy Flanagan Trio: Montreux '77 (1977 [1989], Pablo/OJC): Different songs from 1975, but same group, with Keter Betts (bass) and Bobby Durham (drums). B+(**) [sp]

Ella: Lady Time (1978, Pablo): Cover just has her first name, an understated minimalism reflected in the band: just organ (Jackie Davis) and drums (Louie Bellson). Standards, most songs she's done before (like "Mack the Knife") although the Fats Domino opener is one I don't recall hearing before. B+(***) [sp]

When I left you two weeks ago, I vowed to do nothing else until I resolved my server problem. I wrote about it at some length then, and if you're really curious, you can follow the whole saga in gory detail through my server notes file. I still seemed to be nowhere near finding a solution last Monday, nor had I written much the previous week, so it was easy to scratch any thought of Music Week last week. By then I had sent out an initial round of letters, which generally got fast but not very satisfying responses. Last Monday I found myself again searching for more vendors -- especially ones offering DirectAdmin as an alternative to cPanel, as the latter appears to be a company one is best off not depending on. But I found a few positive reviews of a company that was still offering cPanel at reasonable prices, so I also dashed off a letter to Shock Hosting. While their prices seemed to be too good to be true, their reputation appeared solid, and I liked their reply: it got quickly to the important points, didn't get distracted with by details, and exuded confidence, especially on the thorny email problem. I slept on it, and woke up thinking it might be the best answer. In particular, I could hope that they could handle the migration quickly and expertly.

So I made sure I had my backups in order, signed up, and put them to work. After a few hours, they had moved five accounts, and were ready to serve web pages. That left me with the task of redirecting DNS to the new server, which I finally managed after some initial bungling. Also with shutting down the old server, and keeping them from billing me for another month, a task which was excessively fraught as they had made themselves virtually incommunicado of late: phone calls went to answering machine or simply rang endlessly; email to every known address that had worked previously bounced; a contact form on their still-running (but obviously dated) website accepting input but in no way acknowledging it. As the bill was scheduled for the day after I moved, I prepared to challenge the charges, but my card wasn't billed, so a sigh of relief there.

DNS normally takes 24-48 hours to propagate, so I took that as a sign to relax. When I did finally check later that evening, I was going to the new server, and getting web pages as expected. I notified all of the people I host websites for, and didn't get any alarms back. I had previously set up a second email address to collect the torrent of mail the old server's WHM put out. I deleted several thousand messages from the old server, but got nothing to replace them. I did test that the email addresses are working. But I let my service ticket expire without getting to the bottom of where the new server is sending notices. Most likely it is to a local mailbox. If so, they're waiting for me. If not, it's nice to know I have a vendor with a working support ticket system.

So so far, so good. I've logged in to the new WHM, and started taking notes on how it works, what's new, and what's no longer available (hopefully, just a lot of security headaches, as much of that is now buried underneath a layer of Cloud Linux). More thorough testing is in order -- among other things, there is always a good chance that running on a newer operating system will break old code (and yes, I'm looking at you, PHP) -- so if you do run across anything amiss, please let me know.

I still have some cleanup to do on the server planning files, although it would be easier just to declare them done and walk away leaving all the loose ends that way. In theory, they may help someone else navigate those waters. More likely, some AI robot will suck them up and blow a fuse. But for personal use, the planning files were useful as a means of organizing and sorting a fairly large amount of research.

My spreadsheet was much less useful, and given that most of my time was spent on the learning curve, much more frustrating. What I wanted was a somewhat simpler tool, which would allow me to construct a table with all the data, then limit my view to side-by-side comparison of selected columns. Experts will probably tell me that spreadsheets can do exactly that, and that my inability to do so was pure ignorance, and possibly stubbornness, on my part. While admitting the charges, I'd still counter that the UI sucks, then perhaps cite my authority in designing ones that don't suck.

Still, I have some more projects where a spreadsheet might be useful, so I'll admit to learning a few things that might come in handy. I'll also be moving on to more planning files, as I try to figure out what to do, and how to do it, before the political apocalypse hits me personally. The big one is where to focus my writing: too big to start here, or even speculate about. Others will cover more mundane topics, like how the music and books are organized around the house, and a few will involve shopping. One relatively easy one there is specing out a new computer for my wife: her old one is 6+ years old, and while the main complaint right now is a noisy CPU fan, it should be easy to do better. The more daunting one is buying a new car: that old one has 18 years on it, and something mysterious wrong with it (but it does have a CD player, which doesn't seem to be a thing these days).

The one file I already have opened is called Subscriptions. After Robert Christgau made his move to Bluesky, I figured I should follow suit, if only just to keep track of things. So when I finally had a bit of free time last week, I made my move and set up an account. My understanding at this point is very rudimentary, hence the planning file.

One reason practically no one knows about my Bluesky account is that I've been "permanently blocked" from Facebook, with my account scheduled for demolition. I wrote a bit about this in the Subscriptions file, so I won't repeat that here, other than to reiterate that I'm so disgusted with them I don't have any present intention of coming back. That said, don't think that I won't miss Clifford Ocheltree, among a few others. Maybe I'll sign up for a few Substacks. Maybe I'll create one of my own.

I spent most of the first week just listening to oldies, which definitely included Louis Armstrong's 16 Most Requested Songs. That got me thinking about Christgau's review of Ella & Louis, so I wrote a fairly long bit on that below. I don't own this particular edition, but I own and/or can stream all of it (and then some). I also noticed that I never reviewed What a Wonderful World, and that led me to consider a few more gaps in my Ella Fitzgerald. There, the obvious gap was that while I had long ago given The Complete Ella Fitzgerald Song Books a curt A-, I hadn't broken out the constituent sets -- all of which had been released as separate CDs, many with secondary "Best Ofs." I own the box, but haven't played in ages, so that seemed like something pleasant I could do while sweating over server details. That, of course, led to more missed albums (with more of the Pablos yet to come). I'm rather surprised at how much I wound up writing. Perhaps there is a lesson there for the future?

Last couple days I picked up a couple new-ish albums from Christgau's February Consumer Guide, just to avoid coming up empty in those slots. Meanwhile, the new jazz demo queue is growing. I'll tend to it when I open up some desk space, but right now I'm in no hurry. Since the election, I've buried myself first in the Francis Davis Jazz Critics Poll, and then in the server shopping. It's cold and miserable outside, and at 74 it's bothering me like never before. I've let lots of everyday things fall to the wayside. I'm finally getting a breather, and don't feel guilty about taking it a bit easy for a while. Especially as I can see the next big thing coming: I'm scheduled for cataract surgery on the 27th, with the other eye a month or so later. Most people I know got good results that way, but I'm a worrier and expect it to be a lot of trouble before it gets better. We'll see about that, but I don't want to take much on until we do.

As for the rest of the world, I realize that ignoring it won't make any difference, but paying close attention and speaking as loud and clear as I could didn't do much good either. Today I got a letter from a hitherto unknown reader:

I'm going to treat this as part of my Q&A and try to come up with a more thoughtful answer, but sure, I have things to say. While I've made very little effort to follow the news, and especially to let myself get involved in subjects like Democratic political strategy, I can't live in the same house as my wife and stay unaware of what's happening. And while I'm tempted to just point back to my post-election essay and add a heaping of "I told you so," some things I posited as possibilities then have evaporated, while I didn't anticipate a few things that have happened, or at least marginally shifted beyond my expectations. At some point I'll look into things like this and that more closely. But I'm also painfully aware that whatever I do come up with go nowhere and amount to nothing, at least as long as I'm operating the way I have the last few years.

I'm not oblivious to the fact that there are people, some known and others unknown, who appreciate my writing. I'm just trying to figure out what path makes the most sense for me at this particular time. I can't go into that here, but will write more about it in the near future. What I can do here is leave you with three thoughts:

I'm not unaware of or insensitive to the very real damage that Trump and Musk -- and it's probably good tactics to treat them as inseparable, with Musk by far the dominant personality -- are doing and will continue to do until they're stopped. I'm also no less opposed to genocide than I've been since I first used the word on October 9, 2023. But as I noted in my post-election piece, the Trump election definitively quashes the notion, which persisted very faintly as long as Biden was president, that anyone involved might develop a bit of conscience and stop the killing short of complete destruction.

One thing I put great emphasis on in my assessment of how bad a Trump election would be is opportunity costs. Trump's election ensure that the US will do nothing to address the very real problems that Democrats spent way too much time pretending to have finessed for at least the next four years -- plus whatever extra time it takes to undo what they do manage to do. Given the speed with which they are wrecking things, I may have underestimated those opportunity costs. One more thing that I likely underestimated was the extent to which Trumpist power is going to brutalize everyone, even those who resist it. Genocide in Gaza is not just a tragedy befallen a mostly helpless people, but a monument to the notion of "might makes right," which will encourage its use elsewhere, while numbing our response. As proverbs attest, such brutality is almost certain to return to haunt us.

Minor tech note: Long boxes look out of place in my album covers totem pole, I had two of them this week, and dealt with them inconsistently. I skipped Louis Armstrong's The Complete Hot Five and Seven Recordings, and went with the very similar (but properly cropped) The Best Of cover. However, for The Brill Building Sound, I went with a scan of Disc 1 instead of the whole long box (which could have been cropped to something very similar -- you'll have trouble making out the volume number, anyway).

Don't expect much from me in coming weeks. I have much else to do, and limited time and abilities. One thing I will promise to make an effort at is to respond to my questions. I have two in the queue now, and hope to field more.

Kasey Chambers: Backbone (2024, Metropolitan Groove Merchants/Essence Music Group): Singer-songwriter from Australia, 1999 debut was a pretty credible country album, released an album every 2-3 years up to 2018, then a gap until this one. She's still credible in country, except for the live closer, where she's a rock star. B+(**) [sp]

Jax: Dear Joe, (2024, Atlantic): Singer-songwriter Jacqueline Miskanic, or Gregg since she got married, first album after nearly a decade of singles, in a career that includes American Idol and thyroid cancer and a RIAA Gold hit that probably got this released, but not pressed. Christgau describes this as "utterly original," but didn't review it until after the Dean's List deadline, possibly because it got zero tracked reviews (but AOTY has 573 user ratings, but the User Score is 11, which raises more questions than it answers -- I can't recall ever having seen a rating that low). First play just annoyed me until the song "Zombieland" got my attention. Two (maybe three) more songs could register as pop, which got this a much needed second play -- much of the album is barely sketched out, easily obscured by outbursts of anthemizing. That's all I can afford, or perhaps stand, at the moment, but enough bits signify to make wonder if this might not just be smart ("spicy is better than bland") but prophetic ("we'll be laughin' when the Walmarts hit the fan"). A- [sp]

Ella Langley: Hungover (2024, Sawgod/Columbia): Country singer-songwriter from Alabama, first album after a 2023 EP. Heavy on the drinking songs, but "Nicotine" too. [Later reissued with five extra tracks I haven't heard, as Still Hungover.] B+(**) [sp]

Amadou & Mariam: La Vie Est Belle (1998-2022 [2024], Because Music): Duo from Mali, Amadou Bagayoko and Mariam Doumbia, 1989 debut translates as The Blind Couple of Mali. Dates are iffy here: this draws on six 2004-17 albums on Because Music (including Remixes), while reviews suggest a start date of 1998 (their first European album), and mention that the last cut was a single from 2022, although "Mogolu" appears to be new here, if not necessarily a new song. Not sure this improves on their better albums, but the beats -- even the remix ones -- eventually won me over. A- [sp]

Amadou & Mariam: La Confusion (2017, Because Music): The famed "blind couple of Mali," met in the 1970s, started recording in the 1980s, moved to Paris in 1996, where they were signed by EmArcy, breakthrough was Dimanche à Bamako (2004), their first on this label. Not counting Remixes, this is their fourth -- and not counting the 2024 compilation, their most recent. I don't have the patience to fully sort this out, but so far it's not clear this doesn't rank with their better albums. B+(***) [sp]

Louis Armstrong: What a Wonderful World (1967 [1988], MCA): With all the Armstrong I've heard -- 61 albums, a dozen or more multiple CDs -- I was surprised to find I had missed this item, released in Europe and Canada in 1968 but evidently not in the US until the CD era, to cash in on the last and probably the best remembered of his iconic 1960s pop hits. Bob Thiele claims six song credits (mostly with George Weiss), and he produced, laying the schmaltz on so thick that only the unique and still masterful Armstrong can cut through it. Several more gems here -- "Cabaret" you must know, "Dream a Little Dream of Me" you really should; "The Home Fire" and "Give Me Your Kisses" and "I Guess I'll Get the Papers and Go Home," too. He proved his genius in the 1920s, and spread it far and wide in the 1950s. In his waning days, all he needs is an occasional flicker to remind us he's incomparable. A- [r]

Louis Armstrong: Rhythm Saved the World [The Original Decca Recordings: Volume 1] (1935-36 [1991], MCA): You know him: trumpet player from New Orleans, started out with King Oliver and almost immediately eclipsed him, joined Fletcher Henderson to invent big band jazz -- in a group that also, and for much longer, featured Coleman Hawkins -- moving on to his landmark Hot Five and Hot Seven groups, not to mention backing some of the most brilliant singers of the 1920s, and becoming one himself, and by the time he turned 30, he was leading and starting in his own big band. Still, his records in the 1930s rarely matched expectations: the band never really challenged the star, and the label threw pretty much anything at him -- "La Cucaracha," "Red Sails in the Sunset," "Old Man Mose," "Solitude," "Shoe Shine Boy," "The Music Goes Round and Round," "I'm Putting All My Eggs in One Basket" -- hoping something would hit. Indeed, some things do. B+(***) [sp]

Louis Armstrong & His Orchestra: Heart Full of Rhythm [The Original Decca Recordings: Volume 2] (1936-38 [1993], MCA): His Orchestra gets cover credit, but the really hot stretch from 8-10, including a "Swing That Music" that really does, put Armstrong in front of Jimmy Dorsey's Orchestra. Armstrong's own crew seem less distinguished, with Luis Russell (piano) and Paul Barbarin (drums) the only names I recognize -- at least until J.C. Higginbotham shows up with his trombone, and is joined for "Struttin' With Some Barbecue" by Albert Nicholas, Wilbur de Paris, and Red Allen. A- [sp]

Louis Armstrong & His Orchestra: Vol. III: Pocketful of Dreams (1935-38 [1995], Decca Jazz): They switched up the title here, but this is all 1938 except for two takes of "Got a Bran' New Suit" from 1935 tacked onto the end, with several unreleased tracks -- mostly alternate takes -- slipped in. The beefed up band opens strong, but they thin out after 8 tracks, and Higginbotham and Russell depart after 16, but Armstrong is such a delight they're hardly missed. A- [sp]

Louis Armstrong: The Complete Town Hall Concert 1947 (1947 [2004], Fresh Sound): Released on 2-LP in the RCA Tribune series in 1983, copied to 2-CD a few years later (1992), all 21 tracks fit comfortably on a single CD (78:56). The set opened with Dick Cary (piano), Bob Haggart (bass), and Sid Catlett (drums), joined six tracks in by Peanuts Hucko (clarinet/tenor sax), Bobby Hackett (trumpet), and Jack Teagarden (trombone, a couple vocals plus his bit in "Rockin' Chair"), with drum relief from George Wettling (the encore?). This set the template for his later live albums, but you get an extra helping of old New Orleans classics. Not ideal sound. [NB: Napster fucked up and skipped every other song, so I had to play this twice to get everything. Christgau says this "is the Armstrong I play when I want the whole package." For that, I advise any of the four discs from The California Concerts, which offer peak performances -- the first from when "All Stars" meant Earl Hines and Barney Bigard; the last from when he had fully worked out his schtick with Velma Middleton -- although the "whole package" kept evolving up through the more subdued (and poignant) Louis in London in 1968.] A- [r]

Louis Armstrong: The Best Live Concert (1965 [1976], Disques Festival): Live set in Paris, with Armstrong coming off his big pop hit "Hello Dolly" -- the set list also includes "Cabaret," which he released as a single later, and "Mack the Knife," his biggest chart hit of the previous decade, as well as a broad selection of his standards, and a couple tunes I don't recall elsewhere ("Volare," "I Left My Heart in San Francisco"). Band is his standard hot five, but only Billy Kyle remains from even the later editions of the All Stars, and Jewell Brown won't make you forget Velma Middleton. Still comes close to justifying the hyperbolic title. [Later reissued on two separate CDs, even though it would fit on one. Seems like only a matter of time and copyright law before this gets resurrected on a single CD, like Fresh Sound did for Town Hall 1947.] A- [sp]

Louis Armstrong: The Best Live Concert Vol. 1 [Jazz in Paris] (1965 [2000], Gitanes Jazz/EmArcy): First half, 11 tracks, 39:32, I give it a slight edge, but dock it for being incomplete. B+(***) [sp]

Louis Armstrong: The Best Live Concert Vol. 2 [Jazz in Paris] (1965 [2000], Gitanes Jazz/EmArcy): Second half, 10 tracks, 39:07, a bit less exciting when the star takes his breaks, but those are part of the package; also docked for being incomplete. B+(***) [sp]

