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Blog Entries [510 - 519]Monday, September 7, 2020 Weekend RoundupNearly everything here was complete late Sunday night, but I was having trouble framing the comics, and felt the need to write a bit of introduction, so I decided to sleep on it. Found the Trump tweet and the Carter quote after I got up. Added a couple links while wrapping up, but all articles that date from Sunday or earlier. I managed to find a few pieces on the late David Graeber, but none yet on Kevin Zeese, a lawyer and (like Graeber) another prominent Occupy figure, who died suddenly on Sunday. Music Week will probably be delayed a day this week. These delays weren't planned, but happy Labor Day. Here are a pair of New Yorker cartoons that go a long ways toward illustrating and explaining the cognitive disconnect between Republicans and Democrats these days. The third was posted by Mary Anne Trump (her caption), and picked up from a friendly Facebook feed:
Having family and friends in the Portland area, I've seen numerous contrasting pictures like this, which makes the news media fixation on fires and looting seem all the more anomalous. I wrote a comment under the latter picture:
I suppose I may sound condescending or patronizing, but I started narrow-minded and provincial and made my own way into and around the cosmopolitan world, often finding open doors and welcoming faces -- a tendency toward kindness which my old world actually prided itself on. I won't deny that cosmopolitans have their own prejudices, which may appear as hostile but more often sympathetic. It's as easy to find liberals who accept the idea that their opposites are clinging to a way of life threatened by the modern world. I don't think that is true. At any rate, I don't see the gap as unbridgeable, although one needs to reject the political incentives that drive us apart. And while both sides have attempted to make hay by appealing to the prejudices of their bases, as we see above, it's the Republicans who have most gravely distorted reality. One more clause I wish to draw your attention to is "they think they can bludgeon into submission." It doesn't work like that. The world we live in is so complex and interconnected that the only way we can manage it is through massive cooperation, which depends on good faith and respect, which depends on justice for all. No people submits forever, but all people can join together in an order which is universally viewed as fair and just. Might doesn't make right, and the more brutally and viciously it is employed, the more resistance it generates, the more harm it winds up doing to all concerned. I could cite hundreds of examples. I doubt I could find an exception. Even seemingly complete domination either perpetuates indefinitely (e.g., Israel over Palestine) or ends with integration (America and the Indians, albeit imperfectly). I'll add one more related point to this: there has been much talk recently about democracy ending in America, but note that such an end would not ensure that the immediate victors will stay in power and enjoy their privileges indefinitely. It merely means that change can only occur through violence, at great collateral cost. As I recall, Winston Churchill used to say "democracy is the worst possible form of government, except for all the rest." What he meant was that while he didn't like having to submit to the will of the people, he preferred that to losing his head (the pre-democratic method of disposing of unwanted monarchs). The British people regularly grew tired of Churchill and voted him out, only to vote him in again as their memories faded. Democracy in America has worn thin and ragged over recent decades, with most of the blame due to the influx of money -- something both parties bear responsibility for, but only the Republicans defend the practice as a class prerogative, and Republicans have made the most conspicuous efforts to tilt the table in their favor, exploiting the unequal representation locked into the Constitution, and using their legislative clout to further gerrymander districts. And this year, Trump has created doubts about the integrity of the voting process, such that neither side is likely to believe the count, no matter what it is. One thing you won't see much of below is reports on polls and other voting irregularities. Partly because there is a lot of wild-eyed speculation going on, but mostly because I have little faith that anything we say now will have any predictive significance for November. One thing that was interesting was that the contested Massachusetts Democratic primary brought out an unprecedented huge vote for a primary. That is one data point suggesting that the November vote won't be significantly suppressed by the pandemic. Got up this morning and first thing I read was this paragraph from Zachary D Carter: The Price of Peace: Money, Democracy, and the Life of John Maynard Keynes, which does a nice job of framing what I wrote above:
I took a shine to Marxism back in the late 1960s, but gave up on it by the mid-1970s, not because I changed my mind but because the insights I had gained there had become second nature, while I lost anything more than a passing commitment to the political program. I moved from opposition to one specific war (Vietnam) to a general pacifism, and I increasingly appreciated the value of incremental reforms versus sharp breaks. I became more tolerant, which is not to say uncritical, of liberals, and I found much that I actually liked in Keynes. (Robert Skidelsky's 2009 book, Keynes: The Return of the Master, offered a good introduction.) He sought to resolve conflicts by arguing ideas, and he retained a radical understanding of the good life which has eluded most economists -- so much so that they refer to their trade as "the dismal science." The quote above was in the section discussing his book, The Economic Consequences of the Peace (1919). Reading Keynes on the arrogant, ignorant, and pompous politicians of the day sheds comparable light on Trump today. Looking forward to discussion of Keynes' view of the future of work, which somehow still remains in our future, assuming we get that far. Some scattered links this week: Kate Aronoff: Elon Musk thinks his treatment of workers is a "trade secret". Dean Baker: Trump's 'America First' vaccine agenda may leave us last: "By using the usual patent monopoly framework rather than international open-source collaboration, the coronavirus vaccine may prove both elusive and more costly for Americans." Peter Baker/Maggie Haberman: Trump fans strife as unrest roils the US. BBC: International Criminal Court officials sanctioned by US. "The Hague-based ICC is currently investigating whether US forces committed war crimes in Afghanistan." Zack Beauchamp: Donald Trump is inciting violence. "His audience is tens of millions of people. Only a tiny percentage need to act to severely disrupt this country's politics." Riley Beggin:
Jake Bittle: This is what Trumpism after Trump looks like: Profile of Laura Loomer, "proud Islamophobe," QAnon supporter, Republican nominee for Congress. Bob Brigham:
Rosa Brooks: What's the worst that could happen? This is rather ridiculous: war gaming various election scenarios, under the aegis of a group that calls itself the Transition Integrity Project, hiring "players" like Bill Kristol and John Podesta to simulate how R and D strategists would react to the various scenarios. John Cassidy: Donald Trump's incitements to violence have crossed an alarming threshold. Fabiola Cineas/Sean Collins/Anna North: The police shooting of Jacob Blake, explained: "Blake's shooting has inspired intense protests, a professional sports strike, and fiery rhetoric from President Trump." Patrick Cockburn: Trump at the RNC: Echoes of Saddam. Aaron Ross Coleman:
Summer Concepcion: Ex-staffers at DeJoy's former business say he reimbursed them for donations to GOPers. Chris D'Angelo: Trump is trying to greenwash his appalling environmental record before the election. Jason Ditz:
Adam Eichen: The GOP remains loyal to corporations and lobbying groups over Americans. Covid hasn't changed that. Paul Farrell: David Graeber dead: Anthropologist & anti-capitalist thinker behind 'we are the 99%' slogan dies at 59.
