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Blog Entries [120 - 129]Monday, October 2, 2023 Music WeekOctober archive (in progress). Music: Current count 40961 [40918] rated (+43), 31 [30] unrated (+1). Pretty major Speaking of Which last night (8867 words, 114 links). My wife was more critical than I was of Fredrik deBoer, and recommended the Becca Rothfeld review that I had linked to, only to note that deBoer didn't like it. It now seems to me like she does a pretty fair job of summarizing deBoer's points and their limits. Final paragraph, which doesn't sound like an elite trying to usurp a mass movement and turn it into a vanity project:
I've been focusing a lot on books lately because that's the forum -- not blogs and podcasts, and certainly not X -- where serious thinkers have the time and space to try to put their thoughts into coherent form. My latest Book Roundup has many of these, and this post adds several more: ones I missed like DeBoer's How Elites Ate the Social Justice Movement, Nelson Lichtenstein and Judith Stein's A Fabulous Failure, Steve Levitsky and Daniel Ziblatt's Tyranny of the Minority, and Kevin Slack's ridiculous War on the American Republic; one I knew was coming soon: Heather Cox Richardson's Democracy Awakening, so held off on; and a couple future books I only just heard about: Zack Beauchamp's The Reactionary Spirit, and Hunter Walker and Luppe B. Luppen's The Truce. (There are also mentions of several other books I had previously written about.) One thing I've been thinking about a lot is how changes happen, and why they move in some directions and not others. This isn't the place to attempt a disquisition on what I think, but I will note that my recent reading in Hobsbawm and Clark on 1789-1848 is giving me a lot of case studies (oddly enough, even drawing on Turchin's "elite overproduction" thesis). One final note is that after I slogged through Hobsbawm's first volume over 5-6 weeks, my wife got an audible of his second volume, and finished it within 3-4 days. Makes me wonder what I could get done if I wasn't listening to music all the time. I lost less time thrashing this week, trying to find something to play next, mostly thanks to Phil Overeem's latest list. Two records I didn't get around to because they're just too damn long are DJ Sabrina the Teenage DJ's Destiny (six LPs) and the big box (4-CD) of the Replacements' Tim. Given that Tim has long been my favorite of their albums, and that everyone is raving about the new mix, the latter seems like a lock. I did manage to make it through two more sets that ran too long, but were remarkable before I lost track: Kashmere Stage Band and Les Rallizes Dénudés. Phil also initiated the Money for Guns dive. I love that he comes up with records like these. Still only had one A-list album when I cut off the week, but it took long enough to do the Streamnotes indexing today that I got to the Allison Russell album, and decided to move it up. I also knocked off three jazz CDs from the queue, but they can (and should) wait. Until lately, the queue was almost all scheduled well into the future, but release dates have started to come fast -- ten (of 31) albums are already out. I need to work on that. I'm starting to think about the Jazz Critics Poll this year. It would be nice to get a jump on it for the first time ever, rather than getting blindsided a few days before the ballots need to be sent out. If you have suggestions, drop me a line. New records reviewed this week: Idris Ackamoor & the Pyramids: Afro Futuristic Dreams (2023, Strut): Saxophonist, originally Bruce Baker from Chicago, studied at Antioch under Cecil Taylor, discovered Africa and the cosmos, formed his original Pyramids there, reviving them around 2016 for four albums so far. A mix of cosmic Sun Ra and down home social music, a bit long on strings and vocals. B+(***) [sp] Farida Amadou/Jonas Cambien/Dave Rempis: On the Blink (2022 [2023], Aerophonic): Chicago saxophonist Rempis recorded in the Netherlands, with the two Belgian musicians on bass and piano, both with electronics. (Cambien is currently based in Oslo.) The background is enticing, something Rempis shows great sensitivity to, not that he never breaks loose for a power solo. A- [cd] [10-10] Zoh Amba: O Life, O Light Vol. 2 (2021 [2023], 577): Tenor saxophonist from Tennessee, plays some flute, burst onto the scene in 2022 with a half dozen albums of explosive free jazz, as if Albert Ayler had descended from the heavens and taken up improbable earthly form. The one I missed was the first part of this set, with William Parker on bass (and gralla) and Francisco Mela on drums. Two tracks, 39:25. I was reminded of this when I read a review bemoaning the drop from Vol. 1. I can't imagine how the previous album could have caused that remark. B+(***) [bc] Emil Amos: Zone Black (2023, Drag City): Drummer, and then some, has produced 16 albums since 2000 as Holy Sons, plus two under his name, describes this as "mood music for drug trips spent dreaming up new soundtracks to take drugs to!" B+(*) [sp] Florian Arbenz: Conversation #10: Inland (2023, Hammer): Swiss drummer, albums back to 2001, most of his work in the group VEIN until 2020, when he started his Conversation series, collaborating via email, initially in duos and trios, but with one of his largest groups here: Martial In-Albon (trumpet), Nils Wogram (trombone), Christy Doran (guitar), and Rafael Jerjen (bass), with Matthias Würsch (glass harmonica) on one track. B+(**) [sp] Kyle Bruckmann/Tim Daisy/Phillip Greenlief/Lisa Mezzacappa: Semaphore (2022 [2023], Relay): Listing is alphabetical, but Bruckmann (oboe, english horn, electronics) composed three pieces to four by Daisy (drums), with the others -- members of San Francisco's Creative Music Continuum -- on tenor sax and bass. B+(**) [bc] Chai: Chai (2023, Sub Pop): Japanese pop/rock band, fourth album since 2017, all four-letter words. Could be fun. B+(**) [sp] Margo Cilker: Valley of Heart's Delight (2023, Fluff and Gravy): Country singer-songwriter from Oregon, second album after 2021's impressive debut, Pohorylle. B+(***) [sp] Brent Cobb: Southern Star (2023, Ol' Buddy/Thirty Tigers): Country singer-songwriter, sixth studio album since 2006. Easy-going songs, comfort food. B+(**) [sp] Jeff Coffin/Jordan Perlson/Viktor Krauss: Coffin/Perlson/Krauss (2023, Ear Up): Saxophonist (tenor, soprano, clarinet, bass flute), drums, and bass (brother of Alison Krauss), all three writing songs. Coffin, based in Nashville, has a dozen albums since 1997, and has had long-running gigs with Béla Fleck and Dave Matthews. I've been filing his records under pop jazz, but this one is solidly postbop, impressive even. B+(***) [cd] Hollie Cook: Happy Hour in Dub (2023, Merge): British reggae singer, daughter of Sex Pistols drummer Paul Cook, four studio albums, including Happy Hour in 2022, this her second dub remix. B+(*) [sp] Charles Wesley Godwin: Family Ties (2023, self-released): Country singer-songwriter from West Virginia, third album, a long one (19 songs). B+(*) [sp] Laurel Halo: Atlas (2023, Awe): Electronic musician, from Ann Arbor, moved to Los Angeles, more lately spending time in Berlin, London, and Paris -- where this fifth album was recorded, with guest sax, violin, cello, and vocals, but nothing to break with the ambiance. PopMatters called this "her most glacial music yet." B [sp] Heather Lynne Horton: Get Me to a Nunnery (2023, Pauper Sky): Singer-songwriter, third album, married to Michael McDermott (plays here, Americana singer-songwriter from Chicago, 23 albums since 1991 per Discogs, none that I've heard). Opens with a wall-of-sound piece I can't stand, before falling back into pained troubadour mode with weeping strings. B- [sp] Loraine James: Gentle Confrontation (2023, Hyperdub): British electronics producer and vocalist, fifth album. Goes downtempo for "vignettes of memory and emotion," trip hop without the trip, or the hop. B+(*) [sp] Jlin: Perspective (2023, Planet Mu, EP): Electronica producer Jerrilyn Patton. She's taught a course called "Rhythm, Variation, & Vulnerability." This doesn't feel like a text, but its six tracks (27:21) are exemplary. B+(***) [sp] Nils Kugelmann: Stormy Beauty (2022 [2023], ACT): German bassist, first album, with piano (Luca Zambito) and drums (Sebastian Wolfgruber). B+(**) [sp] Lewsberg: Out and About (2023, self-released): Dutch VU-influenced alt-rock group, from Rotterdam, fourth album since 2017, songs in English, bassist Shalita Dietrich the main (but not only) singer. B+(**) [sp] Fred Lonberg-Holm/Tim Daisy: Current 23 (2022 [2023], Relay): Duo, cello/electronics and drums/percussion, both from the final edition of Vandermark 5, which takes them back 20 years. B+(**) [bc] Lydia Loveless: Nothing's Gonna Stand in My Way Again (2023, Bloodshot): Singer-songwriter from Ohio, last name Ankrom, started in a family band called Carson Drew, her 2011 debut on alt-country label Bloodshot impressed me, nothing quite so much since then. B+(*) [sp] Francisco Mela and Zoh Amba: Causa Y Efecto Vol. 1 (2021 [2023], 577): Cuban drummer, moved to Boston in 2000 to study at Berklee, has a distinguished career in Afro-Cuban jazz, but lately has been appearing in small free jazz sets, like this one with the young tenor saxophonist (she also plays a bit of flute). B+(***) [dl] MIKE/Wiki/The Alchemist: Faith Is a Rock (2023, ALC): New York rappers Michael Bonema and Patrick Morales, backed by producer Alan Maman. B+(*) [sp] Billy Mohler: Ultraviolet (2023, Contagious Music): Bassist, known to play guitar elsewhere, has a fairly wide range of pop and rock side credits, but this is his third quartet album with Shane Endsley (trumpet), Chris Speed (tenor sax/clarinet), and Nate Wood (drums). Nine tracks, 32:24. B+(***) [cdr] [10-13] Money for Guns: All the Darkness That's in Your Head (2023, Money for Guns): Google search for group name yields one plausible link, and lots of: "cash for arms," "sell your guns," "how to sell a gun online," "guns into cash," "money quick guns." Drop the title in and you don't get much more, even from the band's own website. Didn't sound like much at first, then I detected a pub rock vibe, then jotted down a line ("all the Catholic girls love Paul Simon"), and it got more interesting from there out. [PS: While Discogs has nothing, Spotify has ten albums, going back to 2011, one credited to Frustrated Bachelors 2003-06. Discogs identifies them as a band from Columbia, MO, and names three members, two in Money for Guns -- Dave Birk, Will Saulsbery. I've since heard they are now based in St. Louis.] B+(**) [sp] Wolfgang Muthspiel: Dance of the Elders (2022 [2023], ECM): Austrian guitarist, younger brother of trombonist Christian Muthspiel, has a couple dozen albums since 1989, early records mapped out a fusion groove comparable to John Scofield (Black & Blue, from 1992, is a favorite), but has slowed down, especially since landing on ECM in 2014. This one is a nice trio with Scott Colley (bass) and Brian Blade (drums), playing five originals plus covers of Brecht/Weil and Joni Mitchell. B+(**) [sp] Jessica Pavone: Clamor (2023, Out of Your Head): Violinist, closely associated with Mary Halvorson and more broadly with the Braxton crowd, twenty-some albums since 2001, some I can't stand while others improbably impress. She plays viola here in a string sextet (two each violins and viola, Matana Roberts on cello, Shayna Dulberger on double bass, with Karen Young for bassoon solos on the middle two tracks. B+(***) [cd] [10-06] Chappell Roan: The Rise and Fall of a Midwest Princess (2023, Amusement/Island): Pop singer, songwriter (I guess), Kayleigh Amstutz, from a suburb of Springfield, MO, via Los Angeles. First album after a 2017 EP, produced by Dan Nigro (cf. Olivia Rodrigo). B+(**) [sp] Bobby Rush: All My Love for You (2023, Deep Rush/Thirty Tigers): Blues singer-songwriter Emmett Ellis Jr., born in Louisiana, made his way to Chicago in the 1950s, recorded some singles, but only released his first album in 1978 -- a one-shot with Philadelphia International. Went back south to "put the funk into the blues," and has been grinding out records ever since, still sounding vital as 89. B+(***) [sp] Allison Russell: The Returner (2023, Fantasy): Singer-songwriter from Montreal, absent father from Grenada, had a harrowing childhood, ran away to Vancouver at 15, joined a Celtic folk band, navigated through several other groups, including roots supergroup Our Native Daughters. Second solo album, no reason to file this under folk -- well, bits of banjo and French, but the hooks are pop, and the barbs pointed. Hits its stride with "Eve Was Black." A- [sp] Slayyyter: Starfucker (2023, Fader): Electropop singer-songwriter Catherine Garner, from Kirkwood (MO), based in Los Angeles, her debut a 2019 "mixtape," second album since. Some songs remind me of Madonna. Some videos remind me of that Sex book. B+(***) [sp] Veronica Swift: Veronica Swift (2023, Mack Avenue): Jazz singer, parents were pianist Hod O'Brien and singer Stephanie Nakasian, which gave her a leg up in recording her debut album at age nine. Third album since turning 21, an elaborate showcase for her talents and technique, starting with dazzling scat, swinging with some kind of big band, touching base with Brazil, sopping up strings and exotic guitar, throwing in an aria for all I can tell -- the label isn't very forthcoming on details -- then some rocked-out show tunes. I should be awed, but I'm not even dumbfounded. Just dumb. B- [sp] That Mexican OT: Lonestar Luchador (2023, Manifest/Good Talk/Good Money Global): Texas rapper Virgil René Gazca, from Bay City (down the coast southwest of Houston), "OT" for "Outta Texas," first album after an EP and some singles. B+(**) [sp] Tinashe: BB/ANG3L (2023, Nice Life, EP): R&B singer from Kentucky, last name Kachingwe, 2014 debut on RCA was a minor hit, left the label after declining sales of two more albums, third independent album (but at 7 songs, 20:45, we're calling it an EP). [sp] Brad Turner Quintet: The Magnificent (2023, Cellar): Canadian pianist/trumpet player, at least one previous album plus several featured credits, with Cory Weeds (tenor sax), Peter Bernstein (guitar), bass, and drums, playing the leader's compositions. B+(*) [cd] Fay Victor: Blackcity Black Black Is Beautiful (2023, Northern Spy): Jazz singer-songwriter, from Brooklyn but she's been around, with childhood years in Zambia and Trinidad, started singing with a three-month gig in Japan with Bertha Hope, then several years in Amsterdam before returning to New York, earning a reputation as a successor to Betty Carter, both as a singer and as a bandleader. This one, however, is solo, an ambitious work built out of processed tracks with keyboards, and multi-layered voices. B+(**) [sp] Håvard Wiik/Tim Daisy: Slight Return (2023, Relay): Norwegian pianist, plays in Atomic, played in Ken Vandermark's Free Fall trio, their association bringing him into contact with the Chicago (ex-Vandermark 5) drummer. B+(***) [bc] Simón Willson: Good Company (2022 [2023], Fresh Sound New Talent): Bassist, from Chile, based in New York, first album, mostly quartet with piano (Isaac Wilson), drums (Jonas Esser), plus tenor sax (Jacob Schulman), adding a little extra oomph on 8 (of 10) tracks. B+(**) [cd] [10-13] John Wojciechowski: Swing of the Pendulum (2022 [2023], Afar Music): Tenor saxophonist, originally from Detroit but long based in Chicago, has several albums since 2015. Strong tone, solid quartet, with Clark Sommers (bass) contributing three songs, plus Xavier Davis (piano) and Dana Hall (drums). B+(**) [cd] Miguel Zenón & Luis Perdomo: El Arte Del Bolero, Vol. 2 (2023, Miel Music): Alto sax and piano duo, from Puerto Rico and Venezuela, have played in Zenón's Quartet since 2002, with a previous volume of bolero duets in 2021. This is very pretty, only picking up the pace toward the end. B+(***) [sp] Recent reissues, compilations, and vault discoveries: The Frustrated Bachelors: In the End It Wasn't Enough: All the Good Ones 2003-2006 (2003-06 [2023], Money for Guns): Discogs identifies this as a Columbia, MO band that registered a song on an anthology somewhere. At least two of the members (Dave Birk and Will Saulsbery) went on to form the equally obscure group Money for Guns. Looking for product to dump on Spotify, they dug these fifteen songs out of their archives. "You'll Never Raise the Dead" sounds like a Nirvana outtake, which I don't mean as top tier praise, but is something. Not all like that, of course. B+(**) [sp] Les Rallizes Dénudés: Citta' '93 (1993 [2023], Temporal Drift): Japanese experimental rock group, formed in 1967 but didn't anything until 1991, when they dropped three albums, including early studio tapes and a '77 Live. Wikipedia suggests their early works were psychedelic rock. Here they hint at Velvet Underground, before eventually plunging into an all-out noise assault: the last two pieces run 24:12 and 39:13, bringing the eight track total to 118:29. It's pretty remarkable, but a lot to sit through. B+(***) [bc] Money for Guns: Dead Tracks (2007-20 [2022], Money for Guns): Vault dive, collected when they decided to put their works out on Spotify. Mostly acoustic, could have stayed there. B [sp] Old music: Farida Amadou/Pavel Tchikov: Mal De Terre (2020 [2021], Trouble in Mind): Bass and guitar duo, with electronics and effects, two improvised sessions. Leans toward a slightly unsettled ambiance. B+(*) [sp] Kashmere Stage Band: Texas Thunder Soul 1968-1974 (1968-74 [2011], Now-Again, 2CD): Big band, from Kashmere High School in Houston, directed by Conrad O. Johnson, inspired by bands like the Bar-Kays and the J.B.'s. Johnson released several albums by the bands. The band was featured in the documentary, Thunder Soul, in 2011, which occasioned this reissue. B+(***) [sp] Wolfgang Muthspiel/Scott Colley/Brian Blade: Angular Blues (2018 [2020], ECM): Guitar, bass, drums. The collaboration with drummer goes back at least to a very good 2006 duo album, while the bassist replaced Larry Grenadier from two previous ECM albums. B+(**) [sp] Ernst-Ludwig Luten Petrowsky/Uschi Brüning/Michael Griener: Ein Résumé (2013, Jazzwerkstatt): "Luten" is the alto saxophonist's nickname. It shows up in various titles, but rarely on the slug line. He's also credited with piano, clarinet, and voice here, but the real vocalist is Brüning. Their duet on "You Don't Know What Love Is" reminds me of Sheila Jordan. That's the high point, among various scattered treats, etc. Griener plays drums. B+(**) Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, October 1, 2023 Speaking of WhichFront page, top headline in Wichita Eagle on Saturday: McCarthy's last-ditch plan to keep government open collapses. The headline came from an AP article, dropping the final "making a shutdown almost certain" clause. This headline, says more about the media mindset in America than it does about the politics it does such a poor job of reporting on. McCarthy is not trying to avert a shutdown (at least with this bill). Even if he somehow managed to pass it, there was no chance of it passing the Senate without major revisions, which his caucus would then reject. His core problem is that he insists on passing an extreme partisan bill, but no bill is extreme enough for the faction of Republicans dead set on shutting down the government, and nothing he can do will appease them. If he was at all serious about avoiding shutdown, he'd offer a bill that would attract enough Democrat votes to make up for his inevitable losses on the extreme right. That's what McConnell did in the Senate, with a bill that passed 77-19. But House Republicans follow what they call the Hastert Rule, which states that leaders can only present bills approved by a majority of the caucus -- in effect, that means the right-wing can hold bills hostage, even mandatory spending bills, and looking for bipartisan support is pointless. McCarthy had to compromise even further to gain enough votes to be elected Speaker. If the mainstream media refuses to provide even the barest of meaningful context, this kabuki propaganda will just continue, to the detriment of all. [PS: On Saturday afternoon, after I wrote the above, McCarthy did just that, passing a bill 335-91, with 90 Republicans and 1 Democrat opposed. The bill continues spending for 45 days, adds disaster relief funds, extends federal flood insurance, and reauthorizes FAA, but does not include the new Ukraine aid Biden wanted.] Top story threads:The shutdown: [PS: Congress finally passed a continuing spending resolution on Saturday, after McCarthy's "last-ditch" bill failed to pass the House. The intro below -- original title was "Drowning government in the bathtub" -- was written before this bill passed, as were the articles dated earlier. On the other hand, we're only 45 days away from the next big shutdown scare, which the same bunch of clowns and creeps are almost certain again to push to the brink.] The Grover Nordquist quote (from 2001) is: "I just want to shrink [government] down to the size where we can drown it in the bathtub." Later he managed to get every Republican in Congress to sign onto his "Taxpayer Protection Pledge," which would seem to commit them to the ultimate destruction of the federal government. None of this slowed, let alone reversed the growth of government -- it just ensured that the growth would be funded mostly by deficits, which conveniently give Republicans something else to whine about, even though they're mostly just tax giveaways to the very rich. So whenever an opportunity arises for Republicans to vent their hatred of the government and their disgust over the people that government serves, they rise up and break things. One of those opportunities is this week, when the previous year's spending bills expire, without the House having passed new ones for next year. Without new authorization, large parts of government are supposed to shut down, giving Republicans a brief opportunity to impress Grover Nordquist. Then, after a few days or a couple weeks, they'll quietly pass a resolution to allow their incompetence to escape notice for another year. You see, most of what government actually does supports the very same rich people who donate to Republican politicians. I could file all of these stories under Republicans, since they are solely responsible for this nonsense, but on this occasion, let's break them out.