Louis Armstrong and Friends [Jazz in Paris] (1933-39 [2001], Gitanes Jazz/EmArcy): Everything here was recorded in Paris during the 1930s, but Armstrong is only present on the first seven tracks (1934), followed by other scattered sessions by long-forgotten bandleaders (Freddy Johnson, Arthur Briggs, Danny Polo) or singers (Greta Keller and Marlene Dietrich later made their way to greater fame in America, the latter more in movies). The Armstrong cuts are brilliant, but redundant to US recordings. The others are credible, especially on songs as catchy as "I Got Rhythm" and "Sweet Georgia Brown." B+(***) [sp]

Louis Armstrong: The Complete Hot Five and Hot Seven Recordings (1925-30 [2000], Columbia/Legacy, 4CD): Discogs has the whole package scanned, so you can see the care that went into compiling "the most important recordings in the history of jazz." I didn't buy this when it came out, because I already had multiple copies of most of it: JSP's 4-CD Hot Fives and Hot Sevens, which improved on the sound quality of Legacy's first Armstrong releases (1989-93, starting with The Hot Fives and extending into the big bands of 1931, as well as the superb 4-CD selection of early Armstrong on Portrait of the Artist as a Young Man (1994): roughly speaking, it gives you the better half of this more focused set, mixed in with truly extraordinary highlights from earlier and slightly later -- including select cuts from his sessions with blues singers (and Jimmie Rodgers -- I also own Affinity's 6-CD box of The Complete Recordings of Louis Armstrong and the Blues Singers, which isn't all great but is valuable history). One pass through all 255 minutes here is no way to listen, especially with expectations so high that anything not instantly recognized is likely to seem a bit off. But I have no doubt that further listening would sustain the expected grade. [PS: The first three CDs have also been released separately, in 2003, as Vol. 1 through Vol. 3. I had them listed in my database with their 4-star Penguin Guide grades, so I rather arbitrarily assigned them minimal A- grades: aside from the covers, I have no idea what the packaging looks like, but it is almost certainly a downgrade from the box. Still, I wouldn't be surprised to upgrade any/all of them should I have the opportunity to give them more time. There is also a sampler. Given that Complete was released in long-box format, I'll use the sampler for the cover gallery.] A [sp]

Louis Armstrong: The Best of the Hot Five and Hot Seven Recordings (1925-29, [2000], Columbia/Legacy): Sometimes the label would offer a cheap single-disc sampler to promote its more lavish box sets, and they did that here, with a generous 20 tracks (54:48), most stone cold classics -- even today "West End Blues" turned my head -- although they slipped in an alternate take to remind you that even as the copyrights have expired in Europe, they still have the originals. Mostly instrumentals, with only the first stirrings of the singer he would become. If, say, the only Armstrong you own is a later collection like 16 Most Requested Songs (1954-66 [1994], Columbia), you might look for this. [PS: I was going to offer Legacy's 2005 Jazz Moods: Hot as an alternative, as it draws from the same period, but the song count drops to 14, and the omissions include "West End Blues. On the other hand, it does deliver the hot.] A [sp]

Dingonek Street Band: Primal Economics (2018, Accurate): One-shot jazz band, led by trumpet player Bobby Spellman, who has a later nonet album under his own name, but all other credits since 2009 are group efforts. This group includes tenor sax (Greg Blair), baritone sax (Tyler Burchfield), soprano sax/clarinet (Emily Pecoraro), tuba (Josiah Reibstein, and drums (Buddy Bigboy). Touches of klezmer as well as New Orleans. B+(***) [sp]

Ella Fitzgerald & Louis Armstrong: Ella & Louis (1956-57 [2021], Ober Entertainment/20th Century Masterworks): In Europe, copyrights expire after a very generous 50 years, whereas in America they can be extended as long as Disney thinks they can make money by monopolizing Mickey Mouse (and as long as US pols are willing to take some of that money to extend the favor). The longer copyrights have done little to keep American music in print -- even something as obvious as the Armstrong box above (and much more) is out of print (well, in this case the bits are still available, just not the bobs) -- while creating obstacles for importers and, more important right now, streaming companies. I have mixed views on Europe's post-copyright compilations: on the one hand, it generates a lot of opportunistic, redundant, and often slipshod product, but it also makes it possible for devoted fans and serious producers and compilers to keep the history alive, and keep it available (at least somewhere, somehow), and the best sets (which include JSP's and Proper's boxes, Fresh Sound's 1950s jazz, the deep blues and country catalogs of Document and Bear Family, Allen Lowe's book supplements, and the recent "revisits" by Ezz-Thetics) are real treasures. This is all preface to this particular album, which I'm only listening to by proxy -- I can stream the song list, just not attached to this particular artwork -- and only bothering with because Christgau gave it an A+, and I know that carries some weight with my readers. Why he picked this particular product I have no idea: my guess is that he's grown increasingly sentimental over Armstrong of late -- he picked Live in London as his favorite album of 2024 -- and this is music he's always loved but never written about; then he somehow stumbled on this particular CD, saw it as something new he could write about, that has some added value. Two problems here: one is that you can't buy (or stream) this in the US (at least it's not on Amazon); the other has to do with the selection and sessions. One of Christgau's best lines was when he described Norman Granz's "get rich slow" schemes. One of the most fruitful ones was getting Ella Fitzgerald to sing nearly everything in "the great American songbook." Pairing her with Armstrong was a side-project (their sessions aren't included in The Complete Ella Fitzgerald Song Books -- the 16-CD box of 1956-64 studio sessions released in 1993) but it was perfectly in character. They recorded three albums (1956-57) together: Ella and Louis, Ella and Louis Again, and Porgy and Bess. The big revelation here was how adroitly Armstrong, who had a reputation for gravel-voiced crude comedy, adapted to such sophisticated fare, but he is every bit as note-perfect as Ella, and arguably even sexier. Their first album -- the first 11 songs here -- still feels a bit tentative, as if two consummate professionals (and their overthinking producer) were trying to find the fit. It was remarkable enough, but their reunion on More Ella & Louis far surpassed it, as both artists are less reserved, even willing to flirt a little. The CD helps itself to five fine songs from the second album, but any compilation that omits "Let's Do It," "They All Laughed," "Gee Baby, Ain't I Good to You," "I Won't Dance," "Our Love Is Here to Stay," and "A Fine Romance" is cheating you. By the way, the label here, Ober Entertainment, has been operating since 2020, making a specialty of picking up some famous album, then tacking on a few extra songs to create a bargain CD. The albums in their catalog are mostly obvious -- Monk's Music, Time Out, Mingus Ah Um, Concert by the Sea, At the Pershing, Jazz in Silhouette, and also a few non-jazz entries, like Moanin' in the Moonlight and Elvis Presley (the Dylan is renamed Debut Album) -- so any you pick up are likely to be enjoyed, but for me they mostly just muddy up the history. A- [sp]

Ella Fitzgerald/Louis Armstrong: The Complete Ella Fitzgerald & Louis Armstrong on Verve (1956-57 [1997], Verve, 3CD): Useful if you want to put all your eggs in one basket, with the first disc giving you all of Ella & Louis plus five tracks from More Ella & Louis, the second completing the album -- it was originally a double-LP which also required 2-CD -- with space for two bonus live tracks. The third disc gives you Porgy & Bess, where the stars are backed by (up against?) Russell Garcia's Orchestra and the Judd Conlon Singers, with a 10:50 "Overture" delaying their entrance for a surprisingly unmemorable "Summertime" -- beyond which Gershwin has never seemed whiter -- at least until Armstrong gets a more congenial band toward the end. It's unlikely you'll ever play the third disc a second time, but the first two may be the best available configuration for this wonderful pairing. B+(***) [sp]

Fitzgerald has also sung a lot of Gershwin on her own. I gave The Complete Ella Fitzgerald Song Books (1956-64 [1993], Verve, 16CD) an A-, but didn't break out most of the component sets, which were also reissued on CD around then (based on earlier LPs, issued as they were recorded). The George and Ira Gershwin Songbook was released in 1998 on 4-CD, where all but 2 tracks on the 4th CD were alternate takes and remixes. There was an earlier Ella Sings Gershwin on Decca from 1950, with just Ellis Larkins on piano. This was reissued with some extra tracks from 1954 as Pure Ella, in 1994, and widely hailed, but I thought it "sounds thin and arch," and disposed of it with a B-.

Ella Fitzgerald: Ella Fitzgerald Sings the Cole Porter Song Book (1956 [1997], Verve, 2CD): Her first two singles were in 1936, with Teddy Wilson, better known for his work with Billie Holiday (now mostly remembered as her work with him), but she rose to prominence with Chick Webb, and took over his Orchestra when he died in 1939. She recorded with Decca until 1956, when Norman Granz picked her up, with the idea of her remaking the "great American songbook," which starts here, with eight classic songs per side for the 2-LP, plus three alternate takes for the CD reissue. Granz only wanted "hints of jazz," so he entrusted the music to Buddy Bregman, who added "rudimental strings" to a disciplined near-big band. Many fabulous songs, which she nails perfectly. The band never gets carried away, and the strings rarely help -- probably just what Granz wanted. [PS: I'm listening to the 1993 box set, but the component albums were later released separately, so I'll go with those release dates.] A- [cd]

Ella Fitzgerald: Ella Fitzgerald Sings the Rodgers and Hart Song Book (1956 [1997], Verve, 2CD): Recorded a few months later, another batch of prime show tunes, although fewer I recognize as brilliant or at least clever. Buddy Bregman returns with orchestra, probably the same musicians but leaning a bit harder on the strings. This works fine when the songs are so good the arrangements hardly matter. The vocals are impeccable. B+(***) [sp]

Ella Fitzgerald With Duke Ellington and His Orchestra: Ella Fitzgerald Sings the Duke Ellington Song Book (1957 [1999], Verve, 3CD): Next in sequence, I reviewed this back in 2020, so as a placeholder I'll just recycle that review (with a couple minor edits): Key thing here is the band: Ellington and His Orchestra. They got co-credit on the original 1957 4-LP set, before "songbook" became a single word and a Fitzgerald trademark. She is, of course, miles ahead of any singer Ellington ever hired, adding import and sass to lyrics that were often just an afterthought -- but that may be because the band never really needed them. Two real solid CDs here, although I like some of their later live recordings, where she is less inhibited by Granz's songbook concept, even more. Third disc bogs down a lot, and not just the alternate takes and chatter (but you never have to play it). B+(**) [cd]

Ella Fitzgerald: Ella Fitzgerald Sings the Irving Berlin Song Book (1958 [2000], Verve, 2CD): Back to formula here, this time with Paul Weston arranging and conducting, some of the same musicians but less notable and more strings (except on items like "Alexander's Ragtime Band," where they would be ridiculous). The formula seems designed to raise the singer's respectability -- something she took pains to demolish on her best live recordings -- the net effect of all this professionalism is to focus attention on the songwriters. This one excels because Berlin not only wrote great songs you all know, but more great songs you don't, so Ella can go 32 deep with him and never hint at scraping the barrel (although a couple sink under the arrangements). You may also discover that he can be as witty as Porter (e.g., "Tropical Heatwave"). A- [cd]

PS: There's also a live version, recorded a couple weeks later but unreleased until 2022:

Ella Fitzgerald: Ella Fitzgerald Sings the George and Ira Gershwin Song Books (1959 [1998], Verve, 4CD): Nelson Riddle arranged and conducted, with a big band that included several stars (Benny Carter, Pete Candoli, Plas Johnson, Herb Ellis or Barney Kessel, Lou Levy or Paul Smith) plus a large string section. The first 1959 LP was Ella Fitzgerald Sings the Gershwin Song Book "recorded under the supervision of Norman Granz," which was quickly followed by Ella Fitzgerald Sings the George and Ira Gershwin Song Book "music arranged and conducted by Nelson Riddle," but by the end of 1959 (and again in 1964) the whole set was reissued on 5-LP with Book changed to Books. It appeared on 3-CD in 1987 (back to singular Book), even before the 1993 box, which packages it as a box-inside-the-box, including its own miniature book and a packet of supplementary artwork. That's the edition I'm listening to, although the post-box separate release in 1997 tacked on a 4th CD of alternate takes and remixes (probably best ignored). Some great songs, of course, though not as consistent as the Berlin or Porter. [PS: I listened to disc 4 on Spotify. It's functionally a very listenable sampler, maybe even a bit better than the others, as the repeats tend to focus on the better songs.] B+(***) [cd]

Ella Fitzgerald: The Very Best of the Gershwin Song Book (1959 [2007], Verve): A tight 12-song, 44:50 sampler. While there are more string-laden ballads than I would have picked, even they are done with impeccable taste -- you can count on Nelson Riddle for that much, and Ella is superb, even breaking out a bit of scat on "I Got Rhythm." A- [sp]

Ella Fitzgerald: Ella Fitzgerald Sings the Harold Arlen Song Book (1960-61 [1993], Verve, 2CD): Less famous than the earlier songwriters in this series, the obvious compensations are to cut the book back to six songs per side, and punch them up by bringing Billy May in. Perhaps Arlen's fame got diluted by working with so many lyricists -- serially with Ted Koehler, Yip Harburg, and Johnny Mercer, with further bits by Leo Robin, Ira Gershwin, and Billy Rose -- but the roster of songs is extraordinary, making this perhaps the most satisfying set in the series. A [cd]

Ella Fitzgerald: Ella Fitzgerald Sings the Jerome Kern Song Book (1963 [2005], Verve): Winding down, they dialed this back to 1-LP, 12 songs composed by Kern, with various lyricists (Otto Harbach, Dorothy Fields, Oscar Hammerstein II, Bernard Dougall, Johnny Mercer) -- still, only "A Fine Romance" is as indelibly etched in my mind as the top 6-10 songs from previous volumes. Nelson Riddle returns to the helm, so you can expect a smooth and steady ride. The lesser known songs -- a couple more I do recognize -- are interesting, and Ella is supreme, as usual. [was: B+] B+(**) [cd]

Ella Fitzgerald: Ella Fitzgerald Sings the Johnny Mercer Song Book (1964 [1997], Verve): Last volume in The Complete Ella Fitzgerald Song Books, a 13-song LP, again with Nelson Riddle arranging and conducting. Mercer was most often a lyricist, often with Harold Arlen, but claims two sole credits here. (This repeats one of seven titles from the Arlen songbook, "This Time the Dream's on Me," so omits some of his most famous songs, like "Ac-Cent-Tchu-Ate the Positive" (no way Riddle could have competed with Billy May on that one.) B+(***) [cd]

Ella Fitzgerald: Like Someone in Love (1957, Verve): Not in the Song Book series, but a more scattered set of standards given the same basic treatment, here by Frank De Vol and His Orchestra, mostly strings, the only musicians explicitly credited were Stan Getz (tenor sax) and Ted Nash (alto sax). [PS: A 1991 CD reissue added four tracks, but the current digital is back to the original 15.] B+(**) [sp]

Ella Fitzgerald: Ella Fitzgerald at the Opera House (1957 [1986], Verve): Title reminded me of other At the Opera House albums, one by Coleman Hawkins and Roy Eldridge, another by Stan Getz and J.J. Johnson. It turns out that all three come from a Jazz at the Philharmonic show on Sept. 29 in Chicago's Civic Opera House, where her set is backed by Oscar Peterson (piano), Herb Ellis (guitar), Ray Brown (bass), and Jo Jones (drums), with the others (also Lester Young, Illinois Jacquet, Flip Phillips, and Sonny Stitt) joining in for the finale ("Stompin' at the Savoy"). The CD reissue adds a second set from Oct. 7 at the Shrine Auditorium in Los Angeles. Same songs (minus "Them There Eyes," but with "Oh, Lady Be Good!" added to the encore bash. I don't see any point in docking this for redundancy. It's good enough to play twice. A- [sp]

Ella Fitzgerald: Ella in Rome: The Birthday Concert (1958 [1988], Verve): More live albums than anyone needs, but this one is at least as good as At the Opera House, and offers a broader selection of key songs. She's just backed with a trio -- Lou Levy (piano), Max Bennett (bass), and Gus Johnson (drums) -- at least until the "Stompin' at the Savoy" finale, when Oscar Peterson's trio takes charge. A- [sp]

Ella Fitzgerald: Get Happy! (1957-59 [1998], Verve): This, including two extra tracks added to the CD, was cobbled together from seven sessions with five big bands, with Frank DeVol handling six tracks -- probably spare parts from other albums, shelved because they were too upbeat, with too much scat. We all know she's a great ballad singer, but I love it when she kicks up her heels on things like "Beat Me Daddy, Eight to the Bar" and "Like Young." And I'll never turn down another "Blue Skies." Still, where's the title song? A- [sp]