Also worth linking to some of David Graeber's work (also see the listing at The Anarchist Library):
Matt Ford: The Republicans' absurd quest to turn Biden into Trump: "The president's reelection campaign is now an obsessive exercise in psychological projection." Another way to look at this: has there ever in history been a better time for someone like Trump to run against an incumbent president like Biden? Only one problem with that scenario. Andrew Freedman/Diana Leonard: Heat 'rarely ever seen' is forecast to roast West by the weekend, with wildfires still burning. Freedman followed this up with: California faces record-setting 'kiln-like' heat as fires rage, causing injuries. Susan B Glasser: The 2020 election, a race in which everything happens and nothing matters: "If a pandemic that has killed nearly two hundred thousand Americans can't significantly hurt Trump's support, can anything?" Hallie Golden/Mike Baker/Adam Goldman: Suspect in fatal Portland shooting is killed by officers during arrest. Of course, unlike, Kyle Rittenhouse, who shot three and killed two BLM protesters in Kenosha, but was taken into custody live. Michael Forest Reinoehl, "antifa supporter," now unable to testify what happened in the shooting he is accused of. Article quotes Attorney General William Barr: "the streets of our cities are safer." Isn't that what they always say after the police kills a "suspect"? Elizabeth A Harris/Alexandra Alter: Trump books keep coming, and readers can't stop buying. Picture collects 19 book covers. I haven't read any of those, although I have read a dozen others (see below). The article notes that "in the last four years, there have been more than 1,200 unique titles about Mr. Trump, compared to around 500 books about former President Barack Obama and his administration during Mr. Obama's first term." I tried to publish a fairly exhaustive list of Trump books on May 16, including a few advance notices on books that were scheduled up through October, but my list ran out at 294. Some they mentioned that I missed:
Most of those are recent releases (Woodward's is due Sept. 15, Lozado's Oct. 6), but Klein's screed simply slipped my net. I should do another books post. Not sure what more there is to net, but there is: John W Dean: Authoritarian Nightmare: Trump and His Followers, and (of course) Donald Trump Jr: Liberal Privilege: Joe Biden and the Democrats' Defense of the Indefensible. For whatever it's worth, here are a few books I did read (on Trump, his administration, and/or the 2016 election, as well as a few less Trump-centric but still topical tracts, most recent first):
More pieces on Trump books:
Benjamin Hart: Black man died of asphyxiation after officers placed hood on him: "Rochester police put a 'spit hood' over Daniel Prude's head, then pinned him to the ground for two minutes. Seven officers have now been suspended." Eoin Higgins: The Bush rehabilitation trap: "Democrats' insistence on redeeming pre-Trump Republicans will corrupt the party's agenda and spoil the chance for real social reform." Another excuse to link to: Will Ferrell returns to SNL as George W Bush, with a reminder: "I was really bad." Maybe I'd start cutting Bush some slack if he goes on air and admits as much. Still, such contrition wouldn't erase his actual record -- especially the warmongering, which is the one trait of his presidency he can't fob the blame off on the far-right Republicans Cheney staffed his administration with. Still, even his efforts to work with Democrats to solve common problems, like No Child Left Behind and Medicare D, have proven disastrous. Laura mentioned an article about Obama's "biggest mistake," and I immediately thought of several, most importantly his reluctance to repeatedly blame the damaged conditions he inherited on Bush. Not doing so gave Republicans a pass, allowing them to paint the fruits of their failed ideology as somehow being Obama's fault. That doomed Democrats in the 2010 elections, and all the Republicans had to do from then on was to obstruct -- which he also failed to clearly pin responsibility for. Obama's second biggest mistake was proclaiming Afghanistan "the right war," and wasting his first term trying to get it on track. Third was failing to repeal the Bush tax cuts in 2009 when he had the votes to do so. He spent the rest of his terms fighting debt fear and austerity pressures that would have been greatly relieved if he had restored those taxes. But the "biggest mistake" the article pointed to was the bombing of Libya -- see Stephen Kinzer: Obama's 'Biggest Mistake' is still wreaking havoc. The quotes actually come from Obama, but all he meant was "his failure to anticipate the after-effects," not the bombing itself. In failing to appreciate that belligerent acts have logical consequences, Obama proved to be as ignorant and reckless as his predecessor. Michael Hudson: How an "act of God" pandemic is destroying the West: The US is saving the financial sector, not the economy. In fact, now that the financial sector appears safe from its March panic, the Republicans seem to be done with everyone else. Harmeet Kaur: Covid-19 has killed more law enforcement officers this year than all other causes combined. "At least 101 officers have died from Covid-19, while at least 82 have died by other means, as of Thursday, according to ODMP. . . . Gunfire is the second-highest cause of death, which has killed at least 31 officers this year." Meanwhile, the number of people killed by police: 679 so far this year, 1,013 in the past year. Sunil Khilnani: Isabel Wilkerson's world-historical theory of race and caste: Review of Wilkerson's new book, Caste: The Origins of Our Discontents, where a central argument is that India's long-established caste system -- outlawed in the Indian Constitution of 1950 -- provides insights into racism in America (and, what the hell, Nazi Germany). Ezra Klein:
Natasha Korecki/Christopher Cadelago: With a hand from Trump, the right makes Rittenhouse a cause célèbre. Paul Krugman:
Robert Kuttner: The Biden do not reappoint list: "A third succession of Wall Street Democrats would be a disaster. Here are the names to look out for." Larry Summers, Peter Orszag, Mike Froman, Steve Rattner, Jeff Zients, Bruce Reed, plus a list of big names like Mike Bloomberg and Jamie Dimon and another of "lesser names." Since this piece was published, Zients was added as "co-chair" to Biden's transition team. See: Alex Thompson: Biden transition team shapes up with Obama-Biden alum hires. Nancy LeTourneau: Trump's attack on Booker would be laughable if it wasn't so racist. Eric Lipton: How Trump draws on campaign funds to pay his legal bills. Martin Longman:
Michael Luo: American Christianity's white-supremacy problem: "History, theology, and culture all contribute to the racist attitudes embedded in the white church." There's plenty of this to go around, but Christian churches were incubators for abolitionism in the 19th century, and committed clergy and laity have been prominent in every antiwar and civil rights movement since. David J Lynch/Carol D Leonnig/Jeff Stein/Josh Dawsey: Tactics of fiery White House trade adviser draw new scrutiny as some of his pandemic moves unravel. Fiery? Some new euphemism for "full of shit"? Bill McKibben: How fast is the climate changing?: It's a new world, each and every day: Is McKibben's flair for hyperbole really helping? He has a knack for taking an isolated insight and blowing it up into a gross generalization, effectively obliterating his insight. Something a reasonable person could argue: practically every day we discover some new incident that helps reveal the greater depths of climate change. That's not the same as saying the world is changing every day. For most of us, most of the time, that's simply untrue, or at least untrue in terms that register with our senses. McKibben got into this habit with the title of his first book on climate change, The End of Nature. His argument there was that we can never know nature because we've changed the climate. In some sense he was onto something, but that's because humans have used technology to alter and dominate nature in many ways -- releasing greenhouse gases to raise air temperature was merely one of many ways, if anything, one of the least conscious of the many changes. On the other hand, he totally loses track of one of nature's most significant characteristics, which is its ability to evolve in response to changes, ranging from astronomical to human. Of course, he isn't the only environmentalist to have such anthropocentric conceits about the world. The very phrase "save the Earth" has all sorts of hidden assumptions about what kind of Earth it is one wants to "save." Surely you know that the Earth is almost all rock, and totally oblivious to changes on its surface. Surely you realize that life didn't need human beings for nearly four billion years, and could carry on happily should humans disappear. Ian Millhiser:
Max Moran: Mick Mulvaney: A frustrated wrecking ball: "The former top Trump official is seething that civil servants want to do their jobs well."
I would have edited that last line to say "work" instead of repeating "exist." Also:
Nicole Narea: How Trump made it that much harder to become a US citizen. Ella Nilsen: Joe Biden makes the case Donald Trump has already made America more dangerous. Timothy Noah: Wall Street's greedy indifference to human misery: "The disparity between the soaring stock market and struggling Americans perfectly epitomizes the country's grotesque inequality." JC Pan: Rotting produce, vacant luxury apartments, and fake scarcity in a pandemic: "Leaving essentials like food and shelter to the whims of the market produces an extreme kind of disorganization." At the very least, this shows that markets don't respond very quickly or aptly to unpredicted events. James Pasley: Trump frequently accuses the far-left of inciting violence, yet right-wing extremists have killed 329 victims in the last 25 years, while antifa members haven't killed any, according to a new study. I suppose the killing of a Trump militia man in Portland might be the first, if not self-defense, which will be hard to prove after police killed the alleged shooter. Kevin Peraino: When America's Cold War strategy turned corrupt: Pretty much from its inception. After all, the point was to defend and promote business around the world, not least against its foes in labor. Review of Scott Anderson: The Quiet Americans: Four CIA Spies at the Dawn of the Cold War -- a Tragedy in Three Acts. Covers the years 1944-56; the spies are Michael Burke, Edward Lansdale, Peter Sichel, and Frank Wisner. Cameron Peters:
Daniel Politi: Trump took art from ambassador's home in Paris, but pieces were fakes and replicas. Andrew Prokop: The debate over whether unrest will help Trump win, explained. John Quiggin: The economic consequences of the pandemic: Title for a book he's working on, which has recently spawned two articles: Have we just stumbled on the biggest productivity increase of the century?, on shifting work from office to home, and The end of the goods economy. Two more recent notes by Quiggin: What's with the stock market?, and Intangibles = monopoly. Emily Rauhala/Yasmeen Abutaleb: US says it won't join WHO-linked effort to develop, distribute coronavirus vaccine. Kate Riga: In first interview since FBI firing, Strzok frets about Trump-Russia unknowns; and Eric Tucker: Strzok calls attacks from Trump 'outrageous' and 'cruel'. Fired FBI counterintelligence agent Peter Strzok starts to flog his Sept. 8 book: Compromised: Counterintelligence and the Threat of Donald J Trump. More: David Roberts: Big Oil's hopes are pinned on plastics. It won't end well. "The industry's only real source of growth probably won't grow much." Related:
Aaron Rupar:
Giovanni Russonello: Jazz has always been protest music. Can it meet this moment? Related: Alan Scherstuhl: Jazz is built for protests. Jon Batiste is taking it to the streets. Michael J Sandel: Disdain for the less educated is the last acceptable prejudice: He's talking about among Democrats. As Donald Trump and many more attest, prejudices are rampant within the Republican Party -- maybe more against the highly educated but against the less educated as well, even as Republicans occasionally flatter the latter in order to con them. Sandel wrote The Tyranny of Merit: What's Become of the Common Good, the latest of a series of books that debunk the idea that we should be ruled by "the best and the brightest" (as David Halberstam dubbed the Kennedy meritocrats) -- Chris Hayes' Twilight of the Elites: America After Meritocracy is the one I read and recommend, but Daniel Markovits: The Meritocracy Trap: How America's Foundational Myth Feeds Inequality, Dismantles the Middle Class, and Devours the Elite adds to the critique. One thing Sandel notes is that Joe Biden "is the first Democratic nominee in 36 years without a degree from an Ivy League university." Still, he seems to be confusing education with "credentialism" -- his word, an interesting choice given how Jane Jacobs took the shift in focus from education to credentials to be a sure sign of Dark Ages Ahead. While many Democrats have made the mistake of seeing education as the key to advancement and therefore a painless answer to inequality -- Robert Reich was a pioneer in this regard -- but what makes that a mistake is ignoring all other factors. For instance, it's safe to say that the dearth of blue collar workers in Congress has more to do with lack of money and connections than prejudice. At least most Democrats see education as a universal desire and opportunity, and knowledge and science as general virtues -- unlike many Republicans, who find free thinking suspiciously dangerous. Also see:
Greg Sargent: These old quotes from Trump make his attacks on Biden look even more pathetic: "Violence on a president's watch is only his fault when that president is Barack Obama." Walter Shapiro: America is not reliving 1968: "Sure, Donald Trump is harnessing Richard Nixon's law and order rhetoric, but that doesn't mean it will work." Alex Shephard: The media is falling for Trump's law and order con. Matt Shuham: With itchy trigger fingers, some right wingers predict the next civil war has finally arrived. Timothy Snyder: What ails America: Specifically, a diary of botched medical care. Roger Sollenberger: Ted Cruz seeks abortion pill ban, claims pregnancy is not "life-threatening". Jeffrey St Clair: Roaming charges: Sometimes they choke: Usual grabbag of points and asides, but I was struck by the chart (from 538) which argues that Biden has to win the popular vote by more than 3 points to reach a 50% chance of winning the electoral college. Next item shows the gerrymandered map of a "suburban Houston" House district. Then after some Markey-Kennedy points, he notes that the Postal Servie paid $14M to XPO Logistics, a company USPS head Louis DeJoy has a significant stake in, over the last 10 weeks. Also, I wanted to quote this:
Other notes include that the US trade deficit reached its highest level in 12 years, and that "peak oil" is back, with US production on the decline again, after reaching its second peak (the first was in 1969). Margaret Sullivan:
Emily VanDerWerff: One good thing: Stephen Colbert is looser, funnier, and angrier in quarantine. Alex Ward:
Libby Watson: Covid patients are receiving eye-popping bills. It's not all Trump's fault. "His plan to help with hospital charges is poorly designed. But even a well-crafted plan would have been no match for our inept health care system." Peter Wehner: Why Trump supporters can't admit who he really is:
Michael Patrick Welch: Lake Charles was destroyed by Hurricane Laura. America has already moved on. "Like Katrina before it, Hurricane Laura has exposed disturbing inequalities -- and the rest of the nation's fundamental indifference." Ben White: Trump's rebound story meets mounting bankruptcies: "Local business site Yelp found that 55 percent of the firms that closed during the worst of the pandemic beginning in March are now permanently shuttered." Jill Wine-Banks: Don't forget about the Steve Bannon indictment. Seems like there may be more to come. Matthew Yglesias: Donald Trump is the president: "Whose America is it, explained." After noting that while campaigning in 2016, Trump said: "the crime and violence that today afflicts our nation will soon come to an end. Beginning on January 20, 2017, safety will be restored." Trump never explained how he would work his magic, but he didn't. "Murder is on the rise again after ticking down for a few years, and acts of looting and vandalism are occurring in cities across the country." Subheds:
Conclusion:
Ask a question, or send a comment. Monday, August 31, 2020 Music Week
Music: Current count 33914 [33865] rated (+49), 215 [225] unrated (-10). Another big week, closing out a huge five-week month -- the August Streamnotes (link above) collected 216 records, which is close to the record (something I don't have time to research at the moment). Fairly significant dives into old jazz, triggered either by questions or deaths, really pumped up the total. This week the subjects are Wayne Shorter and the late Jimmy Heath (whose new album came out shortly after his death). That left 92 new music albums, plus 14 new compilations of older music. This week I finally took a crack at my demo queue, reducing it by half. Very few questions of late, but I did post some notes on Heath and Shorter. Don't have time to write much more. I did save an obituary link for Japanese trumpet player Itaru Oki (1941-2020). I have two of his records in my database. I've also factored Phil Overeem's latest list into my metacritic rankings. One of the new records there (number 2 on the old music list) is Allen Lowe's latest book, packaged with 30 CDs. Found out another cousin (well, -in-law) died, this one three years ago. Barbara Burns, wife of Jerold Dean Burns, known as Pete to his friends, and J.D. to his family. Been wondering about her. New records reviewed this week: Rez Abbasi: Django-shift (2019 [2020], Whirlwind): Guitarist, with Neil Alexander (organ/electronics) and Michael Sarin (drums), playing seven Django Reinhardt pieces and two others ("Anniversary Song" and "September Song"). Steers clear of the Hot Club formula, for better or worse. B+(**) [cd] Idris Ackamoor & the Pyramids: Shaman! (2020, Strut): Originally Bruce Baker, saxophonist from Chicago, played with Cecil Taylor's Black Music Ensemble in the 1970s, has led this