Post-deal:
The Republican also-rans second debate: Six of the first debate's eight made their way to the Reagan Library in California, again hosted by Fox. Bear in mind that any judgments about winners and losers are relative.
Let me conclude this section with a quote from Jeffrey St Clair (see his "Roaming Charges" below for link) summing up the debate:
Trump: While it was unprecedented for a former president to be indicted (for even one felony, much less 91), I think we now have to admit that's merely a historical curiosity, like Dianne Feinstein having been the first woman elected mayor of San Francisco. What is truly unprecedented is that this guy, facing so many indictments under four separate judges (plus more judges in prominent civil cases), is still being allowed to campaign for president, to fly free around the country, to give speeches where he threatens the lives of people he thinks have crossed him, to appear on television shows where he can influence potential jurors, and do this with complete impunity. While everyone knows that defendants are to be considered innocent until a jury finds them guilty, has anyone else under indictment ever been given such lax treatment? Many of them spend long pre-trial periods stuck in jail. (According to this report, there are 427,000 people in local jails who haven't been convicted.) Those who, like Trump, could manage bail, are subject to other numerous other restrictions. Maybe one reason Trump seems to regard himself as above the law is that the courts have allowed him such privileges.
DeSantis, and other Republicans:
Biden and/or the Democrats:
Legal and criminal matters:
Climate and environment:
Economic matters:
Ukraine War:
Around the world:
Dianne Feinstein: The Senator (D-CA) died Thursday, at 90, after more than 30 years in the Senate. She had a mixed legacy, which had soured lately as her absences kept Democrats from confirming many Biden appointees.
Robert Menendez: Senator (D-NJ), was prosecuted for corruption several years ago, beat the charges, managed to get himself reëlected, and caught again.
Other stories:David Atkins: [09-27] America needs a true liberal media: "Our crisis of democracy is exacerbated by conservative misinformation. Time for a balanced media diet." Of course, he has a lot to complain about, but couldn't he put it better? I shouldn't have to parse the difference between "liberal" as an adjective and "liberal" (or "liberalism") as a noun, and explain why a "liberal media" isn't just a propaganda outlet for liberalism (as conservative media is for conservatism). If we had an honest media dedicated to rooting out misinformation from any source, it would easily find ten times as much emanating from right-wing interest groups (which it would clearly label as such). Atkins cites several examples of polls where scary large numbers of Americans believe things that are plainly false. That such numbers persist goes a long way toward indicting the media for failing to keep us informed. On the other hand, another sense of "liberal" is that it provides equal credence to all views, regardless of truth, merit or ulterior motives. This was, for instance, the view Marcuse et al. put forth in A Critique of Pure Tolerance (1965). In light of this, one can be as critical as Atkins is of the present facts and draw the opposite conclusion, that the problem we have today is that the media, with its relentless balancing and its credulous repetition of blatant falsehoods, is simply too liberal. Zack Beauchamp: [09-24] Is America uniquely vulnerable to tyranny? Review of a new book, Tyranny of the Minority: Why American Democracy Reached the Breaking Point, by Steve Levitsky and Daniel Ziblatt, whose previous book, the comparative study How Democracies Die, was taken as a landmark among liberals who worry more about the formal political institutions than about government reflecting the interests of most people. Nina Burleigh: [09-26] Are we in the last days of Fox News? "Michael Wolff's new book on the Murdochs is full of juicy details, but its predictions may be off." The book is called The Fall: The End of Fox News. Joshua Green: [08-27] How social justice activists lost the plot: A review of Fredrik DeBoer's new book, How Elites Ate the Social Justice Movement, "an entreaty to white, college-educated progressives: Stop obsessing over identity and language and start fighting for working people." I took a brief look at this book when assembling my latest Book Roundup and couldn't decide what to make of it: he's reputed to be a leftist, but he spends most of his time attacking others on the left side of "social justice" issues, possibly for not being leftist enough (on economic issues? for leftists of some vintage what else is there?). I'm not engaged enough to recognize much less care about many of the complaints lodged against today's younger generation on the left, but back in my day (c. 1970) I ran into similar problems, where comfortably well-off young people got worked up over other people's problems without having the grounding of knowing their own problems. (I was a rare working class kid, and pathological introvert, in an elite university, so I never had that luxury.) I have no idea how well, or how badly, DeBoer navigates problems with his fellow leftists. Green, however, ends with one piece of reasonable advice: "If they'd focus on electing Democrats, they'd finally be in a position to deliver for those groups, rather than just bicker over whose turn it is to talk next." I would add that while I don't think leftists should adopt bad positions just to get around, the only policy improvements that are achievable are ones that pass through the Democratic Party, so that's where you need to do your practical work.
Tyler Austin Harper: [09-28] Ibram X. Kendi's fall is a cautionary tale -- so was his rise: Flagged for possible future reference, as I'm not close enough to this story to have an opinion. I will say that I fifty-plus years ago I read two important historical works on racism in the early 1970s: Winthrop Jordan's White Over Black: American Attitudes Toward the Negro, 1550-1812 (1968), and David Brion Davis, The Problem of Slavery in Western Culture (1966), which if memory serves argued that racism wasn't Stamped From the Beginning (the title of Kendi's big book) but was developed over time, primarily to justify chattel slavery in the Americas, and the profits derived therefrom. I read quite a bit more back then, covering later history as well as contemporary books like Soul on Ice and The Autobiography of Malcolm X. But it had been quite a while when Kendi's book came out, so I thought it might be useful to get a more contemporary reading of Jordan's domain. But when I looked at the book, I decided I didn't need or particularly want it. I had, by then, read lots about Thomas Jefferson's racism (and for that matter, Lincoln's), but didn't see much point in dwelling on it. But the big turn off was the section on major aboltionist William Lloyd Garrison. Looking at the Amazon preview now, my reaction may have been hasty: surely the later chapters on W.E.B. DuBois and Angela Davis weren't meant to be simple exposés of racist ideas like chapters on Cotton Mather and Jefferson? But then, what were they? Kendi followed up with an explicitly political book, and evidently built a mini-empire on his reputation. That could have been good, bad, irrelevant, or some combination thereof. Sean Illing: [09-26] Naomi Klein on her doppelganger (and yours): Another interview, promoting her new book, Doppelganger: A Trip Into the Mirror World. Sarah Jones: [09-24] The dark side of courtship: "Shannon Harris's relationship was held up as a model for millions of Evangelicals. Now she's reclaiming her story." David Masciotra: [09-26] What the Clinton haters on the left get wrong: "A new book epitomizes the risible belief that the 42nd president betrayed liberals and the 1990s were a right-wing hellscape." The book is A Fabulous Failure: The Clinton Presidency and the Transformation of American Capitalism, by Nelson Lichtenstein and Judith Stein. I note this in passing, and also that the first publication to take such offense against such a blight on Clinton's good name is the one where the term "neoliberalism" was first coined. Somehow I doubt a book where the authors juxtaposed "fabulous" and "failure" is simply "untruths they've written [to] bolster the cynicism that undermines the trust vital to the survival of the American experiment." The first point anyone needs to understand is that Clinton pioneered a new political path by trying not to fight Reagan but to outflank him: to show leaders that Democrats in power would be even better for business than Republicans. That Clinton won gave his argument an air of gospel after a brutal decade, which only deepened the more hysterically Republicans attacked him. However, his two presidential wins were largely wiped out by losing Congress, and with it the ability to legislate anything beyond his pro-business and anti-crime initiatives. On the other hand, his failures -- mistakes and, especially, missed opportunities -- only grew. Listing them would take a book (probably even longer than this one). Compounding Reagan's turn toward increasing inequality is probably the top of the list. Or failing to trim back America's imperial overreach to secure a truly international peace -- today's conflicts with Russia and China, as well as the long war against the Middle East, are easily traced back to his failures. Or maybe we should wonder why Al Gore wasn't allowed to work on climate change when it wasn't yet too late, but was tasked instead with "reinventing government," which mostly meant making it more profitable for lobbyists. Or maybe we should ask why he stripped the Democratic Party down to a personal cult-of-personality, allowing Republicans to repeatedly rebound from disaster every time they came close to the lever of power? Dylan Matthews: [09-26] 40 years ago today, one man saved us from world-ending nuclear war: A Russian, Lt. Col. Stanislav Petrov, who was monitoring Russia's ICBM detection system, which had determined "with high probability" that the US had launched five Minutemen missiles at the Soviet Union. It hadn't, but two years of constant saber-rattling under Reagan, on top of worsening US-Soviet relations under Jimmy Carter (or should I say Zbigniew Brzezinski?), along with internal turmoil that might suggest weakness, left top Soviet circles more in fear of an American attack than ever before. David Hoffman wrote a book about this: The Dead Hand: The Untold Story of the Cold War Arms Race & Its Dangerous Legacy (2009). Sara Morrison:
Jonah Raskin: [09-29] "I am not now, nor have I ever been": Musings on communism and anti-communism. I've known a few American communists, or at least a few of their "red diaper baby" children. All good people, as far as I can tell. Heather Cox Richardson: [09-26] The fight for our America: Excerpt, or maybe a précis, from her forthcoming book Democracy Awakening: Notes on the State of America. The setup: "There have always been two Americas. One based in religious zeal, mythology, and inequality; and one grounded in the rule of the people and the pursuit of equality. This next election may determine which one prevails." My first cavil here was over the word "prevails": recent elections (at least since 2000, and arguably since 1968 -- the landslides of 1972 and 1984 now look like flukes, as does the lesser margin of 2008) have turned out to be pretty indecisive. There is little reason to think that 2024 will turn out differently: a Trump-Biden rematch is unlikely to turn out much differently than in 2020, but Republicans have structural advantages in the Senate, the House, and the Electoral College that could flip the popular vote -- further reinforcing the current partisan divide over democracy itself. Still, in searching for a better term than "prevails," I find myself considering the more extreme "survives." While electoral results have remained ambiguous, the stakes for (and fears of) losing have only grown more urgent. Republicans have already used their narrow margins to establish a Supreme Court supermajority, which has already resulted in the loss of fundamental rights and will continue to frustrate efforts of elected Democrats to address important policy issues. Give them more power, and they'll continue their efforts to fortify their power bases and impose their will on a disempowered people. Democrats are right to fear such authoritarianism, and are right that the antidote is a renewed faith in democracy, but their defense of democracy has been frustratingly difficult, because Democrats rarely think of power in the broad sense that Republicans understand: the power of business and money, of media, of social institutions like churches, of culture (one area they have been least effective at controlling, and therefore one they're most paranoid about, hence their recent, seemingly desperate, stress on the "war against woke"). More often than not, Democrats have appealed to moneyed interests, even to the point of sacrificing traditional allies like unions, and this has tattered their reputation as champions of the people. Richardson's "two Americas" may serve as generic shorthand for the two highly polarized parties, but while identities align with parties, the underlying philosophies are more or less present and at tension in most people. By far the most important is the split on equality: the right views the world as necessarily (or rightly) inequal and hierarchical, where each person has a station, and order is maintained by popular acceptance (and, often, by force); the left views all people as fundamentally equal, at least in rights, and ideally in opportunities. The left naturally leans toward democracy, where government is constituted to act in the popular interest. The right leans toward dictatorship (originally of monarchs, although any strongman able to impose order to save their hierarchy will do), and distrusts democracy, suspecting that if given the chance, the majority would end the privileges of those atop the hierarchy. By the way, liberals are focused on the rights and ambitions of individuals. Whether they lean right or left depends mostly on the conservative hierarchy is in admitting talented upstarts -- for many would like to live like princes, but if they are locked out, they're happy to tear the hierarchy down, and willing to appeal to the masses for help in doing so. Liberals are disrupters, which is why conservatives loathe them, but as long as they are sufficiently corruptible, they can be co-opted. But until they get bought off, they are likely to inspire more widespread ambitions -- which is why we still admire Jefferson, Lincoln, and Roosevelt (and wanted to admire Obama). It is important to remember that nearly everything we cherish about our past was the work of liberals aspiring to the greater (more universal) good. (Which is to say, of moves toward the left, though often of people not strongly committed to the left.) Also that every advance has been met with conservative reaction, which was generally flexible enough to admit a select few in order to cut short the hopes of the many. Richardson groups religious zeal and mythology with the side of inequality. They are actually tools of a hierarchy which, given America's founding as a liberal/mass revolt against aristocracy, cannot be defended on its own terms. Rather, the right, in order to maintain any plausibility at all, has to spin a mythic past rooted in old fashioned religion and pioneering entrepreneurial spirit -- the new hierarchy that rose to replace the aristocracy dispatched by the Revolution. Jeffrey St Clair: [09-29] Roaming Charges: Our man in Jersey: Starts with Robert Menendez as a Le Carré character, "New Jersey's own apex con man, whose personal embellishments and political fictions have become so labryinthine that now that he's been caught with gold bars in his closet, he can't even get his own life story straight." In other items, he notes that the US drug overdose rate, in the fifty years since the War on Drugs was launched in 1973, has ("what a smashing success it has been!") increased from 3.0 per 100,000 to 32.4. Marcela Valdes: [10-01] Why can't we stop unauthorized immigration? Because it works. "Our broken immigration system is still the best option for many migrants -- and U.S. employers." Jason Wilson: [10-01] 'Red Caesarism' is rightwing code -- and some Republicans are listening: This piece introduced me to a recent book by Kevin Slack: War on the American Republic: How Liberalism Became Despotism, which argues that America has been destroyed by three waves of liberals: "Teddy Roosevelt's Anglo-Protestant progressive social gospelers, who battled trusts and curbed immigration; Franklin Roosevelt's and Lyndon Johnson's secular liberals, who forged a government-business partnership and promoted a civil rights agenda; and the 1960s radicals, who protested corporate influence in the Great Society, liberal hypocrisy on race and gender, and the war in Vietnam," and who finally cemented their power with "the 'great awokening' that began under Barack Obama." The result: "an incompetent kleptocracy is draining the wealthiest and most powerful people in history, thus eroding the foundations of its own empire." I don't know how I missed this tome in my list of paranoid rants tacked onto the end of my Book Roundup entry on Christopher Rufo, as it's basically Rufo's thesis backed up with more historical special pleading. I do wonder, though, how you could get from Grover Cleveland's America to world-topping empire and wealth except through the progressive machinations of the Roosevelts and their followers. The Amazon page for Slack's book doesn't mention "Red Caesarism," which seems to be the idea that Trump should seize power next chance he gets, and dispense with all the other trappings of democracy. At this point, the article shifts to Michael Anton's The Stakes, about which I previously wrote:
While I'm skeptical both of Trump's chances of winning in 2024, and even more so of his ability to seize total personal control of the government (as, sorry but there is no clearer example, Hitler did upon being appointed chancellor in 1933). Still, it is pretty clear that he would like to, and that he will go out of his way to hire people who have ideas about how to go about it (some of whom he'll have to spring from jail), but these will largely be the same sorts that talked him into thinking Jan. 6 was a bully idea. Zack Beauchamp announced: "I'm really excited to announce that I have written my first book!" The title is: The Reactionary Spirit: How America's Most Insidious Political Tradition Swept the World. I'd be real tempted to order a copy, but right now I'm bummed that there sems to be another year until publication date (next year, maybe fall). I've always imagined that if I could get my book written in the next 3-4 months, say, it could still appear several months before the 2024 election. Beauchamp has been writing more/less philosophical pieces in Vox for several years now. I've followed these with interest, as they dovetail nicely with my own thinking. He described his book in multiple tweets, collected and numbered here:
I also see that a book is coming out in January, 2024, by Hunter Walker and Luppe B. Luppen, titled The Truce: Progressives, Centrists, and the Future of the Democratic Party (from WW Norton). The key here isn't that the leftists became reasonable -- we've long been eager to work on real even if piecemeal solutions -- but that the centrists finally started to realize that their approaches, which most often tried to incorporate right-wing talking points while slightly toning them down, weren't working, either for winning elections or for making tangible improvements (which are always hard when you're not winning elections). As I was trying to wrap this up, I ran across this Nate Silver tweet:
In another tweet, Silver noted:
Ask a question, or send a comment. Monday, September 25, 2023 Music WeekMusic: Current count 40918 [40883] rated (+35), 30 [28] unrated (-2). Seems like I had very little to show for the first half of the week. I finally resolved to deal with a couple major technical problems: why email from my server often fails to reach its intended destination, and why my printer/scanner rarely functions properly: jobs sent to print get held up in a blocked queue, which reblocks itself when you try to enable it; and Xsane shows you test scans, but craps out when you try to get the actual scan data (but for some reason Simplescan works -- you just lose all of the fancier Xsane controls). I blame the latter on Hewlett-Packard, which has now eclipsed Apple as my most hated company in greater Silicon Valley (i.e., I'm not excluding Microsoft, which thanks to many years of total avoidance is now no worse than 3rd). The former problem is harder to assign blame for, but most of the problems have come with Gmail accounts, and Google has made getting help virtually impossible, so 4th (with a star)? I can't report unequivocal success in either case, but I'm a bit more hopeful. Email delivery is tied up with the rather fluid notion of reputation. When the problem first appeared, I was forwarding a lot of server admin email to my Cox account, then throwing almost all of it away. Cox's email forwarders seem to have gotten tired of this, so they started blackballing me, and eventually I got nothing. That's when I noticed I was having trouble with Gmail, as well. I devised a workaround for the server admin email, so now I store it locally, and fetch it using POP (after which I filter the excess baggage out, as before). I set up a couple more email accounts like this for special purposes (such as the Q&A form). When I retested things last week, I found that server mail is being delivered on Cox. Some further tests showed that most of the mail going to Gmail is also being delivered, but that some of it is going to users' spam folders. Of course, hardly any of us have the presence of mind to check whether anything worthwhile turns up flagged as spam. I still get a few spam-related bounce messages on the server, and don't really know what to do about them, other than to alert the people who were supposed to receive the mail, and hope they can persuade Google to fuck up less, but that's tough. As for the printer, my next move is to crawl under the desk and hook up a USB cable, which HP doesn't like but seems to allow. I also spent most of a day working on a website I host. I converted the hand-coded version to WordPress a couple years ago, but never got the client's sign off, so both versions have been online but dormant. The intervening time left a bunch of digital cobwebs I needed to clean up, and I had to write up a guide to how it all works. Then, midweek, I decided I wanted to push to get a Book Report post out ahead of the usual Sunday Speaking of Which. I managed to pull both off, but it was a huge amount of work -- during which I finally managed to give a cursory listen to a few recent records. Note that there are a couple music-related links in Speaking of Which: one on Sam Rivers, one on Nick Shoulders, plus something on Jann Wenner. I've been doing that for a bit: it's easier than trying to add a links section to Music Weekl, and I'm not that big on compartmentalization. I do have a couple things to add on Wenner. Conservatives scream "cancel culture" any time anyone has the temerity to challenge them, but what really gets their goat is the exposure that they're not always the ones in charge -- you know, the ones doing the canceling. They have a lot of trouble understanding why anyone in a position of property and power could turn on them. After all, the whole point of conservatism is to protect the rich and powerful from the masses. Wenner, as far as I can tell, has never been one of them politically, but he is a very rich guy, who achieved a power base by being the owner of a prominent publication, and he has a lot of practice (practically a whole lifetime) acting on his privileges. During his entire tenure, he has made thousands of decisions, big and small, often arbitrary according to his whims and prejudices. My very distant impression is that the magazine's success is largely due to more talented people managing to work around his idiosyncrasies, but I've heard various stories of him stepping in, and invariably they're turns for the worse. Since he's retired, he no longer has an organization dedicated to keeping him from exposing his ignorance and incompetence, and that's what you're seeing in this "scandal": the real Jann Wenner, a rich, tone-deaf boob. As for his book, no one would care about him peddling a set of interviews with famous old (and in a couple cases now dead) white guys. He could even keep the title (The Masters). Even if you had a second thought on seeing the seven bold names on the cover, by the time you read "By Jann S. Wenner" you'd know: of course, those were just the kind of guys he'd love to hang with, and being the fount of free publicity, who would hang with him. His problem was in trying to pass this conceit off as some sort of meritocracy. And, needless to say, the really weak link was Wenner himself. His further dissembling about blacks and women -- things absolutely no reasonable person would think of much less utter -- just dug him deeper into the pit of his vanity project. This week closes out the September Streamnotes archive. I'm not going to hold this up to do the usual indexing. (Oops, I still haven't done August Streamnotes. That probably doesn't matter to you, but it's fairly important for me when I can't remember whether or when I reviewed something already.) Not much to say about this week's records. Three high HM pop records (Doja Cat, Underscores, Yeule) got at least two plays each. Doja Cat might benefit from more, but my irritation with glitch pop both means that I'm done with those and that some of you will probably love them much more than I can imagine. At some point I'll have to admit that I'm just too comfortable in my ears to keep up with all this cutting edge shit. The Fujiwara album has some upside, too, but I took its thinness as a limit, even though it's a big part of the concept. The match up with Brennan and Reid is inspired, perhaps even by our Jazz Poll, where both won Debut Album recently. Billy Bang fans should know about the Jazz Doctors reissue, especially the previously unreleased second half. (Frank Lowe fans can pass.) The Estes album was one of Clifford Ocheltree's daily picks. Nice to wake up to his posts, which very often make me want to search out something (or, if I'm lucky, pull it off my shelves). Brad Luen, by the way, has a good review of Olivia Rodrigo, and features three jazz albums after that. I only found out about Ernst-Ludwig Petrowsky's July 10, 2023 death this week. Much of his work remains hard to find, but the Zentralquartett albums on Intakt are all superb, as is The Salmon, with Michael Griener (drums). I'm playing another I just found, for next week. The Zoh Amba record got me looking through my cache of download links from 577 Records. (I ignore most downloads links, but have been saving those, then forgetting them.) Two more records (so far) for next week. I've been meaning to trawl through this trove, so perhaps this will get me moving. I'm starting to think about the Francis Davis Jazz Poll this year -- that's one thing I need working email lists for -- so I'm starting to get serious about whittling down my queue. Still, got a lot of mail last week, so the net effect was negative. New records reviewed this week: Zoh Amba/Chris Corsano/Bill Orcutt: The Flower School (2023, Palilalia): Tenor sax/acoustic guitar, drums, electric guitar, coming in from different directions and smashing each other up. Five tracks, 30:49. B+(*) [bc] Be Your Own Pet: Mommy (2023, Third Man): Nashville punk band, formed in high school, recorded two albums and a couple EPs 2006-08, broke up, regrouped 15 years later to open for a Jack White tour. Maybe it's the new company they're keeping, but sounds like they're trying harder to pump their sound up to fill the larger auditoriums. B+(**) [sp] Johnathan Blake: Passage (2023, Blue Note): Drummer, from Philadelphia, fifth album as leader since 2012, second on Blue Note. Opens with a short drum solo, slips in a short Dezron Douglas bass solo later, otherwise Blake wrote five (of 8) songs, draws one each from Douglas and pianist David Virelles, and one from the late Ralph Peterson Jr. Also showcases label mates Immanuel Wilkins (alto sax on five cuts, most spectacularly the first) and Joel Ross (vibes). B+(**) [sp] Benjamin Boone: Caught in the Rhythm (2019-21 [2023], Origin): Saxophonist, did two excellent albums with poet Philip Levine (2018-19), continues in that vein here, rotating six less famous poets (Faylita Hicks gets four tracks, T.R. Hummer three), various musicians, including some high profile guests. Most words are sharp and angry, with intense music to match, especially the sax. A- [cd] Doja Cat: Scarlet (2023, Kemosabe/RCA): Rapper-singer Amala Dlamin, from Los Angeles, fourth album, claims the lyrics but very little of the music. The harder stuff is mixed up front, but the softer, less obvious back end is make-or-break. B+(***) [sp] Michael Echaniz: Seven Shades of Violet (Rebiralost) (2023, Ridgeway): Pianist, from "West Coast" (studied at Santa Clara, California Jazz Conservatory, and CalAfts), first album, wrote nine (of 11) pieces, plays some organ and other keyboards, produced by bassist Jeff Denson, vocals on several tracks, guests I rarely notice. B+(*) [cd] Tomas Fujiwara: Pith (2023, Out of Your Head): Drummer, from Boston, where he studied under Alan Dawson, moved to New York, has been in various ensembles with Anthony Braxton and/or his students. Trio here with Tomeka Reid (cello) and Patricia Brennan (vibes), for a dazzling exhibition of rhythm. B+(***) [cd] Vince Gill & Paul Franklin: Sweet Memories: The Music of Ray Price & the Cherokee Cowboys (2023, MCA Nashville): Country singer, vaulted to stardom in 1989, and close to 20 albums later still bankable, teams up with the steel guitarist for their second standards album, after Bakersfield in 2013. Only two songs (of 11) actually written by Price. Sounded pretty good most of the way through, but tails off, and "Danny Boy" doesn't seem like such a good idea. B+(*) [sp] Carlos Henriquez: A Nuyorican Tale (2023, self-released): Bassist, from the Bronx, plays in Jazz at Lincoln Center, fourth album. Some lyrics. Lots of rhythm. B+(**) [cd] Per Texas Johansson: Den Sämsta Lönningen Av Alla (2023, Moserobie): Tenor saxophonist, numerous side credits since 1993, leads a septet here, also playing clarinet, oboe, English horn, and bass clarinet here, with an odd mix of other instruments: pedal steel guitar, piano, violin, vibes/marimba, bass, drums -- mostly name I recognize (e.g., Matthias Ståhl, Petter Eldh, Konrad Agnas). B+(***) [cd] Per Texas Johansson: Orkester Omnitonal (2023, Moserobie): Big band, directed by Johan Siberg. Johansson leans more toward clarinet in this context, long pieces which swoop and sway, meander and sometimes surprise. B+(***) [cd] Low Cut Connie: Art Dealers (2023, Contender): Philadelphia band, principally Adam Weiner, surprise find with their 2011 debut, next two albums I liked almost as much, since then I lost the thread (not that I didn't enjoy lockdown covers, collected as Tough Cookies). Here, however, he starts off like he's trying to be a harder rocking Billy Joel, before he loses speed to density. B [sp] Buddy & Julie Miller: In the Throes (2023, New West): Husband and wife singer-songwriters, both have solo careers as well as six duo albums since 2001. They sound terrific together, but I'm unsure about the songs. B+(**) [sp] Kylie Minogue: Tension (2023, BMG): Australian dance-pop diva, first album 1988, this is number sixteen, after Disco in 2020. B+(**) [sp] Willie Nelson: Bluegrass (2023, Legacy): Twelve old songs (from Nelson's songbook) + bluegrass musicians (acoustic guitar, banjo, dobro, mandolin, fiddle, upright bass, no drummer) = new album. Docked a notch for cover art that shows even less imagination than the concept. B+(*) [sp] Octo Octa: Dreams of a Dancefloor (2023, T4T LUV NRG, EP): Electronica producer Maya Bouldry-Morrison, from New Hampshire, several albums, more singles/EPs since 2011. Three tracks, 24:59. B+(**) [sp] Joel Paterson: Wheelhouse Rag (2021 [2023], Jalopy): Roots guitarist, from Chicago, learned by ear from old blues and country records, taste in album cover art is also retro, this his ninth since 2001, 14 pieces, subtitle: "The original fingerstyle guitar instrumentals of Joel Paterson. B+(**) [sp] Ivo Perelman/Matt Moran: Tuning Forks (2023, Ibeji Music): Duo, tenor sax and vibraphone, the former's eighth album so far this year (four duos, three trios, one quartet). B+(***) [bc] Pink Monads: Multiple Visions of the Now (2022 [2023], 4DaRecord): Quartet, first album: Edith Steyer (clarinet), Céline Voccia (piano), Marialuisa Capurso (voice), Sofia Borges (drums), with a field recording from Morocco. The voice gives a focal point the others scatter around, but their action is much more interesting. B+(**) [cd] Brandon Sanders: Compton's Finest (2023, Savant): Drummer, born in Kansas City but grew up in Los Angeles, debut album at 52, with Chris Lewis (tenor sax), Warren Wolf (vibes), Keith Brown (piano), and Eric Wheeler (bass), with Jazzmeia Horn singing two songs: one of his two originals, and "In a Sentimental Mood." B+(**) [cd] Matthew Shipp: The Intrinsic Nature of Shipp (2023, Mahakala Music): Solo piano, one of the greats, but much more like this to choose from. B+(**) [sp] Nick Shoulders: All Bad (2023, Gar Hole): Country singer-songwriter, based in Fayetteville, fourth album, does his own cover art. The straightforward country songs don't do much for me, but he's more fun when he commandeers a standard and steers it hard left ("Arkansas Troubler," "Won't Fence Me In"). Notable lyric: "workers of the world, I appreciate'cha/ for your poorly compensated toil, I appreciate'cha." B+(**) [sp] Michael Jefry Stevens Quartet: Precipice (2022 [2023], ARC): Avant-pianist, from New York, based in Black Mountain, North Carolina; quite some number of records since 1991, but not so many with his name first (e.g., Fonda/Stevens Group has 13). Quartet with Christian Howes (violin) filling the role of a horn lead, backed by bass (Bryan McConnell) and drums (Rick Dilling). Even swings some. A- [cd] Underscores: Wallsocket (2023, Mom + Pop): Glitch pop artist April Harper Grey, lots of self-released singles and EPs since 2015, second album, first picked up by a known label, cites Skrillex for inspiration, opened for 100 gecs in 2021. I don't like either of those models, and this isn't something I can imagine ever really enjoying, but I'm seriously impressed by a couple songs -- "Old Money Bitch," of course, and the ballad "Good Luck Final Girl" -- and a bit more amused than annoyed by the rest. B+(***) [sp] Vin Venezia: The Venetian (2023, Innervision): Guitarist, plays electric, baritone, acoustic, nylon, and synth guitars; second album, ends with an original but mostly arranges jazz standards (Davis, Corea, Strayhorn, Jobim). Backed by bass (Harvie S), drums (Richie Morales), with tenor sax (Davie Walsh, one track of Bob Magnuson), and occasional piano (David Budway on 4 of 13 tracks). Runs the gamut, but always in good taste. B+(**) [cd] [10-20] Yeule: Softscars (2023, Ninja Tune): Glitch pop artist Natasha Yelin Chang, aka Nat Cmiel, from Singapore, studied in London, based in Los Angeles, third album (after several EPs). I don't quite know what to make of this. B+(***) [sp] Recent reissues, compilations, and vault discoveries: François Carrier Ensemble: Openness (2006 [2023], Fundacja Sluchaj, 3CD): Montreal-based alto saxophonist, goes back to the 1990s, always with drummer Michel Lambert, here at the La Chapelle festival, hosting Tomasz Stanko (trumpet), Mat Maneri (viola), and Gary Peacock (bass), over two nights. All improv, not so far out you can't just relax to it, but never slouches off or misses a step. A- [dl] Alan Goldsher: The Complete Pocket Sessions (2019 [2023], Gold Note): Email billed this as "the original jazztronica" -- a phrase that had appeared at least 20 years before the two albums remastered here (The Pocket and The Other Pocket). Goldsher plays bass and keyboards, has a bunch of releases since these albums kicked him off, and has a longer career (since 2002) as a writer of fiction and non (including books on Modest Mouse, Dave Brubeck, and Art Blakey's sidemen). B- [sp] The Jazz Doctors: Intensive Care/Prescriptions Filled [The Billy Bang Quartet Sessions 1983/1984] (1983-84 [2023], Cadillac): Two sessions in London, the first -- a quartet with Billy Bang (violin), Frank Lowe (tenor sax), Rafael Garrett (bass), and Dennis Charles (drums) -- released as Intensive Care; the second -- Bang, Lowe, Wilber Morris (bass), and Thurman Barker (drums) -- previously unreleased, but titled Prescriptions Filled. B+(***) [sp] Roberto Magris & the JM Horns: High Quote (2012 [2023], JM): Italian pianist, from Trieste, has a label in Kansas City, and recorded this in Lenexa, KS a decade ago, with a substantial horn section, bass, drums, and congas, with vocals by Monique Danielle on two tracks. B+(*) [cd] Ernst-Ludwig Petrowsky: Luten at Jazzwerkstatt Peitz (2011 [2023], Jazzwerkstatt): German alto saxophonist (1933-2023), also plays clarinet, nickname Luten, one of the first important free jazz musicians to emerge from the GDR, probably best known for Zentralquartett (with Conrad Bauer, 1974-2016). Live set here came out a couple months before his death. With Alexander von Schlippenbach (piano) and Christian Lillinger (drums), a long piece (32:21) and a "Freie Improvisation" (10:28). B+(***) [sp] Mark Reboul/Roberta Piket/Billy Mintz: Seven Pieces/About an Hour/Saxophone, Piano, Drums (2004 [2023], ESP-Disk): Saxophonist, Discogs only offers two side-credits, one from 1985, the other 2007, so this is his belated debut, backed by relatively well known (even then, but more so now) pianist and drummer. Rather understated, but draws you in. B+(***) [cd] Old music: Sleepy John Estes: The Legend of Sleepy John Estes (1962 [1963], Delmark): Memphis bluesman John Adam Estes (1899-1977), first recorded for Victor in 1929, his 1929-40 compilations -- I have one on Yazoo, another on Wolf -- are highly recommended (but mostly interchangeable). Recorded a couple tracks for Sun in 1952, but hadn't been heard from since, until Bob Koester tracked him down and cut him loose for his first proper LP. Half of these 12 songs repeat from the earlier comps, his quavery voice and spare guitar timeless. A- [sp] Ernst-Ludwig Petrowsky: Ein Nachmittag in Peitz (1981 [2008], Jazzwerkstatt): Plays alto sax, baritone sax, and flute on three tracks, just talks on one more (beware: 9:39, in German, with laughter). The music begins and ends with duets with Harry Miller (bass, cello, 13:53 and 12:12), separated by the talk and a 41:01 piece called "Relaxing With Heinz, Klaus, Joe and Tony" -- that's Becker (trumpet), Koch (bass), Sachse (guitar), and Oxley (drums). B+(***) [sp] Ernst-Ludwig Petrowsky/Conny Bauer: Wanderung Durch Den Thüringer Wald (2011 [2019], Jazzwerkstatt): Duo, alto sax and bass trombone, they've been playing together at least since 1973, most notably in Zentralquartett. B+(**) [sp] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, September 24, 2023 Speaking of WhichGot a late start, as I thought it was more important to get my oft-delayed Book Roundup post out first. Still, I didn't have much trouble finding pieces this week. Seems like there should be more here on the UAW strike, but I didn't land on much that I hadn't noted previously. Top story threads:Trump, DeSantis, and other Republicans: Trump did very little of note last week, so it's time to merge him back into the field.
Biden and/or the Democrats: I was expecting more interest in the Franklin Foer book, but the bottom two articles are about it here. Biden's foreign policy issues are treated elsewhere, as is the breaking Menendez scandal.
Legal matters and other crimes: The Supreme Court isn't back in session yet, but cases are piling up.
Climate and environment:
Economic matters, including labor: The UAW strike is escalating. It looks like the Writers Guild has a tentative deal, after a lengthy strike, while the actors strike continues. Republicans blame all strikes on Biden, probably for raising the hopes of workers that they might get a fairer split of the record profits they never credit Biden for.
Ukraine War: Since Russia invaded in February 2022, I've always put Responsible Statecraft's "Diplomacy Watch" first in this section, but there doesn't seem to be one this week. They've redesigned the website to make it much harder to tell, especially what's new and what isn't.
Israel:
Around the world:
Other stories:Merrill Goozner: [09-12] As dementia cases soar, who will care for the caregivers? Anita Jain: [09-15] Should progressives see Sohrab Ahmari as friend or foe? He has a book, Tyrany, Inc.: How Private Power Crushed American Liberty -- and What to Do About It, which I wrote something about but didn't make the cut in yesterday's Book Roundup. He's right about some things, wrong about others, a mix that gives him to obvious political leverage, so does it matter? The key question is whether he decides to be friend or foe, because if he aligns with the Democrats he can hope for a seat at the table, and he'll find people who agree with him on most of his issues (but probably not the same people all the time). But Republicans are never going to support his economic critique, not so much because they love capitalism (although about half of them do) as because they believe in hierarchical order, and rich capitalists are clustered at the top of that totem pole. Peter Kafka: [09-21] Why is Rupert Murdoch leaving his empire now? At 92, he's turned control over to one of his sons, Lachlan Murdoch. More:
Omid Memarian: [09-14] Lawrence Wright on why domestic terrorism is America's 'present enemy'. Interview with the author of The Looming Tower, one of the first important books on Al Qaeda after 9/11. Osita Nwanevu: [09-20] The mass disappointment of a decade of mass protest: "The demonstrations of the last decade were vast and explosive -- and surprisingly ineffective." Review of Vincent Bevins: If We Burn: The Mass Protest Decade and the Missing Revolution. Mostly not about America, although I can't think of any protests here that have been notably successful. But the author starts with Tunisia and Arab Spring, where protests were often brutally repressed, turning into civil wars and attracting other nations for bad or worse. But despite many bad tastes, not all of them have been failures. And even those that failed leave you with the question: what else could one have tried? Andrew Prokop: [09-22] The indictment of Sen. Bob Menendez, explained: "He and his wife were given gold bars, a car, and envelopes of cash, prosecutors say." How long before he joins Republicans in complaining about how the Justice Department has been politically weaponized? This isn't his first run in with the law. While he managed to dodge jail last time, and even got reëlected afterwards, Democrats should do whatever they can to get rid of him, especially as doing so wouldn't cost them a Senate seat. It would also get rid of the most dangerous foreign policy hawk on their side of Congress.