Ella Fitzgerald: Ella Fitzgerald Sings Sweet Songs for Swingers (1958-59 [2003], Verve): "Sweet and Lovely," "Let's Fall in Love," "Makin' Whoopee," "Moonlight Serenade," "Can't We Be Friends," on down to "Lullaby of Broadway." Frank DeVol arranged and conducted. He's probably the least famous of her conductors, but he hits his mark as consistently as she does, although she's on a higher plane. Still, I'm afraid we're getting used to this excellence. [PS: CD reissue from 2003 has same 12 songs as the original 1959 album, but does credit Harry "Sweets" Edison on most tracks, along with "others unknown."] B+(***) [sp]

Ella Fitzgerald: Hello, Love (1957-59 [2004], Verve): Scraps from three sessions, all with Frank DeVol arranging and conducting. More standards, but show ones this time, which means lots of strings and orchestral woodwinds, although you can hear a bit of tenor sax, credited to Ben Webster. B+(*) [sp]

Ella Fitzgerald: Ella Wishes You a Swinging Christmas (1959-60 [2002], Verve): Even as much as I loathe Xmas music, I'm surprised to find that I never checked out this inevitable product. Frank DeVol arranged and conducted 12 relatively secular ditties, from "Jingle Bells" to "White Christmas," the only surprise "Good Morning Blues" (Count Basie/Eddie Durham/Jimmy Rushing). CD picks up an earlier single with Russ Garcia, and some alternate takes, expanding 34:00 to 52:14, and dropping the grade a notch. B+(*) [sp]

Ella Fitzgerald: Clap Hands, Here Comes Charlie! (1961 [1989], Verve): Session recorded in Los Angeles, 14 scattered standards, backed by Lou Levy (piano), Herb Ellis (guitar), Joe Mondragon (bass), and Gus Johnson (drums). More classic song book fare from scattered sources, with "Cry Me a River" a standout (as it always is). B+(***) [sp]

Ella Fitzgerald: Ella Swings Gently With Nelson (1961-62 [1993], Verve): More with the Nelson Riddle Orchestra, following Ella Swings Brightly With Nelson (1962) -- 1958's similarly titled Ella Swings Lightly was done with Marty Paich's Dek-Tette, but Riddle appears on several of the Song Books. Standards like "Sweet and Slow," "The Very Thought of You," "My One and Only Love," and "Body and Soul." CD adds two spare tracks, one far from gentle. B+(**) [sp]

Ella Fitzgerald: Rhythm Is My Business (1962 [1999], Verve): Mostly standards -- Ella gets a co-credit for "Rough Ridin'" -- and mostly upbeat, only a couple I associate with her. Bill Doggett plays organ, arranges and conducts a slightly short big band (3 trumpets, 3 trombones, 4 reeds, Hank Jones on piano, Mundell Lowe on guitar, two bass players, drums, but no string section. Ella, as usual, is up for anything. CD adds two extra tracks. B+(***) [sp]

Ella Fitzgerald: Ella Sings Broadway (1962 [2001], Verve): Twelve songs from eight Broadway musicals dating from 1947-56, the CD adding nothing to the trim 34:05 LP. Frank DeVol arranged and conducted. As usual, this turns on the songs, some really excellent. B+(***) [sp]

Ella Fitzgerald/Count Basie: Ella and Basie! (1963 [1997], Verve): The late 1950s saw the emergence of Basie's "New Testament" band, which reached maximum power on an album that fully earned the title The Complete Atomic Basie. One thing the band did a lot of from 1956 on was to hook up with various singers, which included 1957 album with Ella and Joe Williams, followed by sessions with Nat King Cole, Tony Bennett, Frank Sinatra, Sarah Vaughan, Sammy Davis Jr., and many more. Here they reunite on what is basically another Song Book album -- only "Shiny Stockings" is really specific to Basie (or actually Frank Foster) -- although Basie puts a bit more oomph into Ellington and Waller than Riddle or DeVol would. CD adds some unnecessary alternate takes. B+(**) [sp]

Ella Fitzgerald: These Are the Blues (1963, Verve): Ten songs, from Bessie Smith and Ma Rainey via Leroy Carr and "Trouble in Mind" to Louis Armstrong, with "St. Louis Blues" the only base she's previously touched. Small group, keyed by Wild Bill Davis on organ, with Herb Ellis (guitar), Ray Brown (bass), Gus Johnson (drums), and Roy Eldridge (trumpet). B+(***) [sp]

Ella Fitzgerald: Hello, Dolly! (1964 [2005], Verve): This makes me wonder if the idea behind the Song Books wasn't some kind of "world's greatest singer" competition, where she does all the standards just to prove that no one else does them better, or at least consistently as well. At some point you enter the phase where people start challenging you with new songs, which about sums up the first three here: "Hello, Dolly!" (a hit for Louis Armstrong), "People" (Barbra Streisand), and "Can't Buy Me Love" (the Beatles). Frank DeVol arranges and conducts, so beaucoup strings on "People" and a lot of brass on "Can't Buy Me Love" -- Big Band Beatles is still something I doubt we need, but this is proof of concept (much better than Count Basie or Ray Charles with the moptops). After that, she goes back to familiar territory -- "Volare" is the closest thing to a challenge, but it isn't that new, and she's done it before -- where she and they are faultless but also unexciting. B+(**) [sp]

Ella Fitzgerald: Ella in Japan: 'S Wonderful (1964 [2011], Verve, 2CD): Two live sets, recorded three days apart in Tokyo, the first in Hibiya Kokaido Public Hall, the second in Hotel Okura. The Roy Eldridge Quartet backs, with Tommy Flanagan (piano), Bill Yancy (bass), and Gus Johnson (drums), and both discs add local musicians toward the end -- the first ends with a 10:53 "Jam Session." Two songs appear on both sets ("Cheek to Cheek" and "Bill Bailey" -- she does a lot of ad-libbing on the latter). Another good live album (or two). B+(***) [sp]

Ella Fitzgerald: Whisper Not (1966 [2002], Verve): A dozen standards, ranging as far as "Old MacDonald Had a Farm" but some old favorites, arranged and conducted by Marty Paich. B+(**) [sp]

Ella Fitzgerald: Brighten the Corner (1967, Capitol): Norman Granz sold Verve in 1961 to MGM, but he continued to produce Ella there through 1966, and again after 1973 when he founded his new label, Pablo. Verve declined as a jazz label over the 1960s, although producer Creed Taylor and arrangers like Claude Ogerman and Oliver Nelson had some success, until they moved on in the 1970s -- indeed, Verve's most memorable release of the late 1960s was The Velvet Underground & Nico (1967). After 1970, it virtually disappeared, as MGM went to PolyGram, which had picked up its own jazz label, EmArcy, from Philips, and ultimately to Universal Music Group, which revived Verve as its jazz label in 1999. Granz also managed Ella, but without his own label, he sent her to Capitol, and later to Atlantic, but a brief series of albums that under any other name would be long forgotten. This was her first post-Verve album, a collection of hymns -- one hesitates to use the word "gospel" as that suggests a measure of enthusiasm and joy that producer Dave Dexter Jr. has thoroughly precluded, not just through utterly bland arrangements but by hemming her in with the sedate backing vocals of the Ralph Carmichael Choir. Still, the cliché about singing the phone book comes to mind: even the most demure songs here are quite lovely, and few have ever been done this expertly. Then there's "I Shall Not Be Moved," where she stifles the temptation to sub "Stilled" for "Moved," but reminds you she could just as easily have aimed to raise the rafters. B+(*) [sp]

Ella Fitzgerald: Ella Fitzgerald's Christmas (1967, Capitol): From the same team that brought you the Brighten the Corner hymnal -- Dave Dexter Jr. (producer), Ralph Carmichael (choirmaster), Robert Black and Grace Price (arrangers) -- a very staid, pious, definitely not swinging Christmas. This reminds me of trying to sing these same songs when I was a child. And while she's much better at it than we were, I can still hear our voices in the penumbra here, and feel our (or maybe just my) embarrassment. PS: Streamers have a "Deluxe Edition" which merely appends Brighten the Corner. I think there is also a reissue combining this with Ella Wishes You a Swinging Christmas, which must produce cognitive dissonance as well as seasonal nausea. B- [r]

Ella Fitzgerald: Misty Blue (1967 [1968], Capitol): Capitol Records is famously located in Hollywood, and we're used to the cliché of Hollywood producers spitballing X-meets-Y-with-Z concepts and turning them into projects. To some extent, Capitol did that with Sinatra and Cole, but they never got this simplistic. Concept here is Ella sings recent country hits, but with big band orchestration, like Ray Charles, so they brought in Sid Feller to arrange and conduct. It doesn't work, although a couple light spots were pleasant enough ("Walking in the Sunshine," "Don't Let That Doorknob Hit You"). "Born to Lose" reminded me enough of Charles I looked it up and found out why. If you have the 4-CD Charles box, you may understand that the formula rarely worked for him either, the exceptions coming early and taking us by surprise. Granz made us feel like Ella could sing anything and make it her own. Dave Dexter Jr. makes us realize that she shouldn't sing everything, even if she's really good at it. B [sp]

Ella Fitzgerald: 30 by Ella (1968 [2000], Capitol): Concept here is explained below the title: "All-Time Favorite Songs in the Fantastic Fitzgerald Fashion With Benny Carter's Backing." It's fairly common for veteran singers to squeeze bits of their hits into medleys, and Ella certainly has way more songs fans want to hear than could ever be fit into a set, but this is surprisingly formalized: six medleys of six songs each adding up to 53:29 (per the original LP back cover) -- the CD adds "Hawaiian War Chant" as a 2:18 bonus, because why the hell not? I don't know how that adds up to 30 -- maybe producer Dave Dexter Jr. dozed off and lost count? The song choices and transitions are clever, and Ella is as dexterous as you'd expect in maneuvering through Carter's maze, but most of the songs slip by unnoticed -- isn't recognition the sole point of medleys? -- and the band billed as "Benny Carter's Magnificent 7" seems to be lacking something -- swing, I think. B+(*) [sp]

Ella Fitzgerald: Sunshine of Your Love (1968 [1969], MPS/Prestige): Live album, produced by Norman Granz, recorded in San Francisco, the first side with Ernie Hecksher's big band, leading off with recent pop songs ("Hey Jude," "Sunshine of Your Love," "This Girl's in Love With You"), the second side with Tommy Flanagan's trio doing older standards (slipping in a Jobim). B+(*) [sp]

Ella Fitzgerald: Ella (1969, Reprise): New label, new songs, produced by by Richard Perry -- opens with two by Smokey Robinson, includes two by Randy Newman, first side ends with "Got to Get You Into My Life," second side ends with "Knock on Wood." A young (26) Richard Perry produced: at this point his resume was thin and scattered (Captain Beefheart, Tiny Tim, Fats Domino), but became famous in the 1970s, especially with Barbra Streisand and Carly Simon. A respectable soul album at a time when songwriters were rising over interpretative singers (Dionne Warwick being the obvious comparison here). B+(*) [sp]

Ella Fitzgerald: Things Ain't What They Used to Be (And You Better Believe It) (1969 [1970], Reprise): Norman Granz is back as producer, and he's brought in Gerald Wilson to arrange and conduct a star-laden very big band. Song selection falls short of ideal, but this is probably the most potent big band she's had in nearly a decade. B+(***) [sp]

Ella Fitzgerald: Ella Fitzgerald in Budapest (1970 [1999], Pablo): Norman Granz sold Verve in 1961, but continued to produce her until she left Verve in 1967, after which he managed her, and gets credit for producing her live albums. When he launched his Pablo label in 1973, he rounded up the old gang and started producing new studio sets, while also releasing some of his store of live tapes. One of the best compilations of her live work was The Concert Years, a 4-CD Pablo box released in 1994, where the first disc combines a 1953 performance in Japan with two sets from 1966-67, and the later discs track her from 1971-83. This is another fine concert, backed by Tommy Flanagan's trio, long set at 78:17, hits many of her later high points, ending with "Mack the Knife" and "People." B+(***) [sp]

Ella Fitzgerald: Ella à Nice (1971 [1982], Pablo): She was still managed by Granz in the years separating her Verve and Pablo records, so it's likely that her live act -- as opposed to her studio albums at Capitol -- never changed much. But this set offers one innovation: medleys. She starts with "Night and Day," followed by more Porter, then a "Ballad Medley" from "Body and Soul" to Gershwin, and "The Bossa Scene" (mostly Jobim), and later "Aspects of Duke," although she limits her Beatles bag to "Something" -- followed by "St. Louis Blues," closing out with "Close to You" and "Put a Little Love in Your Heart." Backed by Tommy Flanagan's trio. B+(***) [sp]

Ella Fitzgerald/Count Basie/Oscar Peterson/Stan Getz/Roy Eldridge/Eddie Lockjaw Davis/Ray Brown/Harry Edison/Al Grey/Tommy Flanagan/Ed Thigpen/Keeter Betts: Jazz at the Santa Monica Civic '72 (1972 [1991], Pablo, 3CD): I filed this under Jazz at the Philharmonic, and some sources credit the JATP All Stars, the nominal group that takes over after Basie's opening set. This show is regarded as the founding event of Norman Granz's Pablo label, much as the original 1944 Jazz at the Philharmonic First Concert led to Granz's Norgran, Clef, and Verve labels. But I figured I'd just go with the artist names on the front cover, in the order given, especially as that fits neatly in the series of Fitzgerald albums. The concert was originally released as four separate LPs, but by 1974 had been consolidated into a 3-LP box, which was converted to 3-CD in 1991. The first CD is mostly Basie, plus one track from the JATP All Stars (Getz, Davis, Eldridge, etc.), who fill the second CD except for an Oscar Peterson/Ray Brown duet. Ella headlines the third CD, backed by Flanagan's trio and, aside from a 4 song intermission, the Basie big band, with everyone piling on "C Jam Blues" for the finale. The word most often associated with Granz is "impressario," as his JATP shows were his labels were at least initially just a sideline to merchandise and promote his shows. The First Concert is especially notable, not just because "Blues #2" there has been nominated as the first rock and roll record but because the rhythm section was such a revelation (especially Les Paul on guitar and Nat King Cole on piano). The shows went on to generate dozens of albums, some with headline artist credits and many more just under the corporate logo. None of those, at least the dozen-plus I've heard, are essential, but most of them are jam sessions packed with loads of fun. If this seems less star-laden than the 1950s shows, it's because they're all getting older, not least Granz. His big three stars -- Basie, Fitzgerald, and Peterson -- got major revivals on Pablo (as did Eldridge and Edison, and others not present here, like Zoot Sims). The first two sets are fun as you'd expect, but Ella really earns her headline credit, and not just with her standards but also with a couple of outstanding then-new songs ("You've Got a Friend" and "What's Going On?"). B+(***) [sp]

Ella Fitzgerald: Ella in London (1974, Pablo): Norman Granz sold Verve in 1961, but continued to produce Ella there through 1966. In 1973, he started a new label, Pablo, and he quickly rounded up several of his 1950s stars, starting with Ella. This one is a live set from Ronnie Scott's, backed by Tommy Flanagan (piano), Joe Pass (guitar), Keter Betts (bass), and Bobby Durham (drums). B+(**) [sp]

Greta Keller: Greta Keller Sings Kurt Weill (1953, Atlantic): Cabaret singer and actress (1903-77) from Vienna, moved to Berlin c. 1929, appearing in her first film in 1931, then on to Paris, New York and Hollywood, before eventually returning to Vienna. If her voice and mannerisms seem familiar, that's because she was the archetypal model others (including Marlene Dietrich) drew on -- Cabaret, for instance, kicks off with one of her recordings. This 10-inch LP (28:50) kicks off with with six Kurt Weill songs in English (three with Ogden Nash lyrics), and closes with one more, after a medley in German from Threepenny Opera -- some of my favorite music ever. Perhaps a bit too somber, but a remarkable voice. B+(***) [sp]

Ella Mae Morse: Capitol Collectors Series (1942-57 [1992], Capitol): Jazz/pop singer (1924-99), started in 1942 with a hit of "Cow-Cow Boogie" backed by Freddie Slack and His Orchestra, followed with several more hits (all collected here; doesn't seem to have recorded much of anything later, but continued to tour). B+(**) [sp]

PS: This appears to be identical to The Very Best of Ella Mae Morse (1942-57 [1998], Collectables), which I previously graded B and should now upgrade to match.

