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An occasional blog about populist politics and popular music, not necessarily at the same time. LinksLocal Links Social Media My Other Websites Music Politics Others Networking Music DatabaseArtist Search: Website SearchGoogle: Recent Reading
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Blog Entries [460 - 469]Monday, March 8, 2021 Music Week
Music: Current count 35047 [35005] rated (+42), 228 [236] unrated (-8). I don't feel like writing much, but have a bunch of things to run through, so let's make it quick. I finally did the indexing on February Streamnotes, so that's out of the way. Only added 74 albums in February, way down from 273 in January. I expected to cut back after a record-setting 2020, but not that much. I wound up only posting two Music Weeks in February. Illness and injury had much to do with that, but the last week didn't post until March 1, after I had gerrymandered January to leave nothing. I still haven't moved on to any of the projects I anticipated for 2021, but did make a modest first step in adding the final Weekend Roundups to my compilation of Trump era notebooks/blog posts. You can download a copy, still using its working title: The Last Days of the American Empire IV: Extracts From a Notebook (2017-2021). Beware that it runs 2,750 pages (1,027,184 words), including an Appendix of earlier Trump-specific posts. Also, it's in ODT format, so you'd need a word processor to browse it -- I recommend the free LibreOffice package, but others should work as well. The title is a leftover from my first compilation of poltical posts, on the Bush-Cheney years (2001-2009). Early in those years there was much bluster about America as an empire, but even then it was clear that the exertion of power against unimpressive militaries but unconquerable nations like Afghanistan and Iraq would fatally erode the post-Cold War assumptions of the neocons. By 2009 the debacle was essentially complete, but Obama came not to bury Caesar but to rationalize him, as if a smarter War on Terror would end differently. Obama's folly was such that I kept adding to the title, writing as much on his first term as I had written on eight years of Bush-Cheney, and writing a bit more on Obama's second term. One clear lesson of America's "endless war" machine since 1945 is that while it is hard to claim anything plausibly resembling a victory, it's much easier to delay and deny defeat -- which is what matters most to politicians. All it takes is deliberate self-deception, lot of money, and sheer contempt for the lives of others. For all his supposed brains, Obama turned out to be as naively deluded as any of his predecessors. If the title seems less appropriate to Trump's years, that's partly because the damage his "America First" strategies did to America's reputation in the world seems paltry compared to the threat he posed to the Republic. Also, it's unclear how much of Trump's legacy will be quickly reversed and forgotten, and how much will haunt us well into the future. What I am certain of is that the only way Biden's "America's Back" reset works is the US starts working alongside the world instead of against it (as Trump was wont to do). But what could (and should) happen in US foreign policy is a different writing chore. What Trump did is history, even if it seems more incredible. Next step would be to sift through that file and see if I can come up with a short but still worthwhile version -- although choices over length and utility are likely to be personal and arbitrary, so I'm not especially hopeful. I can only say that when I go back to those old writings -- and there are three previous volumes (one on Bush, two on Obama) that aren't much shorter than the Trump tome -- I'm frequently impressed by the depth of information, coherency of argument, and even the quality of the writing. I dare say most people could learn a thing or two there. But will they? I also updated a file with my occasional notes on things other than politics and music. I doubt it's of any interest to anyone other than myself. I was looking for fragments of memoir, but didn't find much. I had written a few dozen pages some while back, and lost them among the crashes. Fortunately, it's mostly from memory, and I still have a fairly good command of that. Listened to a lot of old reggae last week, following the recent deaths of U-Roy and Bunny Wailer. I've been playing the latter's Crucial! a lot recently, so bumping the grade up a notch was the right thing to do. I've been working off a Mojo list of The 50 Greatest Reggae Albums, which strikes me as skewed toward instrumentals and dub, but identified a few holes to plug. One thing I'm especially happy about is knocking off two previously U-graded Big Youth albums: I found Progress on LP, and A Reggae Collection on CD. Finding anything around here always seems like a major victory. None of these records are rating super-high on my all-time list (as can be seen from my reggae grade list). Best choice if you're a neophyte is still the 4-CD box set, Tougher Than Tough: The Story of Jamaican Music. I've been referring back to it regularly over the last months. Got a first COVID-19 vaccination last week. Laura's is scheduled for Wednesday. I went to the former library downtown, but with Laura's lack of mobility, we'll try the drive-through (which has been harder to schedule, not that mine was easy). New records reviewed this week: Albare: Albare Plays Jobim Vol. 2 (2020 [2021], Alfi): Guitarist Albert Dadon, Australian tycoon though born in Morocco and grew up in Israel and France, has released albumsm since 1992, including his previous Albare Plays Jobim in 2020. B+(*) [cd] Cowboys & Frenchmen: Our Highway (2020 [2021], Outside In Music): New York-based group, two saxophonists (Owen Broder and Ethan Helm), piano (Addison Frei), bass, and drums. Group name from a David Lynch name, but with more cowboys. Third album. The saxes make a strong initial impression, but then the flutes come out, and more postbop doldrums follow. B+(*) [cd] The Dynamic Les DeMerle Band Featuring Bonnie Eisele: Hot Night in Venice: Live at the Venice Jazz Club (2020 [2021], Origin): Drummer, sings some, reminds me in that regard of Louis Prima, more so when he brings his better half out a third of the way in: second third of the set features Eisele, and both sing toward the end. All standards, most obscure is the funniest ("Woe Is Me"). No horns. They've had hotter nights. B+(*) [cd] Yelena Eckemoff: Adventures of the Wildflower (2019 [2021], L&H Production, 2CD): Russian pianist, classical training, came to US in 1991 and switched to jazz, has a substantial catalogue since 2010, original compositions, last two albums doubles. She recorded this one in Finland with local musicians, trio plus spots for guitar, sax, and/or vibes. B+(**) [cd] [03-19] Elephant9: Arrival of the New Elders (2020 [2021], Rune Grammofon): Norwegian fusion band, ninth album since 2008, members: Ståle Storløkken (keyboards), Nikolai Hængsle (bass/guitar), Torstein Lofthus (drums). B+(**) Frank Gratkowski/Achim Kaufmann/Wilbert de Joode/Tony Buck: Flatbosc & Cautery (2018 [2020], NoBusiness): Free improv: alto sax (plus clarinets/flutes), piano, bass, drums. Can get noisy, but pianist is heroic both as alternate lead and support, and the bassist goes a long way toward holding it together. A- [cd] Doug MacDonald Duo: Toluca Lake Jazz (2020 [2021], Doug MacDonald Music): Guitarist, albums since 1981 but more frequently of late, with Harvey Newmark on bass, adding depth without making himself conspicuous -- the effect is much like a solo guitar album, but sounds a bit better. Nice mix of MacDonald originals and overs -- "These Foolish Things" is especially tasty. B+(**) [cd] Sana Nagano: Smashing Humans (2020 [2021], 577): Violinist, from Tokyo, moved to Oregon as an exchange student, studied at Memphis and Berklee, based in New York, first album, with Peter Apfelbaum (tenor sax), Keisuke Matsuno (guitars), Ken Filiano (bass), and Joe Hertenstein (drums). B+(***) [cd] [03-19] Charlie Porter: Hindsight (2020 [2021], OA2): Trumpet player, third album, all originals, two with lyrics (sung by Jimmie Herrod, plus a rap by Rasheed Jamal and a cut with Hallowed Halls Gospel choir. Various lineups, built around a piano trio led by Orrin Evans. B [cd] Idit Shner: Live at the Jazz Station (2019 [2021], OA2): Alto saxophonist, based in Oregon, juggles jazz and classical repertoires with several albums in each. This is jazz, backed by piano trio, the band contributing a song each (two for pianist Torrey Newhart). B+(**) [cd] John Stowell/Dan Dean: Rain Painting (2018-20 [2021], Origin): Jazz guitarist, couple dozen albums since 1977, this a duo where Dean is credited with "vocals, fretless acoustic bass guitar, electric & fretless electric basses, percussion, drum programming." The vocals, mostly scat, are the problem. B [cd] Theo Walentiny: Looking Glass (2020 [2021], self-released): Pianist, from New Jersey, based in Brooklyn, first album, solo, all original pieces/improvs. Several impressive stretches. B+(*) [cd] [04-02] Chris White/Lara Driscoll: Firm Roots (2020 [2021], Firm Roots): Piano duets; Driscoll from Chicago, released an album I liked last year; White from Toronto (although Discogs attributes this album to a British saxophonist of same name) but now based in Chicago. five original pieces plus four covers, including Walton and Silver. B+(**) [cd] Recent reissues, compilations, and vault discoveries: Don Cherry: Cherry Jam (1965 [2021], Gearbox, EP): Plays cornet here, already famous as part of Ornette Coleman's Quartet but didn't step out as a leader until 1965. Four tracks, 22:24, cut in Copenhagen with a pick up quintet: tenor sax (Mogens Bollerup), piano (Atli Bjørn), bass (Benny Nielsen), drums (Simon Koppel). All nice. B+(*) [os] Old music: Big Youth: Dreadlocks Dread (1975, Klik): Jamaican toaster Manley Buchanan, his 1972 debut Screaming Target is the definitive classic of the style. Tony Robinson produced this follow up, the riddims seductive but understated, as are the toasts, which tail off toward the end. B+(***) Big Youth: Natty Cultural Dread (1976, Trojan): Sings more here, not much of a ballad voice although he's enough of a weirdo to get away with most of it. Exception: a pop ditty I wish I could unhear. B Big Youth: Hit the Road Jack (1976, Trojan): Starts with four covers: "What's Going On?"; "Hit the Road Jack"; "Wake Up Everybody"; "Get Up Stand Up." Nothing terribly interesting there, although he has much more feel for Marley than for Gaye. Rest is his improvisational toasting/singing mix, impressive when he finds his groove, but he's not his best producer. B+(*) [yt] Big Youth: Isaiah First Prophet of Old (1978, Negusa Nagast): Seems to have rounded off his rough edges without losing his faith. B+(**) Big Youth: Progress (1979, Negusa Negast): Rasta is real, but few prophets/entertainers have enjoyed themselves more in its service. A- [lp] Big Youth: A Reggae Collection (1973-80 [1992], Essex Entertainment): Best-of, roughly equivalent to Trojan's 1980 Everyday Skank (Best of Big Youth), repeating 9 songs (of 15), but I happen to have picked up this one somewhere along the way. Still, no best-of matches Screaming Target (1972), but if you want more I'd suggest Blood & Fire's 3-CD Natty Universal Dread 1973-1979, or maybe Trojan's 2-CD Ride Like Lightning: The Best of Big Youth 1972-1976. Still: A- [cd] Big Youth: The Chanting Dread Inna Fine Style (1973-82 [1982], Heartbeat): Compilation, second on label following 1981's Some Great Big Youth, not much info on when these tracks were recorded, but they were licensed from Negusa Nagast, and they get the general vibe right, albeit modestly. B+(***) Big Youth: Live at Reggae Sunsplash (1982 [1984], Sunsplash): Live, skips through a decade of material, with a light touch that lets' him flow. Wish he'd skipped "Every Ni**er Is a Star," but it fades quickly as he reverts to rasta roots revival, and after the band is introduced to "Roll River Jordan," his last pop shot ("Hit the Road Jack") climaxes on schedule. B+(**) [yt] Big Youth: A Luta Continua (1984 [1985], Heartbeat): The struggle continues, the music getting easier while the inspiration gets harder. Still, not a bad balance. B+(**) Big Youth: Manifestation (1988, Heartbeat): Seems like a perfectly average album, which at this stage could be taken as decline. Still love the riddim. B+(*) Big Youth: Higher Grounds (1995, VP): His discography thins out after 1988, aside from this and another album in 1995 and another in 2006. Still, this is a pretty solid effort, unlikely to be mistaken for anyone else. B+(*) Dr. Alimantado: Best Dressed Chicken in Town (1973-76 [1978], Greensleeves): Winston Thompson, Jamaican toaster, producer and DJ, first (and most famous) album, various singers (two for Gregory Isaacs) and engineers (including Upsetter and King Tubby). B+(***) Eek-a-Mouse: Wa-Do-Dem (1981 [1982], Greensleeves): Jamaican singer Ripton Hylton, second album. Playful name, playful vocals, starting with the nonsense title rhyme. B+(***) Joe Gibbs & the Professionals: African Dub All-Mighty (1975, Joe Gibbs Record Globe): Jamaican producer, studied electronics, started with a repair shop, built it into a sound system, hired a band, and cut hundreds of hit records. Cover is ambiguous here, with "Solid Gold," and "a Joe Gibbs production" also appearing, but credit is usually as stated. Instrumental pieces, tight, crunchy grooves. B+(***) Joe Gibbs & the Professionals: African Dub All-Mighty Chapter 2 (1976, Joe Gibbs Record Globe): B+(***) Joe Gibbs & the Professionals: African Dub All-Mighty Chapter 3 (1978, Joe Gibbs Record Globe): Some vocals here. I don't see the credit, and it may not matter, because they're more like cheers, mixed in with other special effects. A- Joe Gibbs & the Professionals: African Dub Chapter 4 (1979, Joe Gibbs Music): "All-Mighty" no longer evident on the cover, although some sources still claim it. Omission probably not an admission that this is the first "Chapter" to feel like they're going through the motions. B+(**) Joe Gibbs & the Professionals: African Dub Chapter Five (1984, Joe Gibbs Music): More, more, more. B+(**) Marcia Griffiths: Naturally (1978, Shanachie): Jamaican singer, started with Byron Lee in 1964, sang backup and duets with Bob Marley, whose backup singers recorded as the I Threes. Second solo album, nice voice over classic riddim, but only standout song is "Melody Life." B+(**) The Heptones: Cool Rasta (1976, Trojan): Jamaican vocal trio, one of the first groups picked up by Island/Mango for US release, but didn't have much kick. By the time Night Food (1973) appeared in the US, they tried something more roots/rasta, but it still came out rather smooth. B+(*) Bunny Wailer: Protest (1978, Island): Second album, like his debut Blackheart Man picked up by Island in US/UK, but has never been as well-regarded -- I missed it even when I was writing the Rolling Stone Record Guide entry on Bunny. Some kind of pop move, betraying its title with soft funk, and reprising his "Johnny Too Bad" as bubblegum. B Bunny Wailer: Struggle (1979, Solomonic): Jamaica-only album, prime political anthems although one could quibble that he sees his struggle against "the old dragon" (aka Lucifer) as opposed to more mundane sources of injustice. Five (of seven) songs repeat on Crucial! Roots Classics, which is the one you want. Without that alternative, I could have graded this higher. The other two songs are pretty good, except I could do without the "unborn children" line. A- Bunny Wailer: Rock 'n' Groove (1981, Solomonic): Politics may be a higher calling, but dancehall pays the bills. And he delivers as advertised. B+(***) [yt] Bunny Wailer: Tribute (1981, Solomonic): Bunny Wailer Sings the Wailers reclaimed the group's early songs, mostly his own, with scant reference to Bob Marley, whose became a huge star after Bunny and Peter Tosh left. But with Marley dying in 1981, Bunny knocked off this quickie, with seven of Marley's most famous songs. Not sure we need the extra versions. B+(**) [yt] Bunny Wailer: Time Will Tell: A Tribute to Bob Marley (1981 [1990], Shanachie): The label started carrying Bunny's albums in 1983, starting with an augmented reissue of In I Father's House (new title: Roots Radics Rockers Reggae). This is another, reissuing Bunny's Bob Marley Tribute plus two cuts, presumably (not that I'm sure) from the same sessions. "Bellyfull" is nothing special, but "Rebel Music" is. B+(***) [yt] Bunny Wailer: Marketplace (1985, Shanachie): "The more we live together/the irier we shall be." B+(*) Bunny Wailer: Liberation (1989, Shanachie): Lots of words on the cover -- one of the ways he's found to make his political points without compromising his dancehall groove. Not what I'd call an ideal synthesis, but has some merit. B+(**) [yt] Grade (or other) changes: Bunny Wailer: Crucial! Roots Classics (1979-82 [1994], Shanachie): Neville Livingston claimed the Wailers' spirit even as he left the group to Bob Marley. Still, I've been playing this compilation a lot more recently than I have anything by Marley, not just because it delivers on its subtitle, but because this may be the most inspiring political music ever recorded. Also because the earworms are irresistible. Bunny just died, at 73, so let's give him his due. [was: A] A+ Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, March 1, 2021 Music Week
Music: Current count 35005 [34967] rated (+38), 236 [249] unrated (-13). Last week I speculated that I might nudge this week's Music Week up a day to fit it into February. Of course, it could have been that I was in no mood to wrap up February Streamnotes. (I certainly wasn't.) However, my post on Tom Cotton's Big Plan chewed up all my time on Sunday. Then it occurred to me that February was a wasted month anyway, so why not cut my losses and get a fresh start on March. It was easy enough to move this week's reviews forward. And I can still postpone the wrap up bookkeeping a few days, so no pressure there. I did make a dent in the new CD queue this week, but still quite a lot to get to there. Admittedly, didn't find much I liked there. Also my attempts at streaming new non-jazz (Willie Nelson, The Hold Steady, Slowthai) were also disappointing, so my only solid recommendations below are old music. I started the week listening to more records by the late Jamaican toaster U-Roy (including two recommended by Clifford Ocheltree), then stumbled onto some more reggae I felt like playing. After floundering around a bit, I decided to look for an expert list, and found this one on Mojo: The 50 Greatest Reggae Albums. I'm not sure it's a very good list, but it gave me some ideas to follow up on. I feel like sticking with it for a while. My own interest in reggae started in the 1970s, when I got on Island's promo list (although I may have had some earlier). Over the years, I've listened to a fair amount (although there's plenty more I haven't gotten to). The reggae albums were just the push I needed to lift the rated count over 35,000. I was surprised to see that happen this week, but it's a big, round number I've been closing in on, so was just a matter of time before I would hit it. Not something I have to think about any more. One thing I am tempted to think about is Chuck Eddy's 150 Best Albums of 1976. That was the year before I moved to New York, when Don Malcolm and I were planning out Terminal Zone, when my view of the rock world was at its most idealistic. My years in New York were richer in life experiences, and probably in music, but 1976 was when I started to feel like I really knew something. Worth noting that Eddy's top two records are probably mine as well: Have Moicy! and Dr. Buzzard's Original Savannah Band. Also that at the time I used to figure I had to have at least one mainstream rock band in my top ten, and he has the year's two best: Blue Oyster Cult's Agents of Fortune (5) and Bob Seger's Night Moves (7). I can't imagine I'll ever warm to Aerosmith or Thin Lizzy or Boston or Crack the Sky or Heart, but I should track down some of his disco obscurities, especially as others are prominent on my list (and we share Silver Convention's Madhouse). Personal fave I'm surprised to see here is Michael Mantler's The Hapless Child and Other Inscrutable Stories (114). Lawrence Ferlinghetti died last week, at 101. Seems like just yesterday we were touting his 101st birthday, so I'm still more in the mode of celebrating his life than mourning his death. There was a day (many decades ago) when I read a lot of poetry, and he was the North Star everyone else rotated around. New