Gabriela Riccardi: [09-21] Luddites saw the problem of AI coming from two centuries away: "A new book surfaces their forgotten story -- along with their prescience in a new machine age." The book is Brian Merchant: Blood in the Machine: The Origins of the Rebellion Against Big Tech. Ned Ludd's army has long been decried, becoming synonymous with the futile, kneejerk rejection of progress, but we shouldn't be so quick to insist that any new technology that can be created must be used. Indeed, we've already decided not to use a number of chemicals that have ill side effects, and that list is bound to grow. Certain weapons, like poison gas and biological agents, have been banned, and others like depleted uranium should be. There is growing reluctance to nuclear power. Biotech and AI raise deep concerns. Of course, it would be better to settle these disputes rationally rather than through breaking machines, but where no resolution seems possible -- the use of fossil fuels is most likely -- sabotage is a possibility. Rich Scheinin: [09-22] How Sam Rivers and Studio Rivbea supercharged '70s jazz in New York: "On the saxophonist's centennial, Jason Moran and other artists celebrate his legacy." I'd put it more like: jazz (at least the free kind) nearly was effectively on life support in the 1970s. Rivers, both by example and patronage, revived it. Of course, he wasn't alone. There was Europe, where the most important labels of the 1980s were founded. But in New York, it re-started in the lofts, especially chez Rivers. Dylan Scott: [09-22] Another Covid-19 winter is coming. Here's how to prepare. Also:
Nick Shoulders: [09-24] Country music doesn't deserve its conservative reputation: "the genre isn't inherently right-wing -- it can also broadcast the struggles and aspirations of the working class." Shoulders is a singer-songwriter from Fayetteville, interviewed here by Willie Jackson. I grew up with a lot of Porter Waggoner and Hee Haw, but didn't take country music seriously until I met George Lipsitz, who was a leftist who became a country music fan through organizing. I didn't need much persuasion: all you have to do is listen. Of course, that doesn't mean there isn't a market for jingoism in country music: any time someone cuts a right-wing fart, you can be sure it will go viral. Shoulders, by the way, wrote an In These Times piece in 2020: Fake twang: How white conservatism stole country music. I haven't heard his albums, but will check out All Bad, at least, for next Music Week. Jeffrey St Clair: [09-22] Roaming Charges: Then they walked: Starts with more horror stories of what cops do and get away with. One story from Reuters "documented more than 1,000 deaths related to police use of tasers." Much more, of course. There's a chart of new Covid-19 hospitalizations by state. Number 1, by a large margin, is Florida, followed by Arkansas, Texas, Alabama, Louisiana. There's a fact check on a David Brooks tweet, complaining that a hamburger & fries meal at Newark Airport cost him $78: "This is why Americans think the economy is terrible." Same meal was found for $17, but that didn't factor in the bar tab. If you can stand more: Timothy Bella: [09-23] David Brooks and the $78 airport meal the internet is talking about. I didn't bother reading any of the Jann Wenner scandal last week, but St Clair couldn't resist: "There's nothing more satisfying than to watch a pompous bigot, who has paraded his misogyny and racism for decades with a sense of royal impunity, suddenly implode with his own hand on the detonator." He then excerpts the interview, meant to promote The Masters: Conversations With Bono, Dylan, Garcia, Jagger, Lennon, Springsteen, Townshend. A couple days later, Wenner was kicked off his board seat at the Rock & Roll Hall of Fame, and denounced by most of the staff at Rolling Stone. Most likely he'll wind up as an example in some future book about "cancel culture." Also on Wenner:
Jia Tolentino: [09-10] Naomi Klein sees uncanny doubles in our politics: An interview with the author of Doppelganger. After the Brooks flare up above, someone recommended a 2004 article by Sasha Issenberg: David Brooks: Boo-Boos in Paradise. Ask a question, or send a comment. Saturday, September 23, 2023 Book RoundupLast Book Roundup was on April 28, 2023, following only two in 2022. My practice then was to only post once I've accumulated a batch of 40 book notes. They aren't really reviews, because they are almost all based on reading about the books (e.g., but not exclusively, on Amazon). However, in recent years, I've added lists of related books to many entries, plus I add on an unmetered "briefly noted" list, so the absolute number of books mention has grown, making the posts huge. Last time I speculated I might cut the main list in half, to 20 books. This time I had 23 when I decided I should push this out, and much more due diligence to do, so I settled on 30. Next time will be 20 -- and hopefully less than six months. Draft file still has 88 partial drafts, 202 noted books. I've included a few books that haven't been published yet (dates in brackets) in the supplemental lists, but not as main or secondary listings. The books on the right are ones I have read (or in Clark's case, have started -- I'm about 100 pages in). Two of those are in the supplementary lists. The second Hope Jahren is more timely, but I read (and wrote up) the memoir first. The Ther book I hoped would offer more insights into Ukraine, but had more to say about politics in Germany, Italy, and Poland. Still, someone needs to write a book that lives up to the title. Several other books noted below are in my queue, waiting for my limited attention:
I should also mention, in my queue, Samuel Moyn's previous book: Humane: How the United States Abandoned Peace and Reinvented War. If I didn't have so much pending, I'd seriously consider adding Naomi Klein: Doppelganger. The title is a bit too clever, but the notion of finding perverse mirror images in the right-wing fever swamp is profound, maybe because it articulates something that's been smacking us upside the head for decades now. The long list of books I filed under Rufo is full of examples. These are books that cry out not for political debate but for psychological intervention. As Klein notes, they often start with a kernel of truth -- often one that we on the left would at least partly agree with -- then twist it around, often blaming us for problems that their side actually caused, playing up their victimhood, less for sympathy from others than to stir up anger within their own identity cult. After all, it's not like they have any sympathy for suffering of victims outside their orbit. I've tracked quite some number of these right-wing tracts over the years, and they are clearly becoming more and more deranged. The supplemental Iraq list is unusual here, in that it includes some books that are quite old, simply because I missed them at the time. (Christopher Hitchens is an example I don't have to scratch my head over missing. Victor Davis Hanson is one that was pretty ridiculous when it was written, but all the more so in hindsight. And Judith Miller was one held back until she thought the coast was clear.) The implicit backdrop to this list is the long list of books I've noted previously. These are collected in one huge file (6398 books, 350k words). At some point I should split this up into thematic guides. (A grep for "Iraq" finds 323 lines, which is probably close to 200 books. "Israel" finds 601 lines. "Trump" 780. "Biden" 56.) Here are 30 more/less recent books of interest in politics, the social sciences, and history, with occasional side trips, and supplementary lists where appropriate: Michael D Bess: Planet in Peril: Humanity's Four Greatest Challenges and How We Can Overcome Them (2022, Cambridge University Press): Fossil fuels and Climate Change; Nukes for War and Peacetime; Pandemics, Natural or Bioengineered; Artificial Intelligence. One thing that distinguishes all four is the need for international cooperation, which involves "taking the United Nations up a notch." He even tries to anticipate "rogues, cheaters, and fanatics," but only leaves six pages for the chapter on "What Could Go Wrong?" Christopher Clark: Revolutionary Spring: Europe Aflame and the Fight for a New World, 1848-1849 (2023, Crown): Major historical work (896 pp). I've moved on to it after reading EJ Hobsbawm's The Age of Revolution: 1789-1848, which covered its six decades with remarkable concision, but didn't offer many details of the revolutionary events of 1848. People like to brag about how much wealth capitalism has bestowed on the world, but through 1848 only a very few had anything to show for it, and the new laboring class (including significant numbers of women and children) were mired in misery. Hobsbawm mentions various crop failures, famines, and crashes of the 1840s that did much to provoke revolt. But also, with nearly every nation in Europe gripped by absolute monarchy, the emerging business class had their own reasons, and ideology, for revolution. My thinking was that 1848 marked the end of an age of bourgeois revolution that started in America in 1775 and ended in 1848, after which the capitalists found they had more in common with aristocrats than with the newly militant proletariat, especially when the monarchies catered to the nouveaux riches they found themselves dependent on. One thing that Clark stresses is that even where the revolutions were successfully repressed, the victors were never able to restore their ancien regime. NW Collins: Grey Wars: A Contemporary History of US Special Operations (2021, Yale University Press): Tries to present a broad picture of how elite military units have been used going back to 1980 (Desert One), without giving away too much, least of all anything that might damage reputations or question motives. More on special ops and clandestine war:
Cory Doctorow: The Internet Con: How to Seize the Means of Computation (2023, Verso): Science fiction writer, with Rebecca Giblin, co-wrote Chokepoint Capitalism: How Big Tech and Big Content Captured Creative Labor Markets, plus more listed below. First liine: "This is a book for people who want to destroy Big Tech." Unclear to me how you can do that (not that I don't understand the desire for interoperability), but his explanation of why is succinct and pretty compelling. Two parts: one about "seizing," the other answers to a bunch of "what about" questions.
Cara Fitzpatrick: The Death of Public School: How Conservatives Won the War Over Education in America (2023, Basic Books): Looking back, the surprise may be that public schooling ever got to be so popular in America in the first place. Before 1800 (or possibly 1830), schooling was largely the province of churches, and even then only for the training of a select few. But with the scientific and industrial revolutions of the 19th century, building on the enlightened liberalism of the nation's founding, public education grew, even if it was sometimes sold as a means to naturalize and domesticate unruly immigrants. Some religions, especially Roman Catholics, continued to hold out for their own schools -- when I was growing up, I knew kids who went, and was aware their parents fretted over the costs -- and the rich had their own private schooling. The private school movement got a boost with the fight against desegregation, and Republicans found political opportunities on at several fronts: vouchers would appeal to the Catholic voters they started courting as part of Nixon's "emerging Republican majority," and charter schools would fit their privatization propaganda, and hurt teacher unions (who tended to support Democrats). Since then, the Republican Party has only gotten dumber, meaner, and more self-destructive. I doubt that means the battle is over, as the world itself has only become more complex and demanding of expert knowledge (as well as judicious politics), and that stuff has to be taught. Also:
Franklin Foer: The Last Politician: Inside Joe Biden's White House and the Struggle for America's Future (2023, Penguin Press): Journalist, writes for Atlantic, has three previous books, none with obvious political subjects (e.g., How Soccer Explains the World), so this effort at doing insider reporting of Biden's first two years is possibly novel, and almost unique compared to hundreds of scandal seekers who have gone after Trump. I've never liked Biden, so it may be faint praise to admit that he's the first president in my lifetime who has surprised me in pleasing ways -- of course, not always, and often not as much as I would have liked -- and I'm curious about how that happened. Foer seems to credit Biden himself for political pragmatism, but the bigger question is why they decided to respond to big problems in serious ways, as opposed to the studied downplaying of everything under Obama, let alone the madcap fits of Trump. Also on Biden (not much):
Meanwhile, the right has been busy pumping out anti-Biden tracts:
Joshua Frank: Atomic Days: The Untold Story of the Most Toxic Place in America (2022, Haymarket Books): Hanford Nuclear Reservation, in Washington, initially built as part of the Manhattan Project, the site along the Columbia River where the plutonium used on Hiroshima was created from uranium and extracted, a process that extended long after the war. The site now contains some 56 million gallons of radioactive waste, with a cleanup price tag of $677 billion (and counting). Thomas Gabor/Fred Guttenberg: American Carnage: Shattering the Myths That Fuel Gun Violence (paperback, 2023, Mango): They enumerate 37 myths, most of which you'll find dubious (many downright bonkers) even without the supporting documentation, in eleven chapters, each with its "bottom line" summary. We've been around this block several times before, so there's not much new to add, but:
Peter Heather/John Rapley: Why Empires Fall: Rome, America, and the Future of the West (2023, Yale University Press): Heather a historian of the late- and post-Roman period, Rapley a political economist. Reminds me that Cullen Murphy wrote a similar book in 2007: Are We Rome? The Fall of an Empire and the Fate of America. Unlikely that any of these authors asks the obvious question: what good are empires anyway? Sure, when Rome fell, it was promptly sacked by Germanic tribes (most famously the Vandals), because that's how the world worked then. But fates like that have been rare since 1945, unless you consider the IMF analogous. Most Americans might very well be better off without an empire. Same for the world. Peter J Hotez: The Deadly Rise of Anti-Science: A Scientist's Warning (2023, Johns Hopkins University Press): Doctor, has written several books on public health, and has stepped up recently to counter the vast torrent of anti-vaccine nonsense coming from all (but mostly right-wing) quarters. Note that Amazon offered me a "similar items" list: virtually all of them were by anti-vax quacks (most notably RFK Jr.). [09-19]
Walter Isaacson: Elon Musk (2023, Simon & Schuster): Big biography (688 pp), by the "biographer of genius," or so the hype goes: his previous subjects include Leonardo Da Vinci, Benjamin Franklin, Albert Einstein, Jennifer Doudna, and Steve Jobs. You may think you know enough about him already, but this seems to be another case where the father almost makes the son sympathetic (others include Charles Koch and Donald Trump, though at this point they should be recognized as evil in their own right). Also on Musk:
Hope Jahren: Lab Girl (2016, Knopf; paperback, 2017, Vintage): Memoir of growing up in a Norwegian-American household in Minnesota to become a paleobotanist, through grad school in California and teaching posts in Atlanta, Hawaii, and finally Norway, each with her main interest, a lab full of mass spectrometers and such. The most striking chapter is one on her pregnancy off the meds that kept her centered. Also chronicles Bill, her slightly more eccentric lab assistant who followed her from post to post. She also wrote:
Siddharth Kara: Cobalt Red: How the Blood of the Congo Powers Our Lives (2023, St Martin's Press): Investigation into cobalt mining in Congo -- a mineral increasingly in demand for the rechargeable lithium-ion batteries used by everything from smart phones to vehicles, which Congo supplies 75% of the world market for. If you've read Adam Hochschild's King Leopold's Ghost, you may think that the exploitation of this former Belgian colony couldn't get worse, but independence under Mobutu defined the word kleptocracy, and since his demise, Congo has been ravaged by the world's longest and most devastating wars. And as always, nothing adds to human suffering more quickly than a rush for treasure. More recent books on Africa (actually very hard to search for on Amazon):
Naomi Klein: Doppelganger: A Trip Into the Mirror World 2023, Farrar Straus and Giroux): Canadian left-political writer, one who has regularly shown a knack not just for understanding our world but for formulating that in politically meaningful ways -- perhaps most famously in The Shock Doctrine: The Rise of Disaster Capitalism (2007). New book is more personal, based as it is on the public frequently getting her confused up with Naomi Wolf, who wrote the third-wave feminist classic The Beauty Trap (1991), and who, like Klein, was involved in Occupy Wall Street. Since then, Wolf has veered erratically toward the right, and especially promoting Covid misinformation. Odd, though, that the blurb info on this book doesn't mention Wolf by name. Not unrelated:
Melvyn P Leffler: Confronting Saddam Hussein: George W Bush and the Invasion of Iraq (2023, Oxford University Press): A "fair and balanced" reappraisal of the debates and process that led to Bush's decision to invade Iraq, based on new interviews with "dozens of top officials" and "declassified American and British documents." Leffler has a long history of supporting American war policy. Some of his previous books, plus other recent books on Iraq:
Back on the 20th anniversary, I also collected this list of older Iraq books that I hadn't otherwise cited. Most of these are old, some embarrassingly so:
Jill Lepore: The Deadline: Essays (2023, Liveright): Harvard historian, has written books on a wide range of subjects, from King Phillip's War to the Simulmatics Corporation, and to round it all out, These Truths: A History of the United States, all the while knocking out a wide range of historically astute essays for The New Yorker. This collects 640 pp of them. David Lipsky: The Parrot and the Igloo: Climate and the Science of Denial (2023, WW Norton): Seems like every batch has a hook on which I hang the most recent batch of climate change books. This is the latest "big idea must-read book," meant to finally batter down the door of resistance, even though he must know that the problem isn't resistance but diversion, all the sneaky little side-trips politicans can be enticed along rather than biting off a task that exceeds their patience and talent. His aim is to convince you through stories (he's mostly written fiction and memoir before this), and they're less about the underlying science, which you probably know (and are tired of) by now, and more about the arts of denial -- not that I doubt there's science behind it but I still insist it's mostly art. Other recent books on climate:
Michael Mann: On Wars (2023, Yale University Press): British-American comparative historical sociologist, wrote a series of books on The Sources of Social Power, presents this as a career capstone, surveying the entire history of war, from ancient to modern, asking why and concluding: "it is a handful of political leaders -- people with emotions and ideologies, and constrained by inherited culture and institutions -- who undertake such decisions, usually irrationally choosing war and seldom achieving their desired results." While that's true enough of the past, when war was mostly fought for plunder, and as a contest for esteem among violent males, does any of that still make sense? Sure, we do still have would-be warriors, always with their minds stuck in past fantasies, but their track record over the last century (and perhaps much more) is so dismal they should be relegated to asylums (or professional sports?). An honest book, and I have no reason to think that this one isn't, would show as much, in endless detail, but the very question -- are wars rational? -- should be unthinkable, but lamentably is still here. John J Mearsheimer/Sebastian Rosato: How States Think: The Rationality of Foreign Policy (2023, Yale University Press): In order for the realist foreign policy to work, one must start by assuming the underlying rationality in all actors: that they understand their interests, that they can anticipate how various strategies will work or fail, and that they can adjust their strategy to their best advantage. Given that none of those assumptions are sound, it's hard to imagine why they call the resulting policy "realism." The authors have been critical of US foreign policy of late for being too bound up in ideology, and seek to rein that in with reason, but even their examples come out cock-eyed: Putin's decision to invade Ukraine may have been rigorously rational, but it was based on a set of plainly wrong assumptions, making it clearly a bad decision, one that has hurt Russia more than Putin could ever have hoped to gain. Same can be said for Bush in 2003 Iraq, except that the authors discard that decision in the irrational bucket. The two cases are remarkably similar, starting with the imagined own interests, the unacknowledged desire for independence, and the belief that overwhelming power ("shock and awe") would result in immediate capitulation. Samuel Moyn: Liberalism Against Itself: Cold War Intellectuals and the Making of Our Times (2023, Yale University Press): In the 1960s, I got very upset at liberals who supported the Vietnam War. Liberals were on top of the world in 1945, but by 1948 nearly all of them had been shamed, cajoled, and/or terrorized into turning on the left, both abroad, where the US converted failing European colonies into safe havens for further capitalist exploitation, and at home, where they allowed labor unions to be purged and curtailed. Liberalism's goal of freeing all individuals seemed revolutionary compared to the aristocracy, feudalism, and slavery that preceded it, but freedom was a two-edged sword, leaving losers far more numerous than winners. With the New Deal, some liberals started to bridge the gap with the left, offering a "safety net" to help tame the worst dysfunctions of capitalism. During the Cold War, liberals split into two camps: one turning neoconservative, the other still committed to the "safety net" but less so to labor unions, and not at all to solidarity with workers and the poor abroad. Moyn tackles this problem through six portraits of early post-WWII liberals: Judith Shklar, Isaiah Berlin, Karl Popper, Gertrude Himmelfarb, Hannah Arendt, and Lionel Trilling: not the first names I thought of, but suitable for purpose, which Moyn states clearly in his first line: "Cold War liberalism was a catastrophe -- for liberalism." Other recent books on liberalism (philosophy and its limits):
Samir Puri: The Shadows of Empire: How Imperial History Shapes Our World (2021, Pegasus Books): British, of both Indian and African heritage, an international relations professor with a background in diplomacy, has a newer book on Ukraine (see Zygar, below). The cover blurb by neo-imperialist Robert D Kaplan isn't promising, but there can be little doubt that the centuries of European imperialism have left lasting marks both on the former rulers and on the formerly ruled. I've argued that the essential mission of American foreign policy after WWII was to salvage the former colonies for capitalism, which mostly involved keeping local leaders on retainer, often arming them to suppress local rebellions, sometimes sending American troops in to do the job (as in Vietnam), and sometimes failing at that (ditto). The conceit that Americans still have of leading the "free world" is a residue of the imperial mindset. So was Britain's wish in 2003 to fight another war in Iraq. So is France's desire to "help out" in Mali and Niger. So is Russia's notion that Ukraine should be grateful for their civilization. For most people, imperialism was revealed as disaster and tragedy by WWII, but these residues linger on. It's hard to change bad habits until you're conscious of them. That I take to be the point of this book. Also (his book on Ukraine is listed under Mikhail Zygar):
James Risen: The Last Honest Man: The CIA, the FBI, the Mafia, and the Kennedys -- and One Senator's Fight to Save Democracy (2023, Little Brown): A biography of three-term Senator Frank Church, the last Democrat from Idaho, an early critic of the Vietnam War, and perhaps best known for his investigations exposing all sorts of malfeasance by the CIA and FBI -- the Kennedys and the Mafia factor into this through the CIA plots against Cuba. No figure in American politics saw his reputation disintegrate more totally than J Edgar Hoover, and that was largely due to Church's discoveries. As I recall, the War Powers Act, much ignored by presidents from Reagan on, was another of his legacies. Christopher F Rufo: America's Cultural Revolution: How the Radical Left Conquered Everything (2023, Broadside Books): That's news to me, but so claims the guy touted as "America's most effective conservative intellectual [as he] proves once and for all that Marxist radicals have taken over our nation's institutions." The "ultimate objective" of this sinister conspiracy? "replacing constitutional equality with a race-based redistribution system overseen by bureaucratic 'diversity and inclusion' officials." In other words, this book is too stupid to even make fun of. Such a vast incomprehension is only to be pitied. (By the way, if you do want to make any sense of this, consider that the Marx and later leftists as the true apostles of Enlightenment liberalism, the ones who truly aspired to liberty and justice for all, as opposed to the would-be elites who jumped off the revolutionary train as soon as they secured their rights. "Thinkers" like Rufo recall that red-baiting worked once, so they assume it will work again. Had they actually read some Marx, they'd recall the quip about history repeating first as tragedy, then as farce.) Of course, there is more right-wing paranoid delusion coming your way:
It's worth noting that not everyone on this team right wants to seem insane. Some have written more sensible-sounding books, but they're usually based on the same paranoid assumptions. E.g.:
Paul Sabin: Public Citizens: The Attack on Big Government and the Remaking of American Liberalism (2021, WW Norton): The New Deal produced a broad consensus that government could work with business (especially big business) and labor unions to benefit everyone. This was attacked relentlessly by conservative business interests, especially after 1970 when productivity slowed, inflation increased, and businesses decided they should be more predatory in order to maintain their expected level of profits. Nicholas Lemann sums up this shift in his Transaction Man: The Rise of the Deal and the Decline of the American Dream (2019). Sabin's throwing another wrinkle into this story, arguing that the 1960-70s advent of "environmentalists, social critics, and consumer advocates like Rachel Carson, Jane Jacobs, and Ralph Nader" also contributed to the erosion of liberal faith in government. This strikes me as a bit far-fetched, as it's hard to imagine who they might expect other than a democratic government might stand up for public interests. It is true that the reputation of liberal politicians as public servants was damaged by various mistakes -- chief of which was the Vietnam War -- as well as a massive increase in corporate lobbying and media. But it is also true that "public citizens" accomplished much of what they had set out to before the political tide turned conservative. Where they failed was in not securing enough political power to protect the public's gains against the corporate lobbyists and political money. Joanna Schwartz: Shielded: How the Police Became Untouchable (2023, Viking): UCLA law professor, teaches courses on civil procedure, police accountability, and public interest lawyering. Police are very rarely held accountable for their prejudices, mistakes, judgment lapses, and unnecessary violence, as they are shielded by many layers, starting with their willingness to lie and cover for each other, their unions, administrators, lawyers (including prosecutors), judges, and enablers among the "law and order" politicians. More on police violence:
Richard Norton Smith: An Ordinary Man: The Surprising Life and Historic Presidency of Gerald R Ford (2023, Harper): A massive production (832 pp) for the House minority leader from Michigan, who got drafted to be Vice President to help bury the tarnished Spiro Agnew, then elevated to President to pardon and escape Richard Nixon, who then managed to hold off Ronald Reagan and secure the Republican nomination in 1976, only to lose to Jimmy Carter -- which set Reagan up nicely for 1980, in what really was one of the most adversely consequential elections of our lifetime. In his time, Ford was a guy who no one really hated, because he never was that important. But Republicans managed to name an aircraft carrier for him, and now he gets a big biography, even though the title admits he wasn't up to it. Norman Solomon: War Made Invisible: How America Hides the Human Toll of Its Military Machine (2023, New Press): Author has several books on media, as well as two previous ones on war: War Made Easy: How Presidents and Pundits Keep Spinning Us to Death (2005), and his memoir, Made Love, Got War: Close Encounters With America's Warfare State. This starts the selling of the Global War on Terror after 9/11, with how it was exploited when it was popular, and how as enthusiasm faded it gradually got swept out of sight. Still, one needs to look further back to get the point: Vietnam was touted as the "living room war" as daily broadcasts showed the war degenerating into a hopeless quagmire as dissent grew. If the military learned anything from that war, it was the importance of better managing the press. That seemed to work in the 1990 Gulf War, and the many embedded journalists in the 2003 drive to Baghdad did as they were told, but Iraq fell apart even faster than Vietnam, so the press was virtually shut down after Bremer left, with very few reporters free to dispute press office claims, and diminishing interest in finding out more.