Bobby Vee: Legendary Masters (1959-68 [1973], United Artists): One of those "teen idol" singers who appeared in the early 1960s, born in North Dakota, last name Velline, had a couple memorable hits early on -- "Devil or Angel" (1960), "Take Good Care of My Baby" (1961), "The Night Has a Thousand Eyes" (1962) -- and hung on for a long career, touring until he got Alzheimer's in 2011 and died in 2016, but few albums after 1969. This has much more than anyone needs, including enough of I Remember Buddy Holly (1963) to quell my curiosity. B [r]

The Brill Building Sound (1957-67 [1993], ERA, 4CD): 1619 Broadway, corner of 49th Street, 11 floors, built 1931, became a center for songwriters and publishers in the 1930s, at first focusing on big bands and musical theater. In the late 1950s some of their tenants to cash in on the rock and roll market, with considerable success during the 1961-64 period, which produced 52 songs collected here (vs. 10 for 1957-60, and 12 for 1965-67). Along with a similar operation at 1650 Broadway, their product has been designated a "sound," but unless you lived through this period, nearly everything here sounds like something else from someone more famous. If you didn't, among artists here, you really should have single-artist compilations of the Drifters and the Shirelles (who have much more, and even better, work elsewhere, as do Dion and the Everly Brothers, with one stray song each). The next tier is probably Bobby Darin and the Shangri-Las, or maybe Neil Sedaka, although their songs, plus a dozen more fluke hits, are likely to show up on other compilations (e.g., "girl groups") from the period. But I started listening to a lot of AM radio around 1961, so most of this music is not just familiar but deeply embedded. From 1964 on, my own interest moved pretty hard to the British Invasion. The Brill Building songwriters tried to cash in on that too, and had a few more big hits with what are not little-remembered bands (Manfred Mann, Paul Revere & the Raiders), and they still resonate with me. I don't really know what the afterstory was: immediate competition came from other song factories, especially Motown, but after Dylan, Lennon-McCartney, Jagger-Richard, et al., artists who didn't write their own songs went out of style, and in the 1970s FM eclipsed AM, focusing on longer album cuts at the expense of punchy little novelty singles. Meanwhile, the most famous Brill Building alumnus, Carole King, became a big star, singing her own songs. So this box works for me as nostalgic time capsule, although it misses at least as much of 1961-64 as it captures (a period quickly deprecated as obsolete as soon as the Beatles hit, perhaps even more quickly than the new wave/punks bemoaned the mid-1970s). For the later 1960s, I may have to crack open that 4-CD Nuggets box, but it won't be as cheerfully integrated at this sampler is. [was: A-] A [cd]

Nuggets: Original Artyfacts From the First Psychedelic Era (1965-68 [1998], Rhino, 4CD): Back in 1972, rock critic and future Patti Smith guitarist Lenny Kaye compiled a 2-LP collection of late-1960s "psychedelic" rock, about half minor hits and the rest perfectly fitted: median chart position was 55, with "Psychotic Reaction" at 5, 5 more top-20 songs, 4 below 100, and 5 that didn't chart at all. I picked up the Sire reissue in 1976, and it immediately became a favorite. Rhino picked up on the idea, and starting in 1984 released a series of 12 LPs under the Nuggets name, with Volume 1: The Hits repeating 6 songs from the 2-LP, which they followed up with a CD series called Nuggets: Psychedelic Sixties (3 separate CDs, released 1986-89). In 1998, they reconceived the franchise, with this box set: Volume 1 completely reissues the original 2-LP, with 3 more CDs adding 91 more tracks (116 total, compare to 168 in the 12-LP series). Hard to say whether (or how much) the quality declines as the quantity piles on. I listened to a pretty average amount of rock in 1961-65, but cut way back during my asocial years (1966-72), so only a few of the scattered hits here -- "Wooly Bully" obviously, plus some things like "Louie Louie," "Laugh Laugh," and "She's About a Mover" -- hit a nostalgic nerve. Sure, this sounds very white, male, and American compared to at least 80% of the 1955-75 music I've been enjoying so much of late. But the sound is consistent and coherent, with its heavy guitar din, and resonates with a period I lived through, even if I wasn't very connected to it. B+(***) [cd]

PS: Rhino followed this box with Nuggets II: Original Artyfacts From the British Empire and Beyond (1964-69 [2001], Rhino, 4CD), which mostly focused on similar music from UK groups (most famously the Pretty Things, Small Faces, and the Move), with the Guess Who from Canada, and "beyond" extending as far as Os Mutantes.

Swamp Dogg: Blackgrass: From West Virginia to 125th St (2024, Oh Boy): B+(***) [sp]

I saw the eye doctor yesterday, which left me in no shape to do any work whatsoever. We picked up some food on the way home, and I spent the rest of the day watching TV, which seems to be my lowest energy setting. We started watching season one of Funny Woman, which hit the spot nicely -- not least for exceptional music. Upshot of the appointment is that I have cataract surgery scheduled for Feb. 27, with the other eye a month or so later, so I'm expecting much more similar disruption and despair.

Before my appointment, I had decided not to publish Music Week until I got my server mess sorted out. I had expected to figure that out last week, but wasted a couple days blogging, and didn't make much progress until Friday, by which point I figured I had the weekend to write some letters, and Monday-Tuesday to gauge responses. But I didn't get any letters written, and Monday was a wash. But it takes a while for me to get going, so I thought I might as well go ahead and post what I have, and get it out of the way. So that's all this will be.

I suppose I can point to my server notes, if you have any technical curiosity. I've pretty much given up on replacing my current dedicated server with another: the low-end hardware is as expensive as ever, and cPanel's software prices have been jacked way up. (DirectAdmin is a cheaper alternative, and may well be as good, but it still adds a $30/month premium.) VPS deals are somewhat more affordable, and can be expanded pretty much on demand, but they're harder to evaluate.

So for the moment, I'm looking for a "reseller hosting" deal, which is a shared server slice that can support multiple domains, each with its own account interface. Some of these plans are quite cheap (suspiciously so), but they seem to fill my basic needs: hosting 10-15 websites, most hand-coded or WordPress, with email the only other real consideration. I'd be giving up some measure of detailed control over the server configuration and software, but I also could be saving myself headaches, as server management these days is mostly a matter of defending against external attacks and internal defects -- skills I find myself increasingly lacking.

Still, I'm going to be looking for deals that seem to come with decent support, and that don't lock me into something if it turns out to be a mistake. I've identified at least 60 vendors. While many of them look dubious -- especially the ones with long terms and/or automatic price hikes -- even the most expensive plans are about half what I've been paying. While the resource quotes often look paltry to me, they're probably more realistic for my needs. The big advantage of having a dedicated server is having all the resources to yourself, but my load levels are actually very light, on hardware that is six years old. So while it's hard to be certain, it's likely that the new deal will come out cheaper, faster, and less demanding of my management time. It also looks like most vendors will jump in and do the migration work, so once I make a decision, this could move very fast.

I finished that last paragraph six hours ago, and spent the time since tacking more notes onto the server file. As I still need to put up the news notice (although probably not the archive file) for Robert Christgau's Dean's List: 2024 -- "The 74 best albums of the past year (or so)", emphasis on "or so" -- I probably won't get around to writing my first letters until tomorrow. Hopefully, I'll have these things sorted by next week. If not, I can't imagine how depressed I'm going to be.

_thesmoothcat & Wino Willy: Ready, Set (2024, Sinking City): New Orleans rapper Josh Henderson, with beatmaker Charles Corpening. B+(*) [bc]

Being Dead: Eels (2024, Bayonet): Garage rock band from Austin, second album, title usually capitalized -- no idea why, perhaps to distance themselves from the group Eels, which I initially assumed was responsible for this album. This got enough praise to his 82 in my EOY Aggregate, but all I hear is tuneless and senseless. B- [sp]

Kimmi Bitter: Old School (2024, self-released): Discogs says that's her real name. Country singer-songwriter, from San Diego, second album, aims for retro, which means Patsy Cline and Wanda Jackson. B+(**) [sp]

Body Count: Merciless (2024, Century Media): Gangsta rapper Ice-T's metal band, eighth album since their eponymous 1992 debut, back cover promises: "Start to finish, with Merciless, Body Count is back for an even bloodier murder spree than anything they've done before." Fourth of that series I've heard, which I've generally found tolerable, perhaps because the fusion seems even more comic than their unadulterated roots. B+(***) [sp]

Kaitlin Butts: Roadrunner! (2024, Soundly Music): Country singer-songwriter from Oklahoma, based in Nashville, third album. Some high concept here, which doesn't always work. B+(*) [sp]

Luke Combs: Fathers & Sons (2024, Columbia Nashville): Country singer-songwriter, from North Carolina, fifth album since 2017, all charted 1-2 country, 1-6 pop. Super voice, songs themed to the title are sensitive and considered enough my personal indifference must be just that. B+(**) [sp]

Ernest: Nashville, Tennessee (2024, Big Loud): Last name Smith, had some success as a songwriter before he got his own contract, third album since 2019. B+(**) [sp]

Jake Xerxes Fussell: When I'm Called (2024, Fat Possum): Folksinger from North Carolina, fifth album since 2015, built from music "that holds lifelong sentimental meaning, contemplating the passage of time and procession of life's unexpected offerings." James Elkington produced, adding bits that still feel pretty minimal. B+(**) [sp]

Homeboy Sandman: Nor Can These Be Sold (At Least by Me) (2024, self-released): Brooklyn underground rapper, many albums, third variation on this title, presumably for uncleared samples, but on Bandcamp with a "name your price." B+(**) [sp]

Ale Hop & Titi Bakorta: Mapambazuko (2025, Nyege Nyege Tapes): Peruvian composer Alejandra Luciana Cárdenas, based in Berlin, half-dozen albums since 2017, first one I've heards, so I have little sense of how this collaboration with a Congolese guitarist fits in. Actually, he seems dominant. B+(***) [sp]

Inert: 2Inert (2024, self-released): Rock singer-songwriter from Cincinnati, Mark Messerly, almost all of his previous credits are with the band Wussy, where he's played bass since 2005. Second album on his own, plays guitar here, in a group with violin, cello, and pedal steel guitar. Has a bit of Dylan in his voice. B+(**) [sp]

Sarah Jarosz: Polaroid Lovers (2024, Rounder): Singer-songwriter, originally from Austin, based in Nashville, plays guitar/banjo/mandolin, seventh album since 2009, has some Grammy awards, and seems less and less like a niche artist. B+(**) [sp]

Cody Jinks: Cody Jinks Sings Lefty Frizzell (2024, Late August): Singer-songwriter from Texas, started in a thrash metal band called Unchecked Aggression before switching to outlaw country, where he has a dozen-plus albums since 2006, and moderate success since 2016. Needless to say, no one sings Frizzell like Lefty, but this is pleasant enough on its own terms. B+(*) [sp]

Merce Lemon: Watch Me Drive Them Dogs Wild (2024, Darling): Singer-songwriter, from Pittsburgh, second album, shows up on my country list but why isn't obvious. B+(*) [sp]

Post Malone: F-1 Trillion (2024, Mercury/Republic): Actual name Austin Post, stage name adopted at 15 reportedly came out of "rap name generator," his first albums got him slotted in my "rap" file, but here at least he sings much more than he raps, and gets tagged as country, which may or may not include his Super Bowl duet with Beyoncé. Or maybe it's just this album, his sixth, all big hits, which with fifteen certified all-star duets crashed the country charts harder than Beyoncé did. Some decent stuff here, but runs long. B [sp]

MC Lyte: 1 of 1 (2024, Sunni Gyrl/My Block/Vydia): Rapper Lana Moorer, her 1988 debut is remembered as the first by a female rapper, released five more albums through 1998, only three since. B+(**) [sp]

Scotty McCreery: Rise & Fall (2024, Triple Tigers): Country singer-songwriter, started by winning American Idol season, quickly cashing in with a 2011 album. This is his sixth, his songwriting and voice above average without ever suggesting he might ever break out of the mold. Sample line: "done a lot of good living, just sitting on the porch." B+(*) [sp]

Lizzie No: Halfsies (2024, Miss Freedomland/Thirty Tigers): Singer-songwriter, last name Quinlan, second album, plays guitar and harp, slotted folk, shows up in some country lists, but I'm not hearing why -- she doesn't even have a Nashville connection, having grown up in NJ and moved to NYC. Well, if not the sound, maybe the songs? B+(**) [sp]

Joy Oladokun: Observations From a Crowded Room (2024, Amigo): Singer-songwriter from Arizona, parents Nigerian, moved to Los Angeles, then to Nashville. Several albums, the last two quite good. B+(***) [sp]

PyPy: Sacred Times (2024, Goner): "Psych-punk garage pop band from Montreal," which is nichey enough for their densely hooked crunch. Third album, the others from 2007 and 2014. B+(***) [sp]

Red Clay Strays: Made by These Moments (2024, RCA): Country rock band from Alabama, second studio album. B+(*) [sp]

Reyna Tropical: Malegría (2024, Psychic Hotline): Band from McAllen, Texas, principally singer-songwriter Fabi Reyna with miniaturist beats by Neclail Diaz. The value of the spoken word is hard to discern (and not just the Spanish), but I love the musical stretches, even when the whispers seem too insignificant to credit. B+(***) [sp]

Chase Rice: Go Down Singin' (2024, Broken Bow): Country singer-songwriter from Florida, fifth album since 2012. Sometimes seems like the perfect country singer, but more when he eases back than when he pushes hard. Includes a duet with Lori McKenna. B+(***) [sp]

Serengeti: Palookaville (2024, CC King): Underground rapper from Chicago, dropped this late December, dispenses with his usual characters, who I never cared that much about anyway, for a deeper focus on vibe and nuance, which is where he's always shined. A- [sp]

Brittney Spencer: My Stupid Life (2024, Elektra): Singer-songwriter from Baltimore, started singing in church but moved to Nashville to try her hand at country music. First album after a couple of EPs. B+(**) [sp]

St. Lenox: Ten Modern American Work Songs: In Honor of the 10-Year Reunion of the NYU Law Class of 2014 (2024, Don Giovanni/Anyway): Folk singer-songwriter Andrew Choi, day job attorney, has four previous Ten Songs albums (back to 2015), starting with more generic themes (e.g., Memory and Hope, Young Ambition and Passionate Love), but eventually the work grind gets you down. B+(***) [sp]

Billy Strings: Highway Prayers (2024, Reprse): Bluegrass singer-songwriter, actual name Apostol, dozen-plus albums since 2013. B+(*) [sp]

Jesse Terry: Arcadia (2024, Wander): A singer-songwriter I hadn't noticed before, seventh album since 2009. Gets some guitar help, which often saves you from having to pay attention, but sometimes it's better when you have to. B+(***) [sp]

Homeboy Sandman: Rich 2.5 (2023-24 [2025], self-released): Brooklyn rapper Angel Del Villar II, lots of records since 2007, this appears to be a compilation of two recent albums -- Rich (2023) and Rich II (2024) -- "Plus Four Butters Remixes!" B+(***) [sp]

My Black Country: The Songs of Alice Randall (2024, Oh Boy): Randall was born in Detroit, grew up in DC, graduated from Harvard, has written six novels starting with a "reinterpretation and parody' of Gone With the Wind, got a job teaching writing at Vanderbilt (in Nashville), where she ran into Steve Earle, who pointed her toward songwriting. This tribute offers 11 of her songs, by as many artists -- most (possibly all) roots-oriented black women. Doesn't grab hard, but impresses with staying power. B+(***) [sp]

Super Disco Pirata: De Tepito Para El Mundo 1965-1980 (1965-80 [2024], Analog Africa): Seems to be mostly Colombian cumbia, bootlegged and reprocessed in Mexico. Starts with some cheesy disco keyboards, but goes hard on the rhythm. B+(***) [sp]

Loud, Fast & Out of Control: The Wild Sounds of '50s Rock (1951-59 [1999], Rhino, 4CD): I rescued this from my long-ignored archival shelves a couple weeks ago, and it's been my staple for the last 2-3 weeks, both as a morning pick me up and in the car. Structured as a randomized jukebox, draws on three main components: a core of rockabilly classics -- the big names (including Elvis, right after "My Boy Elvis"), some strategic covers (like Ronnie Hawkins' "Forty Days" and Johnny Burnette's "Honey Hush"), and less-famous novelties (like "Red Hot" and "Action Packed"); major rockers (Chuck Berry, Buddy Holly, Little Richard, Fats Domino, Bo Diddley, the Coasters, and Eddie Cochran -- who leads off two discs); and older jump blues that fit in seamlessly (like "Jump, Jive and Wail" and "Rocket 88"). Sure, anyone could score high with such obvious picks, but close to a quarter of these were under my radar, and few if any feel out of place -- e.g., the sequence of "Frenzy," "Koko Joe," and "King Kong" before the more familiar "Ubangi Stomp" and "Flying Saucers Rock & Roll." [was: B+] A

Corb Lund: El Viejo (2024, New West): Canadian country singer-songwriter, twelfth album since 1995, last year's reservations about "hit and miss" songs hard to recall after a revisit, where I found a "Deluxe Edition" with three extra songs (two new) finishing strong. [was: B+(***)] A- [sp]

Megan Moroney: Am I Okay? (2024, Columbia Nashville): Country singer-songwriter, second album, seemed consistently good when I first sampled this, qualities I appreciate even more now. [was: B+(***)] A- [sp]

Every morning, I wake up with big thoughts about the state of the world (usually intercut with fragments of a catchy song I've played recently). My self-imposed news embargo has helped to sideline many major irritants, but I remain cognizant of deeper problems, and I'm able to come up with some fairly novel solutions. Just to note one example, I have a very rough scheme for war insurance, which could operate in the absence of any sort of world governing authority. Or another concept from a year or two back: a scheme for representative democracy which would end such perversions as gerrymandering, and significantly disincentivize the import of money in politics. Those are just examples, possibly worth exploring in long essays, but that's not where I want to go with this. I just want to introduce something I read with a description of how I got there.