group at least since 1998. Fifth album. Full-bodied sax over a rippling rhythm. Good enough for a party, and then some consciousness. A- Mandy Barnett: A Nashville Songbook (2020, BMG): Stage singer, built her career on portraying Patsy Cline, something she does remarkably well. Thirteen "iconic country and pop standards . . . that made Music Row famous," you know she's shooting for the rafters when she trots out Roy Orbison and Elvis Presley. B+(**) The Big Bad Bones Featuring Scott Whitfield: Emergency Vehicle Blues (2019 [2020], Summit): Four trombonists -- Whitfield, Brett Stamps, Pete Madsen, and Steve Wilson on bass trombone -- backed by a Big Bad Rhythm Section (keyboards, bass, drums), effectively a big band minus trumpet and reed sections. Stamps wrote all the pieces. B+(*) [cd] Endless Field: Alive in the Wilderness (2020, Biophilia): Guitar (Jesse Lewis) and bass (Ike Sturm) duo, Sturm listed first here but I filed their 2017 album under Lewis (lead name there). Nice, intimate interchange. [Package but no CD.] B+(**) Nubya Garcia: Source (2020, Concord): British tenor saxophonist, mother from Guyana, father from Trinidad, second album, also group efforts with Maisha and Nérija and side credits, including with Joe Armon-Jones -- piano here, in a quartet with bass and drums, plus extras, including trumpet (Ms. Maurice) on three cuts, vocals on too many. Strong sax over crossover beats. B+(**) Johnny Iguana: Johnny Iguana's Chicago Spectacular (2019 [2020], Delmark): Blues pianist, grew up in Philadelphia but always belonged in Chicago. This sports ten more names on the cover, and a substitle: A Grand and Upright Celebration of Chicago Blues Piano. B+(**) Jyoti: Mama, You Can Bet (2020, SomeOthaShip): Singer-songwriter Georgia Anne Muldrow, has quite a few albums since 2006, using Jyoti (a name given to her by Alice Coltrane) for her more jazz-oriented releases (this is her third). Obscurantist funk, hard to get a handle on it all. B+(**) Jon-Erik Kellso: Sweet Fruits Salty Roots (2020, Jazzology): Trad jazz cornet player, first record 1993, cover says "Recorded in New Orleans" and lists more names: Evan Christopher, Don Vappie, Peter Harris (that would be clarinet, banjo, and bass). A bit understated, but very nice old-time jazz. B+(***) Eva Kess: Sternschnuppen: Falling Stars (2019 [2020], Neuklang): Swiss/German bassist, real name seems to be Kesselring, has a couple previous albums. String quartet plus jazz piano trio, strings on edge, rhythm centers and propels. B+(***) Allegra Levy: Lose My Number (2020, SteepleChase): Jazz singer, fourth album, normally writes her own songs but this time started with music by John McNeil (who plays trumpet on three cuts) and added her lyrics. Backed by piano trio, with Pierre Dørge the featured guest on "Ukelele Tune." Shades of vocalese. B+(**) [cd] Roberto Magris: Suite! (2018 [2020], JMood, 2CD): Pianist from Italy, couple dozen albums since 1990. Quintet with trumpet (Eric Jacobson), tenor sax (Mark Colby), bass, and drums, with spoken vocals by PJ Aubree Collins -- little treatises that break up the flow, but just as well. Filled out with three pop covers. B+(**) [cdr] Raphaël Pannier Quartet: Faune (2020, French Paradox): French drummer, studied at Berklee, based in New York, several albums. This with Miguel Zenon (typically brilliant alto sax), Aaron Goldberg (piano), François Moutin (bass), with Giorgi Mikadze playing piano on pieces by Ravel and Messiaen. B+(**) Protoje: In Search of Lost Time (2020, RCA): Reggae singer, Oje Ken Ollivierre, sixth album since 2011. Light touch, nice beats. B+(**) Bruno Råberg/Jason Robinson/Bob Weiner: The Urgency of Now (2017-18 [2020], Creative Nation Music): Bass, reeds (tenor/soprano sax, alto flute), drums. Joint credits, except for one Råberg solo credit, and a closer from John Tchicai. Nothing very fancy here, but balance is key with free jazz, especially if you don't just blast through it. A- [cd] Maria Schneider Jazz Orchestra: Data Lords (2019 [2020], ArtistShare, 2CD): Composer/conductor, ninth album since 1994, runs an 18-piece big band including guitar and accordion, mostly famous names, almost universally praised, at least since 2004's Concert in the Garden. Two discs: "The Digital World" and "Our Natural World." Not much difference between them. Her instrument is orchestra, showing her mastery of moving the pieces around for dramatic effect and just to set moods. I've never found that very appealing, even when I've been momentarily impressed. B+(**) [cd] Radam Schwartz Organ Big Band: Message From Groove and GW (2020, Arabesque): Organ player, half-dozen records going back as far as 1988. The big band is short on trombones (but they do get a lot of solo space), with an organ-guitar-drums rhythm section -- cover gives drummer David F. Gibson a shout out, but doesn't mention guitarist Charlie Sigler. "GW" is a nod to the late Gerald Wilson, who once played with Richard Holmes, nicknamed Groove, pretty descriptive there and here. B+(***) [cd] Somi With Frankfurt Radio Big Band: Holy Room: Live at Alte Oper (2019 [2020], Salon Africana): Jazz singer-songwriter Laura Kabasomi Kakoma, born in Illinois, parents from Uganda and Rwanda, half-dozen albums since 2003, gets big band backing here, arranged by John Beasley, featuring Hervé Samb (guitar) and Toru Dodo (piano). Good singer, runs long. B+(*) [cd] Trio Linguale [Kevin Woods/John Stowell/Miles Black]: Signals (2019 [2020], Origin): Trumpet, guitar, piano, no rhythm section, so they offer a leisurely meander. The guitar, from a veteran master, is most distinctive. B+(*) [cd] Tropos: Axioms // 75 AB (2019 [2020], Biophilia): Quintet: Laila Smith (voice), Raef Sengupta (alto sax), Phillip Golub (piano), Zachary Lavine (bass), Mario Layne Fabrizio (drums). First album, celebrating Anthony Braxton's 75th birthday with a mix of his songs and original pieces. While the music is fascinating, Braxton doesn't have much of a future in karaoke. [Package but no CD.] B+(*) The Trevor Watts Quartet: The Real Intention (2019 [2020], Fundacja Sluchaj): British alto/soprano saxophonist, leader of Amalgam back in the 1970s, backed by Veryan Weston (piano), John Edwards (bass), and