records reviewed this week: Franco Ambrosetti Band: Lost Within You (2020 [2021], Unit): Trumpet/flugelhorn player, from Switzerland, debut in 1965, father was a saxophonist (both played with George Gruntz). Group with John Scofield (guitar), Scot Colley (bass), Jack DeJohnette (drums), and either Renee Rosnes or Uri Caine (or DeJohnette) on piano. B+(**) [cd] Emmet Cohen: Future Stride (2021, Mack Avenue): Pianist, debut 2011, has taken to looking back recently, with four Masters Legacy Series volumes and a mostly-Fats Waller joint called Dirty in Detroit (with glances toward Monk and Cedar Walton). This is a mix of oldies and original reflections thereon, mostly trio (Russell Hall and Kyle Poole), with Marquis Hill (trumpet) on four tracks, plus Melissa Aldana (tenor sax) on three of them. B+(**) Randal Despommier: Dio C'è (2019 [2021], Outside In Music): Alto saxophonist, from Louisiana, debut album, co-produced by Jimmy Haslip. Title track is a hymn, but with vocals sounds more like a displaced Christmas song. I didn't like it at all, but the instrumental pieces are nice enough. B [cd] Yoav Eshed/Lex Korten/Massimo Biolcati/Jongkuk Kim: A Way Out (2019 [2021], Sounderscore): Israeli guitarist, based in New York, several albums since 2013, backed by piano, bass, and drums. Nice enough. B+(*) [cd] Futari: Beyond (2019 [2021], Libra): Duo, Taiko Saito (vibraphone) and Satoko Fujii (piano), mostly the latter's compositions. B+(*) [cd] The Hold Steady: Open Door Policy (2021, Positive Jams): Craig Finn's post-Lifter Puller group, eighth album since 2004, Tad Kubler (guitar) and Galen Polivka (bass) constants since the group's founding, while Finn has recorded a few solo albums. Something slightly off about the sound here, but the songs are deeply observant -- I doubt anyone else writes more third-person songs about women. B+(**) Ethan Iverson/Umbria Jazz Orchestra: Bud Powell in the 21st Century (2018 [2021], Sunnyside): Pianist, "Do the Math" blogger, has another big project called "MONK@100," so seems to be focusing on roots recently. Half originals, one Monk tune, the rest from Powell, played by Italian big band horns arrayed aroud an all-star quintet: Ingrid Jensen (trumpet), Dayna Stephens (tenor sax), Ben Street (bass), Lewis Nash (drums). Not sure why I'm not more impressed. Maybe what was radical in 1950 is old hat today? B+(**) Jazz Worms: Squirmin' (2017 [2021], Capri): Denver quintet -- Ron Miles (cornet) and Keith Oxman (tenor sax) are the best known, with Andy Weyl (piano), Mark Simon (bass), and Paul Romaine (drums) -- cut a debut record in 1987, regrouped here for a pretty straightforward 30th anniversary bash. B+(*) [cd] Andy LaVerne: Rhapsody (2021, SteepleChase): Pianist, several dozen albums since 1976, played with Stan Getz 1977-79, someone I clearly haven't payed enough attention to (my one database record is 1993's A- First Tango in New York). Quartet with Zach Brock (violin), Mike Richmond (bass/cello), and Jason Tiemann (drums). B+(**) Johan Lindström Septett: On the Asylum (2020 [2021], Moserobie): Swedish guitarist, also plays "pedal steel and more, group includes saxophonists Per Texas Johansson and Jonas Kullhammar, trombone, organ/piano, bass and drums, plus "special guests" -- Elvis Costello snuck in a lyric, which started the album off in a hole. B+(*) [cd] Shai Maestro: Human (2020 [2021], ECM): Israeli pianist, sixth album, second for ECM, previous one a trio with Jorge Roeder (bass) and Ofri Nehemya (drums), this one adds Philip Dizack on trumpet. B+(*) Meridian Odyssey: Second Wave (2020 [2021], Origin): Seattle musicians at one point, since scattered but reconvened in Alaska to record this group album: Santosh Sharma (tenor sax), Martin Budde (guitar), Dylan Hayes (keyboard), Ben Feldman (bass), Xavier Lecouturier (drums). All five contribute songs, tightly wound postbop. B+(*) [cd] Willie Nelson: That's Life (2021, Legacy): A second volume of Frank Sinatra songs, following 2018's My Way, same producers (Buddy Cannon and Matt Rollings), feels like leftovers, or just an afterthought. I've never quite bought the notion that there even is a "Sinatra songbook" -- he worked the same songs many others did, and while he had an exceptional knack, few strike me as being exclusively his (one here is "Luck Be a Lady"). Nelson can also be a pretty great interpretive singer, but not in the same way, and their hyped association doesn't amount to much more than famous people are conscious of one another. This album's duet partner is Diana Krall, who should be a step up from Norah Jones, but when you queue up "I Won't Dance," the one that's stuck in my head is by Louis Armstrong and Ella Fitzgerald. B Larry Newcomb Quartet: Love, Dad (2020 [2021], Essential Messenger): Guitarist, Bucky Pizzarelli a mentor, third album since 2015 although he's old enough to have three songs, including featured bassist Jake Newcomb. Quartet adds Thomas Royal (piano) and Dave Marsh (drums). Six originals, but the covers stand out more, especially the closing "The Song Is You." B+(*) [cd] Grete Skarpeid: Beyond Other Stories (2018 [2021], Origin): Singer-songwriter, from Norway, has a degree in Music Therapy, second album, recorded in New York, produced by pianist Aruán Ortiz, with Rob Waring (vibes), Cameron Brown (bass), and Gerald Cleaver (drums). Originals take a while to sink in, but her cover of "My Favorite Things" leaps out. B+(**) [cd] Slowthai: Tyron (2021, Method): British rapper Tyron Frampton, debut the memorably titled Nothing Great About Britain, sophomore effort just another of many times rappers have name-checked their given names. Organized as two discs, but they only add up to 35:17. B+(*) Yuma Uesaka/Cat Toren/Colin Hinton: Ocelot (2019 [2021], 577): Young Brooklyn-based trio, reeds/piano/drums; Uesaka has a debut out in January, a duo with Marilyn Crispell, while Toren's first record dropped last year. This is a quiet record, with an understated strength, the pianist most impressive. B+(***) [cd] [03-26] Rodney Whitaker With the Christ Church Cranbrook Choir: Cranbrook Christmas Jazz (2020 [2021], Origin): Release date Jan. 15, so they missed the season, and listening to this in February is trying my patience. Usual songs, Vanessa Rubin leads a long list of singers backed by the Choir. Leader plays bass, and Sextet is ably fronted by Timothy Blackmon on trumpet. Not bad if you're in the market. B [cd] Greg Yasinitsky Yazz Band: New Normal (2019-20 [2021], Origin): Saxophonist, alto probably his main choice but also plays soprano, tenor, and baritone. Big band, or close enough for practical purposes. B [cd] Recent reissues, compilations, and vault discoveries: Hal Galper Quintet: Live at the Berlin Philharmonic 1977 (1977 [2021], Origin, 2CD): Pianist, born 1938, steady stream of albums since 1971, always superb but I often need something extra to single out one of his albums. Here it's the horns, with Randy Brecker on trumpet and Michael Brecker on tenor sax. Discs run 51:31 and 36:08, three long tracks each, with the usual bass (Wayne Dockery) and drums (Bob Moses) solos. Superb piano, too. B+(***) [cd] Juozas Milasius/Tomas Kulavicius/Dalius Naujokaitis/Lithuanian Young Composers Orchestra: Live at Willisau, 1993 (1993 [2020], NoBusiness): Guitar/piano/drums, with extra participation from the "orchestra" -- most credited with "vocal, cymbal, clapping, tramping"; i.e., screams and cacophony. Not to my taste. C+ [cd] Masauyki JoJo Takayanagi/Nobuyoshi Ino/Masabumi PUU Kikuchi: Live at Jazz Inn Lovely 1990 (1990 [2020], NoBusiness): Japanese free jazz, something of a specialty for this Lithuanian label: guitar, bass, piano -- the pianist (1939-2015) best known for his Tethered Moon group, the guitarist (1932-91) known for several recent reissues on Blank Forms Editions. A bit sketchy, opening up space for all three. B+(**) [cd] Old music: Johnny Clarke: A Ruffer Version: Johnny Clarke at King Tubby's 1974-78 (1974-78 [2002], Trojan): A big star in Jamaica from the early 1970s, working mostly with Bunny Lee and the Aggrovators, signed by Virgin in 1976, and moved on to England in 1983. He released albums through the 1990s, and a few since. King Tubby adds his customary dub echoes, but this leaves me with the question: ruffer than what? B+(**) Johnny Clarke: Dreader Dread (1976-1978) (1976-78 [1998], Blood & Fire): Same years, but different recordings -- only song in common is "Play Fool Fe Get Wise" (longer here). Bunny Lee's productions are more balanced. B+(***) Phyllis Dillon: One Life to Live (1972, Trojan): Rocksteady singer, recorded singles for Duke Reid's Treasure Isle label from 1966, leading up to this single LP. Mostly covers of US-UK pop hits, poorly selected ("Love the One You're With," "Something," "Close to You"). B- Mikey Dread: World War III (1980, Dread at the Controls): Reggae singer Michael George Campbell (1954-2008), trained as an engineer, worked as a broadcaster, recorded with Lee Perry and Joe Gibbs, aligned with dub. Third album. Rasta themes, dense and dark, title track posits war could happen any minute, then attacks with weird whistles, not that he doesn't have better ideas. B+(***) Mikey Dread: Pave the Way (1982, Heartbeat): Eighth album, but the interval is mostly dub quickies. B+(**) Keith Hudson: Pick a Dub (1974 [1994], Blood & Fire): Dub producer/toaster, nicknamed "Dark Prince of Reggae," died 1984 (38). Mostly instrumental, hits some unsettling low notes, but carries on. B+(**) Keith Hudson: Rasta Communication (1978, Greensleeves): He moved to New York in 1976, signed with Virgin, got dumped, and returned with this record. He sings here, rasta/roots themes, not much dub effect. B+(**) Prince Buster: Fabulous Greatest Hits (1964-68 [1968], Melodisc): Cecil Bustamente Campbell (1938-2016), early Jamaican ska star, associated with Coxsone Dodd. This early compilation misses his early singles (from 1961), but includes his biggest ("Al Capone") and several others (especially "Take It Easy"). A better package may be possible, but this is classic. A- The Upsetters: Return of Django (1969, Trojan): Lee Perry's band's first album, title a reference to Sergio Corbucci's 1966 spaghetti western Django. Perry kept the group name through 1978 (plus a 1986 album), the titles mostly drawing on movies (most famously 1976's Super Ape). Instrumental pieces, Glen Adams' organ most prominent, with a few vocal intros. B+(***) The Upsetters: The Good, the Bad and the Upsetters (1970, Trojan): Lee Perry's second album, more instrumentals, more focus on chunky rhythm. B+(***) U-Roy: 30 Massive Shots From Treasure Isle (1970-74 [2009], Attack): Duke Reid productions, with U-Roy toasting over various singles, some familiar, some obscure. The only ones I've been able track down date from 1970-71, and they represent a small subset of U-Roy's singles from the period. B+(**) U-Roy: Version of Wisdom (1971-74 [1990], Front Line/Virgin): One of several CD reissues with similar covers. Notes say this combines two albums -- Version Galore (originally attributed to Hugh Roy) and With Words of Wisdom (1979) -- but the 1978-79 dates were reissues of the original Jamaican albums. A- [dl] U-Roy: The Lost Album: Right Time Rockers (1976 [1998], Sound System): Originally released in 1977 as Dubbing to the King in a Higher Rank (King Attarney, in Canada). A- [dl] U-Roy: Love Is Not a Gamble (1980, TR International): After his big decade, he seems ready to cruise along into middle age. Tony Robinson produced, capturing his sound and style, and adding a little rocksteady groove. B+(***) U-Roy: Serious Matter (1999, Tabout 1): Roots throwback, songs feature vocalists, most from back in the toaster's heyday -- Horace Andy, Dennis Brown, Beres Hammond, Gregory Isaacs, Third World, Israel Vibration -- old verities (like "money is the root of all evil"), possibly old tunes too. B+(*) Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, February 28, 2021 Tom Cotton's Big PlanSenator Tom Cotton (R-AR) launched his 2024 presidential campaign last week with the publication of his bold plan "to send the Chinese Communist Party into the 'ash heap of history'": Beat China: Targeted Decoupling and the Economic Long War. This comes at a time when the Biden administration is making aggressive noises about China, to no small extent because Republicans are goading him on. Biden's rhetoric in turn offers cover and legitimation for Cotton's much more dangerously extreme stance. For an "explainer" on Cotton's scheme, see Alex Ward: Tom Cotton's big plan to "beat China," explained. Cotton's plan has two major planks. The first is to "decouple" from China's economy, isolating China from world trade, in the hopes that will lead to an economic collapse that will bring down the political order and end Communist Party rule. Something like that did happen to cause the collapse of the Soviet Union, but there are many differences between the two cases, and far more stringent efforts to isolate North Korea, Cuba, and Iran only resulted in the targeted regimes digging in deeper to maintain their hold on power. The second plank is a set of reforms to the American economy to make it more competitive with China, and to use US power around the world to force other countries to curtail their trade with China and to buy more American exports. This section is less coherent (e.g, "the senator singles out Japan as a place that could buy more American goods, and points to Malaysia and Vietnam as having labor forces that could produce these goods at competitive prices"), and in some cases comes close to admitting that Chinese state-directed methods are more effective than the US "free market" fetish (e.g., in the production of valuable "rare earth" metals). We need to consider four questions to evaluate Cotton's plan:
If you honestly consider these questions, I'm pretty sure you'll see that Cotton's "plan" is one of the dumbest and most reckless ever. Indeed, the answers are so obvious one might quickly move on to real puzzles, like what motivates Cotton in this case? Romanticism for the lost Cold War? Defense industry graft? The macho certitude that America can always bend the world to its will? Let's take these questions one by one: 1. What are the risks to the US of forcing regime change on China? Are there risks so great that they would limit US action? Regime change is a tall demand, one that few rulers are willing to acquiesce to, and consequently one that is rarely insisted upon. Even the US compromised in accepting the less-than-unconditional surrender of Japan in 1945. America's Cold War aim was containment of the Soviet Union, not regime change. So Cotton's call for ending Communist Party control of China is an extremely aggressive stance. Admittedly, the US has insisted on regime change when confronting small and relatively weak countries, like Panama, Iraq, and Afghanistan. But China is not small nor weak. China, like the US, possesses nuclear weapons and missiles that can deliver them anywhere on earth. China is about the same physical size as the US, has a comparably sized economy, and close to four times as many people. While the US may have technical military advantages, China is too big to attack, and there are major limits on how much the US can intimidate China. Conversely, the US is too vulnerable to a Chinese counterattack to risk any existential military threat to China. Cotton probably understands that much, but is hoping to find some internal flaw in the Chinese system that will cause it to collapse if given a little push -- as happened with the Soviet Union. This view is very naive. Chinese leaders observed the collapse of the Soviet system in Russia and Eastern Europe very closely, and moved decisively to repress dissent, and to direct needed economic reforms from the top down, reinforcing rather than undermining Party power. And they've been very successful, with a sustained 30-year track record of economic growth that far exceeds the performance of any other country or system, not least compared to the US. 2. Economic sanctions are widely regarded as a low-risk alternative to direct military action. But are they effective at achieving Cotton's goals, specifically regime change? Short answer is no. The US has tried blockades and crippling economic sanctions against a number of much smaller, less self-sufficient nations (North Korea, Cuba, Iraq, Iran, more recently Venezuela), and the net effect has been to entrench existing regimes even further. Moreover, after the US did force regime change in Iraq, there was no groundswell of public support for their "liberation" -- rather, there was an armed revolt against US occupation. The only case of sanctions working was against South Africa, where they threatened long-standing economic ties between the West and the Apartheid regime. (This suggests that sanctions might be effective at influencing Israel to reform its own Apartheid regime, although I can think of reasons to be skeptical.) The standard response to sanctions is autarky: if you can't import goods, make them yourself. This is tough for small nations, especially those with export-dominated economies. (Cuba especially struggled, most severely after the Soviet Union collapsed and Russia stopped buying up their sugar surplus and providing them with oil, but Cuba survived nonetheless.) China is big, diverse, and already provides most of its own needs. But also China's size makes other nations doubt the value of sanctions. It's easy for a US "ally" to forego trade with North Korea or Cuba or Myanmar, but China is a big trade partner for everyone, with a lot of hard currency (especially dollars) to buy and invest abroad. And China offers the irresistible prospect of a very large market for foreign exporters and investors, and they've long plied this prospect for favorable terms. It's hard to think of major US companies who don't have investments and operations tied to China. That, in turn, buys China political favors, as when they got Boeing to lobby for approval of China's WTO membership. 