Mornings are very routine for me. I become conscious, in thought and (often) tune. If it seems too early, I turn over and try to go back to sleep, but that rarely works. After some shifting around, I disconnect the CPAP machine, take a couple free breaths, take two pain pills, pick up my book, stumble to the bathroom, turn on the space heater, sit to give my body a chance to purge itself, and as I'm trying to focus my eyes, I read a few pages. After a while, I'll get up, maybe take a shower and/or weigh myself, get dressed, head downstairs, take some pills, put some music on, check email, see if I have any social media, possibly work on the jigsaw puzzle, and eventually eat some breakfast: a cup of yogurt with raisins, washed down with Diet Coke.

Since the election, I've mostly been reading old books from my Marxist heritage. I read such material quite deeply from 1967 up to about 1973, as I was searching to understand and develop some rational command of a world that deeply disturbed me, one that shook my confidence in everything I had been taught, and all that I once believed in. I stopped when I rather accidentally slipped out of academia and into the so-called real world, where I finally found jobs I could do, people I could care for, and the prospect of an ordinary life, as I have indeed enjoyed in my own peculiar fashion over the past forty years.

I've read steadily during those forty years, but very little from the Marxists, whose insights I had internalized to the point they seemed reflexive, and whose rhetoric seemed superfluous and sometimes petty. But mostly I went where my curiosity led me, which included rock criticism in the 1970s, followed by science and technology in the 1980s, business management and antitrust in the 1990s, with a return to political matters with the "war on terror": it's easy to cite 9/11 as the turning point, and for my attention it was, but it is clear now that it was just a skirmish, not a cause, and that the real story started with the desperate defense of American hegemony, leading inexorably to the genocide in Gaza. (If you don't understand this, you must have missed the clue that PNAC, the original neocon lobby, was originally formed to fight against the Oslo Accords.)

Along the way, I did pick up a few Marxian tomes that struck me as particularly close to my earlier interests, but I never got into them. One was Marshall Berman's All That Is Solid Melts Into Air (1983). Another was Eric Hobsbawm's The Age of Extremes (1994). I suspect that the November election will eventually be regarded as a fateful pivot date, comparable to 9/11, 12/7 (1941), 10/24 (1929), and 6/28 (1914). But the one big thing that Marxists know is that such fractures result from much deeper tectonic stresses, and are incomprehensible apart from understanding the forces that drive them. I can't say that was instantly clear to me on Nov. 6, but certainly I had that intuition. Since then, I read Berman and have slowly worked my way into the fourth of Hobsbawm's Age Of volumes (Revolution, read earlier in 2024, followed by Capital and Empire since the election). And I've met with profound insights nearly every day.

I've often felt like I should post these bits as I've read them, but rarely get around to doing so. But today's choice quote, from The Age of Extremes (pp. 102-103), is worth the trouble. I'm giving you the whole paragraph below, but my first thought was just the first bit in bold, with the second bold line there to drive the point home (so you might read the bold first, then go back for the elaboration):

This may look like tough reading, but even if you can't identify Say's Law, you should recognize the recurring economist-logic -- what Paul Krugman and John Quiggin have enjoyed debunking as "zombie economics" -- if not from the 1930s or 1980s, at least from its revival in the 2000s, immortalized in yet another major slump. (Since 2008, a lot of books have been written on the failures of neoliberal economic doctrine -- Quiggin's Zombie Economics (2010) and Economics in Two Lessons (2019) are good primers, but Philip Mirowski's Never Let a Serious Crisis Go to Waste: How Neoliberalism Survived the Financial Meltdown is a sober assessment of how those in power avoided learning the obvious lessons of the meltdown. There is much less literature on the 2020 pandemic recession, probably because it differs in several significant ways, and the political response remains in radical flux. Quiggin promised a post-pandemic book, and posted parts of it, but he seems to have held it back, possibly because the inflationary recovery now seems to matter more than the short but largely controlled collapse.)

The note about forgetting is also freshly relevant right now, applicable as it is not just to convenient economic theories but to all matters political, where public discourse is marked both by dementia and schizophrenia. The amount of forgetting it takes for Trump to be elected to a second term is really staggering. On the other hand, our ability to reason by historical analogy is increasingly suspect. We wasted a ridiculous amount of time and energy last year debating how fascism fits into the Trump campaign, while overlooking its novel features, which while less ominous than Hitler's are likely to harm us in ways we can hardly imagine. Indeed, our historical models seem likely to keep us from seeing, much less effectively countering, many of their threats -- a task made even harder by the clouds of nonsense they spew as camouflage.

I have one more Hobsbawm quote (p. 78) I wanted to share (again, the key bit in bold, but less context here, because I need neither Napoleon nor Mao for my point):

My point, of course, is that "sceptical city observers" continue to make the same mistake today. I could write tons unpacking this line, but for now just focus on the double-edged sword of "easily confused." The bottom line is that the viability of opposition to Trumpism -- which for the moment seems like a fair label, given that all alternatives theories of G.O.P.-ness have been obliterated -- depends on us learning not to be so easily confused, not just on this point but on many more.

And now, having said my small piece, I return to everyday life: a lunch with a bit of salt-cured salmon and onion on a poor excuse for a half-slice of bread; a bundle up to walk the dog; more music; back to my computer problems, and my silly lists; a few more pages when I find the moment; and some prefab frozen thing for dinner, possibly livened up with a dab of chutney or some extra cheese; more music and more computer; an hour or two of mystery on TV; and back to bed, only to wake up thinking again.

Next day, I picked up Hobsbawm on pp. 114-115, with a paragraph that follows mention of Antonio Salazar (Portugal) and Francisco Franco (Spain). I can skip over some of the details here:

Yet if reactionary regimes of this kind had origins and inspirations both older than fascism, and sometimes very different from it, no clear line separated the two, because both shared the same enemies, if not the same goals. Thus the Roman Catholic Church, profoundly and unswervingly reactionary as it was in the version officially consecrated by the first Vatican Council of 1870, was not fascist. Indeed, by its hostility to essentially secular states with totalitarian pretensions, it had to be opposed to fascism . . . What linked the Church not only with old-fashioned reactionaries but with fascists, was a common hatred for the eighteenth century Enlightenment, the French Revolution, and all that in the Church's opinion derived from it: democracy, liberalism and, of course, most urgently, 'godless communism'.

The next page goes into the evolution of Catholic politics as the Church and its followers slowly sought to disentangle from fascism, but the bold line reminds us that it has always been ready to offer intellectual and moral authority against the left -- as have the more authoritarian elements of American protestantism, although the latter have always been more comfortable with capitalism, just not its liberal pretensions. The line also reminds us that opposition to fascism, then and now is practical basis for liberals and the left to join in a common front, then and now much more urgent than our shared roots in the Enlightenment and faith in progress. The difference between liberals and the left is that the former are easily satisfied with their own freedom and prosperity, while those on the left seek to extend freedom and prosperity to everyone. With their focus on individualism, "liberal elites" isn't an oxymoron. It is the telos of their ambition, and the more they succeed, the easier it is for the right to turn them against the left.

It should also be noted that for most leftists, fascism isn't a fixed ideology but a common bind among multiple groups of people who agree on one thing: they want to crush your hopes in order to secure their authority, and they have few qualms about killing you in the process. Among fascists, Hitler was champion not because he exemplified some ideology but because he killed the most real and imagined leftists.

Hitler is also the most totally discredited figure in history, but it should be recalled that before his fall, he was widely admired by nearly everyone on the right, and their reasoning had little to do with Hitler's personal quirks -- I'd include his anti-semitism here, although that was more widely shared than his vegetarianism or his mustache -- and everything to do with his violence against the left. As a historian, Hobsbawm is careful to make distinctions, even pointing out that more than a few conservatives eventually turned against Hitler when their nationalism was threatened -- he mentions the French far right, but Churchill is an obvious example, De Gaule another.

Further down (p. 117), Hobsbawm explains how fascism differed from older forms of right-wing reaction:

The major difference between the fascist and the non-fascist Right was that fascism existed by mobilizing masses from below. It belonged essentially to the era of democratic and popular politics which traditional reactionaries deplored and which the champions of the 'organic state' tried to by-pass. Fascism gloried in the mobilization of masses, and maintained it symbolically in the form of public theatre — the Nuremberg rallies, the masses on the Piazza Venezia looking up to Mussolini's gestures on his balcony — even when it came to power; as also did Communist movements. Fascists were the revolutionaries of counter-revolution: in their rhetoric, in their appeal to those who considered themselves victims of society, in their call for a total transformation of society, even in their deliberate adaptation of the symbols and names of the social revolutionaries, which is so obvious in Hitler's 'National Socialist Workers Party' with its (modified) red flag and its immediate institution of the Reds' First of May as an official holiday in 1933.

The latter point proved useful for those who orchestrated the post-WWII Red Scare, especially the cowered liberals who implemented the Cold War, as they redefined the fascism which by then everyone opposed to be an archaic subset of totalitarianism, while doing the right the favor of anointing America as "one nation under God" and purging the "pinkos" from the labor unions. But the bold line is of more immediate import. (It is also, by the way, a pretty good one-line synopsis of Robert O. Paxton's 2005 book, The Anatomy of Fascism.) The reason Trump has drawn so much attention for his "fascism" is not just for the "retribution" he promises for his "populism," which shows that he's developed a popular base for an extremism that more conventional Republicans would have had the good taste to hide behind euphemisms (like the "kindler and gentler" Bushes).

That Trump is a colossal fraud -- much more P.T. Barnum than Benito Mussolini, although the first-generation fascists drew heavily on the mass entertainments that developed so rapidly in recent decades -- matters little here. As with Italy and Germany, the leaders just set the tone, while the followers do the dirty work, and as such prove decisive. And when you look at Trump's lieutenants, cronies, operatives, and groupies, they sure seem closely aligned with their predecessors from the 1930s. There can be little doubt that they want to crush the hopes (and if necessary or convenient, the bodies) of the left, and that they are equally antagonistic to the residual liberalism of wealthy cosmopolitan elites.

While the left was the first to recognize the implicit fascism of the "new right" -- see Chris Hedges' 2007 book, American Fascists: The Christian Right and the War on America -- as indeed the ability to spot a fascist has always been a survival skill. (That liberals were always much slower to anticipate peril was pretty clearly admitted in their characterizing the pre-WWII left as "premature anti-fascists." They seemed to feel that the only time they needed the left was when the fascists threatened them personally. Otherwise, they weren't all that bothered by fascists killing leftists.) But the mainstreaming of the "Trump is fascist" meme came from the liberals, partly because they feared the mass popularity of Trump's illiberalism might impinge on their elite liberty, and quite possibly because they feared Trump might sacrifice their beloved "war for liberal democracy" in Ukraine.

I don't wish to try to unpack the political failures of 2024, which could fill up a book, but I will note that the charge that Trump is a fascist met very different reactions from different parts of the public: on the left it was "sure, we already knew that"; on the right it ranged from "no, you're the fascist" to "hell yes!" with a lot of blank incomprehension in between; only a few liberals seemed to think that the label accuracy made any practical difference. But the net effect was that, like most attacks on Trump, by failing to make any dent it allowed and encourage Trump to become even more flagrantly fascist, which only made him more appealing to people gullible enough to believe that "Trump will fix it."

I don't think this is because Trump voters understand, let alone approve of, his fascism. (Sure, some do, especially in Republican activist ranks, and among disaffected loners who take his appeals to "second amendment people" literally, but these are both tiny minorities, important only when they act on their deranged beliefs.) But what it does show is that the liberal-dominated Democratic Party has no clue how to talk to people beyond their urban, educated, well-heeled donor class. Sure, they've managed to use fear-of-Trump to keep most of the rational left in line, but having blown two elections so far, they have little credibility on that score. (On the other hand, left-leaning but less rational people appear to be one source of defections to Trump -- most conspicuously RFK Jr., but the shifts in Black, Latino, and Arab-American votes also appear carelessly reasoned.) The popular appeal of fascism seems to rest on attributes like clearly defining enemies, and on promising resolute action against them. You don't have to be a fascist to do those things, as Franklin Roosevelt showed in the 1930s. Democrats have lost that, especially those who spend more time with donors than with the people.

One more Hobsbawm quote here (p. 118):

The past to which they appealed was an artefact. Their traditions were invented. Even Hitler's racism was not the pride in an unbroken and unmixed line of kinship descent which provides genealogists with commissions from Americans who hope to prove their descent from some sixteenth-century Suffolk yeoman, but a late nineteenth-century post-Darwinian farrago claiming (and, alas, in Germany often receiving) the support of the new science of genetics (or more precisely of that branch of applied genetics ("eugenics"); which dreamed of creating a human super-race by selective breeding and the elimination of the unfit. The race destined through Hitler to dominate the world did not even have a name until 1898 when an anthropologist coined the term 'Nordic.' Hostile as it was on principle to the heritage of the eighteenth-century Enlightenment and the French revolution, fascism could not formally believe in modernity and progress, but it had no difficulty in combining a lunatic set of beliefs with technological modernity in practical matters, except where it crippled its basic scientific research on ideological grounds. Fascism was triumphantly anti-liberal. It also provided the proof that men can, without difficulty, combine crack-brained beliefs about the world with a confident mastery of contemporary high technology. The late twentieth century, with its fundamentalist sects wielding the weapons of television and computer-programmed fund-raising, have made us more familiar with this phenomenon.

Hobsbawm wrote this in 1994, before the World Wide Web, before Social Media platforms emerged, let alone AI-based "deep fakes" -- one of the few things that now seems certain is that the Trump campaign was much more adept at exploiting advancing technology, although it's also possible that the nature of the campaign -- rampant lies and disinformation, faux outrage, double standards with scant efforts to expose their machinations -- fit especially well with the technology.

I was about to mention Al-Qaeda as another example of technologically savvy pseudo-archaism, before I opted to drop AI into the new technology mix. It's a sure bet that whatever remnants remain -- or, unless conditions change, revive -- will be quick to adopt such novel technology, as well as numerous state (and private) generators of disinformation, including our own unaccountable "deep state." Fascism is one of many risks in this free-for-all. That suggests much more to write about, but enough for now. I'm barely a quarter into Hobsbawm's book. And even when I finish, he will have come up thirty years short of today.

I have many seemingly more pressing things to do today than compiling, much less annotating, this, but it's due today, and these days I rarely miss an opportunity to put my many other tasks off until later. Of course, the big one is figuring out what to do about my impending server apocalypse. For that, I should probably just point you to my planning file. My hope was to figure this out and do something about it last week. The reality is that I've figured a few things out, but haven't done anything. So that's still the agenda for this week, with virtually everything else in my life postponed until later.

The brief story is that I host this and another half-dozen websites on a dedicated server I've leased since 2018 from a company called Hosting & Designs. The hardware, despite its age, seems adequate for my needs, but age has endangered the software: the Red Hat-derived CentOS Linux has passed its "end-of-life" and is no longer supported, especially by the the server management software -- a commercial package called cPanel, from a company called Web Pros., which has bought up former competitors (like Plesk) and used its leverage to aggressively jack up its prices while if anything reducing its support. H&D itself seems to have folded up its own support operation, or farmed it out -- details there are still hazy, but the bottom line is that the company cannot be trusted for support in the future. The other lesson is that cPanel is software to avoid if at all possible. It is currently the only software that I pay for, and I'm paying in more ways than I can count.

So I'm near the end of my third or fourth leased server. Each time forces me to do a fairly extensive survey of what's available at what cost, which is what I'm trying to do now. It isn't an easy task. At a high level, there are several technologies to choose from -- discrete servers (shared or dedicated, managed or "bare metal") or virtual servers (which may be larger machines jiggered to look like multiple discrete machines, or may be drawn from even larger clouds) -- and several sysadmin software packages (cPanel is the big/expensive one, DirectAdmin is a competitor, and I've run across several others that seem to be specific to vendors; I haven't found much free software yet, but Webmin goes way back, and there must be others -- good chance some vendor-owned panels are open source-based; by the way, I've written lots of software along these lines, but way before 2000, so my sense of the state of the art is pretty atrophied).

My more immediate has been on the vendors: there are dozens, and sorting through their competing offers is a lot of annoying and frustrating work. My file gives you a fairly general idea, with my notes fairly concentrated on smaller dedicated servers, virtual private servers, and hosting reseller packages. My budget isn't much over $100/month, which is arguably already more than my "business" can afford. But I do want to be able to use multiple domains, and I want to be able to continue to build and deploy small websites for friends.

Given how modest my requirements are, and how severely my own sysadmin talents have deteriorated, I can hardly justify another dedicated server, even if I can afford it. A big part of the reason I'm facing some kind of crisis here is that I've never had the time or desire to properly manage my machine. So I've been lowering my sights, looking at virtual private servers, and possibly at some kind of shared hosting reseller program: the latter would limit some software options (and probably come with cPanel), but should support all the things I'm currently using, and cost much less than I'm currently paying. VPS would give me more control, and isolate my load from shared machine impacts, but it's hard to quantify such values. It's also very hard to get a good sense of just how much resource I need, and the pricing for extra CPU, RAM, etc., often strikes me as excessive. (As someone who buys components and builds his own computers, I know what they cost; on the other hand, I never factor in the cost of electricity when adding RAM, but they probably do.)