Astra Taylor: The Age of Insecurity: Coming Together as Things Fall Apart (paperback, 2023, House of Anansi Press): Author of important books on democracy and the internet, activist in Occupy Wall Street and the Debt Collective, as sharp and as broadly knowledgeable as anyone writing today. These essays were written for the CBC Massey Lectures, but sum up a world view, for a world where politicians pride themselves as guardians of our security, while plunging us into ever greater precarity. Peter Turchin: End Times: Elites, Counter-Elites, and the Path of Political Disintegration (2023, Penguin Press): Attempts to work out a scientific framework for comparative history, or rather claims to have worked one out, with a vast range of data points ("CrisisDB"), and is now intent on applying it to the anomaly that is present-day America. Much of this hangs on his concept of the over-production of elites (themselves a slippery concept, given that one can be elite in something without having effective power over anything else). The ability to jump so widely makes for a heady mix, but you mostly wind up grasping at hints. Mikhail Zygar: War and Punishment: Putin, Zelensky, and the Path to Russia's Invasion of Ukraine (2023, Scribner): A year after the invasion comes the first wave of books trying to explain how and why it happened -- most mixed in with more than a dollop of self-serving propaganda. This is one of the more credible prospects (at least I've found interviews with him to be credible): Zygar, a Russian now based in Berlin, has many years as an independent journalist, which got him close enough to write and distant enough to publish All the Kremlin's Men: Inside the Court of Vladimir Putin. He starts here by going deep into history to show how Russians and Ukrainians came to hold very different views of each other -- a basic cognitive dissidence that American hawks, stuck with their own myths, show no interest in. Other recent books on the conflict (Matthews and Plokhy are most comparable, and Puri offers an interesting viewpoint; others are more specialized, running the range of views; none strike me as pro-Russian, but a couple are critical of the US):
Additional books, noted without comments other than for clarity. I reserve the right to return to some of these later (but probably won't; many are here because I don't want to think about them further). Michele Alacevich: Albert O Hirschman: An Intellectual Biography (2021, Columbia University Press): Second biography I've seen, after Jeremy Adelman: Worldly Philosopher: The Odyssey of Albert O Hirschman (2013), reportedly stronger on Hirschman's economic theories. Charles Camic: Veblen: The Making of an Economist Who Unmade Economics (2020, Harvard University Press). Rachel Chrastil: Bismarck's War: The Frano-Prussian War and the Making of Modern Europe (2023, Basic Books). James C Cobb: C Vann Woodward: America's Historian (2022, The University of North Carolina Press). Trae Crowder/Corey Ryan Forrester/Drew Morgan: The Liberal Redneck Manifesto: Draggin' Dixie Outta the Dark (paperback, 2017, Atria). Trae Crowder/Corey Ryan Forrester: Round Here and Over Yonder: A Front Porch Travel Guide by Two Progressive Hillbillies (Yes, That's a Thing) (2023, Harper Horizon). Sandrine Dixson-Declève/Owen Gaffney/Jayati Ghosh/Jorgen Randers/Johan Rockström/Per Espen Stoknes: Earth for All: A Survival Guide for Humanity (paperback, 2022, New Society): "A Report to the Club of Rome (2022) Fifty Years After The Limits to Growth (1972)." Robert Elder: Calhoun: American Heretic (2021, Basic Books). Roland Ennos: The Age of Wood: Our Most Useful Material and the Construction of Civilization (2020, Scribner). Samuel G Freedman: Into the Bright Sunshine: Young Hubert Humphrey and the Fight for Civil Rights (2023, Oxford University Press). Newt Gingrich: March to the Majority: The Real Story of the Republican Revolution (2023, Center Street): Memoir of the 1994 election that made Gingrich Speaker of the House. Josh Hawley: The Masculine Virtues America Needs (2023, Regnery): US Senator (R-MO), famous Jan. 6 track star. David Horowitz: I Can't Breathe: How a Racial Hoax Is Killing America (2021, Regnery). Robert Kagan: The Ghost at the Feast: America and the Collapse of World Order, 1900-1941 (2023, Knopf): Carries on from his 2006 book, Dangerous Nation: America's Foreign Policy From Its Earliest Days to the Dawn of the Twentieth Century. Patrick Radden Keefe: Empire of Pain: The Secret History of the Sackler Dynasty (2021, Doubleday). Cody Keenan: Grace: President Obama and Ten Days in the Battle for America (2022, Mariner Books): Obama speechwriter, focuses on the speeches of 10 days in June 2015. Keith Kellogg: War by Other Means: A General in the Trump White House (2021, Regnery). Michael G Laramie: Queen Anne's War: The Second Contest for North America, 1702-1713 (2021, Westholme). Marc Levinson: The Box: How a Shipping Container Made the World Smaller and the World Economy Bigger (2nd edition paperback, 2016, Princeton University Press). Marc Levinson: Outside the Box: How Globalization Changed From Moving Stuff to Spreading Ideas (2020, Princeton University Press). Robert Lighthizer: No Trade Is Free: Changing Course, Taking on China, and Helping America's Workers (2023, Broadside Books): Trump's US Trade Representative. Stephen A Marglin: Raising Keynes: A Twenty-First-Century General Theory (2021, Harvard University Press): 928 pp. Ben Mezrich: The Antisocial Network: The GameStop Short Squeeze and the Ragtag Group of Amateur Traders That Brought Wall Street to Its Knees (2021, Grand Central). Walter Benn Michaels/Adolph Reed Jr: No Politics but Class Politics (paperback, 2023, Eris). Adolph L Reed Jr: The South: Jim Crow and Its Afterlives (2022, Verso). James Rickards: Sold Out: How Broken Supply Chains, Surging Inflation, and Political Instability Will Sink the Global Economy (2022, Portfolio). Peter Robison: Flying Blind: The 737 MAX Tragedy and the Fall of Boeing (2021, Doubleday; paperback, 2022, Anchor). Kermit Roosevelt III: The Nation That Never Was: Reconstructing America's Story (2022, University of Chicago Press). Julio Rosas: Fiery (But Mostly Peaceful): The 2020 Riots and the Gaslighting of America (2022, DW Books): Sees ANTIFA under every rock. Mike Rothschild: The Storm Is Upon Us: How QAnon Became a Movement, Cult, and Conspiracy Theory of Everything (2021, Melville House). Marco Rubio: Decades of Decadence: How Our Spoiled Elites Blew America's Inheritance of Liberty, Security, and Prosperity (2023, Broadside Books). Kohei Saito: Karl Marx's Ecosocialism: Capital, Nature, and the Unfinished Critique of Political Economy (paperback, 2017, Monthly Review Press). Kohei Saito: Marx in the Anthropocene: Towards the Idea of Degworth Communism (paperback, Cambridge University Press): Argues that Marx had a long-suppressed ecological critique of capitalism. Craig Shirley: April 1945: The Hinge of History (2022, Thomas Nelson): Wrote Newt Gingrich's authorized biography. Thomas Sowell: Social Justice Fallacies (2023, Basic Books). David Stasavage: The Decline and Rise of Democracy: A Global History From Antiquity to Today (2020, Princeton University Press). Greg Steinmetz: American Rascal: How Jay Gould Built Wall Street's Biggest Fortune (2022, Simon & Schuster). James B Stewart/Rachel Abrams: Unscripted: The Epic Battle for a Media Empire and the Redstone Family Legacy (2023, Penguin Press): The struggle for succession at Paramount Global. Cass R Sunstein: How to Interpret the Constitution (2023, Princeton University Press). Owen Ullmann: Empathy Economics: Janet Yellen's Remarkable Rise to Power and Her Drive to Spread Prosperity to All (2022, Public Affairs). Volker Ullrich: Germany 1923: Hyperinflation, Hitler's Putsch, and Democracy in Crisis (2023, Liveright). Nikki Usher: News for the Rich, White, and Blue: How Place and Power Distort American Journalism (2021, Columbia University Press). Studying recent trends in newspapers, including the New York Times. Maurizio Valsania: First Among Men: George Washington and the Myth of American Masculinity (2022, Johns Hopkins University Press). Thomas D Williams: The Coming Christian Persecution: Why Times Are Getting Worse and How to Prepare for What Is to Come (2023, Crisis Publications): Catholic theologian. Ask a question, or send a comment. Monday, September 18, 2023 Music WeekSeptember archive (in progress). Music: Current count 40883 [40847] rated (+36), 28 [27] unrated (+1). New releases have started to pick up after the late-summer doldrums, so it's been easier to find things to listen to. One help was Robert Christgau's September Consumer Guide. Four full-A albums, three of them hyped enough I got to them previously: Olivia Rodrigo (A last week), Ashley McBryde and Speedy Ortiz (below, but written up, and commented on in Facebook, before the CG appeared). Both got multiple plays, with diminishing returns. Not that I can't hear why other people like them so much, but my own pleasure wore thin fast. I'm hardly the only guy to get cranky as he gets old, but felt it here. Nothing wrong with the Bobbie Nelson/Amanda Shires album, but doesn't strike me as a big deal either. Nor do I find comparisons to brother Willie's Stardust or Lady Gaga's Bennetts very helpful. As a jazz critic, I listen interpretations of standards all the time, so I need to be more discerning (or maybe again I'm just being cranky). On the other hand, I thought the Muldaur/Thompson record added something significant, albeit not revolutionary, to the original duets. The rest are below, aside from the ones I had previously dealt with: Rodney Crowell (**), Gloss Up (**), Killer Mike (***), Janelle Monae (A-), Thelonious Monk (B+), and Noname (A-, though I found several places where I hadn't updated the original *** grade). I might have given up too fast on the first two, but haven't rechecked. Discogs doesn't give a release date for my Monk box (3-CD), and the outside of the box doesn't help, but inside there's a hint that it came out in 1988. I can't find anything I wrote on it, so it was probably pre-2003. I also didn't grade the individual discs, as I sometimes did later -- but there's little to differentiate this set. I also picked up some suggestions from Brad Luen's Countrypop Life: Love and Theft. I still haven't tackled Morgan Wallen (or Bailey Zimmerman), and everyone else I'm either up or down on, but it's a good guide. I'll also note that I have tabs open for Christian Iszchak, Sidney Carpenter-Wilson, and Steve Pick -- none of which I've exhausted. I also took a look at Magnet's "30 for 30" lists by Dan Weiss and Thomas Reimel. Not very useful as checklists, as I've heard everything on the Weiss list, and I've only missed 2 items on Reimel's (although I had to look more up, as who remembers bands like Guided by Voices and Interpol?). I tried jotting down a list myself (or two, one comparable for non-jazz, one with zero overlap for jazz): in the notebook. I spent less than an hour on each, so they're pretty iffy -- especially the jazz one. I'd be delighted if Magnet had any interest in running my list. (I was assuming they had no interest in jazz, but I now see a review of Rempis Percussion Quartet's Harvesters in their Essential New Music section -- as well as another Guided by Voices album I haven't heard.) The new Lehman album is in a tight race with James Brandon Lewis's For Mahalia, With Love for jazz album of the year. It took me longer to get comfortable with, but that's the kind of prickly record it is. The other Lehman thing is one of the first things I noted in my infrequent "Limited Sampling" section, panned with a U-, so I was very surprised when it came through. By the way, the aforementioned Harvesters is currently a top-five jazz album this year. The Mike Clark album was another surprise -- not the first time he's surprised me, but he's got one of those names that gets easily mixed up with many others. Before I played Clark, I came within a hair of giving his long-time collaborator Eddie Henderson an A-, but afterwards this is the place to hear him. Still starting each day off with something old from the stacks. This morning: Tampa Red. Playing a new-old François Carrier/Tomasz Stanko box at the moment, which is sublime background. Another Speaking of Which yesterday (5894 words, 103 links). Got a late start Friday, as I spent Thursday cooking a small dinner for a friend's birthday. Just had a single dish: phat thai, something I make fairly often, as it's easy to keep the rice noodles in the pantry, shrimp in the freezer, eggs and scallions in the refrigerator (I buy fresh scallions every trip to the grocers, as they're always useful), peanuts, and the basic sauce ingredients. (We don't care much for the bean sprouts.) As it was a special occasion, I added a package of frozen sea scallops, and chunks of country ham I trimmed off the shank bone. For dessert, flourless chocolate cake. Couldn't be simpler, or better. Many oft-procrastinated projects await this week. The most important, and most daunting, one is getting mail working on the server. Weather around here is forecast to be neither hot nor cold, but rather wet. New records reviewed this week: The Chemical Brothers: For That Beautiful Feeling (2023, Virgin EMI): British techno duo, Tom Rowlands and Ed Simons, have been doing this a long time (debut 1995). Takes some time warming up, then overdoes it. B+(*) [sp] Mike Clark: Kosen Rufu (2022 [2023], Wide Hive): Drummer, like Eddie Henderson (who plays trumpet here) started with Herbie Hancock in the early 1970s, giving him a reputation for fusion that he's often strayed from. Besides Henderson, band here is an inspired mix: Skerik (tenor sax), Wayne Horvitz (keybs), Henry Franklin (bass), and Bill Summers (percussion). Hard bop, I guess, but not as throwback, some surprises here. A- [cd] Dave and Central Cee: Split Decision (2023, Neighbourhood, EP): British rappers, Dave Omoregie and Oakley Caesar-Su, two previous albums each (Dave's are much better), dropped this 4-song, 16:23 EP. B+(**) [sp] The Handsome Family: Hollow (2023, Loose): Husband-and-wife duo, Brett and Rennie Sparks, he from Texas and she from Long Island, he the singer (although he never seemed like a natural), eleventh studio album since 1994. They have a distinctive sound, but this seems slightly more refined, comfortable, and fascinated with the world. A- [sp] Eddie Henderson: Witness to History (2022 [2023], Smoke Sessions): Trumpet player, b. 1940, long career starting with Herbie Hancock's Mwandishi fusion band, over two dozen albums as leader, several times that many side credits, notably since 2010 in the Cookers. Marks his 50th anniversary as a leader with this quintet: Donald Harrison (alto sax), George Cables (piano), Gerald Cannon (bass), and Lenny White (drums). Bright, powerful mainstream jazz. B+(***) [sp] Irreversible Entanglements: Protect Your Light (2023, Impulse!): Jazz group with poet-vocalist Camae Ayewa (aka Moor Mother), eponymous debut 2017, core group: Aquiles Navarro (trumpet), Keir Neuringer (alto sax), Luke Stewart (bass), Tcheser Holmes (drums). Cosmic vibe rivals Sun Ra, but deadly serious words, and shooting star horns, and MVP bass. A- [sp] Laufey: Bewitched (2023, AWAL): Singer from Iceland, last name Jónsdóttir, mother Chinese, a classical violinist, second album, has some reputation in jazz but writes most of her material, most personal ballads ("the magic in the love of being young"). Does, however, include a cover of "Misty." B+(*) [sp] Steve Lehman/Orchestre National de Jazz: Ex Machina (2023, Pi): Alto saxophonist, a Braxton student, has a long list of outstanding albums from 2001, including complex octets and his African fusion Sélébéyone. ONJ is a venerable French organization, dating from 1986, directed since 2019 by Frédéric Maurin. I haven't followed them, but at least in this iteration, they're not just a budget big band. Maurin not only directed, but wrote 5 (of 11) pieces, as clever and tricky as Lehman's. This took me longer than usual, but surely will rank as one of the year's best. A- [cd] Ashley McBryde: The Devil I Know (2023, Warner Music Nashville): Country singer-songwriter, fourth album since 2018. Her songwriting remains sharp as ever, but the drums hit you hard from the beginning (Christgau on her second album: "Nashville rock at its bigged-up schlockiest, with McBryde belting to match"). It's not all like that, but the half that is wears me out. And once that happens, the paean to whiskey and country music no longer seem so sharp. B+(**) [sp] Mitski: The Land Is Inhospitable and So Are We (2023, Dead Oceans): Mitsuki Laycock, born in Japan with an American father who worked for the US State Department and dragged her around the world before settling in New York. Seventh studio album since 2012. One of the year's top-rated albums (Metacritic: 92/19), yet I find it almost totally opaque, requiring intense concentration to discern its artfulness -- orchestral shifts, background choirs, a real voice. B+(*) [sp] Victoria Monét: Jaguar II (2023, RCA): Pop singer-songwriter from Atlanta, first album after the 2020 EP Jaguar. B+(**) [sp] Megan Moroney: Lucky (2023, Sony Music Nashville): Country singer-songwriter (with help), from Georgia, first album, advance single won a CMT music award for "female breakthrough video of the year." Two self-deprecating songs feel ironic. Maybe she is lucky? B+(***) [sp] Jenni Muldaur/Teddy Thompson: Once More: Jenni Muldaur & Teddy Thompson Sing the Great Country Duets (2021-23 [2023], Sun): Maria Muldaur's daughter and Linda Thompson's son: she released albums in 1992 and 2009, he has a few more since 2000. They teamed up for a 4-song EP of Porter Wagoner and Dolly Parton duets in 2021, followed by another of George Jones and Tammy Wynette. Those are rolled up here, along with four more from Loretta Lynn and Conway Twitty. Aside from jazz (sometimes even there), we tend to deprecate repertory, but these sound great, near perfect till they ad lib a bit on "Pickin' Wild Mountain Berries," where they show more chemistry than Loretta and Conway could ever muster. A- [sp] Bobbie Nelson and Amanda Shires: Loving You (2021 [2023], ATO): Credit order given front, back, and center, but some sources insist on crediting the singer first, instead of the pianist, whose death last year gives the album meaning, as well as an excuse for a set of standards. Brother Willie drops in for a duet on "Summertime," which would be welcome on a mixtape of the fifty (maybe even thirty) best covers of the song ever. B+(***) [sp] Pretenders: Relentless (2023, Rhino): Chrissie Hynde, twelfth group album, band has turned over since 1978, although original drummer Martin Chambers returned, and guitarist James Walbourne co-wrote this batch of songs. B+(*) [sp] Joshua Redman: Where Are We (2023, Blue Note): Saxophonist (tenor certainly, usually some soprano), second generation, made a big splash with his 1992 debut. This one features vocalist Gabrielle Cavassa (front cover credit), backed by Aaron Parks (piano), Joe Sanders (bass), and Brian Blade (drums), with several guest spots. The songs come first, nice enough but not exceptional, the sax secondary, but every bit as nice. B+(**) [sp] Doug Richards Orchestra: Through a Sonic Prism: The Music of Antonio Carlos Jobim (2022 [2023], self-released): Arranger and conductor, based in Richmond, running a standard big band with guitar, plus vocalist Laurie Ann Singh. Standard stuff, but very nicely, and credibly, done. B+(**) [cd] Jeff Rosenstock: Hellmode (2023, Polyvinyl): Singer-songwriter, fifth album, influenced by punk rock, not as austere, but noisy enough. B+(*) [sp] Speedy Ortiz: Rabbit Rabbit (2023, Wax Nine): Singer-songwriter Sadie Dupuis, plays guitar and synthesizer, plus a band that has completely turned over since their 2013 debut. Fourth album. Probably something there, but not for me. B+(*) [sp] Chris Stamey: The Great Escape (2023, Car): Pop singer-songwriter, from Chapel Hill, North Carolina; played in the Sneakers with Mitch Easter, but is best known for the dBs, with Peter Holsapple. Scattered records, first in 1982, more since 2013. Cover features a Pontiac GTO (1967?). B+(*) [sp] Teddy Thompson: My Love of Country (2023, self-released): British, but only one song here was written by a countryman, his father