Mark Sanders (drums). Free jazz, testy early but builds up considerable energy by the end. B+(**) [bc] Recent reissues, compilations, and vault discoveries: Bob James: Once Upon a Time: The Lost 1965 New York Studio Sessions (1965 [2020], Resonance): Pianist, has long been a smooth jazz fixture, especially with his group Fourplay, but had a few misadventures as a youth, including a 1965 ESP-Disk album called Explosions, which was impressively avant. These two previously unreleased sessions, both trios, date from the same year, but are more mainstream, and fairly impressive as well. B+(**) [cd] Oneness of Juju 1970-1982 (1970-82 [2020], Black Fire, 2CD): African-inspired group based in Richmond, Virginia, led by saxophonist James "Plunky" Branch, simply called Juju early on (1970-74). Aside from the drums, they mostly come off as a funk group, with a bit of sax. B+(**) Old music: Bilal: Love for Sale (2001-03 [2006], bootleg): Neo-soul singer-songwriter Bilal Sayeed Oliver, from Philadelphia, first album 2001, three more 2010-15, this would-be second effort shelved as too avant but leaked in 2006. Seems like an extreme example of the slack and disjointed rhythm the genre the leaning into at the time, minus the usual slickness. "Hollywood" is a good example. B+(**) [yt] Jimmy Heath: The Quota (1961 [1995], Riverside/OJC): Tenor saxophonist, from Philadelphia, part of a very talented family, including two famous brothers here: Percy (bass) and Albert (drums, aka Tootie). Sextet, with Freddie Hubbard (trumpet), Julius Watkins (French horn), and Cedar Walton (piano). Shows a flair for arranging here. B+(**) Jimmy Heath: Triple Threat (1962 [1998], Riverside/OJC): "Featuring the compositions, arrangements and tenor sax of," with the same sextet. B+(**) Jimmy Heath and Brass: Swamp Seed (1963 [1997], Riverside/OJC): Continues to put great care into his arranging. The brass: trumpet (Donald Byrd), French horns (Jim Buffington and Julius Watkins), tuba (Don Butterfield). Recorded over two sessions, with Percy Heath on bass for both, piano/drums split (Herbie Hancock and Connie Kay, Harold Mabern and Albert Heath). B+(***) Jimmy Heath Quintet: On the Trail (1964 [1994], Riverside/OJC): Cover adds: Featuring Kenny Burrell and Wynton Kelly (guitar and piano), omitting mention of Paul Chambers (bass) and Albert "Tootie" Heath (drums). B+(***) Jimmy Heath: Nice People: The Riverside Collection (1959-64 [1988], Riverside/OJC): Eight songs from as many sessions, from six albums, mostly groups of 5 or 6, with 4 and 9 outliers. [CD adds two more tracks.] Not an especially flashy player, he put a lot of effort into arranging his group sound. The differences add a bit of variation while never breaking the flow. A- Jimmy Heath: Picture of Heath (1975, Xanadu): His records thin out after his 1959-64 Riversides, aside from a series on Columbia and Antilles from 1978-81 as the Heath Brothers. Don Schlitten's label picked up a lot of name artists quick in 1975, but few returned for more albums. This is a one-shot with Barry Harris (piano), Sam Jones (bass), and Billy Higgins (drums). One time he really gets to play. A- Jimmy Heath: Peer Pleasure (1987, Landmark): Last of three 1974-87 albums released on Landmark. Heath plays soprao and alto as well as his usual tenor sax. With Tony Purrone (guitar), Larry Willis (piano, 4/7 tracks), Stafford James (bass), and Akira Tana (drums), plus Tom Williams (trumpet/flugelhorn) on three tracks. B+(**) Jimmy Heath Quartet: You've Changed (1991 [1992], SteepleChase): First of two albums Heath recorded for the Danish label, with guitar (Tony Purrone), bass (Ben Brown), and drums (Albert Heath). Three originals, four standards. Guitar's a nice touch, very compatible with his tone. B+(***) Jimmy Heath Quartet: You or Me (1995, SteepleChase): Another straightforward quartet, same guitar and drums, new bassist (Kiyoshi Kitagawa). Slight shift toward ballads, with four originals, covers from Ellington, Dameron, Duke Pearson, and Blue Mitchell. A very nice one. A- The Jimmy Heath Big Band: Turn Up the Heath (2004-06 [2006], Planet Arts): He always fancied himself as an arranger, so big bands were a natural expansion -- starting with 1992's Little Man Big Band. Two sessions and guest slots, so there's a lot of churn in the credits: constants include lead horn players -- Frank Greene (trumpet), Mark Gross (alto sax), John Mosca (trombone) -- Jeb Patton (piano), Peter Washington (bass), and Lewis Nash (drums). B+(**) The Heath Brothers: Marchin' On! (1976, Strata-East): From Philadelpha, each famous in their own right: Jimmy Heath (flute, tenor/soprano sax), Percy Heath (bass), Albert "Tootie" Heath (drums), played together on Jimmy's early albums but inaugurated this group here, recording seven albums through 1981, three more later. Band is rounded out with Stanley Cowell (piano), who gets featuring credit on the cover. Starts out with Albert playing flute on an Ellington piece, but doesn't pick up until Percy's infections "The Watergate Blues." B+(**) [yt] Heath Brothers: Brotherly Love (1981 [1982], Antilles): After their Strata-East debut and four 1978-80 albums on Columbia, the brothers landed on Island's spinoff label for two records. Just Jimmy and Percy here -- Albert is missing (just Jimmy and Percy on the cover), replaced by Akira Tana on drums, with Tony Purrone on guitar and Stanley Cowell on keyboards. B+(*) Heath Brothers: As We Were Saying . . . (1997, Concord): Long break before they resurfaced, Tootie back on drums, with either Sir Roland Hanna or Stanley Cowell on piano, trumpet and trombone on three tracks (Jon Faddis and Slide Hampton), guitar (Mark Elf) on four, percussion (James Mtume) on one. Bouncy, vibrant, a bit slick. B+(**) Heath Brothers: Endurance (2008 [2009], Jazz Legacy): Percy Heath, the eldest brother, died at 81 in 2005, so here they're back down to two: Jimmy and Tootie. Joined by Jeb Patton (piano) and David Wong (bass). B+(**) Wayne Shorter: Introducing Wayne Shorter (1959 [1960], Vee-Jay): Tenor saxophonist, had graduated from NYU, served in the army, and played for Maynard Ferguson before joining Art Blakey in 1959. This was recorded the day before Blakey's