So, it shouldn't take much longer to decide on a path forward, and start following it. Obviously, I went into this with a lot of fear and uncertainty. I should come out of it with a much better understanding of my system and how to manage it. Most likely, that system will also cost less, and perform better. But there are limits to how much I can rush the process.

I've set up another half-dozen documents in my new planning directory, but have yet to flesh any of them out. Perhaps the most important will be one on what I'll attempt to write about going forward. I have some ideas, but I'm not ready to go into them here. For now, I'll note that I spent an hour or two on an X thread in Sunday's notebook -- someone asked "why does every single part of this economy feel like an obstacle course," and, well, look at my op. cit. server file to see how easily I can relate.

Back on Wednesday I filed away another note on a bit scraped from Facebook about "why do liberals think Trump supporters are stupid?" I could have written much more, along the lines of why it doesn't do any good to tell stupid people that they're stupid even when the evidence for their stupidity is overwhelming. Of course, if I were still trying to advise Democratic politicians, I'd have to work harder to explain that more carefully.

Looking farther back, there's another note on January 12, on a Biden boast about record job creation, and a riposte that "no matter how many jobs are created, Americans live under a general experience of being constantly fleeced at every turn (by landlords, banks, grocery stores, insurance companies, etc etc) & this significantly impacts perceptions of the economy. But before you get to that, the link first routes you through a compliment John Chacona paid to me about the Jazz Critics Poll. My notebook isn't intended for general readership. It's more of a personal aide de memoire, where sometimes I feel like saving kind words.

I'll point out one more notebook item. One thing I've been wondering about is whether I might find it more productive to write in a more social context. It's very hard for me to gauge my usefulness (let alone effectiveness) when all I do is throw out infrequent (and often terribly long) blog posts. Admittedly, I've had pretty bad experiences attempting to pitch things in the past, leaving me with little hope for anything developing. But when I saw NonZero is Hiring!, I thought it might be an excuse to try to make contact with one of the few Substack writers I actually follow, Robert Wright. His specialty is foreign policy. As I've argued at great length in Speaking of Which, the main source of the Biden-Harris debacle -- the long-term costs of which are quite simply unfathomable -- has been an utterly disastrous foreign policy.

The notebook entry explains this a bit, and includes the letter I wrote, which is probably the closest thing I have to a resume -- at least it covers the essentials, not so much for hiring me to do freelance work (which I'm not especially interested in), but more if you're interested in any sort of collaborative work. Of course, after I sent it, I started having second thoughts -- possibly based on some notes I made on Wright's books. I'll leave it at that for now. I'll look at the writing question more closely after I figure out what to do about the server.

About the only other thing I've worked on this past week was the EOY Aggregate, which I've expanded to 302 lists. I've gone all the way through AOTY's lists, also Year-End Lists. I haven't done anything serious yet with Acclaimed Music Forums. I've only picked up a half-dozen or so FDJCP ballots, and I haven't touched P&J Rip-Off Poll since they wrapped up. I did pick up the Expert Witness Poll. I belatedly added the extra rank points for the Jazz Critics Poll, and also for HHGA's The Best Hip Hop Albums of 2014. I doubt that I'm done here, but not much more is really needed -- it's not like I care for who wins the 4-5 tossup between Fontaines D.C. and M.J. Lenderman (to cite two records given a second chance below, but still not near my top 200). Still, adding more jazz ballots would be more consistent with previous years' results, and I still want to collect other jazz lists for a poll-related file I've been working on (it'll be especially useful for deciding who to invite later).

I'm only gradually realizing how far behind I am at various website management tasks. One egregious example is that I haven't done any Streamnotes indexes since August. (You probably don't care, but I depend on those to recall whether I've heard and forgotten possible review records, and I've been tripped up at least once on that so far). Worse, I haven updated the Robert Christgau's Consumer Guide database in close to a year. I thought I was one month short locally, but just discovered another month I had missed. That should be a pretty high priority item.

There's much more to be done, but that will have to wait until I get to the appropriate planning file. There's also a good chance that the server project will sharpen my interest in website development technique. It's possible I could decide to focus more on that and less on writing.

Records below are widely scattered, mostly things I ran across from various lists, and a few probable duds I pulled off the top of the black print in the EOY Aggregate. I've also taken a bit of time (especially today) revisiting albums I dismissed perhaps too quickly during the year. New this week are adding some notes on records I played but didn't regrade. Blame that on Beyoncé. I will note that changing a grade involves changing 5-7 files, so it's not something I want to do unless I have good reason. In particular, I'm reluctant to downgrade a record just because the replay fell short of what I expected, let alone hoped for -- I could have dropped Beyoncé and/or Lenderman, but I figure they were still plausibly in range, and what I found lacking in each could have been passing.

I'm not sure what else should be rechecked at this point: probably lots of records I'll never get to, because I'll never notice them again. One thing I will note is that I've had zero interest in moving on to 2025 releases so far. My demo queue is up to 30, but still off my desk. Emails with download links are almost always getting deleted as soon as they come in. I expect I'll get around to that stuff when I feel like it, but no need to do so soon. I'll also note that I've done very little on the Jazz Poll since it published. I do have some more things in mind there, including a new round of mail, but I've been distracted and focused on other things, and I'm not getting much feedback I have to deal with -- which is actually fine for now.

One last note is that I've plunged into the fourth of the Hobsbawm Age books, although in this case I still have my original 1994 Pantheon hardcover. For some strange reason, I don't seem to be able to find a scan of its book cover, so I resorted to the paperback, and even there I only found a cover that is skewed and needed to be cropped (which I did a bad job of). I think these are very good books to be reading at this particular time.

2nd Grade: Scheduled Explosions (2024, Double Double Whammy): Power pop band from Philadelphia, fourth album since 2018. B+(*) [sp]

070 Shake: Petrichor (2024, GOOD Music/Def Jam): Rapper-singer Danielle Balbuena, third album since 2020. B+(**) [sp]

Amy Allen: Amy Allen (2024, AWAL): First album as singer, has a considerable reputation as a songwriter working with pop stars like Sabrina Carpenter, Olivia Rodrigo, Halsey, Justin Timberlake. A curious lack of reviews or interest in this, as it actually sounds pretty good. B+(***) [sp]

Armbruster: Can I Sit Here (2024, Dear Life): Took a while to map the mononym to one of the dozen-plus Armbrusters in Discogs, but first name seems to be Connor, a composer and violinist from Troy, NY, with one previous album, Masses (2022). Mostly drone, solemn at first, then mellows out, for some stretches may even be pretty. B+(***) [sp]

Avalanche Kaito: Talitakum (2024, Glitterbeat): Kaito Winse, from Burkina Faso, working with Belgian duo Le Jour du Seigneur (Benjamin Chaval and Nicolas Gitto), second album. The African component heats up the frenzied electronic beats and noise. B+(***) [sp]

Kelsea Ballerini: Patterns (2024, Black River): Country pop singer-songwriter, from Knoxville, fifth album since 2015, credits Taylor Swift's debut with introducing her to country music. B+(*) [sp]

Naima Bock: Below a Massive Dark Land (2024, Sub Pop): British singer-songwriter, father Brazilian, formerly bassist in the band Goat Girl, second album, leans to folk. B [sp]

Cigarettes After Sex: X's (2024, Partisan): American dream pop band, from Texas, singer-songwriter is Greg Gonzalez, also plays guitar, third album, I particularly liked their first album. This is very laid back, the songs mere whispers, just enough to draw you in. B+(***) [sp]

Doris: Ultimate Love Songs Collection (2024, Janine): New Jersey rapper Frank Dorrey, nothing on Discogs or Wikipedia, but RYM credits him with a mixtape, 7 EPs, 15 singles, and this 50-track compilation (48:51) of lo-fi fragments, which got a rave review on Pitchfork and very little else. B+(*) [sp]

Judas Priest: Invincible Shield (2024, Columbia): British heavy metal band, one I've never had the slightest interest in, their debut (Rocka Rolla) due for a 50th anniversary retread, Wikipedia counts this as their 19th studio album, first to be graced with a grade in my database. Better than I expected, reminds me that I wasn't always a metalphobe, although what few lyrics I caught did nothing to diminish my sense that they were always full of shit. B+(*) [sp]

Knocked Loose: You Won't Go Before You're Supposed To (2024, Pure Noise): Another top unheard album from my EOY Aggregate list, metalcore and/or hardcore punk, singer Bryan Garris in intense screamo mode, the guitars and rhythm extra crunchy -- traits that seem to impress metal friends but are still tolerable, if not all that comprehensible, to those of us who used to dig punk and early hardcore. Best of all, the 10 songs are done in 27:28. B [sp]

The Lemon Twigs: A Dream Is All We Know (2024, Captured Tracks): Rock band from Hicksville, Long Island, built around brothers Brian and Michael D'Addario, sixth album since 2015, reached the top unheard spot in my EOY aggregate: not my usual anti-metal bias this time, but because I remembered their 2023 album as one of the year's most atrocious. I was surprised to find the opening cut ("My Golden Years") agreeably jaunty, and I don't mind the Beach Boys rip ("In the Eyes of the Girl"), but the harmony on the ambitious title track turned cloying, while elsewhere they turned saccharine. B- [sp]

Alison Moyet: Key (2024, Cooking Vinyl): English pop singer-songwriter, started in early-1980s group Yazoo (1982, shortened to Yaz in US), 1984 debut Alf was a bit UK hit (45 in US), with this career recap -- new takes of old songs -- her 10th. I recognize the name, but missed the albums, so the songs are all new to me. B+(*) [sp]

Mustafa: Dunya (2024, Jagjaguwar): From Toronto, parents from Sudan, Mustafa Ahmed, earlier went as Mustafa the Poet, was a member of Halal Gang. First studio album. Slow, soft, soulful. B+(*) [sp]

Emily Nenni: Drive & Cry (2024, New West): California-born, Nashville-based country singer-songwriter, third album. B+(**) [sp]

Rema: Heis (2024, Mavin/Jonzing World/Interscope): Nigerian singer-songwriter, sometime rapper, second album, choppy beats, runs through 11 songs in a snappy 27:38. B+(**) [sp]

SahBabii: Saaheem (2024, self-released): Chicago rapper Saaheem Valdery, fourth album since 2017, no relation to electronica producer Babii. B+(***) [sp]

De Schuurman: Bubbling Forever (2024, Nyege Nyege Tapes): Dutch electronic producer, "De" subs for first name Guillermo, has an uncle and several cousins with DJ monikers, first album (2021) was Bubbling Inside. This seems to be a specialty of software known as Fruityloops, although I also detect actual drums puncturing the bubbles. A- [sp]

Sexyy Red: In Sexyy We Trust (2024, Rebel): Rapper Janae Wherry, from St. Louis, third album. B+(**) [sp]

Caroline Shaw & Sō Percussion: Rectangles and Circumstance (2024, Nonesuch): Vocalist, also plays violin, seems to be slotted as classical but I hear little that marks her as such. This is an impressive songs album -- although I note words from William Blake and Emily Dickinson, and music from Franz Schubert, among others, mixed in with the originals. The percussion group is often outstanding. B+(***) [sp]

Smino: Maybe in Nirvana (2024, Zero Fatigue/Motown): Rapper Christopher Smith, originally from St. Louis, grew up in Chicago, fourth album since 2017, short (10 tracks, 28:55). B+(**) [sp]

Astrid Sonne: Great Doubt (2024, Escho): Danish singer-songwriter, plays viola, based in London, fifth album since 2018, also plays some bass guitar and drums, but keeps it basic. And short (9 tracks, 26:50). B [sp]

Takkak Takkak: Takkak Takkak (2024, Nyege Nyege Tapes): Japanese electronica producer, Shigeru Ishihara, based in Berlin, first album under this alias but he's used many more, like Scotch Rolex, and has been a recent member of Seefeel. The Kampala label has become a magnet for artists eager to kick up the rhythm and bang on some metal, which is pretty much what you get here. A- [sp]

That Mexican OT: Texas Technician (2024, Manifest/Good Talk/Good Money Global/Capitol): Rapper Virgil René Gazca, from Bay City, Texas, second album, after several mixtapes. B+(***) [sp]

Dlala Thukzin: Finally Famous Too (2024, Dlala): South African producer, "famous for his versatility in blending amapiano and afro tech with gqom," only album on Discogs but I've heard three previous volumes of Permanent Music. B+(***) [sp]

Anna Tivel: Living Thing (2024, Fluff and Gravy): Folk singer-songwriter from Oregon, half-dozen albums since 2014. Pretty nice. B+(***) [sp]

Sam Wilkes/Craig Weinrib/Dylan Day: Sam Wilkes, Craig Weinrib and Dylan Day (2024, Leaving): Bass guitar, drums, electric guitar. PopMatters touted this as the best ambient album of 2024, which runs counter to my assumption that ambient records are mostly electronics, while this configuration usually means jazz. But listening to it, I can see their point, or half of it anyway. Wilkes has some previous history, both in and out of jazz, including a duo album with Sam Gendel. The others thus far only show up with Wilkes. B+(*) [sp]

Willow: Empathogen (2024, Three Six Zero/Gamma): Singer-songwriter, last name Smith, daughter of actors Will and Jada Pinkett Smith, also acts -- first film when she was six, first album when she was 14, sixth album at 23. B+(**) [sp]

Remi Wolf: Big Ideas (2024, Island): American "funky soul pop" singer-songwriter, from Palo Alto, started with three EPs about dogs, released an album in 2021, now this second one, co-produced by high school friend Solomophonic (Jared Solomon). The ideas are promising, but the big production doesn't always help. The nominal closer, "Just the Start," suggests a different album, then sets up the "Slay Bitch" bonus track, which finally does work as dance pop. B+(*) [sp]

WoochieWobbler: Thrilla (2024, self-released, EP): Second EP, I still know nothing about the artist(s), and listening to a very fractured 10 tracks (19:09) doesn't help much. B [sp]

Dwight Yoakam: Brighter Days (2024, VIA/Thirty Tigers): Country singer-songwriter, debut 1986, 17th studio album, only one lacking a Wikipedia page, but hardly anyone seems to have noticed his first album since 2016. B+(**) [sp]

Zawose Queens: Maisha (2024, Real World): Two women, Pendo Hukwe Zawose and her daughter Leah Zawose, from central Tanzania, the former the daughter of Hukwe Zawose (1940-2003), who had several albums, including two given international release on this label. B+(***) [sp]

Joe Ely: Driven to Drive ([2024], Rack 'Em): Singer-songwriter from Lubbock, started in the Flatlanders with Butch Hancock and Jimmie Dale Gilmore, recorded the perfect Honky Tonk Masquerade in 1978, many more fine albums since then. I don't see dates, but this is reportedly a compilation of (mostly) old demos, themed to the road and spanning several decades. So should we count it as a vault album? Or just as his best in 20 years? A- [sp]

Funk.BR - São Paulo (2024, NTS): Twenty-two short (54:21 total) radio shots, nearly all by artists named as DJ something-or-other. Not much more than beats, but they are distinctive. B+(**) [sp]

Margo Guryan: Words and Music (1957-68 [2024], Numero Group, 2CD): Better known as a songwriter (1937-2021, played piano and sung, leaving one album (1968) and some demos, most or all collected here (2-CD or 3-LP). This leaves a variety of impressions, suggesting more than there may be. I especially line later tracks like "Hold Me Dancin'." B+(***) [sp]

Like Someone I Know: A Celebration of Margo Guryan (2024, Sub Pop): New covers of 12 songs written by Guryan (1937-2021), the first 11 in order from her 1968 album Take a Picture, most handled by obscure but sympathetic alt/indie singers -- most famous are probably Clairo and Empress Of, plus Margo Price on the bonus cut. B+(*) [sp]

Fumio Itabashi: Watarase (1982 [2024], Wewantsounds): Japanese pianist, debut 1979, second album, solo, starts with three covers (through "I Can't Get Started"), then four originals. [sp]

Skip James: Today! (1966 [2024], Craft): Delta blues legend (1902-69), recorded nine singles for Paramount in 1931, which are revered by many, but I panned Yazoo's compilation for its poor sound. He got rediscovered in the early 1960s folk blues boomlet, and recorded several albums from then to 1969. High voice, delicate songs, plays some piano as well as guitar. B+(***) [sp]

Judas Priest: Rocka Rolla [50th Anniversary Edition] (1974 [2024], MNRK/Exciter/Reach): The venerable British metal band's first album, Discogs styles it as Classic Rock. Indeed, one thing you notice is that many of the clichés of heavy metal had yet to be invented. Another thing is that this band had a built-in need for them. B [sp]

Paul McCartney & Wings: One Hand Clapping (1974 [2024], MPL): Live-in-studio recordings, mostly reprising the group's 1973 album Band on the Run, performed for a documentary movie that wasn't released until 2010 in conjunction with a box set, but has been remastered for theatrical release in 2024. Own songs offer no improvement over the album, but a few oldies covers help out. B [sp]