Richard Thompson. The others are what you'd expect: American, mostly country music hits, not what I think of as obvious classics but things I recognize, like "I Fall to Pieces," "Satisfied Mind," and "You Don't Know Me." B+(**) [sp] Tirzah: Trip9love (2023, Domino): British singer-songwriter, third album since 2018, produced by Mica Levi, similar to trip hop with more distortion. B+(*) [sp] Alex Ventling/Hein Westgaard: In Orbit (2021 [2023], Nice Things): Pianist ("home in both Switzerland and New Zealand" but based in Trondheim), in a duo with guitar. B+(**) [bc] Maddie Vogler: While We Have Time (2022 [2023], Origin): Alto saxophonist, based near Chicago, first album, all original compositions, sharp postbop sextet with trumpeter Tito Carrillo especially notable, plus guitar, piano, bass, and drums. B+(**) [cd] Morgan Wade: Psychopath (2023, Ladylife/RCA): Country singer-songwriter, from Virginia, second album, fine voice, solid-plus writing, a bit too much guitar-heavy production but not as annoying as McBryde. Christgau says this "exemplifies Nashville's evolution away from down home country toward a less regional style of autobiographical pop." That doesn't sound like a good idea to this old-timer, but the middle ground can still be fertile for someone with the talent to work it. A- [sp] Recent reissues, compilations, and vault discoveries: Atmosphere: Sad Clown Bad Dub II (2000 [2023], Rhymesayers Entertainment): Minneapolis underground rap duo, still going, here with a new remaster of the 2003 authorized version of a bootleg. I figure they had three A- 1997-2002 albums. The beats and rhymes jump like they did back in that first flush of youth, but they don't all land. B+(**) [bc] John Blum: Nine Rivers (2013 [2023], ESP-Disk): Pianist, from New York, studied at Bennington with Bill Dixon and Milford Graves, also Borah Bergman and Cecil Taylor. Only a handful of records. This one is solo, harsh, dissonant, the first sounds suggesting prepared. B+(**) [cd] Pharoah Sanders: Pharoah (1976 [1977], India Navigation): Tenor saxophonist (1940-2022), first album 1964, but during that period was closely engaged with John Coltrane, in a project that combined free and spiritual jazz. He recorded for Impulse! to 1973, then like many jazz musicians of the era, wasn't able to find another major label until 1998. This one came out on a small but important American label. Three pieces (40:20), with guitar (Tisziji Munoz), harmonium or organ, bass, and drums/percussion, with a vocal on "Love Will Find a Way." First side finds its groove. Second is a bit less successful. B+(***) [sp] Pharoah Sanders: Pharoah [Expanded Edition] (1976-77 [2023], Luaka Bop): This 2-LP reissue adds two live takes of the first-side piece, "Harvest Time," one from Middelheim, the other Willisau, with a quartet -- Khalid Moss (piano/electric), Hayes Burnett (bass), and Clifford Jarvis (drums) -- and the box includes a booklet I'll never see. B+(***) [bc] Old music: Steve Lehman: Xenakis and the Valedictorian (2020, Pi, EP): Early in the 2020 lockdown, Pi Recordings asked their artists to help fill the void with digital-only releases. Lehman contributed this "concise EP" (10 pieces, 9:06) of solo practice sessions, "recorded in the passenger seat of my 2011 Honda CR-V, from March 25 to April 15, 2020." The mathematician-composer Xenakis was on his mind, as he was thinking of his mother, unable to visit on her 80th birthday. She had "introduced me to an incredibly wide array of musicians and musical styles" -- he provides a list, but nothing nearly as far out as her choice of "Bohor" as theme music for his 10th birthday party. I hated the 46 seconds Pi made public on their Bandcamp page, but this turns out to be really remarkable. I'm even a bit reminded of an experience I had with Xenakis long ago, where I left with a visceral impression of what the eye of a tornado must sound like. A- [dl] Jenni Muldaur: Jenni Muldaur (1992, Reprise): Geoff & Maria Muldaur's daughter (b. 1965), got this one shot at recording a big-time studio album, with producer Russ Titelman pulling out all the stops: tapping David Sanborn for a sax spot, Andy Fairweather Low for a bit of slide guitar, letting Donald Fagen arrange the Brecker brothers for another. Nothing per sé bad, but not much personality emerges. B [sp] Grade (or other) changes: Otis Spann: Otis Spann Is the Blues (1960, Candid): Surprised, when Candid reissued it last year, I had this graded so low. Then I remember that the one I liked better was Walking the Blues (also 1960). [was: B] B+(**) [cd] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, September 17, 2023 Speaking of WhichStarted this on Friday, not with much enthusiasm, so many of the early links I collected are just that. The comment on Levitz under "Legal matters" is probably where I got started, after which I found the Current Affairs interview. I've tried of late to articulate moderate positions that one might build a viable political consensus around, but lately I'm despairing, not so much of the popular political potential as of the probability that nothing possible will come close to what is actually needed. Back when I was a teenage schizophrenic, I was able to pursue the two paths -- on the one hand I poured over political stats as nerdishly as Kevin Phillips, on the other I immersed myself in utopian fantasy writing -- without ever trying to reconcile them. As an old man, I find once boundless time closing in, and shutting down. Just a few years ago, I was thinking that the worst failures in American politics were opportunity costs: wasting time and resources that could be used on big problems while doing stupid things instead (like $800B/year on useless "defense" spending). But it's looking more and more like the problem is one of cognitive dysfunction, where there is little to no hope of convincing enough of a majority that problems are problems, and that their fantasies aren't. Top story threads:Trump: He was having a slow week, until NBC offered him a free infomercial (see Berman, below). He is now virtually assured of the Republican nomination, but also of a margin of free publicity even exceeding his bounty in 2016 and 2020.
DeSantis, and other Republicans: The Florida governor has done little to justify being singled out, but Steve M [09-17] assures us: Ron DeSantis is still first runner-up, based on a recent straw poll. He also argues, "I'd like DeSantis to be the nominee, because he appears to be a much weaker general election candidate than Trump," and has some charts that seem to support his case.
Biden and/or the Democrats: Big week for Democratic Party back-biting. I find this focus at the top of the ticket silly and distracting. True, Trump decided that "America is Great Again" the moment he took office, but Democrats surely know that inaugurating Biden was just the first step, and that lots of big problems were left over, things that couldn't be solved quickly, especially as Republicans still held significant levers of power and press, and were doing everything possible to cripple Democratic initiatives. So why do Democrats have to run on defending their economy, their immigration, their crime, their climate, etc.? They can point to good things they've done, better things they've wanted to do, and above all to the disastrous right shift in politics since 1980. Is that so hard to understand?
Legal matters and other crimes:
Climate and environment:
The UAW strike:
Ukraine War: I find it curious that despite all the "notable progress" the New York Times has claimed for Ukraine's counteroffensive (most recently, retaking the village of Andriivka), they haven't updated their maps page since June 9. Zelensky is coming to America next next week, to speak at the UN and to meet Biden in Washington.
Israel: This is 30 years after the Oslo Accords, which promised to implement a separate Palestinian state in (most of) the Occupied Territories, after an interval of "confidence building" which Israel repeatedly sabotaged, especially by continuing to cater to the settler movement. The agreements put the Intifada behind, while seeding the ground for the more violent second Intifada in 2000, brutally suppressed by a Sharon government which greatly expanded settlement activity. The PLO was partly legitimized by Oslo, then reduced to acting as Israeli agents, and finally discredited, but was kept in nominal power after being voted out by Hamas, ending democracy in Palestine. Middle East Eye has a whole series of articles on this anniversary, including Joseph Massad: From Oslo to the end of Israeli settler-colonialism.
Iran: One step forward (prisoner swap), one step back (more sanctions as the US tries to claim Iranian protests against police brutality and repression of women -- issues the US is not exactly a paragon of virtue on).
Around the world:
Other stories:Ana Marie Cox: [09-14] We are not just polarized. We are traumatized. Constance Grady: [09-13] The big Elon Musk biography asks all the wrong questions: "In Walter Isaacson's buzzy new biography, Elon Musk emerges as a callous, chaos-loving man without empathy." Proof positive that no one should be as rich and powerful as he is, and not just because he is who he is.
Sean Illing: [09-12] Democracy is the antidote to capitalism: Interview with Astra Taylor, who has a new book: The Age of Insecurity: Coming Together as Things Fall Apart. Noel King: [09-15] 5 new books (and one very old one) to read in order to understand capitalism: A podcast discussion. The old one is The Wealth of Nations, by Adam Smith, which is somewhat more nuanced and sophisticated than is commonly remembered. (For one thing, the "invisible hand" is basically a joke.) The new ones:
I'm not sure what I'd recommend instead, but here are a couple ideas: George P Brockway's The End of Economic Man: Principles of Any Future Economics is my bible on economics, so I'd gladly swap it for Smith. Zachary D Carter's The Price of Peace: Money, Democracy, and the Life of John Maynard Keynes is all you need on Friedman, plus a lot more. There are lots of books on recent economic plunder. I'm not sure which one(s) to recommend, but Jeff Madrick's Age of Greed: The Triumph of Finance and the Decline of America, 1970s to the Present is good on the bankers, and the Jacob Hacker/Paul Pierson books, from The Great Risk Shift to Let Them Eat Tweets, are good on the politics (also Thomas Frank's The Wrecking Crew). Hope Jahren's The Story of More is an elegant if somewhat less political alternative to Hickel. Dylan Matthews: [09-14] Lead poisoning could be killing more people than HIV, malaria, and car accidents combined. Kim Messick: [09-09] The American crack-up: Why liberalism drives some people crazy. Andrew O'Hehir: [09-14] Naomi Klein on her "Doppelganger" -- the "other Naomi" -- and navigating the far-right mirror universe. Klein's new book is Doppelganger: A Trip Into the Mirror World, which starts by noting the tendency people have of confusing her with Naomi Wolf, then goes beyond that to show how much propaganda from the right picks up memes from the left and twists them for the opposite effect. Also:
Jeffrey St Clair: [09-15] Roaming Charges: Just write a check. First fourth of the column is devoted to outrageous police behavior: example after example, impossible to summarize more briefly. Then he moves on to the War on Terror. Scott Wilson: [09-15] Outflanked by liberals, Oregon conservatives aim to become part of Idaho. There are several such secessionist movements, including rural parts of Washington and California, where the population is so sparse their reactionary leanings have little effect at the state level. I only mention this because Greg Magarian did, adding: "Huh -- living in a state where your political opponents get to impose their values on you. I wonder what the &@%$# that's like." Magarian lives in St. Louis, so he very well knows what that's like. One could imagine St. Louisans opting to join Illinois. If that happened, and especially if Kansas City also defected to Kansas (which is closer to tipping Democratic than Missouri would be without its two big cities, and would also save Kansas from trying to poach their teams), the rest of Missouri might as well be part of Arkansas. In states where Republicans hold power, they're constantly passing state laws to disempower local governments that may elect Democrats. Florida and Texas have gotten the most press on that front lately, but they've done that all over the map, a bunch of times even here in Kansas. I'm not aware of Democrats behaving like that. I finished reading EJ Hobsbawm's brilliant and encyclopedic The Age of Revolution: 1789-1848. Only disappointment was that I expected more details on the 1848 revolutions, but Hobsbawm just tiptoes up to the brink, satisfied as he is with the "two revolutions" of his period (French and Industrial, or British). I still have Christopher Clark's Revolutionary Spring: Europe Aflame and the Fight for a New World, 1848-1849 on the proverbial bedstand, but I also have several more books I'd like to get to. I need to make a decision tonight. Books post is still in progress, with 23 (of a typical 40) books in the draft main section, and 62 partials and 229 noted books. Looking back at the April 28, 2023 Book Roundup, I see that I was thinking of cutting the chunk size down, perhaps to 20, to get shorter and more posts, but also because the length of 40 has grown significantly with supplemental lists. I need to think about that. I certainly have much more research I can (and should) do. The current draft file runs 15,531 words, of which about 1/3 is in the finished section. Ask a question, or send a comment. Monday, September 11, 2023 Music WeekSeptember archive (in progress). Music: Current count 40847 [40811] rated (+36), 27 [34] unrated (-7). I rushed through another Speaking of Which Sunday (5873 words, 91 links). As I noted there, I started working on a books post, so got a late start, but still managed to write quite a bit. One item of possible interest here is that I collected several links on the Olivia Rodrigo album, reviewed below. It's currently rated 86/17 at AOTY, which puts it as 25 on the year, so behind Boygenius, Caroline Polachek, Foo Fighters, and Young Fathers among albums with 17+ reviews. I added a link to Molly Jong-Fast: [09-05] Can Joe Biden ride "boring" to reelection?. I had included several links about Biden's weak polling numbers, even though I regard such stories are generally worthless. But they reflect a severe misunderstanding of politics (cliché: "the art of the possible") and government (which should be boring to all but the most dedicated wonks). While it's always easy to blame the American people for their ignorance, shouldn't we start with the media, who are actually paid to report on things they show little evidence of (or interest in) understanding? Biden's fate in 2024 is going to depend on people getting better informed (and smarter) than they evidently are now. I've also added a postscript on Biden's diplomatic trip: more specifically on how it's misreported and misunderstood. As much as I've been pleasantly surprised by Biden's domestic policy accomplishments, I've been alarmed by his foreign policy (his "reworking of global relationships"), especially how completely most of the Democratic Party has fallen into line behind Ukraine as America's war party (a reputation they earned in WWII, which then tricked them into taking the lead in the Cold War). You might also want to take a look at this picture of Trump and his fans. My listening scheme is mostly an extension of last week's checklists, picking up stragglers, and moving on. I did get to the end of DownBeat's jazz albums ballot, with only a John Zorn album unheard. Reissues/historical were harder to find, but I picked up a few of those, too. But also, new releases get an uptick in September. Bassist Richard Davis died last week, so I took a look there, which led me to Elvin Jones, and then to Bennie Wallace. Sometime last week, I commented on a Chris Monsen Facebook post, regarding James Brandon Lewis's For Mahalia, With Love (reviewed here, a couple weeks back). I figured the comment was lost, but it popped up again, so let's preserve it here:
New records reviewed this week: Jon Batiste: World Music Radio (2023, Verve): Keyboard player, sings, seventh album, could probably do anything, so is tempted to try everything, the radio concept tying together twenty pieces that mostly feature happy beats and varied hooks. B+(**) [sp] Billy Childs: The Winds of Change (2023, Mack Avenue): Pianist, from Los Angeles, has composed classical music as well as jazz, 18th album since 1985. Quartet here with Ambrose Akinmusire (trumpet), Scott Colley (bass), and Brian Blade (drums). B+(**) [sp] Theo Croker: By the Way (2023, Masterworks, EP): Trumpet player, from Florida, debut 2006, some crossover moves, did this five track (21:57) with British singer-songwriter Ego Ella May and producer D'Leau. Slight soul-funk, dressed up with nice trumpet. B+(*) [sp] Open Mike Eagle: Another Triumph of Ghetto Engineering (2023, Auto Reverse): Underground rapper, ninth album, short at 25:28, but still has lots to mull over. B+(***) [sp] Darrell Grant's MJ New: Our Mr. Jackson (2023, Lair Hill): Pianist, born in Pittsburgh, grew up in Denver, studied at Eastman, moved to New York (where he joined Betty Carter's group), wound up teaching in Portland. Scattered records, starting with mainstream Criss Cross in 1994. This one is dedicated to drummer Carlton Jackson (1961-2021), who anchors this quartet with Mike Horsfall (vibes) and Marcus Shelby (bass). B+(**) [cd] [10-06] José James: On & On (2023, Rainbow Blonde): Jazz singer, from Minneapolis, dozen albums since 2008. Six (of seven) songs co-written by Erica Wright (Erykah Badu); the most prominent songwriter on the other is Isaac Hayes. B+(*) [sp] Bobby Kapp: Synergy: Bobby Kapp Plays the Music of Richard Sussman (2023, Tweed Boulevard): Drummer, credits go back to 1967 with Marion Brown and Gato Barbieri, have picked up a bit since 2015 with Matthew Shipp and Ivo Perelman. Sussman, who plays piano here, has a comparably long but thin discography, leading a couple 1978-79 records for Inner City. Group here: Zach Brock (violin), Aaron Irwin (clarinet/bass clarinet), Abraham Burton (tenor sax), John Clark (French horn), and Harvie S (bass), with Scott Reeves as conductor. B+(**) [cd] Pascal Le Boeuf: Ritual Being (2016-19 [2023], SoundSpore): Pianist, from Santa Cruz, also records with his saxophonist brother Remy as Le Boeuf Brothers. Pieces here are built on vigorous strings, either with Friction Quartet, the 5-piece Shattered Glass ensemble, or violinists Todd Reynolds and Sara Caswell, with Linda May Han Oh (bass), Justin Brown (drums), and on some cuts Remy Le Boeuf (alto sax) and/or Ben Wendel (tenor sax). B+(***) [cd] Vince Mendoza/Metropole Orkest: Olympians (2023, Modern): From Connecticut, played keyboards but has mostly worked as a big band arranger and conductor, since 1997 mostly with the Dutch Metropole Orkest. B- [sp] Joni Mitchell: Joni Mitchell at Newport (2022 [2023], Rhino): Major folkie singer-songwriter in her first period (1968-74, through Court and Spark), after which she got jazzier and more obscure, up to her 2000 standards album Both Sides Now, with subsequent albums in 2002 and 2007. She gets vocal help here from Brandi Carlisle and others, focusing on her best-known songs, plus a cover of "Summertime." But sometimes more help isn't better. B [sp] Todd Mosby: Land of Enchantment (2022 [2023], MMG): Guitarist, title the state motto of New Mexico, album recorded in California, opens with five originals, including a nod to Georgia O'Keefe, adds one more between covers of "Norwegian Wood" and "By the Time I Get to Phoenix." B [cd] Jean-Michel Pilc: Symphony (2021 [2023], Justin Time): French pianist, had a couple earlier albums but came into prominence in 2000. Solo. B+(*) [sp] Darden Purcell: Love's Got Me in a Lazy Mood (2023, Origin): Standards singer, based in DC, couple previous albums, sang for the Airmen of Note. Nice, clear voice, backed with guitar (Shawn Purcell), piano (Todd Simon), bass, drums, and Joe Locke on vibes (6 of 11 cuts). B+(**) [cd] [09-15] Olivia Rodrigo: Guts (2023, Geffen): Second album, her debut at 17 was attention-grabbing, and this