Africaine, with Lee Morgan (trumpet) on both and a different but impressive rhythm section: Wynton Kelly (piano), Paul Chambers (bass), and Jimmy Cobb (drums). Original 37-minute album is an impressive hard bop debut. If I had to factor in the outtakes added to the CD, I might quibble more. A- Wayne Shorter: Second Genesis (1960 [1974], Vee-Jay): Second album, albeit one that didn't appear until well after the fact. Another quartet, with Cedar Walton (piano), Bob Cranshaw (bass), and Art Blakey (drums). Five originals, three standards. B+(*) Wayne Shorter: Etcetera (1965 [1980], Blue Note): Shorter left Art Blakey for Miles Davis in 1964, staying to 1970, during which time he also recorded 11 albums for Blue Note. I've heard most of them, giving Night Dreamer an A- and his 2-CD retrospective The Classic Blue Note Recordings an A, while having various reservations about the others. This is one I missed: a quartet with Herbie Hancock (piano), Cecil McBee (bass), and Joe Chambers (drums), not released until 1980. B+(***) Wayne Shorter: Schizophrenia (1967, Blue Note): Sextet, with James Spaulding (alto sax/flute), Curtis Fuller (trombone), and a rhythm section of Herbie Hancock, Ron Carter, and Joe Chambers. Mixed bag: hard bop, post-bop, maybe something further out, or just slicker. B+(**) Wayne Shorter: Moto Grosso Feio (1970 [1974], Blue Note): Recorded a month after Shorter's last appearance with Miles Davis, mostly with Davis alumni: John McLaughlin (guitar), Ron Carter and Dave Holland (bass), Chick Corea (percussion). Only cover is a Nascimento song -- title track is a Shorter original. Aims for a bit of exotica. B+(*) Wayne Shorter: Odyssey of Iskra (1970 [1971], Blue Note): As Miles Davis reinvented himself in fusion, Shorter jumped ship, and found his own path, recording this just before joining Weather Report. With guitar (Gene Bertoncini), double bass and drums, and more percussion, Shorter is pictured on the cover with his soprano sax. Still, he's not there yet, relying more on tension than groove. B+(**) Wayne Shorter: Atlantis (1985, Columbia): Shorter only recorded one album on the side during the 1970-85 span of Weather Report -- 1974's Native Dancer. Then he released this, with Jim Walker on flute, Michael Hoenig on synthesizer, electric bass and keybs, Latin percussion, and vocalists. It's hard to pick the leader out from this mess, especially when he plays soprano. C+ Wayne Shorter: Phantom Navigator (1986 [1987], Columbia): Even more credits here (15), although all but the leader fall into four buckets (keyboards, bass, percussion, vocals), so they were most likely slotted interchangeably. Big name is Chick Corea, but he's slumming like the rest. C Wayne Shorter: Joy Rider (1988, Columbia): Fewer and better musicians here -- Patrice Rushen, Geri Allen, and Herbie Hancock split the keyboard slot, and Dianne Reeves gets the only vocal track. Still doesn't help (but taking a sax solo does). C+ Wayne Shorter: Alegria (2002 [2003], Verve): After a long period of floundering, Shorter revived in 2001 when he put a brilliant new quartet together for his Footprints Live! album, with Danilo Perez (piano), John Patitucci (bass), and Brian Blade (drums). That quartet returns for three tracks here, with a couple dozen more joining in elsewhere, including Robert Sadin as conductor on 4 tracks. Sounds to me like he outsmarted himself. B Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, August 30, 2020 Weekend RoundupBefore we waddle in the dirt, here's an election song from Wreckless Eric & Amy Rigby. It will make you feel better. And to top it off, how about People Have the Power (e.g., "the power to wrestle the earth from fools")? Big event of the week was the Republican National Convention. Once again, I didn't watch any of it live, but caught some high- or low-lights on Stephen Colbert's "live" recaps, plus I read a lot. I started collecting links on Tuesday, and I haven't made the effort to group them, so the following list may seem to run around in circles. I did try to list them chronologically under each writer. (Past practice generally listed the latest pieces first, but the opposite made more sense for day-by-day pieces, and when I decided that I tried to reorder the others.) There were other serious stories this week. A Category 4 hurricane hit Louisiana, inflicting a lot of damage. Police in Kenosha, WS shot an unarmed black man eight times in the back -- he survived, but is paralyzed -- and that kicked off another round of Black Lives Matter protests. Then an armed Trump supporter shot three protesters, killing two. There was also a shooting in Portland, OR, where the victim was a Trump-aligned counter-protester (presently unclear who pulled that trigger). Barely mentioned below is a well-attended March on Washington, on the 57th anniversary of Martin Luther King Jr.'s famous speech there. One story I've shortchanged is Israel's continuing offensive against Gaza, extended last week with bombing raids on Lebanon (as opposed to the more covert destruction of the port of Beirut). Links on the Republican National Convention:
This doesn't seem to be organized as a formal series, but I've noticed that Vox is running a number of pieces about what a second term with Donald Trump as president might mean. The articles are all speculative about the future, but they are also effective indictments about what the first Trump term did. I thought I'd try to collect them here:
Some more scattered links this week: Dan Alexander: Trump has now oved $2.3 million of campaign-donor money into his private business. Edward Burmila: What populism is and is not. Review of Thomas Frank's book, The People, NO! The War on Populism and the Fight for Democracy. Katelyn Burns:
Marcia Chatelain: How federal housing programs failed black America: Review of Keeanga-Yamahtta Taylor's book, Race for Profit: How Banks and the Real Estate Industry Undermined Black Homeownership. Fabiola Cineas: The police shooting of Jacob Blake, explained: Black man, unarmed, shot 7 times in the back, in Kenosha, Wisconsin. Protests ensued, and more shooting: Kyle Rittenhouse, age 17, armed with an AR-15, shot three protesters, killing two.