3. Even if Cotton's plan can be implemented successfully without risk, is it really something Americans would and should want to do? This is the question least likely to be raised, given how easy it is for Americans to slip back into a Cold War mindset. Right-wingers forget that the Nixon thaw with China was actually a Cold War ploy to isolate the Soviet Union, and that China was long regarded as a Communist country we could do business with. Labor Democrats worried about losing jobs to China, but that only started bothering Republicans when Trump made it an issue in 2016. Trump canceled TTP and played some tariff games, but did nothing to rebalance trade with China, let alone safeguarding American jobs. Meanwhile, neoliberal Democrats took advantage of Chinese abuses of human rights, adding to the list of dictatorships Trump was accused of cozying up to. Meanwhile, right-wingers panicked over the "rising tide of socialism" among Democrats, resurrecting the deep paranoia of the racist "who lost China?" charges of 1949-50. Still, what difference does any of this make? The oft-repeated charge that China wants to dominate the next century the way the US has dominated the last one, but that only brings up two further questions: has domination really paid dividends to most Americans? And is domination by any country even desirable looking forward? I'd argue both answers are no, and I'd further assert that the charge reflects Americans' own dissatisfaction with their supposed rule. Policing the world is a big job the US isn't up to (and was never much good at). Bankrolling the world is another big problem. Politics in the US has been ceded to special interests, whose orientation doesn't even come close to satisfying domestic needs, let alone those of people elsewhere. Despite the absence of democratic controls, the Chinese government is probably more in tune with the needs and desires of its people than the American system is. After all, over the last 30 years, China has lifted the majority of its population out of poverty, while income and wealth of most Americans has stagnated or declined. You can also look at the "defense" postures of the two countries. The US projects power through nearly a thousand bases scattered all around the world. The US spends as much on "defense" as the rest of the world combined. China spends about one-quarter as much, enough to control its own population, defend its borders, and deter attack, but has little presence beyond its borders. The main points of contention between the US and China are Taiwan -- formerly part of China, which broke away when Chiang Kai-Shek's Nationalist Army retreated there in 1949, although it had been occupied by Japan from 1895-1945; after retreat, Chiang continued to claim mainland China, and tried to foment guerrilla war against Mao's government -- and various uninhabited islands in the China Sea, which China wants to exploit economically. These are old claims, which China has been steadfast in but has pursued very cautiously. China has also fought several border skirmishes with India, based on conflicting border claims dating back to British control of India, but China hasn't sought to extend its territory beyond the disputed claims. Chiang was a brutal and corrupt military ruler, but since his death Taiwan has developed into a stable, prosperous democracy. It would be a shame to see it incorporated into a China that falls far short of those rights, but it would take extraordinary ego and folly for either the US or China to threaten nuclear war over a 70-year-old claim. But this seems more likely to happen if the US manages to push China into a corner than if we retain diplomatic manners. And less likely to happen if China becomes even more secure in a world with fewer arms and more openness. Of course, various Americans, for various reasons, seize every instance of political repression for propaganda purposes. These are not insignificant issues, but they also aren't things that Americans have much standing to publicize. There are international organizations which focus on human rights issues, who are far better positioned to speak out on China's abuses, but they are supported by the US only in rare occasions of political convenience, and more generally opposed because the US and its "allies" (especially Israel) are often every bit as guilty. For instance, the US complains about Chinese treatment of Uighur Moslems while the US has long detained them in Guantanamo. The situation in Hong Kong is more complex, but again you can find lots of similar examples in US management of its territories. The US has economic grievances as well, but none are worth going to war over. Two cases Cotton dwells on are "intellectual property" rents and China's monopolization of rare earth metals. The former is a scam to force poor nations to pay tribute to the richest people in richer nations, thus maintaining the global system of inequality. US trade policy has focused heavily on rents because the people who collect them have exploited the corruptness of the American political system for their purposes. We'd be better off abolishing the whole concept. Of course, China doesn't like "IP" rents not because they care about the principle of the thing, but because currently they'd wind up having to pay tribute to richer countries like the US. But one could easily imagine the balance of payments flipping in the future, in which case China will happily agree. One thing the rare earth venture shows is that China understands monopoly power, at least when they come out on top. In one sense, this seems like a case where a country which does national economic planning can come out ahead of a nation which trusts "the market" to make all the decisions. But this can just as well be viewed as a classic capitalist gambit to corner the market for some rare commodity. We're told that the problem is that these metals have military applications, so it would be bad for the US military to be dependent on a potential rival for resources. Of course, it would be straightforward for the US government to direct resources at breaking this monopoly. It just wouldn't necessarily be the capitalist thing to do. But that doesn't bode well for the argument that we need to kill off the Chinese Communist Party to make the world safe for capitalism. Cotton goes way beyond these obvious complaints. He wants to prevent Chinese students from studying in US universities, on the theory that they might learn something that could be used against us. He wants to prohibit the Chinese from buying up companies in Hollywood, because he's afraid they'll use their influence to corrupt American culture. (Re-read that sentence slowly to savor every nuance.) But Cotton also thinks that Covid-19 was a Chinese bioweapon gone amok. Or maybe he just finds such inflammatory charges convenient in his crusade to make the US despicable. It's hard to see anything in this litany of complaints where the elimination of China as a military and/or economic rival would materially improve the lot of most Americans. Sure, there may be some business interests who would come out ahead, but many more would lose markets and/or suppliers. Even professional warmongers like Cotton would be better off preserving China as a token threat than scheming without enemies (not that he wouldn't find new ones). On the other hand, war never gives you an ideal outcome. The collapse of the Soviet Union led to the most miserable decade in Russian history, where social cohesion broke down and property was sucked up by criminal oligarchs, a situation so dire that Putin's gangsta nationalism looked like salvation. China is far less dangerous under its present order than it would be if smashed into chaos. 4. Aside from the direct costs and risks of waging economic warfare, what are the significant opportunity costs -- other things that the US should be doing -- in choosing to oppose China? The obvious point here is that China has a lot to say about whether the world comes to grips with climate change. A couple decades ago, China was so preoccupied with development it seemed likely to use up most of the world's coal reserves, but recently they've shifted gears and started to embrace non-carbon sources of energy, quickly becoming more responsible than the United States has been. Open source technology is another area where cooperation could be advantageous to both countries and to the world. Clearly, both the US and China could have done a better job of coordinating in the early days of the Covid-19 pandemic. The fact that both nations view one another in a quasi-siege mentality has made cooperation difficult. I suspect that American hostility has added to Chinese paranoia over free speech. While there is no need for Americans to approve of Chinese repression, we do need to be less confrontational about it. For this, we must recognize and respect that Chinese participation in international organizations is essential. For that, we'll need diplomats who can see multiple sides and look for mutually beneficial solutions. And we'll need to keep "paper tigers" like Cotton locked up in their cages. As the links at the start of this post indicate, Biden has thus far been cautious in his approach to China. I haven't noticed him doing anything grossly stupid, although he has chosen to surround himself with reflexive hawks like Anthony Blinken and Jake Sullivan, and he hasn't actively challenged the provocations of outright hawks like Tom Cotton and Ted Cruz. The Politico article quotes several "China experts" warning about a "negotiation trap," as if there was any path but negotiations that could ever lead to mutual understanding. (Said "experts" were in fact Trump's China hands, who no doubt contributed to Trump's ineffectiveness.) On the other hand, Biden did seize his first opportunity to do something really stupid in the Middle East: he ordered an airstrike in Syria in response to a so-called provocation in Iraq attributed to a militia allegedly representative of Iran. (See Stephen Miles: Biden's Syria strikes: A perpetual cycle of endless war.) This is significant not just because it continues the "endless war" model that US president have followed since Bill Clinton found he could relieve his personal anxieties by bombing Iraq, but because Biden jumped at his first opportunity to order death-from-air. As Trita Parsi, in Biden said 'Diplomacy is back!' Then he started dropping bombs: it took Trump four months before he ordered the bombing of Syria. As I recall, the first murder Obama ordered was the killing of Somali pirates, which was an even more personal decision than the sanitized military operations Trump and Biden rubber-stamped. I'm not sure who was the last US president not to directly order some kind of military or covert operation aimed at killing people abroad. (Probably Herbert Hoover.) Hannah Arendt referred to Eichmann's excuse that he was just following orders as "the banality of evil." I'm not sure whether Biden's callous, carefree order, made simply by approving a plan someone else drew up, is more evil, or just more banal. But the immediate effect is to throw a monkey wrench into prospects for returning to the Iran nuclear weapons deal -- a signature Obama achievement, one that Biden had campaigned on. That's welcome news in Israel and Saudi Arabia, who never seriously worried about Iran's nuclear program but saw it as a way to manipulate Washington into an unthinking anti-Iran alliance. It's not surprising that Trump fell for the con -- the only thing that really mattered to him was cashing the checks. Nor does Biden's background suggest he's capable of independent thought in this arena, but until he realizes the need to reformulate "American interests" in terms of peace, order, justice, and cooperation, he is likely to be blindsided by the various parties convinced that projecting American power is its own virtue. PS: For examples of the latter, see Robert W Merry: Keeping the hegemon-addicted in their proper place. Parsi followed up the bombing attack with Iran rejects meeting as Biden's slow diplomacy hits predictable snag. Michael T Klare has some constructive suggestions in: Biden, climate change, and China. Biden also has a recognizing reality problem with Russia, as Dave DeCamp reports: Biden says US will 'never' accept Russia's annexation of Crimea. Ask a question, or send a comment. Monday, February 22, 2021 Music Week
February archive (in progress). Music: Current count 34967 [34957] rated (+10), 249 [253] unrated (-4). I made my excuses in last week's No Music Week, so won't repeat myself here. Not much to report, but also no reason not to kick this out on schedule. I've been erratic since Wednesday, not writing anything up on Sunday, when I was cooking a fairly serious dinner. (Salmon teriyaki, fried rice, stir-fried lima beans, some frozen potstickers, flourless chocolate cake. Picture on Facebook.) Only played the Sam Rivers album today, figuring it to be the best shot at an A- record -- may have cut it some slack, finishing my review before the long closing flute lead, so phobes beware. Started of trying to explore the late rasta toaster U-Roy, but didn't get very far, mostly because his discography boggled my mind. I should note that Clifford Ocheltree recommended two records I couldn't find: The Lost Album: Right Time Rockers (1976 [2010], Sound System); and Version of Wiscom (1978-79 [1990], Front Line/Virgin). He carried on into the 21st century, but the 1970s look to be his prime time: my own pick is still the 1969-70 Your Ace From Space. Percussionist Milford Graves also died last week (1941-2021). He had a pretty sketchy discography since his 1965 Percussion Ensemble. Some highlights include Real Deal (1992, with David Murray), Beyond Quantum (2008, with Anthony Braxton and Wiliam Parker), and Space/Time: Redemption (2015, with Bill Laswell). Last Monday of the month, but I'm in no mood to turn over my Streamnotes file, so maybe I'll aim for a February 28 Music Week on Sunday, and feel more like it then. New records reviewed this week:
Recent reissues, compilations, and vault discoveries:
Old music:
Unpacking: Found in the mail last week:
Ask a question, or send a comment. Wednesday, February 17, 2021 No Music WeekFebruary archive (in progress). The last two weeks have been brutal. My wife fell and broke her leg. While she was in the hospital, I developed an infection and was sick for the better part of a week. And, as most of you are no doubt aware, it's been brutally cold in the Midwest, even as far south as Wichita (with the whinging even louder in Texas). Second longest stretch of sub-20F weather in history, hitting a low the other day of -17F. Snow more days than not, and while it still doesn't amount to more than six inches, none of it has melted. Looks like it will stay below freezing through Friday, then edge over, then finally warm up a bit next week. Laura got home from hospital last Friday, and we've been struggling on all accounts -- although the first days were the worst, and we're doing a bit better day-by-day. Haven't been out since Friday, aside from taking the trash/recycle cans to the curb on Monday, where they remain untouched. I made a grocery store run on Thursday. Picked up a chicken (since boiled, then baked under biscuits), a piece of chuck steak (since fried, then baked with mushroom gravy), some hamburger (turned that into sloppy joes), and beef/lamb for a future meatloaf. All old family comfort dishes. Took a break from that yesterday and made a Chinese classic, Ants Climbing Tree, with cellophane noodles and ground pork, with garlic and scallions, bean paste, cooked in chicken stock. I bought the essential ingredients many months ago. We can probably go weeks pulling things out of the freezer, although staples we normally keep fresh like potatoes and onions are in short supply. One thing I haven't done is listen to new music, let alone write about it. I usually have a bit of a down after wrapping up a year, but lately I've stuck with old reliables, mostly from the travel cases (Mississippi John Hurt at the moment, preceded by Stevie Wonder and Curtis Mayfield). Started to stream Ethan Iverson's Bud Powell album, but only made it four cuts in. When I realized I wasn't going to have anything to report for Monday's Music Week, I reconciled myself to not reviewing anything until I do a "No Music Week" post. Main thing I wanted to accomplish there was to catalog my incoming mail, which I had neglected for a couple weeks. Took me to Thursday to catch up with the "unpacking." The resulting top line looks like this: Music: Current count 34957 [34955] rated (+2), 253 [233] unrated (+20). The +2 fixes some bookkeeping errors. Related to that, note that I muffed the previous week's count, revising the rated count down from +68 to +58. Still 43 shy of 35,000. Odds of hitting that next week would be 4-6 normally, but this is no normal week. The +20 is the unpacking below. No actual reviews to offer this week, so I'm not even holding anything back. Not sure whether there will be a Music Week on Monday. Depends on whether I can shift out of this rut. Rush Limbaugh died this week. The only time I actually listened to him was a few days in early 2009. We hired a guy to install tile in our kitchen, and he and his son came in with a big boom box tuned to Limbaugh. I was at first pleasantly surprised to find out that Obama is a socialist, but like all of Limbaugh's spew, that turned out to be way off the mark. But lack of direct contact didn't shield me from his impact. He probably ranks as the most toxic figure in American politics ever. I have yet to find any piece that remotely does him justice -- although even efforts to be "fair and balanced" show him to be totally repulsive. If you want to read something, you might start with Zack Beauchamp: Rush Limbaugh's toxic legacy. As the author points out, "The Republican Party he poisoned is very much alive." One particular grudge I have against Limbaugh is that he used a book title I had been toying with: The Way Things Ought to Be. I've been thinking about that title recently, as I've found myself less and less interested in either writing about how vile the Republicans are -- a major concern during the GW Bush years, not that anything they've done since has blunted my outrage -- or what the Democrats need to do to more effectively resist and overcome the Republican derangement (more of an inclination during the Trump years than reiterating the obvious). That always struck me as an aspirational title rooted in basic philosophy and ethics, and that's the sort of thing I feel like working out now. Needless to say, Limbaugh's book was nothing of the sort. Published in 1992, it was mostly a hatchet job on Anita Hill. If you recall the name, you'll recognize several of the levels on which that was inappropriate. (One that I wasn't aware of was that Clarence Thomas officiated over Limbaugh's third wedding, two years after the book was published.) Just noticed that Jamaican toaster Ewart Beckford, better known as U-Roy, has just died, at 78. I strongly recommend the one early record I've heard: Your Ace From Space (1969-70 [1995], Trojan). But many more followed. Maybe I'll check out some more. Minor bookkeeping points:
Unpacking: Found in the mail last week:
Ask a question, or send a comment. Tuesday, February 9, 2021 Music Week
Expanded blog post, February archive (in progress). Music: Current count 34955 [34897] rated (+58), 233 [231] unrated (+2). This will, sorry to say, have to remain brief. I doubt I'll ever get around to writing up a 2020 year-end essay, despite having follow the year's records more closely than ever before. However, no regrets about letting the plague year fade into historical memory. Let's get this over with. I'm surprised to find this post is only a day late. I took ill on Sunday, spent much of Monday with doctors, and tried my best to sleep through Tuesday -- failing mostly because the dog had other ideas. Urinary tract infection, nasty business. Presumably the antibiotics will kick in and I'll be back to normal in a few days. Two additional factors have compounded my misery. For one thing, we're in the middle of what the Wichita Eagle has called our worst cold snap since 1983. That mostly means daytime temperatures in the teens, with overnight lows close to zero. We got a bit of snow early on, and a bit more since. It doesn't amount to much, but it isn't melting either, so going out (as I did on Monday) is treacherous, and the cold itself is painful. The other big thing is that my wife, Laura Tillem, fell on the porch Wednesday and broke her thigh bone. They operated on her, a procedure they call intramedullary nailing. The "nail" is a long titanium rod inserted into the canal of the femur, so it provides weight-bearing structural support even before the bone heals. She was in the hospital through Monday morning, then transferred to a rehab clinic (actually, another hospital on the northwest edge of Wichita). If all goes well, she may come on Friday. Needless to say, her absence has made my condition much harder to deal with. Although the review count is high, all of that came from before Sunday. Since then, the only CD I've played downstairs has been The Tatum Group Masterpieces, Vol. 8, where Ben Webster, Red Callender, and Bill Douglass join Art Tatum. It's a extraordinary set of gentle ballads -- perfect, soothing background music, which is all I've been up for. My Year 2020 file has been frozen. The latter is an archive file which captures what I knew at the moment when I decided the year was done. I'll continue to update the former for a year. Same for my jazz and non-jazz EOY files, though I'm likely to stop bothering with them when/if I create 2021 files. The current A-lists are 83 jazz, 72 non-jazz, with old music breaking 12-17. B+(***) records broke 152-105 (27-18 for old). The division among lower grades is pretty close (490-487; 52-41 for old). Total number of reviewed records (from tracking file): 1610. That total was inflated a bit by my decision to include all 2019 albums that hadn't appeared in my 2019 tracking file, plus all December albums even if they had appeared, but that only added 52. I believe my previous high was 1334 albums in 2011, followed by 1230 in 2010, with 1222 in 2019 a close third. (I didn't check every year. Just did an initial sort by file size, then fgrep|wc for the counts. Also, I used the frozen files, to keep the comparisons fair.) I won't be doing that again. My 2021 tracking file has very little in it beyond albums I have promo copies of. Last year I primed my EOY Aggregate files with review grades (mostly from AOTY and Metacritic, but I also tracked other sources, especially jazz and country), so I had a pretty good real-time idea how the year was stacking up before the EOY lists started appearing. I'm not doing that for 2021. While I enjoyed keeping on top of so much information, it took up a lot of time, and I'm thinking that time could be better spent. On the other hand, without that data to guide me, I expect I'll be listening to many fewer albums in 2021. I spent much of last week scrounging up more data for the EOY Aggregate. I think we can say that's done now. The best-regarded albums for 2020 (points in braces, my grades in brackets, with * subdividing B+):