Michel Petrucciani Trio: Jazz Club Montmartre - CPH 1988 (1988 [2024], Storyville): French pianist, had a genetic disorder which left him stunted and brittle, but during his short life (1962-99) he displayed extraordinary mastery over the piano. His two 1983-84 albums for Blue Note were especially notable (100 Hearts and Live at the Village Vanguard). And since his death, various live tapes have appeared to remind us of him, including this trio set with Gary Peacock (bass) and Roy Haynes (drums). B+(***) [sp]

Taylor Swift: The Tortured Poets Department: The Anthology (2024, Republic): When I reviewed her album back in May, I limited myself to the 16-song, 65:08 album proper. I liked it fine, but ignored this extras package (another 15 songs, 57:13; the digital combines them both, and evidently there is a "physical edition" with four more bonus tracks). When I started compiling EOY lists, I opted to count this among the reissues/vault music, which now looks like a technical error: they do seem to be all new (or at least different) songs, unlike the Charli XCX remix, or her own "Taylor's Version" albums). These seem like good songs, but I neither paid close enough attention (nor wanted to) to say for sure. B+(**) [sp]

Virtual Dreams, Vol. II: Ambient Explorations in the House & Techno Age, Japan 1993-1999 (1993-99 [2024], Music From Memory): Hard to judge this remarkably pleasant 97 minute selection, especially without having heard its previous volume, or literally any of its source material. B+(***) [sp]

Virtual Dreams: Ambient Explorations in the House & Techno Age, Japan 1993-1999 (1993-99 [2020], Music From Memory): Predecessor to this year's Vol. II, offers 16 pieces in 78 minutes (3-LP or 2-CD), again artists and music I have no prior or comparative experience with. B+(***) [sp]

Zach Bryan: The Great American Bar Scene (2024, Belting Bronco/Warner): His songs grew on you, which led me to upgrade Zach Bryan in 2023, so odds favored this one as well. [was: B+(**)] B+(***) [sp]

Sabrina Carpenter: Short 'n' Sweet (2024, Island): Not sure why I resisted this pop chanteuse, aside from that it could be shorter, maybe even sweeter, but half of the songs are brilliantly hooked, and there's little point quibbling about the filler. This year's sensation, but she's been around: started posting YouTube videos when she was 10, became a Disney teen actor, first album at 16, fourth at 25. [was: B+(***)] A- [sp]

Doechii: Alligator Bites Never Heal (2024, Top Dawg/Capitol): Rapper Jaylah Hickman, third mixtape, has a couple noteworthy EPs, got some major label push here, although I still have trouble noticing what other critics are raving about. [was: B+(**)] B+(***) [sp]

Rosali: Bite Down (2024, Merge): I played this back in May, and judging from my review then, got literally nothing out of it, so I was surprised to find it appear in a Christgau CG. After further review, I'm noting some songcraft and decent guitar, but still not much. [was: B]: B+(*) [sp]

Vampire Weekend: Only God Was Above Us (2024, Columbia): Major group in a genre I have little patience for, huge critical following for their first three albums (2008-13), lost a key member and seemed lame on their fourth (2019), by 2024 they were a group I had no interest in or patience for, so I'm not just surprised but amazed at this revisit. [was: B+(**)] A- [sp]

Yard Act: Where's My Utopia? (2024, Island): British group, from Leeds, second album, James Smith's vocals are most often spoken, with bits of skits cut up and scattered. Much of this remains below my level of consciousness, but the more I focus, the more interesting bits I find. One thing I can say is that back in my teens I was fascinated with the idea of utopia, and some of that interest is resurfacing with 2024's dystopian turn in politics. [was: B+(**)] A- [sp]

Beyoncé: Cowboy Carter (2024, Parkwood/Columbia): Enough talent and ideas here to make an impressive album, but I'm more struck by how irritating much of this is. The mix justifies keeping the grade, but if it wasn't such work to move it, chagrin would win out. B+(**) [sp]

The Cure: Songs of the Lost World (2024, Fiction): An auteur band I've never felt any affinity to makes a very listenable album of no real import. B+(*) [sp]

Fontaines D.C.: Romance (2024, XL): Still sounds good. Just not good enough to bump it up. B+(**) [sp]

MJ Lenderman: Manning Fireworks (2024, Anti-): I don't dislike this enough to downgrade it, but this pass I didn't hear anything to make me prefer this to the recently replayed but lower-graded Fontaines D.C., which I didn't like enough to upgrade. Those two records are neck-and-neck for 4th in my EOY Aggregate, and I really don't get why. B+(***) [sp]

Mach-Hommy: #Richaxxhaitian (2024, Mach-Hommy): Like all of his records, just a bit too inscrutable for my limited attention span. B+(***) [sp]

After several weeks of delaying these nominaly weekly reports into mid-week, I let this one wrap along to resync on Monday. So this "week" covers nine days, which certainly contributed to the length, but the haul would have been robust for any seven days. And after 6-8 weeks of little but jazz, there is little more below. That's not because I ran out -- there's still a good 150 more albums that got votes in the recently published Francis Davis Jazz Critics Poll (not counting the extra categories, because I stopped after Rara Avis), but it was taking more effort to find more obscure albums, and once I had a bit of time, I started finding tons of interesting non-jazz.

My main tools here has been compiling an EOY Aggregate based on 2024 list. That list has now tapped 234 lists for a total of 2705 records. While this is still way short of what I've done in recent years, I don't have to think very hard about what to play next. I don't know how much longer I'll work on this. It doesn't look like I'll have much time -- but lots of things are up in the air (some noted below).

One thing I've been meaning to do is to revisit some 2024 releases that I liked but, perhaps in haste, not as much as many others. Charli XCX is the runaway winner in the EOY aggregate, while Waxahatchie has slipped from its mid-year lead to 4th. More next week. I rarely expect much, and therefore regret much, in the EOY aggregate standings, but I will say I'm disappointed to see the Cure climb into 2nd place.

Something I almost never do is listen to podcasts, but I did get curious enough to check out Scott Woods' YouTube tele-interview, A Misguided Tour Through the Aesthetics of Rock (with guests Kevin Bozelka and Chuck Eddy), and stuck with it through the 1:36:05 end. The topic was R. Meltzer's 1970 The Aesthetics of Rock, to which Eddy's The Accidental Evolution of Rock 'n' Roll (1997) was offered as a sequel. Part of the attraction was that these are all people I'm acquainted with: Eddy was music editor at the Village Voice when I started writing Jazz CG, and the only one I've actually met; Woods interviewed me for RockCritics.com, which established most of the footnotes that someone turned into my Wikipedia page; Bozelka is a long-time critic and a major presence on The Witnesses, a Facebook group I frequently check out. When I saw a post about this there, I was spurred to order a couple of Eddy's books (although, in what I'm inclined to regard as unprecedented lapse of memory, it turns out that I already had one).

One thing I discovered is that I'm older than these guys, which I established when I found my old, somewhat marked up copy of R. Meltzer's The Aesthetics of Rock, and it turns out I'm the only one with the 1970 Something Else Press edition (paperback), whereas they were flashing 2nd and 3rd editions, and talking about discovering it in the 1980s and 1990s. I would have read it around 1974-75, which was my rebound period after not graduating from college. (I fell a few credits short due to incompletes, which I left unfinished because I was burned out, ill advised, and simply pleased to (for the first time in my life) have landed a job and started making my own money. Some of those memories were triggered by discussion of Meltzer's own academic history, where his book started as a thesis before some kind of blowout, and of Bozelka's grad school reading of Adorno (which I had done pretty intensely before my own blowout).

Aside from reading The Aesthetics of Rock -- I remember very little of it, but my copy is lightly marked up (very lightly, I might note, at least compared to some old Adorno books I also remember very little from, except perhaps how to think -- it's hard to shake that), and I wrote a piece about it in 1977, including this rather hideous paragraph:

I should go back and transcribe the Don Malcolm piece on Meltzer, and the Paul Yamada piece on Charlie Gillett, as those were the sources I was actually arguing with. I knew far less about the history of rock (except, of course, for my personal experience) then than either of them, but I was pretty sure of my critical and philosophical sources and their logic. What I do remember is that rock criticism was open to serious thinking about everyday life, so something I could read and think (and sometimes rant) about while still making a break from academia.

While I was working on the 19th Annual Francis Davis Jazz Critics Poll, I engaged in some idle thought about what the week or two after the poll appears might be like. I thought I'd return to the poll data and come up with all sorts of other insights. I thought I would lobby the voters to give the poll some publicity, and open up discussions into what it all means. I thought I'd add some new pieces to the website, and perhaps get others to contribute pieces (as Larry Blumenfeld did; one easy piece would be a counterpoint to his Top Ten Reasons to Hate Top 10 Lists). We had some Spotify playlists we could publicize. I started a piece collecting lists of other jazz EOY lists -- the next step beyond that would be to compile a list of all the albums mentioned there that didn't get votes in the poll. I thought about formats for distributing the data so other people could so their own analysis. But thus far I haven't done any of that. The next thing on my list was to add all the new voters to the "jazzpoll" mailing list. I started a list, but haven't even managed that.

I'm not especially surprised by my post-poll torpor. Every year ends like that, in a stew of exhaustion and frustration where I just want a break from it all. But while there was some of that, this year I ran into another problem, which is that I had put off a bunch of things to focus on the poll, and now they've come back with a vengeance. I've had a very bad week, and from what I can tell, next week's going to be even worse. Last week, the biggest hassle was with insurance, but no need to rehash that now. Same for lots of little things, starting with the exceptional cold, which after a couple days edged above freezing is back with us again. It bothers me more and more each year.

But there is one major problem I struggled with last week to no avail, and now it turns out it's much worse than even I had feared. I now expect it will consume all of next week, and then some. The situation is that for the last 20+ years, I've been leasing a dedicated server, on which I can host multiple domains and websites (usually around 10, a bit less than that at the moment). For some time now, I've been leasing a machine from a small company called Hosting & Designs, which way back when seemed to offer a fairly decent deal. However:

So I need to take a hard look at my needs, then shop around for a new system that meets them, as affordably as possible. I haven't done this in quite some time, so I have a lot of research to do, before I can figure out what makes sense to do, let alone to do it (configuring and migrating websites, etc.). I will in due course attempt to write this up more precisely, but that's the general outline. If any readers have thoughts on this, please let me know.

At the same time, I'm also trying to figure out what my writing plans are for the future. In some ways, the server is just a tool for my writing -- although having a server such as I have done gives me considerable flexibility in creating websites, and also allows me to offer hosting and other technical services to a few friends, whose accounts could be in jeopardy if I find it no longer makes sense to keep paying for the server. This would have been my biggest concern after the poll, until the server itself became such an urgent problem. I have many thoughts here, but don't feel like ruminating on them here.

I've started to set up a forum for future thoughts. Nothing to share there yet, and I'm not sure that any of it will be of much interest, but writing things out helps clear my head, and I need a lot of that right now.

Ab Baars/Joost Buis/Berlinde Deman: Cecil's Dance (2023 [2024], Wig): Dutch free jazz trio, with clarinet/shakuhachi, trombone, and tuba/serpent. B+(*) [sp]

Bashy: Being Poor Is Expensive (2024, Bish Bash Bosh): British rapper Ashley Thomas, mixtapes go back to 2004 but this is his first since 2011 (or 2009), has enjoyed some success acting since then. I haven't heard the early mixtapes, but as a comeback he has much to say. Some very pointed songs here, notably "How Black Men Lose Their Smile." In Linton Kwesi Johnson's neighborhood. A- [sp]

BkTherula: LVL5 P2 (2024, Warner): Atlanta rapper Brooklyn Rodriguez, studio album following her LVL5 P1 mixtape. B+(**) [sp]

Blood Incantation: Absolute Elsewhere (2024, Century Media): "Progressive death metal band" from Denver, formed 2011, fourth album since 2016, only listening to it because it's the top-rated so-far unheard album (at least in my EOY Aggregate, although two more metal bands, Knocked Loose and Chat Pile, are close behind). The subterranean vocals and speed drumming are defining points of metal, the Pink Floyd nods less so, none of which bothers (or inspires) me. B+(*) [sp]

Camila Cabello: C,XOXO (2024, Geffen/Interscope): Cuban-born pop singer, moved at 6 via Mexico to Miami, member of the teen vocal group Fifth Harmony, fourth album on her own. B+(*) [sp]

Caribou: Honey (2024, Merge/City Slang): Canadian electropop producer Dan Snaith, sixth studio album under this alias (also has earlier albums as Manitoba, and others as Daphni). Light and sprightly. B+(**) [sp]

Hayes Carll/Band of Heathens: Hayes & the Heathens (2024, BOH): Senior partner here is probably the Austin-based band -- their label, Discogs lists 19 albums since 2006, but at least half of those were live shots, including their first two -- but while they are probably much more famous, I've passed until now. Carll, on the other hand, won me over with 2005's Little Rock, even before 2008's Trouble in Mind breakthrough. He gives them a first-rate songwriter and a distinctive voice -- needs you notice when they give him a chance, which isn't often enough. B+(***) [sp]

Cavalier & Child Actor: Cine (2024, Backwoodz Studioz): Rapper, albums since 2014, Different Type Time got some notice earlier in 2024, this with producer Child Actor, who has several other credits (back to 2012). B+(**) [sp]

Chat Pile: Cool World (2024, The Flenser): "Sludge metal" band from Oklahoma, number 3 on my EOY Metal charts, second album, a rare metal band where I've heard a previous album. I can't evaluate this as metal, but at low volume this has a certain abstract-clunky appeal. B+(**) [sp]

Ed Clute: Shadows on the Moon (2024, Rivermont): Stride pianist, b. 1943, blind, has one previous album as far as I can tell (from 2017), solo, runs quickly through 27 songs dating from 1927-41 (64:40). B+(**) [sp]

Denzel Curry: King of the Mischievous South Vol. 2 (2024, PH/Loma Vista/Concord): Rapper, from Florida, Wikipedia divides his output as: studio albums (5 since 2013), collaborative albums (2, with Kenny Beats), EPs (4), and mixtapes (7 since 2011, including this one and its predecessor, a "Underground Tape 1996" released in 2012). Trap beats, seems small but tight. [PS: Later reissued + 5 tracks as King of the Mischievous South.] B+(**) [sp]

Karl D'Silva: Love Is a Flame in the Dark (2024, Night School): British singer-songwriter, has "two decades playing saxophone with the esoteric and experimental likes of Thurston Moore and Ex-Easter Island Head," produces a complex, polished first pop opera as his album. B+(*) [sp]

Daisy Moon: System Creak (2024, Peach Discs, EP): Electronica producer/DJ from Bristol, has a couple EPs since 2019, this one 4 tracks, 25:08, nice, tight rhythm tracks. B+(***) [sp]

Dar Disku: Dar Disku (2024, Soundway): UK-based duo, Mazen AlMaskati and Vish Mhatre, originally from Bahrain, first album, draw on a range of Arabic pop and disco sounds. B+(*) [sp]

Kim Deal: Nobody Loves You More (2024, 4AD): Played bass and sometimes sang in Pixies (1987-91), led the Breeders from 1990 until whenever, with the Amps as a 1995 side-project. Released some solo singles 2012-14, but no full album until this one, which by FDJCP rules makes this her debut. It's not a very imposing one, but that seems part of the point, but there is something of a signature sound. B+(**) [sp]

Father John Misty: Mashashmashana (2024, Sub Pop/Bella Union): Singer-songwriter Josh Tillman, recorded as J. Tillman 2003-10, before adopting this name in 2012, had his commercial/critical breakthrough with his 2014 album, returning here for his 6th FJM album. Seems like this one may have more interest than most, but not reliably so. B+(*) [sp]

Fievel Is Glauque: Rong Weicknes (2024, Fat Possum): Jazzy pop duo of multi-instrumentalist Zach Phillips (New York) and singer Ma Clément (Brussels), third album, recorded "in triplicate" then "subtractively edited," giving it a slippery sound that rarely sticks. B+(*) [sp]

Girl Scout: Headache (2024, Human Garbage, EP): Alt-pop band from Sweden, Evelina Arvidsson Eklind the singer (and bassist), debut album 2023, back with a 5-track, 17:47 EP. B+(*) [sp]

Godspeed You! Black Emperor: No Title as of 13 February 2024 28,340 Dead (2024, Constellation): Canadian post-rock band, debut 1997, broke up 2003 but regrouped 2010, presents as a collective but Efrim Menuck (guitars, tape loops) has been a constant, along with Mauro Pezzente (bass guitar). Eighth album, the obvious meaning of the title only just dawned on me, although I now see a 2002 note accusing Ariel Sharon of "provoking another Intifada." Politics are integral to this group, but you rarely hear it coming. B+(***) [sp]

Gouge Away: Deep Sage (2024, Deathwish): Hardcore (post-hardcore?) punk (post-punk?) band from Florida, named for a Pixies song, third album since 2016, Christina Michelle the singer, not a band I would normally pick up on but this was Dan Weiss's number 2 album (after Sabrina Carpenter). B+(**) [sp]