one, where the production goes big and where she pops through the cracks to claim it all, is even more impressive. A mere two plays through what may well be the record of the year. A [sp] Romy: Mid Air (2023, Young): Singer-guitarist in The XX, Romy Madley Croft, the last of the trio to spin off a solo album. Dance pop, strong beats, rich tones but trimmed back a bit, very catchy, romantic interests female, but not too close. Fred Gibson (Fred Again) conspicuous among the collaborator. A- [sp] SLUGish Ensemble: In Solitude (2023, Slow & Steady): Steven Lugerner, plays bass clarinet, baritone sax, and alto flute here, second album with this densely layered sextet, with piano, synthesizer, guitar, bass, and drums -- most prominently the guitar (Justin Rock?). B+(**) [cd] [09-15] Smoke DZA & Flying Lotus: Flying Objects (2023, The Smoker's Club, EP): Rapper Sean Pompey, debut 2009, Discogs lists 21 albums, nearly as many EPs, this part of a flurry of five such releases. Five tracks, 14:11, including features for Conway the Machine, Black Thought, and Estelle. B+(*) [sp] Speaker Music: Techxodus (2023, Planet Mu): DeForrest Brown Jr., originally from Alabama, self-described "Ex-American theorist, journalist, and curator," produces electronic music "representative of the Make Techno Black Again campaign," several albums (one from 2020 I like is Black Nationalist Sonic Weaponry, but beware that Discogs has this album listed under that title), also has a book, Assembling a Black Counter Culture. B+(**) [sp] Melissa Stylianou: Dream Dancing (2018 [2022], Anzic): Jazz singer, from Toronto, sixth album since 1999, all standards (including two Jobims), backed by Gene Bertoncini (a delight on guitar) and Ike Sturm (bass). B+(**) [sp] Ulaan Passerine: Sun Spar (2021 [2022], Worstward): Guitarist Steven R. Smith, from California, many records since 1995, both under his own name and various aliases/groups -- four starting with "ulaan." Ensemble here adds organ, banjo, violin, alto flute, bass clarinet, French horn. Achieves the minimal level of exotica evidently aspired to. B [sp] Sachal Vasandani & Romain Collin: Still Life (2022, Edition): Jazz singer, born in Chicago, early albums (from 2007) as Sachal, this his second duo with pianist Collin. Wrote the title song, has a credit in a second, Collin wrote one, the others non-traditional standards (Elizabeth Cotten to Billie Eilish via Paul Simon and Peter Gabriel). B- [sp] Claudia Villela: Cartas Ao Vento (2023, Taina Music): Brazilian jazz singer, based in Santa Cruz since the mid-1980s, has a handful of albums since 1996, this the first one she's recorded in Brazil. B+(***) [cd] Hein Westgaard Trio: First as Farce (2022 [2023], Nice Things): Guitarist, from Norway, based in Copenhagen, recorded this "debut" in Sweden -- he appears to have a couple duo albums they're not counting. With Petter Asbjørnsen (bass) and Simon Forchhammer (drums). I'm impressed by the complementary thrash that often erupts from the occasional background noodling. A- [cd] Ben Wolfe: Unjust (2021 [2023], Resident Arts): American bassist, debut 1996, support at various times includes Nicholas Payton (trumpet), Immanuel Wilkins/Nicole Glover (sax), Joel Ross (vibes), Addison Frei/Orrin Evans (piano), and Aaron Kimmel (drums). Some nice combinations. B+(***) [sp] Lizz Wright: Holding Space: Live in Berlin (2018 [2022], Blues & Greens): Jazz singer, from Georgia, grew up in church, where her father was minister and musical director. Seventh album since 2003, with Chris Bruce (guitar), Bobby Sparks (keybs), Ben Zwerin (bass), and Ivan Edwards (drums). B+(**) [sp] Bobby Zankel/Wonderful Sound 8: A Change of Destiny (2022 [2023], Mahakala Music): Alto saxophonist, long based in Philadelphia, has a side credit from 1977 but debut as leader was 1992, and he's remained relegated to small avant labels, scattered from Krakow to Little Rock. He did a Wonderful Sound 6 album in 2017, and builds on that here, with a second alto sax (Jaleel Shaw), trombone (Robin Eubanks), violin (Diane Monroe), piano (Sumi Tonooka), bass (Lee Smith), and drums (Pheeroan Aklaff), plus singer Ruth Naomi Floyd. Of course, I prefer the blazing sax runs. B+(***) [09-22] Recent reissues, compilations, and vault discoveries: Brian Blade Fellowship: Live From the Archives: Bootleg June 15, 2000 (2000 [2022], Stoner Hill): Drummer, group named from his 1998 debut album, group with Myron Walden (alto sax/bass clarinet), Melvin Butler (tenor/soprano sax), Jon Cowherd (piano), Kurt Rosenwinkel (guitar), and Christopher Thomas (bass). I don't particularly see the point of this. B [r] Charlie Parker: The Long Lost Bird Live Afro-Cubop Recordings (1945-54 [2023], RockBeat): Nice packaging. The music comes from six widely scattered sources, including guest spots with Woody Herman, Stan Kenton, and Machito, and an early quintet with Dizzy Gillespie. Sound is variable, as is the "cubop" quotient, though the "Manteca" with Machito overcomes all my reservations. [Previously released on CD in 2015, now on vinyl.] B+(***) [r] Old music: Johnny Cash: American V: A Hundred Highways (2003 [2006], American): When Rick Rubin stepped in to record Cash in 1994, the idea was less to cement his legend than to just keep him going, after Columbia dropped him in 1986, and Mercury in 1991. He was only 62, but had less than a decade left, and he spent it singing whatever songs took his fancy, in the simplest of arrangements, his voice still unique but losing its force. Four volumes appeared before he died in 2003, and this -- the only one I missed -- and American VI were released later. American IV was the pick -- the others struck me as various shades of B+ -- but the more time passes, the more fortunate these recordings feel. B+(***) [r] Richard Davis: One for Frederick (1989 [1990, Hep): Bassist (1930-2023), not a lot of albums under his own name -- Discogs lists 33, but only 13 list him first -- has a huge list of side-credits, starting with Don Shirley in 1955 and Sarah Vaughan in 1957, with 1964 an early peak (Eric Dolphy's Out to Lunch and Andrew Hill's Black Fire), and even a few "beyond" albums, like Van Morrison's Astral Weeks (of which Greil Marcus wrote: "Richard Davis provided the greatest bass ever heard on a rock album"). This one was live at Sweet Basil, co-credited to "and Friends," a sharp quintet with Cecil Bridgewater (trumpet), Ricky Ford (tenor sax), Roland Hanna (piano), and Freddie Waits (drums, the Frederick of the title, who died November, 1989, after this was recorded in July). B+(***) [sp] The Fugs: The Fugs' Second Album (1966 [1994], Fantasy): Folk-rock group founded 1964 by poets Ed Sanders and Tuli Kupferberg, with Ken Weaver on drums, with others joining on occasion -- most famously Peter Stampfel and Steve Weber. They released a 1965 album on Broadside/Folkways titled The Village Fugs Sing Ballads of Contemporary Protest, Point of Views, and General Dissatisfaction, which a year later was reissued as The Fugs' First Album, along with a second album, just The Fugs, but rechristened here. Both pick up spare tracks. They held together until 1969, recording one more album for ESP-Disk, an unreleased album for Atlantic, and three for Reprise (eventually boxed as Electromagnetic Steamboat: The Reprise Recordings). This album even cracked the charts at 95, so their indifference to commercial success wasn't totally unreciprocated. Big pieces here are the not-quite-ironic-enough "Kill for Peace" and a stab at new age exotica called "Virgin Forest" (11:17). Bonus tracks include some live cuts and end with a whimper on "Nameless Voices Crying for Kindness." [sp] Elvin Jones and Richard Davis: Heavy Sounds (1968, Impulse!): Heavy that drummer and bassist should share billing credit, but they claim it with an 11:33 duet on "Summertime." The other five cuts (30:23) add Billy Greene on piano and Frank Foster, really tasty on tenor sax. A- [sp] Elvin Jones: Poly-Currents (1969 [1970], Blue Note): Drummer (1927-2004), one of the Jones Brothers (with Thad and Hank), played with Sonny Rollins (A Night at the Village Vanguard) in the late 1950s, but is most famous for the 1960-66 John Coltrane Quartet, and echoes followed him ever after. This is one of a bunch of 1968-73 records for Blue Note. Five tracks, first three with Candido Camera (congas), Wilbur Little (bass), and saxophonists George Coleman, Joe Farrell (also English horn and flute), and Pepper Adams (baritone). The last two cuts trim down a bit. Needless to say, the drummer puts on a show. B+(***) [sp] Richard Thompson: (Guitar, Vocal): A Collection of Unreleased and Rare Material 1967-1976 (1967-76 [1976], Island): English folkie, guitarist first, singer-songwriter in a duo with wife Linda 1974-82, solo for 40+ years after. This picks up scattered bits starting with six songs with Fairport Convention, then adds some outtakes with or without Linda, including one new track. Seems like a hodgepodge, where the artist only starts to reveal himself toward the end. [NB: Issued in UK by Island 1976, as 2-LP; reissued in US by Carthage in 1984, and by on CD Hannibal in 1989.] B [sp] Richard Thompson: Mirror Blue (1994, Capitol): Eighth studio album, about par for the course. B+(**) [sp] Richard Thompson: Mock Tudor (1999, Capitol): Another solid record. B+(**) [sp] Bennie Wallace: Big Jim's Tango (1982 [1983], Enja): Tenor saxophonist, from Tennessee, fifth album since 1978, a trio with Dave Holland and Elvin Jones, playing four originals plus one Cole Porter. Mainstream player, always loved his tone, especially on mid-tempo pieces, but even there this rhythm section keeps him on his toes. [PS: Album cover from 1995 CD reissue.] A- [sp] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, September 10, 2023 Speaking of WhichI started to work on a books post this week, which caused some confusion when I ran across reviews of books I had recently written something about. I'm guessing I have about half of my usual batch, so a post is possible later this week, but not guaranteed. I'm still reading Eric Hobsbawm's brilliant The Age of Revolution: 1789-1848, which is absolutely jam-packed with insights -- probably why I drone on at such length below on liberalism and its discontents. I got deep enough into it to order three books:
I didn't bother with any reviews of Foer this week (there are several), although I mentioned the book last week. I figured I'd wait until I at least get a chance to poke around a bit. I have a lot of questions about how Biden's White House actually works. I'm not big on these insider books, but usually the outside view suffices -- especially on someone as transparent as Trump. Two I read on Obama that were useful were:
Suskind was a reporter who had written an important book on the GW Bush administration (The One Percent Doctrine: Deep Inside America's Pursuit of Its Enemies Since 9/11). Hundt was a participant, but not an important nor a particularly successful one, so he took his time before weighing in. Top story threads:Trump:
DeSantis, and other Republicans:
Sarah Jones: [09-08] 'Pro-Life' or 'Pro-Baby,' Republicans can't outrun abortion. Biden and/or the Democrats:
Legal matters and other crimes:
Climate and environment:
Ukraine War:
Israel:
Around the world:
Other stories:Dan Balz: [09-09] What divides political parties? More than ever, it's race and ethnicity. That's what a report from the American Political Science Association (APSA) says. My first reaction was: that's a shame. My second was the suspicion that they got that result because that's all they could think of to measure. It's always possible to think of other questions that could scatter the results in various directions. And my third is that this is mostly an indictment of the news media, which seems completely incapable of explaining issues in ways that people can relate to. Zack Beauchamp:
Jonathan Chait: [09-07] Samuel Moyn can't stop blaming Trumpism on liberals. I only mention this because I recently spent a lot of time writing up a book blurb on Moyn's Liberalism Against Itself: Cold War Intellectuals and the Making of Our Times. I'll save the details, but note that Chait is upset because his heroes and his muddle-of-the-road philosophy were critiqued -- he says, incoherently. What happened was that after 1945, the New Deal coalition was deliberately split as most traditional liberals (like Chait, but he came much later) turned against the left, both abroad and at home, as part of a bipartisan Cold War consensus. They were pretty successful for a while, and with Lyndon Johnson even did some worthwhile things (civil rights and Medicare were big ones), but they neglected the working class base of the party, while throwing America into nasty (and in the case of Vietnam, hopeless) wars. So instead of building on the significant progress of the New Deal, the Democratic Party fell apart, losing not just to Republicans but to its own neoliberal aspirants. How that brought us to Trump is a longer and messier story, but it certainly got us Reagan, and the rot that followed. PS: I wrote this paragraph before the one above on Beauchamp, so there's a bit of disconnect. Beauchamp talks about "reformist liberals," which diverge somewhat from Moyn's "cold war liberals." Chait thinks of himself as one of the former, but shares the latter's aversion to the left. Classical liberalism contained the seeds for both: first by individualizing society, breaking down the traditional hierarchy, then by declaring that every individual should have the right to "life, liberty, and pursuit of happiness." It turns out that in order for any substantial number of people to enjoy liberty, they need to have support of government. Some liberals understood, and others (including Hayek and Friedman) simply didn't care. Cold War liberals wound up on both sides, but even those who still supported reforms undercut them by fighting the left as much or more than the right. Rachel M Cohen: [09-05] Is public school as we know it ending? Interview with Cara Fitzpatrick, who thinks so, as in her book title: The Death of Public School: How Conservatives Won the War Over Education in America. Richard Drake: [09-08] Gabriel Kolko on the foreign policy consequences of conservatism's triumph: I occasionally still crack open Kolko's brilliant books on US foreign policy (both subtitled The World and United States Foreign Policy, The Politics of War: 1943-1945, and The Limits of Power: 1945-1954), but it's been some time since I thought of his earlier The Triumph of Conservatism: A Reinterpretation of American History, 1900-1916 (1963). The point there is that while the progressive movement sought to limit the manifest evils of capitalism, the actual reforms left big business and finance in pretty good shape -- as was evident in the post-WWI period, all the way to the crash in 1929. Drake goes into the later books, but this piece doesn't do much to clarify how the "triumph of conservatism" in 1916 led to the "politics of war" in 1943. In this, I must admit I'm a little rusty on my William Appleman Williams, but "democracy" in Wilson's "making the world safe" slogan could just as easily been replaced with "capitalism." That was exactly what happened in the later 1943-54 period, when Roosevelt did so much to revive Wilson's reputation, while forever banishing opponents, including remnants of the anti-imperialist movement from 1898, to obscurity as "isolationists." Kolko's formulation also does a neat job of solving the debate about whether Wilson was a progressive or a conservative: he was the former to the ends of the latter. Nowadays we dwell more on Wilson's racism, which we associate with the right, but in his day the two weren't strangers, even if what we still admire about the progressive idea suggests they should have known better. Zeke Faux: [09-06] That's what I call ponzinomics: "With Sam Brinkman-Fried, Gisele, and a credulous Michael Lewis at the zenith of crypto hype." On first glance, I thought this might be a review of Lewis's forthcoming book on Bankman-Fried (coming Oct. 3: Going Infinite: The Rise and Fall of a New Tycoon), but it's actually an excerpt from Faux's new book, Number Go Up: Inside Crypto's Wild Rise and Staggering Fall, about a conference in 2022 where Lewis was talking about Bankman-Fried "as if he were presenting a prize to his star pupil." Constance Grady: [09-08] The sincerity and rage of Olivia Rodrigo: One class of story I invariably skip past is "most anticipated," especially with albums, because interesting albums rarely get the advanced hype to make such lists. (TV and movies fare a bit better, because there are many fewer of them, at least that you'll ever hear about.) But I gave this one a spin as soon as the banner popped up on Spotify, and then I gave it a second. If you don't know, she's a 20-year-old singer-songwriter from Los Angeles, whose 2021 debut Sour won me and practically everyone else over immediately (RIAA has certified it 4x Platinum). Her new one, Guts is her second, and I'll review it (sort of) next Music Week. For now I just want to note that she's getting newsworthy press:
Adam Hochschild: [09-05] The Senator who took on the CIA: Frank Church. Review of James Risen/Thomas Risen: The Last Honest Man: The CIA, the FBI, the Mafia, and the Kennedys -- and One Senator's Fight to Save Democracy. Whizy Kim: [09-08] The era of easy flying is over: "Lessons from a summer of hellish flights." As far as I'm concerned, it's been over for at least 20 years, about the time when it became obvious that deregulation and predatory profit seeking were going to devour the last shreds of decency in customer service. Karen Landman: [09-07] Covid is on the rise again, but it's different now: "Covid transmission continues to ebb and flow -- but at least the latest Pirola variant isn't too menacing." Prabir Purkayastha: [09-08] Is intellectual property turning into a knowledge monopoly? The question almost answers itself, given that the current laws defining intellectual property include grants of monopoly (with minor exceptions, like mechanical royalties for broadcast use of songs). The question of "knowledge" is a bit fuzzier, but there is real desire to claim things like "know how" as property (read the fine print on employee contracts). A patent can keep others making the same discovery independently from their own work, and the tendency to chain patents can keep competition away almost indefinitely. Copyrights, as the word makes clear, are more limited, but once you start talking derivative works, the line gets harder to draw. Moreover, the smaller granularity of fair use gets, the more likely accidental reuse becomes. How serious this is depends a lot on how litigious "owners" are, but in America, where so much seems to depend on wealth, we are very litigious indeed. This piece is excerpted from the author's book: Knowledge as Commons: Towards Inclusive Science and Technology (LeftWord, 2023). Ingríd Robeyns: [08-28] Limitarianism: academic essays: Author has edited a book, Having Too Much: Philosophical Essays on Limitarianism, with various academic papers on the problem of having too much stuff. Fortunately, they read their own book and decided to make it available through Open Book Publishers, so it doesn't add to your surplus of stuff. Dylan Scott: [08-07] The NFL season opener is also the kickoff for the biggest gambling season ever: "How America became a nation of gamblers -- and what might happen next." Few things make me more pessimistic for the future of the nation. Norman Solomon: [09-07] Venture militarism on autopilot, or "How 9/11 bred a 'War on Terror' from Hell: America's response to 9/11 in the lens of history." Seems like every week brings enough new stories about America's bloated, wasteful, stupid, ineffective, but still really dangerous war culture, even beyond the ones that fit securely under "Ukraine" and "World." This gets to the big picture, being adapted from the introduction to Solomon's new book, War Made Invisible: How America Hides the Human Toll of Its Military Machine. The focus here is less on what war is and does than on how it is talked about, to make it seem more valorous and/or less cruel than it is, or just as often, how it's not talked about at all, allowing most of us to go about our daily lives with no sense of what the US government is actually doing, let alone why.