Lenker's Songs and Instrumentals were separate digital releases, but combined on CD. I graded each half, but most list sources combined the two. Most of the recent changes were due to my counting of individual ballots for Francis Davis's Jazz Critics Poll, the Uproxx Music Critics Poll, and the Pazz & Jop Rip-Off. My initial tactic was to only count ballots of individuals I've counted in past years, but I added a few more names where I thought the picks were particularly interesting. One effect of this was to secure 2nd place for RTJ4, after Punisher had briefly topped it. The JCP ballots (all but 17 were counted) explain why jazz is represented here much more than in other aggregates (28, 43, 44, 45, 48, 63, 65, 71, 75, 75, 84, 93, 96, 96). I consider that a feature. New records reviewed this week: 2nd Grade: Hit to Hit (2020, Double Double Whammy): Jangle pop band from Philadelphia, first album, Peter Gill wrote the songs, sings and plays guitar. B+(**) Jhené Aiko: Chilombo (2020, Def Jam): Alt-r&b singer-songwriter, from Los Angeles, third album, title her (and her father's) surname. Pretty chill. B+(*) Thana Alexa: Ona (2020, self-released): Jazz singer-songwriter, born in New York, parents Croatian, plays violin, second album, some strong political themes. Drummer Antonio Sanchez (her husband) is the standout in a sharp band, and various guests drop in. B+(**) Gyedu-Blay Ambolley: 11th Street, Sekondi (2019, Agogo): Highlife musician from Ghana, 31st album since 1973, plays tenor sax and sings. B+(**) [bc] Tim Berne/Matt Mitchell: Spiders (2020, Out of Your Head): Duo, alto sax and piano, former credited with compositions, one of several records they've done together recently, from a partnership going back at least to 2010, but this is the first I've managed to hear all the way through. First-rate pianist, drawing Berne out for a live album that is both intimate and imposing. A- [dl] Jake Blount: Spider Tales (2020, Free Dirt): Banjo and fiddle player from DC, sings some, has a degree in ethnomusicology and puts it to good use, first album after an EP and a couple of group credits (e.g., The Moose Whisperers). B+(***) [bc] Busta Rhymes: Extinction Level Event 2: The Wrath of God (2020, Conglomerate/Empire): Rapper Trevor Smith, tenth album since 1996, returns to his third title after 22 years, offering us 5 more years. Good chance he'll disccover another such event in 2042, by which point his beats and growl will be even older school. Still, I've never understood the point of worshipping a god who promises such wrath, let alone associating with the people who relish devastation. Lost a point for the "Satanic" ending. B+(*) Chika: Industry Games (2020, Warner, EP): Rapper Jane Chika Oranika, from Alabama, got accepted by Berklee but saved money by going local, then dropped out after a year. Second EP (first on a label, 7 cuts, 20:14). Finding her legs, "I'm 22, making money." I can recall the feeling, and it sure beats what went down before. B+(**) Common: A Beautiful Revolution [Part 1] (2020, Loma Vista): Chicago rapper Lonnie Lynn, debuted 1992, a pretty big star with gold records through 2007, with a half-dozen records since; has done some acting, writing, political activism, making him a target for the Fox News crowd (and Obama). Still, surprising this one was so thoroughly ignored -- some pegged it as an EP, but I count nine tracks, 34:14, and it's all pretty solid. B+(***) Chris Crack: White People Love Algorithms (2020, New Deal Collectives): Rapper Christopher Harris, claims a "coming of age as a drug-dealing math wiz." 16 tracks, 28:05. B+(**) Ani DiFranco: Revolutionary Love (2021, Righteous Babe): Buffalo folksinger, now transplanted to New Orleans, 20th studio album since 1990, music a little on the slick side, lyrics sometimes sneak up on you. B+(**) Kevin Dixon: The Summer We All Bought Guns (2020, Covid Charlie's Demo-lution): Singer-songwriter from North Carolina, quarantine project was to "whip up a few demos for my beloved band, Zen Frisbee," but got carried away, winding up with 33 songs that average close to 4 minutes. Lo-fi, a lot to sit through, especially as moments of clarity are rare. B [bc] Che Ecru: Til Death (2020, F Plus): R&B singer-songwriter from Boston, second album, don't know much more -- website says "I'm bored and I make music." B+(**) Wendy Eisenberg: Auto (2020, Ba Da Bing): Guitarist, from Boston, past records tend to be avant/jazz, adds voice here. Some parts are basically strum and warble, but crank up the intensity and things start to break in interesting ways. B+(*) [bc] En Attendant Ana: Juillet (2020, Trouble in Mind): French indie pop group, second album, Margaux Bouchaudon writes and sings, plays guitar and keyboards. Titles in English, although I can't follow the lyrics (or pick up stray French). Nice crunchy riffs. B+(**) See'J Foster: HiSonGreWings (2020, self-released): Rapper, from Mobile, Alabama, dedicates this to his father, who died a year past, contemplating the hole his death left. B+(**) [bc] Gabriel Garzón-Montano: Agüita (2020, Jagjaguwar): Singer-songwriter born in Brooklyn, parents Colombian and French, third album since 2014. B+(*) Dana Gavanski: Yesterday Is Gone (2020, Ba Da Bing): Canadian singer-songwriter, of Serbian descent, from Vancouver, based in Toronoto. Picks up a bit midway. B+(*) Dana Gavanski: Wind Songs (2020, Ba Da Bing, EP): Five songs (22:59), covers, one Serbian folk, others airy ballads. B [bc] Beverly Glenn-Copeland: Live at Le Guess Who? 2018 (2018 [2020], Transgressive): Singer-songwriter, b. 1944 in Philadelphia, father reportedly played classical piano 4 hours a day, mother sang spirituals, "one of the first black students to study at McGill University in Montreal," spent most of his life in Canada, recorded an album of electronics in 1986, "began publicly identifying as a trans man in 2002." References suggested filing under folk or jazz, but is so "beyond category" as to mock it. Plays piano, sings with operatic high notes, talks a lot. B+(***) Goodie Mob: Survival Kit (2020, Organized Noize/Goodie Mob Worldwide): Major Atlanta hip-hop group for three 1995-98 albums, before Cee-Lo Green went solo. Reunited for a 2013 album (Age Against the Machine), and again here. They were overshadowed by OutKast in their heyday, and barely remembered today, but with a little editing this would be the perfect complement to RTJ4. A- Conan Gray: Kid Krow (2020, Republic): Singer-songwriter, "social media personality," first album after singles and an EP, has some pop smarts, issues with alcohol, can blow things out of proportion. Choice cut: "Wish You Were Sober." B+(*) Gunna: Wunna (2020, YSL/300): Atlanta rapper Sergio Kitchens, second album plus the Drip Season series of mixtapes. B+(*) Juniper: Juniper (2020, self-released): Last name Shelley, 15-year-old singer-songwriter from New Jersey, draws on 1960s girl groups plus some bubblegum and a bit of cha cha ("Poke Your Eye Out"). Refreshing to hear teen music I can relate to my teens. (Well, not mine personally, but my general era.) A- [bc] KMRU: Peel (2020, Editions Mego): Joseph Kamaru, a sound artist/producer from Nairobi. Ambient. The 15:10 opener barely engages your consciousness, but isn't bad for background. The one called "Klang" gets a bit louder, but not enough to merit the title. B+(*) [bc] LCSM [Likwid Continual Space Motion]: Earthbound (2020, Super-Sonic Jazz): London group, seems to have existed in various guises at least since 2003, with Ian Grant (aka IG Culture) the central figure (his albums go back to 1994; he's described here as "one of the most important protagonists of the UK's broken beat jazz scene"). What we could call "jazz-funk," but never really satisfied with a groove. B+(***) [bc] Madlib: Sound Ancestors (2021, Madlib Invazion): Otis Jackson Jr., raps a little but is more DJ/producer, with more collaborations than albums under his own name (especially recently). This time it's Kieren Hebden (Four Tet), but he just blends in. B+(*) Maluma: Papi Juancho (2020, Sony Music Latin): Colombian reggaeton star Juan Luis Londoño Arias, fifth album since 2012, long (22 songs, 73:30). Very consistent, nothing really jumps out. B+(**) Shawn Mendes: Wonder (2020, Island): Canadian pop star, fourth album since 2015. Awkward start, recovers, but erratic. Will have a recommendable Greatest Hits some day. Lyric I jotted down: "I'm not the type to overthink." B+(*) Moor Mother & Billy Woods: Brass (2020, Backwoodz Studioz): Philadelphia poet Camae Ayewa, part of jazz group Irreversible Entanglements but also has a number of hip-hop moves, including this with one-half of Armand Hammer. Lot here, but didn't catch much of it. B+(**) Nihiloxica: Kaloli (2020, Crammed Discs): Group bills itself as "Kampala's darkest electro-percussion group." Billed as their "full-length debut," although they have a 26:12 eponymous EP on Nyege Nyege Tapes. B+(**) Kassa Overall: Shades of Flu: Healthy Remixes for an Ill Moment (2020, Flu Note): Drummer, straddles hip-hop and free jazz, combines the two with this 37:24 remix of jazz tracks. Label is a play on Blue Note, down to the logo. B+(*) [bc] Palberta: Palberta 5000 (2021, Wharf Cat): Indie rock band from New York, three women, first DIY albums (2013-14) were called My Pal Berta and Shitheads in the Ditch. Transitioning from punk to pop, not really either at the moment. B+(*) Tayla Parx: Coping Mechanisms (2020, Taylamade): Pop/r&b singer, given name Parks, second album. B+(*) Penya Na Msafiri Zawose: Penya Safari E.P. (2020, On the Corner): UK group, linked to Tanzania at least through vocalist-percussionist Zawose (you may recognize the name, as the daughter of Hukwe Zawose), though on their own they slump toward more basic electronica. "E.P." in title, but runs 34:05 (7 songs). B+(*) [bc] Real Estate: The Main Thing (2020, Domino): Indie band, originally from New Jersey, singer-guitarist Martin Courtney and bassist Alex Bleeker constants through five albums since 2009. Sweet voice, nice indie strum, very par for the course. B+(*) Roddy Ricch: Please Excuse Me for Being Antisocial (2019, Atlantic): Los Angeles rapper Rodrick Moore, first album after a couple mixtapes and some singles ("The Box," included here, was a hit). B Roshin: Unrequited (2020, self-released): From Toronto, "raps, sings and plays rudimentary keyboard lines." B+(*) [bc] Lingo Seini Et Son Groupe: Musique Hauka (2020, Sahel Sounds): From Niger, a rare recording of Hauka ritual music -- Hauka was a fringe religious movement which developed over a century ago as resistance to French colonialism (Wikipedia "see also": Cargo cult, Ghost dance). Vocals and percussion, mostly calabash. Recent recording, I presume, but I doubt if the music has changed much in the last century. Notes say that Seini has been performing for 60 years. B+(**) [bc] Shamir: Shamir (2020, self-released): Last name Bailey, singer-songwriter from Las Vegas suburbs, 2015 debut got some attention, but he's been self-releasing since 2017, and this is a short digital only (8 songs plus 3 short skits, 27:41). More rockish, don't get much out of the voice or synths. B Skyzoo & Dumbo Station: The Bluest Note (2020, Tuff Kong, EP): Brooklyn rapper Skyler Taylor, albums since 2006, often with co-credited producers. Dumbo Station is a nu-jazz group from Italy, one previous album, playing rather than sampling the classic jazz riffs (notably Francesco Fratini on trumpet). Hometown tales, steady going. Six tracks, 19:52. A- Skyzoo: Milestones (2020, Mello Music Group, EP): Seven track (24:35) "conceptual EP," recapitulating autobiography from son to father of his own son. Knows his jazz, named his son Miles, doubling the meaning of his title. Another obvious choice: rapping over "Song for My Father." With no children of my own, I'm surprised I find this so touching. A- Stove God Cooks: Reasonable Drought (2020, The Conglomeration Entertainment): Rapper Aaron Cooks, first album, produced by Roc Marciano, who sometimes gets co-credit. B+(**) Thick: 5 Years Behind (2020, Epitaph): Brooklyn punk trio, three women, first album after a bunch of singles/EPs, 11 songs, 27:08. B+(**) Ty Dolla $ign: Featuring Ty Dolla $ign (2020, Atlantic): Trap rapper Tyrone Griffin, from Los Angeles, third album, major effort, doesn't return much. B Westside Gunn: Who Made the Sunshine (2020, Griselda/Shady/Interscope): Buffalo rapper, second album (plus a mixtape) this year. Takes on God and/or the Sun in the opener, but loses me after, impressing me mostly with intensity for some unfathomable purpose. B+(*) Matthew Wright: Locked Hybrids (2020, Relative Pitch): British composer, I guess, perhaps more like a jazz DJ, creates "sound installations" with turntables and electronics, figure this as his quarantine project, working with archived samples of Evan Parker, Toma Gouband, and Mark Nauseef, dating from 2018. Can't say as he really makes much of them. B [bc] YoungBoy Never Broke Again: Top (2020, Never Broke Again/Atlantic): Rapper Kentrell Gaulden, second album, came out before he turned 21. I'm struck by how cramped this feels, and how little I can follow. B- Recent reissues, compilations, and vault discoveries: Birds of Prey: The Album ([2020], Atlantic): Dubbed a "candy-colored, R-rated new entry in the DC Extended Universe" -- more a conceptually-aligned side-project than a soundtrack, especially since the movie Birds of Prey has its own "Original Motion Picture Score." Fifteen sharp-edged pop tunes by women, only four household names chez moi (Doja Cat, Megan Thee Stallion, Halsey, Summer Walker; ok, I've also heard of K.Flay and Jurnee Smollett-Bell). Does it a few high points. B+(***) Billy Brooks: Windows of the World (1974 [2002], WeWantSounds): Trumpet player (1926-2002), played for Lionel Hampton, recorded this one album under his own name, a big band Ray Charles co-produced and released on his Crossover Records. Lasting impact was a sample A Tribe Called Quest lifted. Best forgotten: flute with horn blasts. B- [bc] Beverly Glenn-Copeland: Transmissions: The Music of Beverly Glenn-Copeland (1970-2019 [2020], Transgressive): Scattered picks from "her" eponymous debut through "his" latest live outings (repeating "Deep River" from Live at Le Guess Who? 2018). The gospel electronica of "A Little Talk" is a favorite, followed by stronger rhythm tracks, but the album is interesting in all sorts of ways. A- [bc] Honey Radar: Sing the Snow Away: The Chunklet Years (2015-18 [2020], Chunklet Industries): Jason Henn's alt/indie group dates back to 2008, starting in Indiana and winding up in Philadelphia, along the way throwing some lo-fi singles out on this Atlanta label. B+(**) Portals: A Kosmische Journey Through Outer Worlds and Inner Space ([2020], Behind the Sky): Thirteen artists, mostly 5-minute chunks, working with analog synths for a retro space vibe, with a "Berlin-school" influence. Presumably recent music, although some of the artists (Ian Boddy, Steve Roach) go back to the 1980s. B+(***) [bc] Nancy Sinatra: Start Walkin' 1965-1976 (1965-76 [2021], Light in the Attic): Frank Sinatra's daughter, 25 when she scored her iconic hit ("These Boots Are Made for Walkin'"), 80 last week when she made the news for saying something intemperate about Donald Trump (her father was famously liberal until he switched rat packs to pal around with Spiro Agnew). Her only other bit hit was a duet with Dad, skipped here, focusing on songs with Lee Hazlewood (mostly writing/producing, but some duets; label has reissued a lot by Hazlewood). Bag gets mixed over time -- more his fault than hers. Low point: "Arkansas Coal" ("so this is how it feels to be dead"). B+(**) Southeast of Saturn: Michigan Shoegaze/Dream Pop/Space Rock (1990s [2020], Third Man): Obscure bands, which seems about right for this kind of anonymous drone. B+(*) Voz Di Sanicolau: Fundo De Marê Palinha (1976 [2020], Analog Africa, EP): Short album (6 tracks, 18:39) recorded in Rotterdam by Cabo Verdean emigrés. B+(**) [bc] Mike Westbrook: Love and Understanding: Citadel/Room 315 Sweden '74 (1974 [2020], My Only Desire): British pianist, ambitious composer, a Penguin Guide favorite I've heard very little from. Commissioned by Sveriges Radio, played by their big band -- most famous: Arne Domnérus (alto sax/clarinet), Jan Allen (trumpet/alto horn) and Bengt Hallberg (piano) -- with Westbrook on electric piano and John Surman on his usual reeds. High point is the 14:40 "Pastorale." A- [bc] Old music: Beverly Glenn-Copeland: Keyboard Fantasies (1986, Atlast): Six minimalist compositions played on a Yamaha DX-7 Synthesizer and a Roland TR-707 Rhythm Composer, fetching in their simplicity, plus voice, which is an acquired taste. B+(**) [bc] Playboy Tre and DJ Swatts: Goodbye America: Da Story of a Drunk Loner (2008, Last Call Entertainment): Saw this on a 2013 list of "The Five Best Atlanta Hip-Hop Albums of All Time," topped by OutKast, Goodie Mob, Ludacris, and Bubba Sparxxx, the only one I had never heard of. Still surprised to find that neither AMG nor Discogs lists this (at least under "Playboy Tre"), while Wikipedia redirects me to B.o.B. -- someone else, linked by the production group HamSquad and the occasional shout outs. This rapper Clarence Montgomery III, from Decatur, Georgia, formerly dba Y.B.M., for all I know may be calling himself something else these days. Sloppy mixtape, with enough brilliant runs to mark it as a cult classic. But he was already selling his future short. As he put it: "Cause, you know, I like to get fucked up." A- Playboy Tre: Liquor Store Mascot (2009, Playboy Music): Banner across top proclaims: "DJ Swatts and Ham Squad Present." The beats get you going, but the interludes work too, and the star has an appealing delivery. Too much alcohol, but "Remember Me" will sober you up. Epitaph: "the breaks won't come for you." A- SK Kakraba: Songs of Paapieye (2015, Awesome Tapes From Africa): From Ghana, plays gyil, a "xylophone made of 14 wooden slats strung across calabash gourd resonators." Label specializes in reissues, as its name claims, but Kakraba moved to Los Angeles, and this seems to be a recent recording. B+(**) [bc] Unpacking: Sorry, I haven't gotten around to listing the half-dozen or so CDs I received in the mail last week Ask a question, or send a comment. Sunday, January 31, 2021 Music Week
Music: Current count 34897 [34864] rated (+33), 231 [224] unrated (+7). I started this week a day late, and ended it a day early to squeeze all I could into January, but rated count is pretty decent for 5 days. I hoped I could wrap up 2020 by the end of January, and move onto 2021 and possibly a new stage in my life/work, but as the clock wound down, I had to decide whether to publish on time or hold back and try to wind things up. I decided to publish what I have, leaving a bunch of things to wrap up later. These include: indexing January Streamnotes; freezing Year 2020; ending updates to the EOY Aggregate and writing up some kind of summary of what I've learned from the year. I should get all of those things "done" by next week. I normally continue to add stragglers to the jazz and non-jazz EOY files for some time after "freeze" date, so no decision there. Freeze means I save off a copy of the file as of an arbitrary date, but I usually continue updating the Year files until the end of the following year -- the new entries are flagged by using different color type. Very little time to write more here. One source of records here was Robert Christgau's latest Consumer Guide and Dean's List. The Dean's list encouraged me to recheck a couple of country albums I liked earlier and like even more now, as well as a couple albums Christgau published reviews of yet. Several more quick notes:
New records reviewed this week: Karrin Allyson Sextet: Shoulder to Shoulder: Centennial Tribute to Women's Suffrage (2019, EOne Music): Standards singer, from Kansas, all women in the sextet -- Ingrid Jensen (trumpet), Mindi Abair (alto sax), Helen Sung (piano), Endea Owens (bass), Allison Miller (drums) -- but John Daversa did much of the arranging, and a few men (and many more women) drop in as guests, ranging from old texts (though Sojourner Truth hasn't lost much relevance since 1851) to a Rapsody rhyme. B+(***) Callum Au/Claire Martin: Songs and Stories (2020, Stunt): British trombonist and vocalist, the latter with 20+ albums since 1992, a debut for the former, flexing his talents arranging for big band plus strings (24 violins, 8 violas, 6 cellos, 4 basses, harp). Standards Sinatra would be at home with. B+(**) Peter Bernstein: What Comes Next (2020, Smoke Sessions): Guitarist, couple dozen albums since 1992, many more side credits. Early album titles included A Tribute to Tal Farlow and A Groovy Affair, and and he's rarely tried to extend those boundaries. With Sumner Fortner (piano), Peter Washington (bass), and Joe Farnsworth (drums). B+(*) Binker and Moses: Escape the Flames (2017 [2020], Gearbox): Popular UK sax/drums duo Binker Golding and Moses Boyd, several records together, as well as notable solo efforts. Six pieces averaging a bit over 10 minutes. At speed they are terrific, and even the change-of-pace pieces have their moments. Too bad it's not on CD. A- [os] The Bombpops: Death in Venice Beach (2020, Fat Wreck Chords): San Diego band, founded by Poli van Dam and Jen Razavi (both guitar/voice), debut was a 2009 EP. Punk speed/intensity, storming through 12 songs in 29:42, with bass and drums, but also cello -- no chamber move, just more intensity. B+(**) Peter Campbell: Old Flames Never Die (2020, self-released): Jazz singer from Toronto, third album since 2014 (with a fourth hot on its heels), dedicates this to voice teacher Joyce McLean. Kevin Turcotte (trumpet) and Reg Schwager (guitar) have nice turns. I have to admit that the voice has a strange allure, but I could see getting tired of him fast. B+(*) Luca Collivasone/Gianni Mimmo: Rumpus Room (2019 [2020], Amirani): Duo, Mimmo plays soprano sax, Collivasone has an invention called the cacophonator, which generates a variety of string and percussive sounds, though not quite a cacopohany. B+(*) Brandon Evans: The Grove (2020, Human Plastic, EP): Saxophonist (plus woodwinds), considerable discography since 1997 which I've never explored -- found his name in my database for work with Anthony Braxton. Solo bass clarinet, also credits synthesizers but they're not conspicuous. Three tracks, 23:58. B+(**) Justin Farren: Pretty Free (2020, Bad Service Badger): Singer-songwriter from Sacramento, fourth album since 2004, the kind of unheralded, eloquent folkie Christgau has been finding and pushing lately, doesn't get interesting for me until he works up some tension, as in "Two Wheel Drive and Japanese." A- Michael Formanek: Pre-Apocalyptic (2014 [2020], Out of Your Head): Bassist-led quartet with Tim Berne (alto sax), Craig Taborn (piano), and Gerald Cleaver (drums). Stellar spots, sometimes tends to slip away. B+(***) [dl] The Henrys: Paydirt (2020, HR-2019): Instrumental folk group from Toronto, seventh album since 1994. Easy listening. B+(*) Dave Liebman/Randy Brecker/Marc Copland/Drew Gress/Joey Baron: Quint5t (2020, Inner Voice Jazz): All-star group, order on the cover, but the Bandcamp stream I found singled-out Copland -- the only one who didn't contribute a song, unless he suggested Ellington to open. Also appears that Ralph Alessi took over trumpet on 2 tracks (leaving 7 for Brecker). B+(**) Gianni Mimmo/Alison Blunt: Busy Butterflies (2020, Amirani): Italian saxophonist, albums since 2005, plays soprano here, duet with the violinist. Kind of scratchy, but not without charm. B+(**) Mukdad Rothenberg Lankow: In the Wake of Memories (2020, Clermont Music): Three surnames: Syrian oud player Wassim Mukdad, based in Berlin, as is percussionist Volker Lankow. They are joined by New York-based musicologist David Rothenberg -- he writes books on bird and bug music, encountering the others while researching his Nightingales in Berlin Project. Here he plays clarinet. Fine work all around, nice balance, comparable to Aly Keita's Intakt records. A- Ratboys: Printer's Devil (2020, Topshelf): Chicago indie group, Julia Steiner sings, writes, plays one (of two) guitars. Third album since 2015. B+(*) Enrico Rava/Matthew Herbert/Giovanni Guidi: For Mario (Live) (2020, Accidental): Trumpet-electronics-piano, dedicated to the pianist's late father, Mario Guidi. B+(*) [bc] Raw Poetic & Damu the Fudgemunk: Moment of Change (2020, Redefinition): Rapper Jason Moore and producer Earl Davis, five records together since 2017. B+(**) [bc] Tim Ray: Excursions and Adventures (2019 [2020], Whaling City Sound): Pianist, early records from 1997 and 2003, more side credits including a recent stint with Tony Bennett. Trio with John Patituci and Terri Lyne Carrington. Two originals, one piece each from the others, wide range of covers from Monk to "Paint It Black." B+(*) Reciprocal Uncles [Gianni Lenoci/Gianni Mimmo]: The Whole Thing (2019 [2020], Amirani): Piano and soprano sax duets, group named for a previous effort, pianist died in 2019 a few months after this was recorded. One 50:48 joint improv. B+(**) Romare: Home (2020, Ninja Tune): British electronica producer Archie Fairhurst, third album, singles and EPs back to 2012. Strong dance beat patterns, run on a bit. B+(**) Mara Rosenbloom Trio: Respiration (2020, Fresh Sound New Talent): Pianist, from New York, records since 2009. Trio with Sean Conley (bass) and Chad Taylor (drums), five originals plus two songs each by Ellington and Amina Claudine Myers. B+(**) David Rothenberg: Nightingales in Berlin (2019, Terra Nova): Clarinet player, couple dozen albums since 1995 but is probably more famous as a musicologist specializing in sounds of nature. He's written a number of books on this, often tied into albums, ranging from Bug Music to Whale Music via Why Birds Sing. This is another one, mostly bird song with human accompaniment -- eight guest artists as well as clarinet. B+(*) Jeff Rupert/George Garzone: The Ripple (2017 [2020], Rupe Media): Two tenor saxophonists, both educators, one teaches at Central Florida, the other is a legend. Backed here by Richard Drexler (piano), Jeremy Allen (bass), and Marty Morell (drums) -- names on the cover close enough to the headliners that Discogs credits the album to all five. B+(*) Dave Stryker: Baker's Circle (2019 [2021], Strikezone): Guitarist, long career, mainstream with a soft spot for soul jazz, and good taste in saxophonists: Walter Smith III makes a strong impression early here. With Jared Gold (organ), McClenty Hunter (drums), and extra percussion here and there. B+(***) [cd] [03-05] Tchami: Year Zero (2020, Conession): French house producer Martin Joseph Léonard Bresso, first album after five years of EPs and singles. B+(**) TOC: Indoor (2019 [2020], Circum-Disc): French group, touted as "unclassifiable" ("free hypnotic pop punk, post-rock, jazz-core"), initials for Jérémie Ternoy (keyboards), Peter Orins (drums), and Ivann Cruz (guitar). Discogs treats this as an EP, but with 8 tracks (41:25) I don't see why. Dense rhythm tracks, nothing as comfortable as a groove. B+(***) TOC & Dave Rempis: Closed for Safety Reasons (2019 [2020], Circum-Disc): Picked up a saxophonist here, a damn good one who adds direction and a leading voice to the volume. Four pieces, the 15:18 finale adding a second saxophonist (Sakina Abdou) to kick it up yet another notch. A- [bc] Anna Webber: Rectangles (2019 [2020], Out of Your Head): Tenor saxophonist, quartet with piano (Marc Hannaford), bass (Adam Hopkins), and drums (Mark Ferber). One 34:30 live piece, plus an promo excerpt (the bit you can hear on Bandcamp) -- probably the hot spot. B+(**) [dl] Ndabo Zulu & Umgidi Ensemble: Queen Nandi: The African Suite (2020, Mageba Music, 2CD): Trumpet player, from Durban, first album. Strikes me as big and messy, especially with the vocals, but the trumpet is fine, as is the sax (Linda Sikhakhane?). B+(*) Recent reissues, compilations, and vault discoveries: Dexter Gordon: Montmartre 1964 (1964 [2020], Storyville): The tenor saxophonist moved to Paris in 1962, then on to Copenhagen, recording often enough at this Jazzhus that when I first heard of this, I confused it with later recordings. Quartet with a "local" rhythm section -- Tete Montoliu (piano), Niels-Henning Ørsted Pedersen (bass), and Alex Riel (drums). Gordon sings one song -- an anomaly not without interest. Real nice "Misty." B+(***) Dexter Gordon: The Squirrel: Live at Montmartre Copenhagen '67 (1967 [2020], Parlophone): Another live date from Jazzhus Montmartre, another quartet -- Kenny Drew (piano), Bo Stief (bass), Art Taylor (drums) -- didn't appear until Blue Note released it in 1996. Stretches out four cuts (66:18), starting with Tadd Dameron's title track. B+(**) New Orleans Mambo: Cuba to NOLA (1974-2019 [2020], Putumayo World Music): "Latin tinge" has been a New Orleans calling card since long before Jelly Roll Morton named it. This mostly picks New Orleans bands that push the concept hard. While they are enjoyable, I'm more impressed with Poncho Sanchez bouncing through "Going Back to New Orleans." B+(***) The Tabansi Studio Band: Vol. 3: Wakar Alhazai Kano/Mus'en Sofoa (1970s [2020], BBE): Nigerian (Igbo and Hausa) Afrobeat, label ran from 1975-85, dates no clearer than that, but these are two supposedly very rare albums from the period plus two short edits as bonus tracks, total 67:14. High energy, can't even fault the vocals. A- [bc] Turn Me Loose White Man (1900-60 [2020], Constant Sorrow, 30CD): Admittedly, I have done little more than thumb through the accompanying 352 pp. book, which offers detailed notes on this massive trove of early American music. (Actually, just the first 15 CDs, through 1930. The forthcoming Volume 2 should cover the rest, but the CDs are all here.) It's likely to take me months to get through the whole thing, maybe even a life time for it all to sink in, but the production (and Lowe's reputation as a voracious connoisseur and astute critic) tempt me to assign this preliminary (and most likely minimal) grade. Besides, I'm trying to wrap up 2020 this month, and I'd rather not leave this bookkeeping detail hanging over my head. A- [cd] Old music: Charles Mingus: Jazz in Detroit/Strata Concert Gallery/46 Selden (1973 [2018], BBE, 5CD): Live radio shot, recorded over a week, digital has 12 tracks, 249:56 (including a 38:59 interview), 5-CD and 5-LP versions a bit less. Quintet, with Joe Gardner (trumpet), John Stubblefield (tenor sax), Don Pullen (piano), and Roy Brooks (drums). This got a lot of attention when it first appeared, but I could only find fragments to stream. Strikes me as patchy, especially compared to the live 1973 Bremen set Sunnyside unearthed last year. B+(***) [bc] Further Sampling: Records I played parts of, but not enough to grade: -- means no interest, - not bad but not a prospect, + some chance, ++ likely prospect. Luke Norris: Northernsong (2020, Ears & Eyes): Saxophonist (soprano/tenor), quartet with guitar (Mike Baggetta). [bc: 3/8, 22:16/57:21]: + David Ramirez: My Love Is a Hurricane (2020, Sweetworld): Ex-folkie turned crooner. [r: 3/10]: -- Grade (or other) changes: Hayes Carll: Alone Together Sessions (2020, Dualtone): Quarantine project: acoustic versions of old songs, many memorable, ranging from 2002-19, plus a Lefty Frizzell cover, with extra help phoned in (Darrell Scott "played just about all the instruments"; Allison Moorer and Ray Wylie Hubbard sang one each). Line I jotted down: "why doesn't anybody speak about truth any more/maybe that's what songs are for." That from Trouble in Mind, still his best. I discounted the old songs when I first heard this, but it works fine as a best-of for our diminished times. [Was B+(**)] A- Ashley McBryde: Never Will (2020, Warner Nashville): Country singer-songwriter from Arkansas, based in Nashville, second big-league album, strong voice, big production, but enough attitude and observation and storytelling moxie to break through it. "Album of the year" according to the country music critics. [was: B+(**)] A- Unpacking: Found in the mail last week:
Ask a question, or send a comment. Tuesday, January 26, 2021 Music Week
January archive (in progress). Music: Current count 34864 [34804] rated (+60), 224 [221] unrated (+3). The end of January is usually my demarcation point between years. Last year I postponed Music Week to get to January 31, giving me the full month to try to wrap up 2020. This is the last Monday of January, so should be the last week, but lots of things feel unsettled. I thought about giving myself a few extra days, like last year, but when I ran the week's count, it was so high I decided a better plan would be to publish what I have now, then move next Music Week up a day, so it will land on January 31 instead of February 1. Or I could run it on next Monday, but back-date the files. Besides, I won't be doing a Weekend Roundup, so the slot's open. It will be a "short" week, but promises to be an intense one. Accordingly, I won't try to write up any EOY comments here. (No guarantee I will get it done next time, but that's the plan.) You should be able to find links to the usual files here. One thing I will be adding will be Robert Christgau's 2020 Dean's List, which I've heard will be delivered to subscribers on Wednesday. I know this because I had to make some updates to his website to fix errors he noticed in working on this. (My Young M.A regrade was occasioned by one of those errors. I initially reviewed it in late 2019, when it came out, before he reviewed it in March 2020.) Surprised I didn't come up with more A- records this week, but I've had quite a few distractions. The two I did find are obscure African reissues, checked out when I finally got around to adding the 65-deep reissues list from Ye Wei Blog (Jason Gross). In fact, most of the reissues/old music entries below were recommended by Jason, or one-step removed, including the Mainstream jazz reissues. Note that some items from his list appear as "old music" instead of as "reissues": I designated the latter when I found a reissue date, otherwise I reverted to the original release date. I need to make some changes in my music coverage after this month, but no need to rush into that now. Suffice it to say that I will continue to try to write up notes/reviews on the new (for me) records I hear, especially those CDs I receive as promos. But I will be less aggressive about tracking and searching out new music -- e.g., I have a 2021 music tracking file, but it has little in it beyond what I have heard or have in my queue, and I'm not starting a metacritic/EOY aggregate file as I've done for the last few years. I've started to play more old records for nothing but my own pleasure, and I hope to have a happier year in 2021. New records reviewed this week: Gabriel Alegria Afro-Peruvian Sextet: Social Distancing (2020 [2021], Saponegro): Peruvian trumpet player, teaches at NYU, albums with his Sextet since 2008, adds some guests here, vocals up front. B+(**) [cd] [01-29] Juan Pablo Balcazar: Suite Resbalosa (2018 [2020], Fresh Sound New Talent): Spanish bassist, label credits him with 7 albums since 2005, his first remembered as a fine HM in an early Jazz CG. All original pieces, with two alto saxophonists, piano, and drums. B+(***) Big Sean: Detroit 2 (2020, GOOD Music/Def Jam): Detroit rapper Sean Anderson, fifth studio album sice 2011. B+(**) Nicholas Brust: Frozen in Time (2018 [2020], Fresh Sound New Talent): Alto saxophonist, studied in Boston, based in New York, first album, postbop quintet with piano (Tuoo Uusitalo), guitar (Ben Eunson), bass, and drums. B+(**) Aaron Burnett & the Big Machine: Jupiter Conjunct (2019 [2020], Fresh Sound New Talent): Tenor saxophonist, from California, studied at Berklee, several previous records. Sextet with trumpet (Adam O'Farrill), vibes (Joel Ross), piano, bass, drums, plus two Esperanza Spalding vocals (not a plus). B Cable Ties: Far Enough (2020, Merge): Australian garage rock band, Jenny McKechnie sings, second album, brash but catchy enough. B+(***) Cam: The Otherside (2020, RCA): Country singer-songwriter Camaron Ochs, from California, third album. B+(***) A.G. Cook: Apple (2020, PC Music): Initials for Alexander Guy, British electropop producer, founded PC Music label in 2013, may be better known for work with Charli XCX. Second LP after a number of singles and EPs back to 2013. B [bc] Deerhoof: Future Teenage Cave Artists (2020, Joyful Noise): Experimental rock group, discography starts in 1996, not one I was tempted to follow but Greg Saunier (drums) and John Dieterich (guitar since 1999) have been showing up in jazz and hip-hop contexts recently. (The other long-termer is bassist-singer Satomi Matsuzaki.) Scattered psychedelia, somehow more appealing than you'd expect. B+(*) Deerhoof & Wadada Leo Smith: To Be Surrounded by Beautiful, Curious, Breathing, Laughing Flesh Is Enough (2020, Joyful Noise): Two live sets, the first (6 tracks, 17:52) with just the band, the second (5 tracks, 19:04) adds the trumpet player. B+(**) [bc] Deerhoof: Love-Lore (2020, Joyful Noise): Surprise album, nominally a covers album, with five medleys (one 19:02, which winds through Silver Apples/Police/Kraftwerk through Babbitt/B52s to Penderecki/Cage/Brecht). Very mixed bag, but the short B52s bit is great, as is the Velvet Underground ("All Tomorrow's Parties"). B+(*) Eyelids: The Accidental Falls (2020, Decor): Indie band from Portland, fourth album since 2014. B+(*) Laura Fell: Safe From Me (2020, Balloon Machine): Singer-songwriter, from London, day job psychotherapist, first album. B+(*) Fireboy DML: Apollo (YBNL Nation/Empire): Nigerian singer-songwriter Adedamola Adefolahan, second album, closer to global soul/hip-hop than to afrobeat let alone juju, but pretty upbeat. B+(*) Keeley Forsyth: Debris (2020, The Leaf Label): English singer-songwriter, better known as an actress -- I'm sure I've seen her in a half-dozen series going back as far as Dalziel and Pascoe (2002), but I don't see any starring roles. First album at 41 -- a short one, 8 tracks, 27:56, but slow enough it seems longer. B Angelica Garcia: Cha Cha Palace (2020, Spacebomb): Singer-songwriter from Los Angeles, based in Richmond, second album, an arty pastiche with nods to Mexican and Salvadoran roots. B Groupe RTD: The Dancing Devils of Djibouti (2020, Ostinato): From the former French Somaliland, a tiny enclave on the Red Sea between Ethiopia, Eritrea and Somalia, mostly known in these parts for hosting a US military base (although they also have bases for France, Japan, and China). RTD is Radiodiffusion-Télévision Djibouti, the state-controlled media. Upbeat crossroads music, whiffs from Bollywood to Jamaica, maybe a bit of Scottish jig. B+(***) HHY & the Kampala Unit: Lithium Blast (2020, Nyege Nyege Tapes): Portuguese producer Jonathan Uliel Saldanha, has a couple soundtracks, pop-jazz albums with the Macumbas, now this slab of electronica, now this slab of electronica from his visit to Uganda. B+(*) Juniore: Un Deux Trois (2020, Le Phonographe): French indie pop group, led by Anna Jean (daughter of novelist JMG Le Clézio), second album, in French, big beats and cool vibes. B+(**) Kiwi Jr.: Football Money (2020, Persona Non Grata): Canadian group, from Toronto. Punk economy (10 songs, 27:18) with grander pop gestures. B+(**) [bc] Adrianne Lenker: Instrumentals (2020, 4AD): Big Thief leader (singer/guitarist), has released a couple solo albums alongside four group efforts. This one was bundled with Songs on CD, but the digitals are separate, so I didn't feel compelled to review this when I did Songs [B+(*)]. However, so many reviewers and EOY lists combined the two I counted them as one. Only later did I realize that this isn't instrumental versions of the Songs but two more pieces (total 37:24). Not bad, but strikes me as rather trivial. B Lydia Loveless: Daughter (2020, Honey, You're Gonna Be Late): Alt-country singer-songwriter Lydia Ankrom, from Ohio, coming off five albums on Bloodshot. I was impressed by her feisty debut, but she's settled down since then. B+(*) Melkbelly: PITH (2020, Wax Nine/Carpark): Chicago noise rock band, second album, Miranda Winters sings, seems a bit off. B Blake Mills: Mutable Set (2020, New Deal/Verve): Singer-songwriter from California, has some production credits and a rep as a guitarist (including a Dylan side-credit), fourth album since 2010. Slow, quiet, painstaking. B Moby: All Visible Objects (2020, Mute): Electronica producer, big in the late 1990s, someone I had lost track of since 2013's still-pretty-good Innocents (sixth studio album since). Familiar use of vocals, big beats, lush textures. Hit and miss, but glorious when it works. B+(*) Jim Noir: A.M Jazz (2019, Dook): Singer-songwriter from Manchester, UK; plays guitar, bass, keyboard, drums; fifth album since 2005. Not jazz, but he enjoys letting waves of wound wash over, sort of a lighter, airier shoegaze effect. B+(**) [bc] The Orielles: Disco Volador (2020, Heavenly): British indie band ("surf pop, garage/psych"), from Halifax (West Yorkshire), second album. Shiny. B+(*) Popcaan: Fixtape (2020, OVO Sound/Warner): Jamaican singer-songwriter Andre Hugh Sutherland, fourth album since 2014, draws on dancehall, punches it up. B+(**) Pottery: Welcome to Bobby's Motel (2020, PTKF): Five piece indie rock/garage punk band from Montreal, which is to say a bit much for punk. So no surprise this feels a bit luxe, but