Geordie Greep: The New Sound (2024, Rough Trade): Guitarist-singer for the English group Black Midi, first solo album with group "on indefinite hiatus." Shifts focus from sound to songs, with mixed results, as he has some craft, but is also given to overkill. B [sp]

Heavee: Unleash (2024, Hyperdub): Chicago juke/footwork DJ/producer Darryl Bunch, singles from 2013, has another album from 2018, this his second. B [sp]

High Vis: Guided Tour (2024, Dais): English hardcore post-punk group, third album, Graham Sayle singer, seems pretty conventionally solid. B+(*) [sp]

Lambrini Girls: Who Let the Dogs Out (2025, City Slang): British punk duo of Phoebe Lunny (guitar/vocals) and Lilly Macieira-Bosgelmez (bass guitar), plus drums, first album after several singles and an EP, 11 songs (29:25). B+(*) [sp]

Latto: Sugar Honey Iced Tea (2024, Streamcut/RCA): Atlanta rapper Alyssa Stephens, third studio album, after three mixtapes). Runs long, but pretty consistent. B+(***) [sp]

Jeffrey Lewis: Ghosterbusters (2024, self-released, EP): Antifolk singer-songwriter, started as a comic book writer, output has been very erratic of late, his Bandcamp lately focusing on cassette tape collections -- limited songs available there, and none on streaming -- while this five-track, 26:36 EP can be streamed but has no documentation I can find. Title song is a perturbation of the movie jingle, followed by a history of NY punk rock (1950-75) which roots it in antifolk ethos & medley. Other three songs are less developed. One can hardly take much comfort from an "It Could Be Worse" now that it is. B+(**) [sp]

Loidis: One Day (2024, Incienso): New alias for Brian Leeds, a deep house producer from Kansas, who's used a bunch of them, most notably Huerco S. A nice, steady simmer of beats. B+(***) [sp]

Lollise: I Hit the Water (2024, Switch Hit): A "musician, visual artist and fashion designer from Botswana, currently living in NYC," last name Mbi, first album. B+(**) [sp]

Low Cut Connie: Connie Live (2024, Contender): Indie band from Philadelphia, Adam Weiner the singer-songwriter, also plays a mean piano. I liked their first couple albums lots, but lost interest with Dirty Pictures and never got into their much touted pandemic covers (Tough Cookies). By all accounts, still an exciting live band, although making a live album is a somewhat different proposition. B+(*) [sp]

Lyrics Born: That 1 Tyme in the Studio: Acoustic Selections (2019 [2024], Mobile Home): Rapper Tom Shimura, started in Latyrx, solo albums from 2003, announced that Goodbye Sticky Rice would be his last, but slipped this one out a few months earlier. A couple songs I recognize as remakes from elsewhere, and it's possible they all are. B+(**) [sp]

Kira Martini: Open Wide (2024, Storyville): Danish jazz singer-songwriter, several albums since 2012. B+(*) [sp]

The Mavericks: Moon & Stars (2024, Mono Mundo): Country-rock band from Florida, singer is Raul Malo and lead guitarist is Eddie Perez, had a run from 1990-2003, then regrouped in 2012, often have a Tex-Mex tinge that can remind one of Marty Robbins (for better or worse). That seems especially pronounced here (for better and worse -- sometimes it's hard to tell, as even the obviously bad seems to be growing on me). B+(***) [sp]

Mount Eerie: Night Palace (2024, PW Elverum & Sun): Singer-songwriter Phil Elverum, started recording as the Microphones, titled an album Mount Eerie and decided to go with that. Eleventh album since 2005, long at 80:47. I know some serious listeners who have been impressed by his records, but I find them impossible to follow, so I look for sonic hints. I hear some, which makes me suspect there's more to this. B+(*) [sp]

Molly Nilsson: Un-American Activities (2024, Night School/Dark Skies Association): Swedish musician/producer, based in Berlin, unexamined early work (nine albums 2008-22) all have black/white abstract covers, this one breaks out a color with a blindfolded portrait pic, with a batch of songs, most (all?) with political themes, which were "written and recorded entirely on location in California in the former home of writer, poet, and early opponent of the National Socialist regime in 1930s Germany, Lion Feuchtwanger and his wife Marta." B+(**) [sp]

Nines: Quit While You're Ahead (2024, Zino): British rapper Courtney Freckleton, 34, sixth and reportedly his last album (whence the title), all top-five in UK but nowhere else (only other chart Wikipedia provides is IRE). B+(*) [sp]

Orchestre Tout Puissant Marcel Duchamp: Ventre Unique (2024, Bongo Joe/Red Wig): Swiss group, billed as "a dream amalgam of folk, krautrock, post-punk and African rhythms," sixth album since 2007. B+(**) [sp]

Peverelist: Pulse EP (2023, Livity Sound, EP): British electronics producer Tom Ford, from Bristol, couple albums, many singles/EPs since 2006, many released as Pev. This kicks off a series of four EPs with 4 tracks, 28:50, of neatly manicured beats. B+(***) [sp]

Peverlist: Pulse Modulation (2023, Livity Sound, EP): Four more tracks, "Pulse V" through "Pulse VIII," 25:02, seems unlikely that I will be able to make discerning judgments among this small but delightful bag of tricks (although I did particularly enjoy "VI"). B+(***) [sp]

Peverelist: Pulse Phase (2024, Livity Sound, EP): Third installment, "Pulse" titles "IX" through "XII" (4 tracks, 25:03). B+(**) [sp]

Peverelist: Pulse Echo (2024, Livity Sound, EP): Fourth installment, "Pulse" titles "XIII" through "XVI" (4 tracks, 25:01). B+(**) [sp]

Pixies: The Night the Zombies Came (2024, Pixies/BMG): American rock band, kind of a big deal from 1988 to their 1991 breakup, after which Black Francis went solo, and Kim Deal formed the Breeders. Regrouped in 2013, but Deal left before their 2014 album, and I can't say as I've noticed anything since (this is their fifth). B [sp]

Tim Reaper & Kloke: In Full Effect (2024, Hyperdub): British jungle/drum & bass producer Edem Alloh, with Australian producer Andy Donnelly. B+(**) [sp]

Porter Robinson: Smile! :D (2024, Mom+Pop/Sample Sized): American electronic producer, third studio album, vocals strike me as more of an electropop focus. B [sp]

Saint Etienne: The Night (2024, Heavenly): British indie pop group, considered "alternative dance" in the 1990s, return here with their 12th album, low key almost to the point of vanishing. B+(*) [sp]

Secret Sisters: Mind, Man, Medicine (2024, New West): Country music duo, sisters Laura Rogers and Lydia Slagle, fifth album since 2010. Some winning harmonies, rising out of solid songs. B+(***) [sp]

Harri Sjöström/Erhard Hirt/Philipp Wachsmann/Paul Lytton: Especially for You (2022 [2023], Bead): Finnish saxophonist (soprano/sopranino), has a fair number of albums since 2010, this a quartet with guitar, violin, and drums, recorded live at a festival in Munich, a long piece in two parts (49:27), followed by a short "Encore" and, nearly as short, a "Lullaby." B+(*) [bc]

Skee Mask: Resort (2024, Ilian Tape): German electronica producer Bryan Müller, fourth album since 2016 (not counting four self-released items titled A to D, a shorter series numbered up to ISS010, or other titles as SCNTST). Very nice beats, with some ambient swirls, which is all it really needs. A- [bc]

The Smile: Cutouts (2024, XL): British group, two principals from Radiohead (Jonny Greenwood and Thom Yorke), plus a pretty talented drummer (Tom Skinner, from Sons of Kemet), third album since 2022, second this year. B+(*) [sp]

Tems: Born in the Wild (2024, RCA): Nigerian singer-songwriter Temilade Openiyi, from Lagos, moved to UK as an infant but returned when she was 5, where she remained until studying in South Africa. First album after a couple EPs. Since 2022, she's been touring in Europe and the US with some success, this album charting 30 in UK, 56 in US, and showing up on some scattered EOY lists, plus a small bit Grammy. Reportedly, she stopped listening to other music to find her own unique take. I'm dubious about that as method, but what she's come up with is very hard to slot anywhere. A- [sp]

Transmission Towers: Transmission One (2024, É Soul Cultura/Mr Bongo): British EDM duo, Mark Kyriacou and Anorbea Mante, seems like a throwback to cheesy space disco, then midway I hear what sounds like a Pere Ubu vocals (circa The Modern Dance, which wasn't as far removed from disco as we thought at the time). But those are just high points. B+(**) [sp]

Two Shell: Two Shell (2024, Young): British electronics duo, Jack Benson and Patrick Lewis, first album after several impressive EPs. B+(**) [sp]

Lucinda Williams: Sings the Beatles From Abbey Road (2024, Highway 20): Title suggests she's recreating my least favorite Beatles album, but the only one from there she picked for this dozen was "Something." Turns out this is volume 7 of her Lu's Jukebox in Studio Concert Series, the first to appear since 2021 when the series seemed to be a scheme to recoup pandemic losses. I missed them all, because her stuff was hard to stream back then. Maybe I should look again? This is credible enough: her voice isn't as rough as it's been of late, but it cuts through the varnish, and the guitar adds some heft, but while the good songs are still good, the bad ones don't improve much. B+(*) [sp]

Wussy: Cincinnati Ohio (2024, Shake It): Indie band from, well, that's obvious, founded by Chuck Cleaver, who had a 1990s band of some note (The Ass Ponys), and Lisa Walker, recognizing his need for a better half. Robert Christgau deemed their first album "more Velvets than Burritos," then dispensed with comparisons, giving them one A+, 7 A, 5 A-, 2 B+, and one ***. I like them, but rarely that much. This has moments when it sounds like it might amount to something, but you have to want it to, else the feeling passes and leaves you empty. [I tried looking up a line in "Disaster About You" and couldn't find any lyrics. What's with that? Isn't this supposed to be a band where lyrics matter? I saw a comment expressing surprise that Christgau "felt the loss apparent" here but not "the equally devastating beauty of Nick Cave's mournful Ghosteen." Not such a surprise, as he clearly cares about Wussy and wants to understand them, whereas he has always disliked Cave, and probably not just his music. After writing this review, I read a bunch of EW comments, and gave this another play. As songs like "Disaster About You" and "Winged" finally started to register, I bumped it up a notch. I can see how people who really want to can come to love this album, but it takes a lot more work than I normally allow. I also know that other people do the same thing with other albums. I've seen it in others, and I've done it myself. It also helps explain why anyone liked Cave's latest album.] B+(***) [sp]

Wussy: The Great Divide (2017-24 [2024], Shake It, EP): Three songs, 11:08. Released same day as album, includes a murky "single mix" of the album's first song, plus two leftovers from a 2017 session that are a good deal snappier than the lead. B [sp]

Wussy Duo: Cellar Door (2024, Shake It, EP): The band reduced to its two key members, Chuck Cleaver and Lisa Walker, of necessity during the pandemic, and recreated here for three songs, 10:45. B+(*) [sp]

Xylitol: Anemones (2024, Planet Mu): British electronica producer Catherine Backhouse, several albums since 2013, singles go back to 2006. Tagged as "atmospheric drum and bass." B+(***) [sp]

Carlos Zingaro/João Madeira/Sofia Borges: Trizmaris (2023 [2024], 4DaRecord): Violin-bass-drums trio, from a live set in Lisbon, free jazz with just enough edge. A- [cd]

John Zorn: Ballades (2024, Tzadik): Eleven numbered pieces composed by Zorn, played by a trio of Brian Marsella (piano), Jorge Roeder (bass), and Ches Smith (drums), claiming inspiration from Bach and Chopin through Debussy and Bartók plus Bill Evans. B+(*) [sp]

John Zorn: Lamentations (2024, Tzadik): Four extended pieces composed by Zorn, designed as a tribute to Dylan Thomas, played by a trio of guitarists: Bill Frisell, Gyan Riley, and Julian Lage. B+(**) [sp]

John Zorn: Ou Phrontis (2024, Tzadik): Zorn songs, piano-bass-drums trio again, Brian Marsella, Jorge Roeder, and Ches Smith. B+(**) [sp]

Charli XCX: Brat and It's Completely Different but Also Still Brat (2024, Atlantic): Remix album, repeats Brat's 15 songs in order, plus 1 or 2 (depends) of 3 "deluxe edition" adds. As such, the beats are sharpened, and the songs pick up extraneous guest vocals and sonic effects, the net effect is to push the star back into the background, which may not matter as long as you're dancing, but otherwise leads to indifference (some bits sound good, some don't, but few distinctions matter). And by the way, the hooks you do notice are hers. (A point proven by appending the original -- well, plus bonus cuts -- album in the digital.) B+(**) [sp]

Denzel Curry: King of the Mischievous South (2024, PH/Loma Vista): Reissue of Vol. 2 with five extra tracks, one inserted at 5, another at 11, expanding from 34:29 to 51:10. Sounded marginally better, which may just be the extra play I gave it, until one at the end I would have rather done without. B+(**) [sp]

Lucinda Williams: Runnin' Down a Dream: A Tribute to Tom Petty [Lu's Jukebox in Studio Concert Series Vol. 1] (2021, Highway 20): First volume of her Lu's Jukebox in Studio Concert Series, a canny choice: a peer-level artist, died recently (2017), some good songs but not too familiar, no great stretch in style. Ends with one of her own. Nothing wrong with that, and these days you might as well document everything. B [sp]

Lucinda Williams: Southern Soul: From Memphis to Muscle Shoals and More [Lu's Jukebox in Studio Concert Series Vol. 2] (2021, Highway 20): Seems like a natural progression, but risks comparison with the singers who own these songs. Not that that's necessarily the problem. ("Take Me to the River" is one of the best things here.) B [sp]

Lucinda Williams: Bob's Back Pages: A Night of Bob Dylan Songs [Lu's Jukebox in Studio Concert Series Vol. 3] (2021, Highway 20): Unlike Tom Petty, this one has been done dozens of times before, and unlike the soul singers, we're used to Dylan songs in someone else's voice. While her performance is credible, this rises and falls with the songs: "Political World" and "Man of Peace" are terrific, "Queen Jane Approximately" and "Idiot Wind" are same as they ever were. B+(**) [sp]

Lucinda Williams: Funny How Time Slips Away: A Night of 60's Country Classics [Lu's Jukebox in Studio Concert Series Vol. 4] (2021, Highway 20): Another concept-defined grab bag, again ending with one of hers (a highlight). While her first Willie Nelson song doesn't impress, the title one does, coming after two songs I wouldn't have expected so much from, "Gentle on My Mind" and "The End of the World." B+(***) [sp]

Lucinda Williams: Have Yourself a Rockin' Little Christmas [Lu's Jukebox in Studio Concert Series Vol. 5] (2021, Highway 20): The season may have passed, but it's been a long time since it's put me in the mood for the standard repertoire (if indeed it ever did). Although eight of these songs namecheck Christmas -- with one more each for Santa and Rudolph -- only a couple ever got picked up by anyone, and even those don't turn me off. B+(**) [sp]

Lucinda Williams: You Are Cordially Invited . . . A Tribute to the Rolling Stones [Lu's Jukebox in Studio Concert Series Vol. 6] (2021, Highway 20): Discogs has an alternate version of this with a different title, supposedly released in 2020, and therefore predating series it was finally slotted into. That may explain why there's 16 songs, instead of the usual 12-13. The most straightforward album in the series, probably because the fit is most natural. B+(***) [sp]

Charli XCX: Brat (2024, Atlantic): British pop star, Charlotte Aitchison, sixth album since 2013, all hits but none really huge until this one (Crash was also 1 in UK charts, but BPI was silver, vs. platinum here; Crash was 7 in US, this one up to 3, which pushed it to ARIA gold; bigger advance in critical coverage, where this one easily led all EOY aggregates), so the extra hype and/or anticipation paid off. I gave this 5 plays back in June and was on the fence. Five more plays, and I've barely moved, but it was always a close call. [NB: "Deluxe Edition" got a new name: Brat and It's the Same but There's Three More Songs So It's Not, while the remix was called Brat and It's Completely Different but Also Still Brat.] [was: B+(***)] A- [sp]

Carly Pearce: Hummingbird (2024, Big Machine): Country singer-songwriter from Kentucky, fourth album since 2017, found herself in her age-marking 29: Written in Stone. This sounds real good for four fast ones, flounders a bit in a Chris Stapleton duet, struggles to win back the slow ones, often with a memorable turn of phrase (like "we're living on a fault line/ the fault is always mine"). [was: B+(***)] A- [sp]

Waxahatchee: Tigers Blood (2024, Anti-): Singer-songwriter Katie Crutchfield, out of Alabama (Bandcamp puts her in Kansas City), formerly of P.S. Eliot, also of Plains, sixth Waxahatchee album since 2012, sounds easy here but songs are solid and grow on you if you give them a chance. I didn't first time around, but even then noted that a revisit might be in order. [was: B+(***)] A- [sp]

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