Jeffrey St Clair: [09-08] Roaming Charges: The pitch of frenzy. Lots here, as usual, including some links I've cited elsewhere. One I'll mention here is a tweet by anti-woke pundit Richard Hanania: "Jimmy Buffett taught Americans to hate their jobs and live for nights and weekends so they could stuff themselves with food and alcohol." Actually, he picked that trope up from country music, where he sold most of his records before being reclassified as Adult Contemporary. The classic formula was to transpose Saturday night and Sunday morning, but many singers never got to the latter (or only did so in niche albums). PS: I mentioned Biden's stop in Vietnam above, but hadn't seen this article: Katie Rogers: [09-11] 'It is evening, isn't it?' An 80-year-old president's whirlwind trip. Which focuses more on his age and foibles than on the diplomatic mission, showing once again that the mainstream press would rather focus on appearance than substance. Why does "the rigors of globe-trotting statesmanship" even matter? I'd rather prefer to have fewer photo-ops and more actual communication. But the reason I bring this piece up isn't to rag on the sorely atrophied art of journalism yet again. I found this tweet by Heather Cox Richardson, which pointed me to the article, even more disturbing:
No doubt Biden has been very busy on that front, but it's hard to tell what it all means, which makes it hard to agree that it's big, harder still that it's good. GW Bush did at least as much "reworking," but his assertion of imperial prerogatives wound up undermining any possibility of international cooperation, and more often than not backfired. Obama tried to unwind some of Bush's overreach, and negotiated openings with Iran and Cuba, but left the basic unilateral posture in place. Trump did more in less time, but was too erratic, greedy, and confused to set a clear direction. Biden, on the other hand, is mostly intent on patching up the mess Trump made, without addressing any of the underlying problems. And because he's left the imperial hubris unchecked, he's actually worsened relations with many countries, of which Russia and China are the most dangerous. On the other hand, even though Ukraine has brought us near a precipice, he hasn't actually plunged into disaster yet, as Bush did. It's still possible that, having reëngaged, he could move toward a more cooperative relationship with an increasingly multipolar world. But you can't call this a "story" without some sense of how it ends, and that's far from clear at the moment. Ask a question, or send a comment. Monday, September 4, 2023 Music WeekSeptember archive (in progress). Music: Current count 40811 [40767] rated (+44), 34 [27] unrated (+7). Huge Speaking of Which last night: 135 links, 8610 words. Started Thursday, and let some things like the baseball memoir, the note on Golda Meir, and the Hobsbawm introduction just flow. Also added the Jimmy Buffett obituary late, after I found the note on his politics. By then I had gone back for a few of his records, below. Looking back over it, I see a dozen spots where I should (or at least could) write much more. I've made some minor edits, but it certainly needs much more. The only thing that kept the rated count from cratering was working off a checklist, in this case the unheard records from Brad Luen's 2003 poll results (in the notebook), hence a lot of 2003 releases under Old Music. I've hit everything that got ranked, but very few of the single-vote records. The records rarely got more than one play, so they piled up pretty fast. Aside from the Pet Shop Boys, which a second play would most likely lift to full A, Marcelo D2 made the grade the fastest. I got another food plate, if you're into that. The diet is going fitfully, but I believe I'm entitled to clean up leftovers and dated pantry items. It was orders of magnitude better than the microwave fish from the night before, or whatever I had last night and have already blotted from memory. After taking it apart and reassembling it, the upstairs CD player finally decided to start working, but only after I ordered a replacement -- something I found pretty embarrassing. But it is the last such model still available (an Onkyo), and the last unit Amazon had in stock, so I figure I'll keep it as a collector's item. Next day, the downstairs CD player reverted to its bad habit of instantly withdrawing the tray before I could put a new disc in, so if I shoot it, I'll already have a replacement. After much nagging, I filled out a ballot for the DownBeat Readers Poll. My notes are here. Note that I'm only picking from the ballot choices they offer, which miss a lot of worthy albums (at least 80% of my A-lists: 2022 and 2023) and a great many notable musicians (especially from Europe, but also more avant or more retro than their MOR niche). The demo queue continues to grow, and I'm probably farther behind than I've been a decade (give or take). One reason I've let it slide is that only 5 (of 35) are out yet, and most won't be released until October. The pending list is sorted by release date, but my basket isn't, so sometimes I slip up and jump the gun (as with Birnbaum, below; future dates noted at the end of the review). Still no indexing on last month's Streamnotes. Expecting more 100°F weather this week. It's often hot here until the last week of September. New records reviewed this week: Adam Birnbaum: Preludes (2023, Chelsea Music Festival): Pianist, several albums since 2006, in a trio with Matt Clohesy (bass) and Keita Ogawa (percussion), playing Bach preludes. B+(**) [cd] [10-10] Jaimie Branch: Fly or Die Fly or Die Fly or Die ((World War)) (2022 [2023], International Anthem): Trumpet player, sings some, adds some keyboard and percussion, died at 39 shortly after recording this somewhat unfocused album. Mostly quartet with Lester St. Louis (cello), Jason Ajemian (bass), and Chad Taylor (drums) plus extra credits for all, and various guest spots -- Rob Frye plays bass clarinet on three tracks, Nick Broste trombone on two of those. B+(***) [sp] Scott Clark: Dawn & Dusk (2021-22 [2023], Out of Your Head): Drummer, has at least one previous album, composed these pieces with lyric help from vocalist Laura Ann Singh. Strong instrumental stretches, with JC Kuhl (bass clarinet/tenor sax), Bob Miller (trumpet/flugelhorn), Adam Hopkins (bass), and the always excellent Michael McNeill (piano). B+(**) [cd] Kris Davis Diatom Ribbons: Live at the Village Vanguard (2022 [2023], Pyroclastic, 2CD): Canadian pianist, based in New York since 2001, impressed me early, especially with 2008's Rye Eclipse, eventually rising in DownBeat's polls, and winning the Jazz Critics Poll in 2019 for Diatom Ribbons. The latter album, with its fusion elements (various guitars, Val Jeanty's turntables, vocals and spoken word), threw me at the time (or maybe, without a CD, I just didn't give it enough time, but I did recheck it during the poll). But this new one isn't a live take on the original. It's new material -- incorporating pieces by Wayne Shorter, Geri Allen, Ronald Shannon Jackson, Conlon Nancarrow/Eric Dolphy -- played by a slimmed down but fully functional band, with Jeanty, Julian Lage (guitar), Trevor Dunn (bass), and Terri Lyne Carrington (drums), with several vocal samples (Messiaen, Stockhausen, Sun Ra, Paul Bley). It opens up and stretches out (53:42 + 51:09), which among other luxuries gives the pianist more time to claim the spotlight. Which she does. [PS: Back in early JCG days, I noticed that nearly all of my featured Duds had just appeared on the cover of DownBeat. Davis finally made the September 2023 cover, a rare exception to a rule that has proven remarkably robust.] A- [sp] Homeboy Sandman: Rich (2023, Dirty Looks): New York rapper Angel Del Villar III, lots of records since 2007, this another short one (11 tracks, 26:29). Always loose, some of this feels too flip, like when all he can come up with is "I rap real well." Choice cut is "Then We Broke Up," where he even finds some horns. B+(**) [sp] Superposition: Glaciers (2019-22 [2023], Kettle Hole): Duo of piano/keyboard players Todd A. Carter and Michael Hartman, who also work in some percussion and toys. Second album (or "debut") under this name, but they have worked together for 30 years, including in an ambient/drone band called Liminal. Nice textures, ambient plus something. B+(**) [cd] Recent reissues, compilations, and vault discoveries: Sonny Stitt: Boppin' in Baltimore: Live at the Left Bank (1973 [2023], Jazz Detective): Alto saxophonist, a bebopper from his start in the late 1940s, took a lot of grief as a "Bird imitator," but invented as much as he stole, and really who cares? He was always up to play, especially in his early-1960s duo albums with Gene Ammons, but his best albums came in 1972 for Muse, when he slowed down a bit. This previously unreleased tape comes from that period: a quartet with Kenny Barron (piano), Sam Jones (bass), and Louis Hayes (drums). A- [sp] Old music: Art Ensemble of Chicago: The Meeting (2003, Pi): Down to four -- Malachi Favors (bass), Famoudou Don Moye (drums), Roscoe Mitchell and Joseph Jarman (reeds), everyone percussion -- with the recent death of Lester Bowie. He is missed. B+(*) [sp] Art Ensemble of Chicago: Sirius Calling (2003 [2004], Pi): Moving on, still a quartet, streaks of brilliance with a lot of ambling along. B+(*) [sp] Art Ensemble of Chicago: Chi Congo (1972, Decca): Now-legendary Chicago quintet, they recorded a massive amount in 1967-72, much of it in France, like this album, before they landed on Atlantic for a couple 1972-73 albums, then ECM from 1978 to 2001 (aside for a 1986-90 burst in the Japanese label DIW). B+(**) [sp] Art Ensemble of Chicago: Live in Paris (1969 [2003], Charly, 2CD): Two long pieces (49:34 and 42:02), each originally split on LP, not sure when BYG originally released them but Part 2 came out in Japan in 1975, they were collected on 2-LP by Affinity in 1980, and later reissued on CD here and by Fuel 2000 in the US. Current digital editions have them split up again, but each part refracts the whole and vice versa. As usual, everyone doubles on percussion, with Roscoe Mitchell and Joseph Jarman on all manner of flutes and reeds. Singer Fontella Bass is also credited, a nice bit toward the end. B+(**) [sp] Art Ensemble of Chicago: Live Part 1 (1969 [1975], BYG): "Oh, Strange," credited to Jarman and Bowie. B+(**) [sp] Art Ensemble of Chicago: Live Part 2 (1969 [1975], BYG): "Bon Voyage," credited to Bowie. B+(**) [sp] Art Ensemble of Chicago: Live in Berlin (1979 [1998], West Wind, 2CD): One 80:10 stretch, sensibly split over 2-CD, the set pieces (if indeed that's what they are) flowing into one long medley. B+(*) [sp] Baba Zula/Mad Professor: Ruhani Oyun Havalan (Psychebelly Dance Music) (2003, Doublemoon): Turkish group, sing and play traditional instruments augmented with electronics for "a unique psychedelic sound," with Mad Professor mixing dub style, and a couple dancers listed among group members. B+(***) [sp] Bobby Blue Bland: Blues at Midnight (2003, Malaco): Blues/soul singer (1930-2013), his 1957-69 Duke Recordings the peak of several essential compilations ranging from 1952-59 (The "3B" Blues Boy) to 1973-84 (The ABC-Dunhill/MCA Recordings). After leaving MCA in 1984, he got picked up by Malaco and cut nine more albums, ending with this one -- touted as "a return to form." I've never followed him album-by-album, but the first thing clear here is that he never lost his voice (despite an occasional disconcerting gargle). This one flows easy. B+(**) [sp] Brooks & Dunn: Red Dirt Road (2003, Arista Nashville): Country duo, Kix Brooks and Ronnie Dunn, debut 1991, ninth album (of eleven through 2007, plus Reboot in 2019), most went top-ten country. Wikipedia says "neotraditional" but, nah! I'm not sure who came first, but they were part of a wave that amped country guitars and drums up to fill arenas. They also groomed their songs to appeal to the mass conservative audience, without quite becoming assholes about it. (GW Bush and Barack Obama both used their "Only in America" as campaign songs.) Most striking thing here is how their women are feisty enough to dump them but never do. They count themselves lucky, as well they should. B [sp] Jimmy Buffett: A White Sport Coat and a Pink Crustacean (1973, ABC): Dead at 78, he recorded 29 (or 51) albums, sold over 20 million, and probably made more money merchandising his lifestyle (per Wikipedia, his net worth was $550 million). Only thing of his I ever checked out was a 2003 best-of, but I always loved this title -- a play on a Marty Robbins title he didn't bother trying to turn into a song. Agreeably loose, maybe even a bit sloppy. B+(***) [sp] Jimmy Buffett: Living and Dying in 3/4 Time (1974, ABC): As folksy and sloppy as before, but somehow he misplaced . . . songs, I think. B [sp] Jimmy Buffett: Havana Daydreamin' (1976, ABC): Skipping a couple, another pleasant set from the Key West Chamber of Commerce. B+(*) [sp] Jimmy Buffett: Changes in Latitudes, Changes in Attitudes (1977, ABC): His country shtick seems to be in decline, but he's been working on his songs, coming up with a signature one in "Margaritaville" -- although note that the chart it topped was called US Adult Contemporary (it hit 8 on Billboard Hot 100, 7 on Cash Box). This was his first album to rise as high as 12 on the pop charts (2 on country). B+(**) [sp] Jimmy Buffett: Son of a Son of a Sailor (1978, ABC): Actually, a minor correction to the above: I did own a copy of this, but it never got copied into my database. A second platinum album, peaked at 10 (6 country), heights he didn't return to until the 1990s. His hit single this time was "Cheeseburger in Paradise," which like "Margaritaville" he converted into a chain of restaurants. B+(*) [sp] John Cale: Hobo Sapiens (2003, EMI): Welsh singer-songwriter, started in avant-classical in the 1960s, played electric viola in Velvet Underground, had various high points in the 1970s, which ultimately established the sound he's still working with here, more engagingly than was his norm (most remarkably "Letter From Abroad"). B+(***) [sp] Constantines: Shine a Light (2003, Sub Pop): Canadian indie rock band, five albums 2001-08, released a couple reunion singles since. Second album. B+(*) [sp] Rodney Crowell: Fate's Right Hand (2003, DMZ/Epic): Country singer-songwriter, moved from Houston to Nashville and made a splash with his 1978 debut. This was his eleventh, during a stretch of eight albums with eight different labels, most charting around 30. Choice cut: "Preachin' to the Choir." B+(***) [sp] The Darkness: Permission to Land (2003, Atlantic): English rock band, first album, leans toward metal but a bit soft and malleable. Broke up after second album (2005), regrouped in 2012, with five albums since. There was a day when I might have cut them more slack (or maybe I did, given how annoying the singer's screech is). B [sp] DonaZica: Composição (2003, Tratore): Brazilian group, principally singers Anelis Assumpção, Iara Rennó, and Andreia Dias (reportedly the lead), first of two albums (although I've run across Rennó elsewhere). Looking them up, I got confused by a samba dancer known as Dona Zica (actual name Euzébia Silva de Oliveira, who died at 89 the same year this appeared). Catches your ear, in a typically slippery mode. A- [sp] Kathleen Edwards: Failer (2003, Zoë): Canadian folkie singer-songwriter, father was in the State Department, so she grew up around the world. First album, of five through 2020. B+(*) [sp] Entropic Advance: Monkey With a Gun (2003, Symbolic Insight): Wesley Davis (bios+a+ic) and Noise Poet Nobody (James Miller?), released ten albums 1998-2014, of dark ambiance, light noise, captured sounds, some vocal. B+(**) [sp] Barry Guy/Evan Parker: Studio/Live: Birds & Blades (2001 [2003], Intakt, 2CD): Bass and tenor/soprano sax, one set recorded at Radiostudio DRS Zürich, a second a day later at Sphères Bar Buch & Bühne, also in Zürich. Long history, dating back to the late 1960s when they, foremost among a few others (like Derek Bailey and Paul Rutherford) introduced avant-jazz to Britain. This is a generous sample of what what these remarkable musicians have been doing for decades. A- [sp] Corey Harris: Mississippi to Mali (2003, Rounder): Bluesman, appeared in the mode established by Taj Mahal in the 1970s, cultivating those old delta blues for hip moderns, which garnered him a MacArthur in 2007. This came out about the time Ali Farka Touré was being treated as John Lee Hooker's long-lost cousin. That's the sort of connection Harris could revel in, but the mix here barely connects. B+(*) [sp] King Geedorah: Take Me to Your Leader (2003, Big Dada): Alias for rapper Daniel Dumile (1971-2020), formerly of KMD, also recorded as Viktor Vaughn but is best remembered as MF Doom. He was born in London, moved to Long Island while young, built his career in US, then was denied re-entry after a tour of Europe in 2010. I never quite got his cosmology, but the slinky beats and sense of surprise were irresistible. B+(***) [sp] The Knife: Deep Cuts (2003, V2): Swedish electronic duo, Olof and Karin Dreijer (brother and sister) -- she later broke off as Fever Ray, while he recorded, less successfully, as Oni Ayhun. Second album. B+(**) [sp] Linkin Park: Hybrid Theory (2000, Warner Bros.): Rap-metal group, first album, huge hit with 30 million copies sold worldwide, albeit with very little love from critics I follow. I cheated here by leaving the room while this played, the distance dimming the volume and dulling the words (if not dull enough already), but leaving basic impressions: palpable anger, and enough melodic sense to provide hooks. Clearly not my thing, but better than expected. B+(*) [r] Linkin Park: Meteora (2003, Warner Bros.): Second album, worldwide sales dropped off to 27 million. Listened to this one in the same room, which made it louder and a bit clearer, and only marginally more tedious. B+(*) [r] Patty Loveless: On Your Way Home (2003, Epic): Country singer-songwriter, original name Ramey but had just divorced a husband named Terry Lovelace when she recorded her debut in 1987. Has a pure country voice for a very traditional sound, later moving even further into bluegrass, recording steadily up to 2009, nothing since. B+(**) [sp] Marcelo D2: Looking for the Perfect Beat [A Procura Da Batida Perfeita ] (2003, Mr. Bongo): Brazilian rapper Marcelo Maldonado Peixoto, previously had a group called Planet Hemp. Second album, title originally in Portuguese, translated for reissue by Mr. Bongo (2003). I can't speak to the words, but the beats really jump. A- [sp] Metric: Old World Underground, Where Are You Now? (2003, Last Gang): Canadian electropop band, first album (of nine through 2023), Emily Haines the singer-keyboardist, with James Shaw on guitar. B+(**) [sp] My Morning Jacket: It Still Moves (2003, ATO): Indie rock group from Louisville, Jim James the singer, nine albums 1999-2021, this their third. Long album, sometimes plaintive with faint echoes of Neil Young. B [sp] The New Pornographers: Electric Version (2003, Matador): Canadian indie band, second album, three members also have notable side projects (Neko Case, Carl Newman, Dan Bejar). Came in 18 in Brad Luen's 2003 poll, highest of any album I missed, the likely explanation being that I thought their debut sucked, this one wasn't as well-regarded, and I've never cared much for their later albums, or for those side projects. But sure, it is very snappy, with hooks and, well, what else? B [sp] Pernice Brothers: Yours, Mine & Ours (2003, Ashmont): Indie rock band led by Joe Pernice, formerly of Scud Mountain Boys, and brother Bob among others. Third album. Sounds pretty, but feels trivial. B+(*) [sp] Pet Shop Boys: Pop Art: The Hits (1985-2003 [2003], Parlophone, 2CD): A 35-song best-of, focusing on 7-inch versions, so nothing very long (5:10 max). Most songs I instantly recognize and totally love, including five songs from Very, but the few I don't recognize are pretty amazing, too. Good chance more plays would raise this grade. A- [sp] Steely Dan: Everything Must Go (2003, Warner Bros.): Four outstanding albums 1972-75 when they were still a band, fell off a bit in 1976 as Donald Fagen, Walter Becker, and some studio support, found a new niche -- longer songs, jazzier -- with Aja and Gaucho 1977-80. Not much to show for solo careers, other than Fagen's brilliant The Nightfly (1982), so they reunited in 2000 for a pretty good record (Two Against Nature), then ended with this (Becker died in 2017). Still, not much here beyond trademark sound. B+(*) [sp] T.I.: Trap Muzik (2003, Atlantic/Grand Hustle): Atlanta rapper Clifford Harris, second album (has eleven through 2020, has had a pretty checkered career beyond the music). Trap has something to do with selling drugs, but you can just go with the flow here, and occasionally catch the odd beats. B+(**) [sp] TV on the Radio: Young Liars (2003, Touch & Go, EP): Indie/art rock band from Brooklyn, self-released a demo album in 2002, this EP (5 songs, 25:13), then went on to release five albums 2004-14, most critically acclaimed -- I'm even on record as liking Dear Science and Nine Types of Light, but don't remember any more than that. This hints at something more, but hard to tell what. B [sp] Ying Yang Twins: Me & My Brother (2003, TVT): Crunk duo from Atlanta, Kaine (Eric Jackson) and D-Roc (D'Angelo Holmes), debut 2000, third album. Relentless, cartoonish bangers, can be sampled on the Crunk Hits volumes. Christgau gets the spirit: "Way more fun than most bitch-ass motherfuckers." High point: "Naggin' Part II (The Answer)." Then the down of "Armageddon." B+(***) [sp] Unpacking: Found in the mail last week:
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