does rock a bit. B+(*) Spanish Love Songs: Brave Faces Everyone (2020, Pure Noise): Rock band from Los Angeles, Dylan Slocum singer, described as punk but lacks the economy, compensating with volume. Not bad as this sort of thing goes, but by the time he pleaded "don't take me out back and shoot me," I was beginning to have second thoughts. B- Special Interest: The Passion Of (2020, Thrilling Living): New Orleans group, but nothing you'd associate with the Big Easy -- Cleveland, maybe, or Leeds, new wave industrial not without a hint of dance beat. B+(***) Macie Stewart & Kia Kohl: Recipe for a Boiled Egg (2020, Astral Spirits): Violin and cello duo, both also credited with voice. B+(*) [bc] Dougie Stu: Familiar Future (2020, Ropeadope): Doug Stuart, from Oakland, first album; plays bass, keyboards, percussion. Jeff Parker helps out on guitar. Fusion, funky but glossy. B Teyana Taylor: The Album (2020, GOOD Music/Def Jam): R&B singer-songwriter (with lots of help) from New York, third album, second ran lite (22:52) but this one doesn't stop until 77:19. Too much, but most of it is cracking good. B+(***) Teenage Halloween: Teenage Halloween (2020, Don Giovanni): Punk group from New Jersey, second album, fast and short: 10 songs, 23:23. B+(*) Recent reissues, compilations, and vault discoveries: Damily: Early Years: Madagascar Cassette Archives (1995-2002 [2020], Bongo Joe): Malagasy musician, Discogs lists four albums 2007-18, plus this earlier archive. B+(***) The Disciples: For Those Who Understand (1991-95 [2020], Partial): British DJ/dub producer Russel Bell-Brown, aka Russ Disciple, aka Russ D, doing business since 1986. This was originally released on his Boom Shacka Lacka label in 1995, and reissued on vinyl in 2020. Always good, but probably a lot of similar material over the years. B+(**) [bc] Bonnie Hayes With the Wild Combo: Good Clean Fun (1982 [2020], Blixa Sounds): First album, a Christgau pick I missed at the time, subsequently followed by a 1984 EP he panned, and two albums since (1996, 2003) he ignored. Rocks hard enough I could see the attraction, but not sure it delivers much. New edition tacks on the panned EP and five demos. B+(**) Kakai Kilonzo & Les Kilimambogo Brothers: Buffalo Mountain (1975-85 [2020], No Wahala Sounds): Kenyan band, a pioneer in the guitar-driven benga style, a bit less flashy than the better-known Daniel Owino Misiani, but infectious nonetheless. Dates are approximate ("mid-1970s to mid-1980s"), with Kilonzo dying in 1987, aged 33. A- [bc] Pedro Lima: Maguidala (1985 [2020], Bongo Joe): Touted as "the people's voice" after Sao Tomé gained independence from Portugal in 1975, died in 2019 boasting "his funerals were the biggest ever organized on the island." Four songs, sustained grooves averaging 9 minutes, voice is exemplary but the secret sauce is Leopoldino "Gúndu" Silva's guitar. A- The Mighty Three's: Africa Shall Stretch Forth Her Hand (1978 [2020], Jah Fingers): Jamaican vocal trio, released some singles, this plus a dub album. B+(**) [bc] Jay Migliori and Dick Twardzik: Jazz Workshop Quintet: A Harvard WHRB Session (1954 [2020], Fresh Sound): Tenor sax and piano, with vibes (Johnny Rae), bass, and drums. Twardzik is semi-infamous, having made a huge impression with Chet Baker (also Russ Freeman and Lars Gullin) then dying at age 24 (heroin overdose). Migliori (1930-2001) had a less meteoric career, although Discogs tells us that he "played on more than 4,000 commercial recordings, ranging from Charlie Parker to Tito Puente, and from the Beach Boys to Celine Dion. Radio shot, both principals and Rae have good spots. B+(**) Tony Oxley: February Papers (1977 [2020], Discus Music): English avant-jazz drummer, released this album on Incus in 1977. Basically a strings group -- two violins, electric guitar, Barry Guy on double bass and bass guitar, which keeps it abstract and scratchy. B [bc] Max Romeo: Revelation Time (1975 [2020], 17 North Parade): Reggae singer-songwriter Maxwell Smith, first hit 1969, introduced to US audiences via his 1976 album War Ina Babylon (with Lee Perry). B+(*) Scorcha! Skins, Suedes and Style From the Streets 1967-1973 (1967-73 [2020], Trojan): Soundtrack tied to Paul Anderson's book on the UK skinhead subculture, same title, originally released as a box of 10 45rpm 7-inch singles. Cover shows a white couple in close dance embrace. Songs are mostly obscure, but the artists I recognize are Jamaicans: Desmond Dekker, Cornel Campbell, Tommy McCook, Ken Boothe, Phyllis Dillon ("Don't Stay Away"), the Melodians ("Sweet Sensation"). B+(*) Phil Seymour: If You Don't Want My Love (1980-85 [2020], Sunset Blvd): There was a moment in 1976 when Dwight Twilley seemed like the future of rock and roll, although like other contenders (Nick Lowe, Bruce Springsteen) his key was a knack for summoning past glories. He came out of Oklahoma, which may have had something to do with why I was partial to him. Seymour was his drummer, and embarked on a short-lived solo career in 1980-82, another band (the Textones, 1984-85), and cancer (died 1993 at 41). These are mostly demos from around his first album, with a couple Textones live cuts. Note writers on title song: John Prine and Phil Spector. B+(**) Silkworm: In the West (1994 [2020], Comedy Minus One): Indie band, founded by Tim Midyett, Joel RL Phelps, and Andy Cohen in Missoula in 1985, changing their name from Ein Heit in 1987. Moved on to Seattle in 1990 and later to Chicago. Three later records on Touch & Go appeared in Christgau's CG, then they broke up in 2005 after their drummer was the victim of a car homicide. Early record, seems very much part of the time. B+(***) Sugar Billy: Super Duper Love (1975 [2020], Mainstream): Willie Garner, from Detroit, cut some singles for New Day and Fast Track 1971-76, plus this one-shot album. Aims for funk, but he's got a lot of grit in his voice and blues in his soul. Reminds me of Swamp Dogg, but not as funny, nor as lazy when he sells out. B+(***) Keith Tippett: The Monk Watches the Eagle (2004 [2020], Discus Music): British avant pianist, commissioned to write a large choir piece, with Julie Tippets contributing the text, and a pair of saxophone quartets. Probably should have turned it off as soon as I realized the setup, but I sat through to the end. Hated the voices, of course, and had mixed feelings about the saxes. Missed his piano. B- [bc] Old music: Bonnie Hayes With the Wild Combo: Good Clean Fun (1982, Slash): Thought I'd strip the expanded reissue back to the original album to see how it holds up on its own. Better. B+(***) Stan Hope: Stan Hope (1971, Mainstream): Pianist from New Jersey, handful of records since 1968, this a trio with bass (Peck Morrison) and drums (Walter Perkins). B+(**) [bc] Charles McPherson: Charles McPherson (1971, Mainstream): Alto saxophonist, started with Prestige in 1964 as a bebopper, broadened his horizons with three albums for Mainstream 1971-73, then five for Xanadu 1975-81, and is still active in his 80s. With Lonnie Hilliard on trumpet, two electric guitars, more focus on groove. B+(**) [bc] Reggie Moore: Furioso (1972, Mainstream): Pianist, from New York, father was Billy Moore Jr. (1917-89), a pianist and arranger for Jimmie Lunceford, Charlie Barnet, and others. Trio with bass (Hank Haynie) and drums (Chip Lyles). Four originals, four covers, ranging from Wynton Kelly to Bo Diddley -- my fave is "High-Heeled Sneakers." B+(**) [bc] Prince Alla: The Best of Prince Alla (1976-79 [1981], Redemption Sounds): Roots reggae singer, started with the Leaders, singles date from 1975, this 8-track LP was only his second, and I'm not totally clear on dates (especially the "Disco Style" versions which open and close (the latter being closer to dub). B+(**) Clark Terry & Bob Brookmeyer: The Power of Positive Swinging (1965, Mainstream): Bob Shad ran this label from 1964 to 1978, starting with reissues from Commodore (1939-54). This is the only Mainstream record on my old shopping list, so seemed like a good place to start with their catalog on Bandcamp. Quintet, leaders on flugelhorn/trumpet and trombone, backed by Hank Jones (piano), bass, and drums. B+(***) Clark Terry/Bob Brookmeyer Quintet: Gingerbread Men (1966, Mainstream): Another quintet, also anchored by pianist Hank Jones. Vocals on "I Want a Little Girl." Terry is credited, but he's bouncing off someone else. B+(**) [bc] Clark Terry: Mumbles (1966, Mainstream): Nickname for when he "sings," a slurry of gravel and muck I've seen more politely referred to as "verbal salad." I'm not aware of him ever doing it for an entire album. Even here, it's only on 3-4 cuts, and in limited doses it can be inspired. Of course, he also plays his superb trumpet and flugelhorn, with Jerome Richardson on reeds, Frank Anderson on organ and piano, two guitars, two basses, even more percussion (including Willie Bobo on congas). B+(**) Ernie Wilkins and His Orchestra: Hard Mother Blues (1970, Mainstream): Saxophonist from St. Louis, 1919-99, played in and arranged for big bands, most famously Count Basie's, favoring the form into the 1990s -- he led an "Almost Big Band" in the 1980s, and his Kaleidoduke (1994) is a personal favorite. He shows up as a producer on many Mainstream releases, and takes the helm here, with light and frothy arrangements of tunes like "Dock of the Day" and "Funky Broadway," with organ and full horn sections. B+(*) Pete Yellin: Dance of Allegra (1972, Mainstream): Saxophonist, pictured playing flute on the cover of this debut album, recorded a half-dozen more through 2008, many more side credits including stretches with Buddy Rich, Joe Henderson, Bob Mintzer and Tito Puente. Eddie Henderson opens strong on trumpet, Kenny Barron plays electric piano, Stanley Clarke bass, and Billy Hart and Dom Um Romao keep the rhythm bubbling. B+(**) [bc] Further Sampling: Records I played parts of, but not enough to grade: -- means no interest, - not bad but not a prospect, + some chance, ++ likely prospect. Roscoe Mitchell: Splatter (2017 [2020], I Dischi Di Angelica): Big band, Orchestra del Teatro Comunale di Bologna, plus the saxophonist on his compositions. [bc: 1/3, 5:32/74:07]: - Grade (or other) changes: Young M.A: Herstory in the Making (2019, M.A Music): New York Rapper Katorah Marrero, first album after EP Herstory, a couple mixtapes, a hit single ("OOOUUU"). Gender not always clear, especially when she goes on a rant about her "bitches." [was: B+(*)] B+(***) Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, January 25, 2021 Weekend RoundupTuesday before Inauguration Day, we were watching television, and someone made a comment about what that evening felt like. I don't remember what he said, but the feeling I had reminded me of Christmas Eve when I was a child. I was anticipating a day of peace, tranquility, and bounteous presents. Not a feeling I've had often since, so I was surprised to find how vivid it felt. Still, unlike my childhood, I didn't get up early and excited the next day. I slept in, so by the time I came downstairs it had happened: Trump left the White House and flew off to Florida; Biden and Harris had been sworn in, and my wife reported that the ceremony had been peaceful, solemn, and a bit inspiring. Then she complained about something stupid Jake Sullivan had written, but I wasn't in any mood to go there. Biden's domestic policy promises to offer a break from the recent past: not only from the increasingly extreme Republican service to the rich and the bigoted but from the supposedly moderate (but more like Reagan-lite) Clinton-Obama periods. On the other hand, Biden's initial take on foreign policy is to return to pre-Trump orthodoxy, which includes a lot of destructive baggage -- not least personnel heavily implicated in past mistakes. No doubt I'll write more about that in the future, but I'd rather not spoil the vibe. Besides, Biden's first two foreign policy moves -- rejoining WHO and the Paris Accords -- were exactly right, both as policy and priority. By the way, this should be my last Weekend Roundup. I started doing something like this in June 2007, in a segment I originally called Weekly Links, then renamed Weekend Roundup a couple months later. I saw it as a method to keep track of what was happening, to keep a journal for future reference. I've collected those pieces in book files, one for 2000-08, then one more for each subsequent four-year term. Trump's ended this week, so I figure I'm done with it, but I don't feel like starting another one on Biden. Age factors into this, as does weariness, and a desire to focus on other projects. But also I don't want to spend the next four years regularly finding fault with Biden like I did with Obama. I wound up very bitter over Obama's failures. I don't expect much better from Biden, but also would like to enjoy what little good we get out of him. Over the last year, I've been spending an average of 3 days a week putting Weekend Roundup together, and that's way too much. I imagine they went quicker further back, but lately we've seen both an explosion of scandalous stories worth covering and of thoughtful critiques -- the latter is one reason I'm finding my own contributions less and less necessary. I wonder, for instance, if it might be more useful for me to occasionally tweet links and notes as they occur to me, rather than saving them up for a weekly piece that few ever manage to read through. But freeing up time will also allow me to focus on other projects, not least other ways to present my thinking. I've long thought of the world in terms of possible book projects, and I have several of those stored up, as well as a fairly vast trove of writing. (A quick wc of the notebook directory counts 7,169,740 words, not including 8,536 so far here.) While they are currently organized chronologically, one project would be to go back and pull select excerpts and sort them thematically. I have a publisher interested in publishing a short volume of extracts, so that should be the low fruit. Beyond that, we'll see. I also have a few other ideas to start sorting out. We'll go into them later. I'll continue doing Music Week on Mondays, although this week will be late -- not just because this Weekend Roundup ate up my Monday but because we're approaching the end of January, and that's when I like to wrap up the previous year. That should include the last additions to the EOY aggregate files, the freeze of a copy of the 2020 file, and so forth. I'll add more 2020 records to my EOY lists as I find them, and move on to 2021, but I expect to cut back on my searching and tracking. Table of contents: Exit TrumpTrump pardoned a bunch of people -- mostly friends, fellow travelers, and people who committed crimes Trump is particularly fond (or maybe envious?) of, including a couple rappers busted for guns -- then flew off to Florida, with considerably less pomp than he had hoped for. This section also includes a few more pieces on the Capitol insurrection and its supporters. Seems like the right place, since Trump owns all that. Alex Abad-Santos: Donald Trump's presidency was the worst thing that happened to the Trump brand. Includes comments from "five branding experts." Zeeshan Aleem/Sean Collins: On his last full day in office, Trump sinks to his lowest low in major polls. There's a tweet here by Manu Raju showing "final presidential approval ratings before leaving office," with Trump at 34%, just a bit above Truman (1952) at 32%, but one name is conspicuously missing: GW Bush, in 2008-09 -- they mention that Bush's net approval rose 13 points between the 2008 election and Obama's inauguration, but don't say from what (if memory serves, well less than 34%) to what. (Obviously, one difference between Bush and Trump was that the former exited gracefully, whereas the latter went kicking and screaming.) Also missing was Herbert Hoover in 1933, for lack of polling data back then, but he would have ranked pretty low. Bill Allison: Organizers of Trump rally had been on campaign's payroll. Zack Beauchamp: Trump is gone. But the threat of right-wing violence that arose under his watch remains. Tom Boggioni: Does Ivanka Trump really have a "political future" after this disaster? "Ivanka and Jared Kushner reportedly "in a bit of a panic" -- her plan to primary Marco Rubio in '22 may be on hold." I didn't think she had any political future even before Trump's post-election death spiral. Aside from the name, she doesn't have any of the charisma that gave Trump his limited following, nor does she have any substance to make up for her shortcomings. Same goes for the rest of the clan. I'd go further and speculate that the whole aristocracy thing has worn thin (and not just thanks to the Bushes and Clintons, although they do come to mind), but that's just an added handicap. Moreover, while I find Rubio thoroughly loathsome, I suspect he will be very hard to beat. Christina Cauterucci: What Donald Trump did to DC. Kyle Cheney: Trump authorizes DOJ to declassify Russia probe documents. Kyle Cheney/Josh Gerstein: Feds: Evidence shows well-laid plan by some Capitol insurrectionists. Adam Ciralsky: "The President threw us under the bus": Embedding with Pentagon leadership in Trump's chaotic last week. Anthony Clark: Will there be a Trump presidential library? Don't count on it. Ta-Nehisi Coates: Trump is out. Are we ready to talk about how he got in?
George T Conway III: Donald Trump's new reality: "Former president, private citizen and, perhaps, criminal defendant." Nick Corasaniti: Rudy Giuliani sued by Dominion Voting Systems over false election claims. Michael Crowley: Trump's '1776 report' defends America's founding on the basis of slavery and blasts progressivism. That was quick, given that the "advisory committee" wasn't established until September 2020, but when all you're doing is writing up pseudohistory for preconceived political purposes, it wasn't that big of a reach. And how funny they released it on Martin Luther King Day? We often comment on how often Trump lies, but rarely on how today's lies depend on belief in a mythic past constructed of lies meant not just to misinform but to prevent us from understanding how we got to where we are. For more:
Josh Dawsey/Michael Scherer: Trump jumps into a divisive battle over the Republican Party -- with a threat to start a 'MAGA Party'. Won't happen, and not just because Trump is too old and lazy and ignorant to become the American Marine Le Pen. If he did, the rump Republicans would have to destroy him, and he wouldn't last a minute against Team Fox. Further comment:
Ryan Devereaux: Capitol attack was culmination of generations of far-right extremism. Tom Dreisbach/Meg Anderson: Nearly 1 in 5 defendants in Capitol riot cases served in the military. That's three times the share of veterans in the adult population (7%). Josh Gerstein/Kyle Cheney: Trump pardons dozens, including Steve Bannon, as he exits White House. As noted in the intro, the most interesting thing about the pardons is what they reveal about Trump's psyche, as he picked out people who were useful to him, and/or people who committed crimes he could identify with. What's less clear at this moment is how much graft was involved, and how close it came to him personally. After all, his Blagojevic pardon doesn't immunize him from being charged for committing virtually the same crime. Clearly, people around him were actively collecting money to influence pardons, but some of the better publicized cases (like Joe Exotic) didn't happen. A third question, which we still know less about, is where the "self-pardon" and all the "pre-emptive pardons" went (aside from Bannon, who has been charged but not yet convicted). Some pieces:
Karen Heller: Attorney Roberta Kaplan is about to make Trump's life extremely difficult: "On the other side of Donald Trump's turbulent presidency, the lawyers are waiting." She has three lawsuits pending against Trump, in what promises to be a booming business. She also co-founded the Time's Up Legal Defense Fund, which "offers financial assistance for plaintiffs filing harassment cases." Kali Holloway: Are we witnessing the emergence of a new 'lost cause'? "Just as after the Civil War, desperate attempts to preserve white supremacy are being camouflaged as a valorous fight for a noble end." Umair Irfan: A federal court just struck down Trump's attempt to make power plants even dirtier. Peter Kafka: How will Trump handle life without Twitter and Facebook? Ask Alex Jones. Glenn Kessler: Trump made 30,573 false or misleading claims as president. Nearly half came in his final year. Well, maybe they should have paid more attention earlier. Ankush Khardori: The Trump administration let Boeing settle a killer case for almost nothing.
Carol D Leonnig/Nick Miroff: Trump extended Secret Service protection to his adult children and three top officials as he left office. The officials: Steven Mnuchin, Mark Meadows, and Robert C O'Brien. Pence is also entitled to protection for six months after leaving office. Clinton, Bush, and Obama made similar arrangements for daughters in college or high school, but not for staff. Eric Levitz: We're lucky the Trump presidency wasn't worse: "Electing an authoritarian reality star brought us mass death and insurrection. But it's also left us with a fighting chance to fortify our democracy." It will take some time to assess how disastrous the Trump presidency turns out. The most obvious question is how easy it will be to reverse its many bad policies and acts -- obviously the lifetime court appointments loom large there, but executive orders take time, legislation even more (especially with such a thin majority), many repercussions only slowly emerge. One should recall that Taft-Hartley, passed over Truman's veto by Republican Congress elected in 1946, took until the 1980s to cripple the labor movement (although it had a more immediate effect in dissuading the AFL-CIO from organizing in the South). While Trump was the weak link in his administration, it is already clear that his underlings were very effective at imposing their will on the federal bureaucracy. Eric Lipton: Trump administration quietly eased sanctions on Israeli billionaire. Sara Luterman: The ignominious deceits of Congressman Cawthorn: "Representative Madison Cawthorn has misled the public about training for the Paralympics, just as he misrepresented his education and business history." Steve M: Guy proposing a Donald Trump highway checks all the boxes: Gun nut, Covid denialist, QAnon fan: Florida state Rep. Anthony Sabatini. Amanda Marcotte: Trump's coup didn't fail just from incompetence -- credit the progressive activists who stopped him. One thing I flashed on while the Capitol was being overrun was the Soviet coup attempt against Gorbachev. It was stopped by a massive outpouring of citizens in the street, which fairly quickly convinced the military not to go through with the coup. One thing notable throughout Trump's whole effort to steal the election was that his dead-enders were almost never met by anti-Trump voters -- about the only appearance of the latter was a brief celebration once the election was called. This was because demonstrations of support for Biden weren't necessary. The vote counts broke in Biden's favor -- very narrowly in Georgia, Wisconsin, and Arizona, but clear enough for the people who counted them -- and Trump's legal (and political) challenges were easily rebuffed. Biden voters learned to trust the system, so when the final insurrection took place, we could trust in the cops to restore order (not that a few didn't help order break down in the first place). Still, I wonder how well founded that faith was. I'm still bothered by how Republicans ran 4-5 points better, especially in battleground states and critical Senate contests, than polls suggested. While there are explanations that aren't completely implausible, it does seem like Republicans have some kind of hidden edge -- not enough to save Trump, but enough to set them up very nicely elsewhere. So I'm not convinced that the election wasn't stolen; just that it wasn't stolen from Trump. And I'll also note that had Trump's steal succeeded, he'd be facing much larger street protests than he was able to foment. We saw a bit of that in 2017 when the electoral college gave him a win with a three million vote deficit, and it would have been much worse this time (or, I suppose, more glorious, if you're into that sort of thing). Even though the right is far more violent than the left, I shudder to think about the turmoil and heavy-handed repression a Trump victory would have generated. Nick Martin: Republicans rethink "law and order" once they become its target: One of the most common problems we have in America is people who can't imagine what it would feel like should the tables be turned. This despite the fact that we've all heard some version of the golden rule, such as "do not do to others that which you would not like done to yourselves." However, while one might imagine this problem to be widespread, it likely occurs much more often among right-wingers, who believe that people are intrinsically unequal and should be sorted into hierarchies where they are treated differently, than with the left, who believe that all people are fundamentally similar. It is far easier to imagine how others may feel if you recognize that we all feel much the same.
Seth Maxon: Violence is mainstream Republican politics now: "The party spent these four years increasingly accepting, then celebrating, right-wing threats and attacks." Possibly the deepest article in a series called What We Learned. Jane Mayer: Why Mitch McConnell dumped Donald Trump? "Was it a moral reckoning or yet another act of political self-interest?" Silly question. Ian Millhiser:
Zach Montellaro: State Republicans push new voting restrictions after Trump's loss: "Georgia is at the center of the effort, with state Republicans discussing voter ID changes and other new policies after Biden won the state." David Neiwert: Global radical right celebrated when extremists breached the Capitol -- and drew lessons from it. Rick Perlstein: This is us: Why the Trump era ended in violence. Daniel Politi: Arizona GOP censures Cindy McCain for failing to support Donald Trump. One of many examples as the far-right purges intensify. Nor was she the only one: The Arizona GOP censures 3 prominent members for not sufficiently supporting Trump. The others are Gov. Doug Ducey and former Sen. Jeff Flake. Andrew Prokop: Why Trump couldn't steal the election -- and how a future demagogue could. Francine Prose: The last four years of Trump were hell. What a relief it's finally over: "I don't cry easily, but this week I just burst into tears thinking about all we have lived through." Aja Romano: Kicking people off social media isn't about free speech. Aaron Rupar:
Theodore Schleifer: Trump issued a pardon for the man at the center of an epic fight between Google and Uber: "The full pardon of Anthony Levandowski came out of nowhere." Alex Shephard: Why Donald Trump is already teasing a 2024 campaign. Because he wants Republican Senators to convict him? More likely because he wants another election slush fund. Or maybe he just figures he needs to spread a little shit around to attack the media flies? The changes of any of those things working out are slim and getting slimmer, and in each case the attention is likely to do him more harm than good. He never achieved his goal of getting tired of winning, but I bet he gets real tired of losing. Tierney Sneed/Matt Shuham: The Capitol mob was only the finale of Trump's conspiracy to overturn the election. Rebecca Solnit: The Trump era wasn't all bad. We saw progress -- thanks to social movements. The optimism fairy strikes again. Yes, it was all bad. Any time millions of Americans have to take to the streets to protest disasters, atrocities, and injustices reveals that the system has broken down in some fundamental way. Maybe those protests will amount to something, but more often than not they won't. Moreover, protest space is increasingly being taken over right-wingers who make a mockery of the progressive protests we grew up with. In any case, protests take a lot of effort and tsuris. It would be much preferable if you could just sit down with people in a position to do something, and resolve your differences in ways that are mutually beneficial. Although I agree with Solnit that independent single-issue movements are still useful, the most important change I see over the last four years has been a turn toward practical electoral politics. And while Trump inadvertently spurred that by being such an ass, by important development was how Bernie Sanders showed that progressive Democrats could run effective campaigns without having to pander to business interests, as the "New Democrats" had done. Elizabeth Spiers: Farewell to Trump's baby sociopaths: "Good riddance to the fake redneck, the cancer-charity grifter, and the amoral Florida woman." Not bad, but it shouldn't be hard to come with better tags -- e.g., ones that build on "baby sociopaths."
Megan K Stack: The week the Trump supporters disappeared. Joseph E Stiglitz: Republicans, not Biden, are about to raise your taxes: "President Trump built in tax increases beginning in 2021, for nearly everyone but those at the very top." Zoe Tillman: Trump left a big legal mess for Biden: "There are numerous lawsuits pending over Trump-era policies Biden doesn't support, along with cases that ensnared the Justice Department with Trump's own legal troubles." Francis Townsend: Cornered weasel Josh Hawley files ethic counter-suit against seven Democratic senators: I've skipped over at least a half-dozen Hawley pieces, figuring he's not worth the print, but this title managed to catch my fancy. Having broken the ice, more on Hawley:
Craig Unger: The rise and fall of the Trump-Epstein bromance: "The sex trafficker and future president shared tastes for private planes, shady money, and foreign-born models -- many of them "on the younger side." Anya van Wagtendonk: Trump reportedly considered putting an ally willing to dispute election results in charge of the DOJ. The idea was to replace acting AG Jeffrey Rosen with Jeffrey Clark. "A rash of DOJ officials, briefed on the plan via conference call on January 3, threatened to resign if that occurred." The New York Times story: Frank Vyan Walton: Trump fans file suit to block Biden's executive orders and rerun election: No chance, even now, but if the courts were as packed as they want they'd win even cases like this one:
Amy B Wang/Josh Dawsey/Amy Goldstein: Democrats press ahead with second impeachment trial, as GOP is divided on how to defend Trump. Enter BidenBiden was inaugurated on Wednesday, and quickly went to work signing several batches of executive orders, signifying a major changes by reversing many Trump orders. His efforts on Covid and foreign policy will appear in those sections. For an overview with links to more articles, Vox has Joe Biden's first 100 days. Kainaz Amaria/Ella Nilsen: Joe Biden's unique Inauguration Day, in photos. Katelyn Burns:
Charlotte Klein: What did Biden's day-one executive orders achieve? Ezra Klein: Democrats, here's how to lose in 2022. And deserve it. "You don't get re-elected for things voters don't know about." German Lopez: Biden's flurry of first-day executive actions, explained Dylan Matthews: Will Biden's $15 minimum wage cost jobs? The evidence, explained. The evidence mostly says no, although people who studied Econ 101 but not the world are always tempted to argue otherwise, although rarely without ulterior motives. Still, this argument shouldn't be decisive. Two further points: if the minimum wage had kept pace with productivity increases, it would be over $22/hour today, so $15 isn't a real reach; more importantly, the core meaning of minimum wage is the minimal value we put on human dignity (time and work). A minimum wage that doesn't clear the poverty level, at least without other compensation, says we think poverty is fine. Sara Morrison: How Biden's FCC could fix America's internet. At least, in replacing Trump's FCC chair Ajit Pai, it could restore "net neutrality" -- the rule that says internet providers can't solicit bribes from content producers for better throughput (or punish those who don't pay up with poorer service). I will add one cautionary note: Obama's FCC was largely captive to Silicon Valley business interests, who made big contributions to Obama (and Biden). Although consumers have a clear interest in "net neutrality," so do big businesses like Google and Facebook. Other things that should be done are less likely to find corporate sponsors, which makes it less likely that Biden will champion them. Nicole Narea: Ella Nilsen: Joe Biden's impossible mission: "The new president wants to unite a divided America. That's even harder than it sounds." Easy to make fun of Biden here, but an aspiration toward unity is part of the Democratic Party's identity -- a part not shared by the Republicans, which makes it a critical distinction -- because Democrats imagine that their policies will benefit everyone. Hence, both parties aim or claim to help business, the rich, whites, the rural, the religious, veterans, but only Democrats expand that circle to include everyone else. They see unity as both a source and a validation of policies which promote social cohesion and a shared sense of justice, and they recognize that Republicans have clawed their way to power by dividing people, both by promoting individualism and by directing people frustrations at supposed enemies -- the non-white, the poor, the non-religious, the insufficiencly patriotic cosmopolitans, the "deviant," the "free thinkers," the "socialists." Nixon hit on that strategy with his "silent majority," and Republicans have repeatedly doubled down even as their ranks became less silent and less than a majority. (It's worth noting that Nixon learned the politics of division as a world-class red-baiter in the 1940s. When Republicans shriek about "socialists" these days they're summoning up their most primal fears and hatred -- not that racism isn't even deeper-rooted, but racists were among the first to adopt red-baiting as a tactic.) By the way, some of us would even argue that socialist policies would be better for the 1%. True, they wouldn't like not being the 1% any more, but equality would save they from the economic worries that dominate their lives, not least the fear of being ripped off -- not just with guns but more commonly the pen -- because, as Willie Sutton liked to say, that's are where the money is. Related:
Timothy Noah: The end of the 40-year war on government: "Biden's election can be ore than a repudiation of Trumpian misrule. It can reject Ronald Reagan's cynicism, as well." Anna North: Biden's planned actions on reproductive health care, explained. Aldous J Pennyfarthing: Harriet Tubman $20 bill fast-tracked by Biden following Trump administration delay: I've never cared much one way or the other about this: not that I'd defend Jackson over Tubman as a human or a worthy political figure, but it is just money. Besides, I always suspected that the choice of Tubman was not just a way of ticking two boxes but a tease, given how obsessed Republicans are with putting their names on things. On the other hand, I saw this Ashley Stevens tweet just before noticing the article, and she may be onto something:
On the other hand, Steve M has collected some of the racist reaction to the Tubman bill: Likely to be the most defaced bill, thanks to our conservative friends. Andrew Perez/Julia Rock:
Seth Perlow: What made Amanda Gorman's poem so much better than other inaugural verse. Lisa Rein/Anne Gearan: Biden is firing some top Trump holdovers, but in some cases, his hands may be tied. Aaron Rupar: No meltdowns: Jen Psaki's first briefing as Biden press secretary was a breath of fresh air. Three video clips provided, including one Sean Spicer for comparison ("a flashback to the moment when it became clear that the Trump administration was going to be the stuff of dystopian novels"). Emily Stewart: Biden faces a historic unemployment crisis: "The week before Biden took office, 1.4 million Americans filed for unemployment." Li Zhou: The 50-50 Senate is already running into trouble figuring out its rules. Depending on the VP to break ties isn't quite the same thing as having a majority. On the other hand, McConnell's scheme to keep the filibuster is a recipe for obstruction and inaction. One more thing that should be stressed is that there is no scenario where the filibuster helps Democrats now, or really in the future. If they don't get rid of it, they'll be signaling to the people that they're not really serious about passing legislation. Related:
Covid-19Latest map and case count: 25.1 million+ cases (14 day change -31%, total up 1.2 million in last week), 419,077 deaths (-4%), 113,609 hospitalized (+5%). As Atlantic's Covid Tracking Project notes, Pandemic numbers are (finally) tiptoeing in the right direction. Still, Wednesday and Thursday were two of the three highest daily death totals ever. According to New York Times, 18.5 million Americans have received at least one vaccine dose (5.6%), of which 3.2 million have received two. Kansas ranks 46th (ahead of Alabama, Nevada, Idaho, and Missouri). Kansas has used the 2nd lowest percentage of vaccines received (43%; only Virginia, with 42%, is lower). German Lopez: Donald G McNeil Jr: Fauci on what working for Trump was really like. Also:
Sarah Mervosh: How West Virginia became a US leader in vaccine rollout. They managed to deliver 83% of allotted vaccines, a higher percentage than any other state. Rachael Rettner: US life expectancy drops dramatically due to COVID-19: "It's the largest drop in life expectancy in at least 40 years." Aaron Rupar: Fauci threw a lot of shade at Trump in his first comments as a Biden adviser: "What a difference a new president can make." Dylan Scott: America's Covid-19 death toll has surpassed 400,000. Alex Ward: Biden will use the Defense Production Act in his anti-coronavirus effort. The WorldTrump's Secretary of State, Mike Pompeo, continued to poison the earth under possible Biden diplomatic initiatives. Meanwhile, Biden's Secretary of State, Tony Blinken, tried to reassure Congress that he's as callous and dim-witted as his predecessors (with the possible exception of Pompeo). Goes to show that American foreign policy is still governed by fantasies, where jobs are only doled out to those who attest that "the emperor's new clothes" are magnificent indeed. (On the other hand, note that their critics like to call themselves "realists." See Jordan Henry: Just how good is Joe Biden's foreign policy team?) Bernard Freamon: Gulf slave society: "The glittering city-states of the Persian Gulf fit the classicist Moses Finley's criteria of genuine slave societies." Rebecca Gordon: The fall of the American empire: Inside title: "The rubble of empire: doctrines of disaster and dreams of security as the Biden years begin." When I started to compile my blogs from 2001-08, my working title was The last days of the American empire. This could be a foreword to the book I was imagining, with its litany of doctrines, invasions, "grotesque economic inequality," corruption, "ever-deepening conflict." Still, as the years piled on, the slow-motion crash never quite came to its expected end, but also I started to doubt the "empire" concept. Now I'm leaning toward The eclipse of the American Century, not least because the 1900-2000 time frame also defines a unique period of enormous, relentless technological change -- I imagine it as the steep slope of an S-curve, rising quickly around 1900 and starting to plateau around 2000. The US was positioned to take maximum advantage of tech growth, until we started taking riches as entitling us to run the world, and that conceit and hubris spelled the end. But oddly enough, Americans only thought of themselves as an empire at the beginning and end of the 20th century. In between, the operative word was hegemony, the soft glove of power. Jen Kirby: President Biden's international restoration project has begun: "The US is rejoining the Paris climate accord and the World Health Organization on day one." Andrea Mazzarino: Indirect deaths: "The massive and unseen costs of America's post-9/11 wars at home and abroad." Lili Pike: The US is back in the international climate game. Jennifer Scholtes/Connor O'Brien: Adios AUMF? Democrats press Biden for help in revoking old war powers. Alex Ward/Jen Kirby/Nicole Narea: Biden's key national security picks had their confirmation hearings. Here's what to know. Avril Haynes (CIA), Alejandro Mayorkas (Homeland Security), Tony Blinken (State), Lloyd Austin (Defense). They spouted a fair amount of orthodox bullshit to help expedite confirmation. E.g.:
The bit that got me first was the "strength" fetish, as if all we had to do to bend China to our will was get stronger -- that same approach having failed repeatedly against far less formidable foes. But there's much more to puzzle over, like why we confuse "US values" and "the interests of the American people," when the last four years suggests the US government cares for either. Perhaps in the future US policy (both foreign and domestic) could embrace common principles of human rights and international law, and from that vantage point we could join others in shaming China -- and other malefactors, a list which certainly includes our "allies" in Israel and Saudi Arabia) -- into behaving better. But an essential first step is to behave better ourselves. Blinken offered a slight hint when he talked about ending US support for the Saudi-led war in Yemen. However, he went on to weasel out of any commitment:
Few things are clearer than that the aggressor in Yemen is Saudi Arabia. Also note that Austin waffled on Afghanistan, holding open the possibility of re-escalating the war. Evidently, that makes him more attractive to the Senate, which went on to confirm him 97-2. More on these picks: Alex Ward:
Edward Wong/Chris Buckley: US says China's repression of Uighurs is 'genocide': "The finding by the Trump administration is the strongest denunciation by any government of China's actions and follows a Biden campaign statement with the same declaration." I don't doubt that China's repression of ethnic minorities in Sinkiang (and, for that matter, Tibet) is heavy and oppressive, but doesn't genocide mean killing large numbers of people? And doesn't it also imply an obligation for other countries to intervene? Given that the latter is a practical impossibility, shouldn't one tone down the rhetoric? Alternatively, shouldn't the same criteria be applied elsewhere? I don't think that Israel's treatment of Palestinians amounts to genocide, but it is ethnically based and comparably oppressive. (Main difference is that China has "re-education camps" that attempt to integrate Uighurs into Chinese society, whereas Israel has no such desire -- which is worse is debatable.) Saudi Arabia's war against the Houthis of Yemen is if anything more lethal (latest: Saudi airstrikes kill 34 Houthis in central Yemen, although probably less systematic. There are other cases one might consider, but the US only seems to consider cases where it has an ulterior motive. The designation on Trump's last day was a typical poison pill move, meant to further the ridiculous meme that Biden is soft on China -- if Biden revokes the designation, that will be taken as proof of point; if not (and thus far Biden hasn't taken the bait), it will be taken as proof that Biden is so weak he's unwilling to stand up to genocide, while it hands over diplomatic efforts where cooperation with China is essential. More on China (also see Ward, above):
And Everything ElseSome other entries that didn't fall into the buckets above. Gilbert Achcar: The Arab Spring, a decade later. [subscriber-only article] Reed Berkowitz: A game designer's analysis of QAnon. Chris Bertram: Branching points: Short post, tries to list "events that took place since the fall of the Berlin Wall (1989) are the important moments when something different could have been done that might have saved us from being in the situation we are in." His list:
Some other suggestions from the comments (sorted by year):
Fabiola Cineas:
Diana Falzone/Lachlan Cartwright: Fox News launches 'purge' to 'get rid of real journalists,' insiders say: "Fox laid off at least 16 staffers, including Chris Stirewalt, who defended the election-night call that pissed off Trump." Related:
Melissa Gira Grant: The beginning of the end of meaningless work. Checks in with Kathi Weeks, ten years after publication of her book, The Problem With Work: Feminism, Marxism, Antiwork Politics, and Postwork Imaginaries. Robert Greene II: Hank Aaron was more than a man who hit home runs: Aaron died last week, at 86. I date my interest in baseball to 1957, not least because I can still recite the All-Star Teams from that year (at least the ones who played: that was the year Cincinnati stuffed the ballot boxes, but the NL overruled the fans, giving OF slots to Aaron and Willie Mays instead of Gus Bell and Wally Post, and the SS-3B spots to Ernie Banks and Eddie Matthews instead of Don Hoak and Roy McMillan). Thanks to my cousin, I was a Yankees fan, perhaps because I was drawn to winners, a trait that also worked in Aaron's favor. Milwaukee had a farm team in Wichita, and went on to win the pennant in 1957 and the World Series in 1958. They had a great team those years, but Aaron was clearly the star, which made him one of my favorite players, and kept me from entertaining any stupid ideas about race. More:
Rebecca Heilweil: Parler begins to come back online with the help of a Russian tech company. Meryl Kornfield: Six shot dead, including pregnant woman, in 'mass murder,' Indianapolis officials say. Branko Marcetic: The CIA's secret global war against the left. This focuses on Operation Condor (from the 1970s), although the CIA's "secret global war against the left" dates back to its inception in the late-1940s, with the CIA's efforts in Italy and France to keep Communists from winning elections, and more violently in Greece to defeat leftist partisans who had fought against the Nazi occupation. Everything the CIA did from the '50s through the '80s was justified as anti-Communist -- even the 1954 coup in Iran, which was mostly about undoing Iran's nationalization of British oil interests, was justified as preventing a Communist takeover. Condor was significant as it turned a series of Latin American countries into dictatorships, with several bloody purges (especially in Chile and Argentina), but it was neither the first nor the last time the US has sought to prop up right-wing terror in Latin America, nor was it as bloody as the coup and purge in Indonesia in the 1960s, or the much more protracted war in Vietnam (where the CIA's failure led to the military stepping in, and failing even worse). Rani Molla: Why right-wing extremists' favorite new platform is so dangerous. Bill Pearis: Here are your Bernie Sanders music memes. Jeffrey St Clair: Roaming charges: New days, old ways: So, it took St Clair less than a week to attack the Biden administration with the same snark he used to critique Trump. But he does have a good story on Hank Aaron. Scott W Stern: Remembering Margo St James, a pioneering sex worker organizer. She died recently, at 83. Michael G Vann: The true story of Indonesia's US-backed anti-communist bloodbath: "The massacre of the Indonesian left in 1965-66, backed by Washington, was one of the great cries of the twentieth century." Review of John Roosa: Buried Histories: The Anticomunist Massacres of 1965-1966 in Indonesia. Anya van Wagtendonk: Legendary broadcaster Larry King has died at age 87. I literally have nothing to say about him, and almost didn't bother with the link. The writer doesn't have much to say either: e.g., "And he was perhaps equally known for his bold sartorial choices -- he was rarely seen without his signature suspenders, often paired with a bright shirt and colorful necktie." Ask a question, or send a comment. Tuesday, January 19, 2021 Music Week
January archive (in progress). Music: Current count 34804 [34756] rated (+48), 221 [219] unrated (+2). Not much to say right now, so probably best to go ahead and post this. I figure on making some changes after next week (or perhaps I should say the end of January), but I can wait until then to explain what and why. Still fiddling with EOY Aggregate, but that's one thing that I'll stop working on in the next week or so. I'll try to sum up what I've learned next week. I meant to write a postscript to last week's Music Week, but moved on to other things and never got to it. My recollection is rusty now, but I had made some speculation about Robert Christgau's Wednesday Consumer Guide, and felt like I should follow up. Doesn't really matter now. The CG had three new and two old records I hadn't heard, so they loom large below. I also bumped Open Mike Eagle up after a relisten, but didn't bother going back to other B+ albums by Taylor Swift, Toots and the Maytals, or 75 Dollar Bill (the one I prefer is Live at Café Oto Dec. 19, 2019). I will say that my one-play reaction to Evermore was that it was every bit as good as Folklore. I did a much needed update to the Robert Christgau website last week. The main thing was to add all of the CG reviews from his And It Don't Stop newsletter. As it's a paid subscription thingy, it was felt that there should be a delay before non-subscribers can see the reviews on the website, so the big thing was writing code to enforce that, although the bigger thing was keeping everything else working as various changes to the PHP programming language broke old code. I got a couple of letters about old things that were wrong, but the update seems to have worked reasonably well. We kicked around some ideas for a redesign (more under the hood than external), and I plan to start working on that within two weeks -- as recent things wind down and new projects get going. I'm getting tired of trying to keep track of recent deaths, and was hoping to skip that part this week (after linking to a couple pieces on Phil Spector yesterday), but when I checked the list, I recognized Junior Mance (a fine pianist who had a long career after his early-1960s peak -- seek out Junior's Blues) and Duke Bootee (early hip-hop producer, co-wrote "The Message" for Grandmaster Flash and Melle Mel, and had a good one-shot album in 1984, Bust Me Out). Oh, also Jimmie Rodgers (1933-2021) -- not the legendary country singer but a pop star with some big hits in the late-1950s -- "Honeycomb" and "Kisses Sweeter Than Wine" were among my first (and most played ever) 45s. New records reviewed this week: Adulkt Life: Book of Curses (2020, What's Your Rupture?): British post-punk group, from London, first album, short one (10 tracks, 25:21. B+(***) Daniel Avery: Love + Light (2020, Phantasy Sound): British electronica producer, from Bournemouth, EPs from 2012, five albums. Fourteen tracks range from ambient (blah) to much sharper (and more compelling) machinery. B+(**) BC Camplight: Shortly After Takeoff (2020, Bella Union): Singer-songwriter Brian Christinzio, from New Jersey, fifth album since 2005. Occasionally reaches for a Beach Boys harmony. B Beach Bunny: Honeymoon (2020, Mom + Pop): Chicago indie pop band, Lili Trifilio singer, first album after a bunch of EPs and singles, short at 9 songs, 25:00. B+(*) Belle and Sebastian: What to Look for in Summer (2019 [2020], Matador, 2CD): Live double (99:54) by the Scottish band, founded 1994 and led by Stuart Murdoch. Gets better and better, although that may be because the older songs are the ones I recognize. B+(**) BlackPink: The Album (2020, YG Entertainment/Interscope): K-pop girl group, four singer/dancers recruited and orchestrated by the label, released a Japanese album in 2018, this their first in South Korea and the US. More English and more hip-hop than most K-pop, with guest features for Selena Gomez and Cardi B. Short: eight tracks, 24:26. B+(**) Susie Blue and the Lonesome Fellas: Bye Bye Blues (2020, Seraphic): Western swing band, based in Chicago, led by singer Solitaire Miles, who snagged the credit for the band's eponymous debut (2015). Mostly repertoire, and not just Bob Wills, like whom they used fiddle and pedal steel, but also borrowed heavily from the jazz du jour. B+(**) James Dean Bradfield: Even in Exile (2020, Montyray): Welsh singer-songwriter, Manic Street Preachers leader, second solo album. This album bears a relationship to his former band much like Bob Mould's solo work does to Hüsker Dü: same but slightly diluted. B+(*) Brian Charette: Beyond Borderline (2019, SteepleChase): Organ player, one of the few who doesn't sound like a soul jazz throwback, more than a dozen albums since 2009, solo here. B+(*) Brian Charette: Like the Sun (2020, Dim Mak): This one also looks to be solo, but the "live" organ is surrounded by "drum machines, samplers, and arpeggiators . . . programmed to react . . . in provocative ways." Not really. B John Craigie: Asterisk the Universe (2020, Zabriskie Point): Singer-songwriter from Los Angeles, alt-country, albums since 2009. Video suggests this was recorded in a country commune, as he has a lot of musicians and backup singers without making it feel cluttered. More like richly detailed, which fits the songs. A- Cut Worms: Nobody Lives Here Anymore (2020, Jagjaguwar): Singer-songwriter Max Clarke, from Ohio, based in Brooklyn, second album. Wikipedia advises: "for moth larvae that feed at night, see cutworms." Nice, melodic, even gets into some Beach Boys overtones. B+(*) Nick Dunston: Atlantic Extraction: Live at Threes (2020, Out of Your Head Untamed): Bassist, live followup to group's 2019 album. Quintet, with Louna Dekker-Vargas (flutes), Ledah Finck (violin/viola), Tal Yahalom (guitar), and Stephen Boegehold (drums). B+(**) [dl] Dvsn: A Muse in Her Feelings (2020, OVO Sound/Warner Bros.): Canadian r&b duo, singer Daniel Daley and producer Anthony Paul Jefferies (aka Nineteen85), pronounced "division," third album. Empress Of: I'm Your Empress Of (2020, Terrible): Singer-songwriter Lorely Rodriguez, from Los Angeles, parents Honduran, third album. B+(**) Fantastic Negrito: Have You Lose Your ind Yet? (2020, Cooking Vinyl/Blackball Universe): Xavier Dphrepaulezz, father Somali, he was born in Massachusetts, moved to Oakland when he was 12, heavily influenced by Prince. Recorded an album as Xavier in 1996. Adopted this name for his 2014 album. Stradles blues and funk, rocks some, asks the question, "is there justice in America." B+(***) Ghetto Kumbé: Ghetto Kumbé (2020, ZZK): Colombian group, main focus on the drums spritzed up with a wash of electronica. B+(**) The Grasso-Ravita Jazz Ensemble: Jagged Spaces (2020 [2021], Grassvita Music): Guitarist Skip Grasso and bassist Phil Ravita, with Benny Russell (tenor/soprano sax), Greg Small (piano), and Nuc Vega (drums). B+(*) [cd] Guiss Guiss Bou Bess: Set Sela (2019, Helico): From Senegal, although increasingly I'm seeing music from all over the non-English-speaking world classified not as "world" but under genres -- in this case, deep dubstep, bass house, or more broadly electronica. Still, the beats sound like drums, and profusion such as rarely found outside of Senegal. A- The Happy Fits: What Could Be Better (2020, The Happy Fits): Rock trio from New Jersey, second album, upbeat, hooky. B+(**) Roderick Harper: Evolving (2020 [2021], R.H.M. Entertainment): Crooner, full name ends in Muhammad, originally from DC but found himself in New Orleans, couple previous albums, featured spots here for Ellis Marsalis and Donald Harrison. B+(*) [cd] Stephanie Lambring: Autonomy (2020, self-released): Singer-songwriter, based in Nashville, second album, plays guitar and keyboards. Some songs touch on religion, not that it does much good. "Old Folks Home" seems appropriately sad. B+(**) Pak Yan Lau & Darin Gray: Trudge Lightly (2016-18 [2020], By the Bluest of Seas): Piano-bass duo, but both are "prepared," and credits include synths, objects, electronics. Gray is American, discography goes back to 1999. Lau is based in Brussels, has appeared in groups like Dream & Drone Orchestra and The Crappy Mini Band. This is her fourth album. B+(**) [bc] Lomelda: Hannah (2020, Double Double Whammy): Singer-songwriter Hannah Read, from Texas, handful of albums since 2012. Wrote one of those albums "over a few months while sleeping in her car." B+(*) Sabir Mateen/Christopher Dell/Christian Ramond/Klaus Kugel: Creation (2012 [2020], 577): Tenor sax, vibes, bass, drums. Takes a while, but two-thirds through the "bonus track" Mateen really catches fire. B+(***) McCarthy Trenching: Perfect Game (2020, self-released): Omaha singer-songwriter Dan McCarthy, albums since 2003 (demos) or 2007 (eponymous). As Christgau says, "clear, mild, droll, calculated, casual, and clever." I doubt I would have noticed without his review. B+(***) Melenas: Dias Raros (2020, Trouble in Mind): Spanish indie rock quartet, all women, from Pamplona, second album, lyrics in Spanish. B+(**) Buddy & Julie Miller: Lockdown Songs (2020, self-released): Country duo since 1995, both also have records on their own. Little info available, but obviously new songs for the glum occasion, with several public service announcements ("stay home," "put on your mask," "don't drink bleach no matter what the president said"), several about Black Lives Matter and John Lewis, a look back at "The Terrible Spanish Flu." Both sound considerably gruffer than I remember them. Time 26:22, but like the year, feels longer. B+(***) MoE With Mette Rasmussen and Ikuro Takahasi: Painted (2019 [2020], Relative Pitch): Experimental rock duo from Norway -- bassist Guro Skumsnes Moe and guitarist Håvard Skaset -- plus saxophone and drums. Moe is also credited with voice, but not much of that. Noise meets free jazz, roughly. B [bc] Munson-Hicks Party Supplies: Munson-Hicks Party Supplies (2020, Soft Launch): From Minneapolis, John Munson ("who does most of the singing") and Dylan Hicks ("who writes the songs") -- I filed it under Hicks because I've heard of him before. Erudite, measured, not much of a party. B+(**) NZCA Lines: Pure Luxury (2020, Memphis Industries): British synthpop band, founded by Michael Lovett, third album. One foot in cheezy disco, the other less decisive. B+(*) Okan: Espiral (2020, Lulaworld): Afro-Cuban group, led by Elizabeth Rodriguez and Magdelys Savigne, based in Toronto. B+(***) J.S. Ondara: Folk N' Roll, Vol. 1: Tales of Isolation (2020, Verve Forecast): Born in Kenya, was so taken with Dylan he moved to Minneapolis to retrace his steps. Second album. Has the guitar and harmonica down, phrasing but not quite voice, impressive and sometimes annoying. Does have one thing right: "nobody wins in war." B Chris Pitsiokos: Speak in Tongues and Hope for the Gift of Interpretation (2020, Relative Pitch): Alto saxophonist, solo, six exercises, each dedicated to master: Charlie Parker, Anthony Braxton, Roscoe Mitchell, Ornette Coleman, Eric Dolphy, John Zorn. Not so easy listening. B+(*) [bc] The Justin Rothberg Group: Hurricane Mouse (2020 [2021], self-released): Guitarist, based in New York, second or third album, Group includes Todd Groves (woodwinds), bass, drums, and percussion. Races along, guitar sometimes standing out. B+(*) Sleaford Mods: Spare Ribs (2021, Rough Trade): British duo, Andrew Fearn generates the beats, bass lines, and whatever, while Jason Williamson sings/rap, embodying embittered working class consciousness, despite considerable success over the last decade. I won't say the new one suggests they're going soft, but it does nick off some rough edges. B+(***) Sweeping Promises: Hunger for a Way Out (2020, Feel It): Boston post-punk group, Lira Mondai the singer, "angular guitars and sharp synth notes float atop a raw rhythm section." Sure, anyone can claim that, but not many start their influences/comparisons lists with Kleenex/LiLiPUT. A- [bc] Aki Takase/Rudi Mahall: Fifty Fifty (2018 [2019], Trouble in the East): Piano-clarinet duo, opens with the whimsical percussion of toy piano. B+(**) [bc] Recent reissues, compilations, and vault discoveries: Man Jumping: Jumpcut (1984 [2020], Emotional Rescue): Early electronica, a sort of minimalism meets disco, first of two 1984-87 records, half-dozen names I don't recognize. B+(**) [bc] Mirah: You Think It's Like This but Really It's Like This (2000 [2020], K): Singer-songwriter Mirah Yom Tov Zeitlyn, born in Philadelphia, went to Olympia for college and enjoyed the antifolk and riot grrrl scenes there -- she worked with Kimya Dawson there, and this debut album was co-produced by Phil Elvrum. Sometimes she sounds like a frailer Liz Phair, but she can also get tough and noisy, and even flashes a bit of swing on the closer. B+(***) [bc] Lon Moshe & the Southern Freedom Arkestra: Love Is Where the Spirit Lies (1976-77 [2020], Strut): Vibraphone player Ron Martin, from Chicago, based in San Francisco, only album as leader but played with Juju (Oneness of Juju) in the 1970s. Vocals, spiritual airs. B+(**) [bc] Sun Ra Arkestra: Egypt 1971 (1971 [2020], Strut/Art Yard, 4CD): First two discs slightly expand on previously released sets (e.g., Nidhamu/Dark Myth Equation Visitation, 2009). This box adds two more discs of unreleased recordings, "In Heliopolis" and "Egyptian Oasis." Lots of typical Sun Ra moments, but becomes a chore to sit through in one pass. (I had to take a break.) B+(*) [bc] Riley: Grandma's Roadhouse (1970 [2010], Delmore Recording Society): This popped up in a 2020 reissues EOY list, but I can't find that recent a reissue date. Riley Watkins wrote or co-wrote 6 of 10 songs, credited with "lead & 12-string guitars & vocals" in what appears to be his only album, but another better known artist has similar credits, and co-wrote 4 songs (with rhythm guitarist Bill Eldredge): Gary Stewart, a few years before he started knocking out hits. The only song that's clearly Stewart's is "Drinkin' Them Squeezins." B [bc] The Ibrahim Khalil Shihab Quintet: Spring (1968 [2020], Matsuli Music): South African pianist, originally Chris Schilder, first album (age 22), featuring tenor saxophonist Winston "Mankuku" Ngozi, with guitar, bass, and drums. Piano comparable to Abdullah Ibrahim, and some lovely saxophone. A- [bc] Old music: Group Doueh & Cheveu: Dakhla Sahara Session (2017, Born Bad): Group from Western Sahara, which has mostly been under disputed Moroccan control since 1970. Several previous albums, this one joined by a French trio, adding guitar and synth to the group's guitars and synths. A- [bc] Solitaire Miles: The Solitaire Miles Jazztets With Willie Perkins (2008-10 [2018], Seraphic, EP): A four cut, 14:24 set of outtakes from three albums the singer did with the pianist and eight more musicians listed on the front cover -- Eric Schneider (clarinet), Art Davis (trumpet), and Jim Gailloreto (sax) got larger type. B+(*) [bc] Solitaire Miles: Susie Blue and the Lonesome Fellas (2015, Seraphic): Several sources credit this to the singer, although her name doesn't appear on the front cover. B+(**) Viktor Vaughn: Vaudeville Villain (2003, Sound-Ink): Rapper Daniel Dumile, born in London, parents from Trinidad and Zimbabwe, grew up on Long Island, first group (KMD) broke up after his brother (aka DJ Subroc) was hit and killed by a car. Released his first album as MF Doom in 1999, his second as King Geedorah, then two as Viktor Vaughn before returning to MF Doom (and other variants). Terrific flow here, much imagination. He's going places. A- Grade (or other) changes: Open Mike Eagle: Anime Trauma and Divorce (2020, Auto Reverse): Underground rapper, has a decade-plus of sly, clever, often inscrutable albums. First spin sounded like another one, second got a bit catchier, further plays revealed further depth, which I should have been clued to by the title. [was: B+(**)] A- Unpacking: Found in the mail last week:
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