Eric Cordellessa: The Republicans newest plan to derail voting rights. Vinson Cunningham: The exhilarating jolt of the Milwaukee Bucks' wildcat strike. David Enrich: The incestuous relationship between Donald Trump and Fox News: Review of Brian Stelter's book, Hoax: Donald Trump, Fox News and the Dangerous Distortion of Truth. David A Farenthold/Jonathan O'Connell/Joshua Partlow: Jessica Flack/Melanie Mitchell: Uncertain times: "The pandemic is an unprecedented opportunity -- seeing human society as a complex system opens a better future for us all." Not sure this piece ever gets to where it's going, but I do believe that increasing social complexity is forcing us to rethink basic assumptions about how people work. Chris Gelardi: US law enforcement's warrior complex is on full display in the streets -- and in leaked documents: "Hacked documents from the early weeks of the ongoing protest movement illustrate one of Black Lives Matter's central observations: Policing in the United States functions as a military occupation." Sean Illing:
Umair Irfan: What makes California's current major wildfires so unusual: Updated from last week. After all, the state is still on fire. Ezra Klein:
Markos Kounalakis: Vladimir Putin is on the ballot in November: This is really stupid. I don't doubt that Putin prefers Trump to Biden, and that he has little reason not to throw some of his cyber resources into tainting the 2020 election, but the net effect in terms of US-Russian relations will be negligible. The assertion that if Trump wins a second term, "Russia will be able to wantonly throw its weight around globally" is ridiculous. It hasn't happened in Trump's first term, and nothing changes for a second. The main limit on Russian "expansion" is Russia's own weakness and lack of popularity. Sure, they can on rare occasions play on external schisms as they have in Georgia and Ukraine, but most of the former Russian sphere thoroughly hates them, and their only "allies" elsewhere are countries the US has driven into their arms (like Syria, Venezuela, and Iran). If Biden decides to "get tough" on them, he'll only alienate and destabilize the world situation further. I don't doubt that Trump and Putin are sympatico because of their shared links to oligarchs, their reliance on jingoistic nationalism, and their general contempt for democracy, but interests are something else. Where Trump might help Putin most is in promoting the arms trade -- that being one of Russia's few competitive exports. He also might blow up the Middle East, which would be good for Russian oil and gas prices. (He's already taken most Iranian and Venezuelan oil off the market.) I don't doubt that if Putin were on the ballot, hardly anyone would vote for him. Except maybe in a Republican primary, where a cunning oligarch and despot might be preferred over a really stupid one. Akela Lacy: Protesters in multiple states are facing felony charges, including terrorism. Nicholas Lemann: Why Hurricane Katrina was not a natural disaster: "Fifteen years ago, New Orleans was nearly destroyed. A new book suggests that the cause was decades of bad policy -- and that nothing has changed." The book is Katrina: A History, 1915-2015, by Andy Horowitz. As I note under Alex Ward (above), bad policy may take many years to reveal itself as a disaster, which is the argument here. Louisiana is getting hit by another big hurricane this week:
German Lopez:
Sarah Lyall: In Trumpworld, the grown-ups in the room all left, and got book deals: Gang-reviews books by Sean Spicer, James Comey, Omarosa Manigault Newman, Andrew G McCabe, Anonymous, John Bolton, and Mary L Trump. Jonathan Martin: Over 100 ex-staff members for John McCain endorse Joe Biden. As someone who's long regarded McCain as one of the most reprehensible characters in American politics, I don't find this very gratifying. Especially give the other large Republican cluster to come over to Biden: Top Republican national security officials say they will vote for Biden. McCain was long the most reckless hawk in the GOP, and that's bread and butter to the security officialdom, so the bet is that Biden will follow militarist orthodoxy more faithfully than Trump will. Biden has given them little reason to think otherwise, so they may be onto something. Those camps loom large in All the Republicans who have decided not to support Trump. Bill McKibben: On climate change, we've run out of presidential terms to waste. He probably said that about Bush too -- if not the first, certainly the second. After all, he founded 350.org when 350 was just a fearsome future number. The latest carbon dioxide number (from 2019) is 409.8 ppm. Ian Millhiser: What happens to the Supreme Court (and the Constitution) if Trump wins: "The Supreme Court has rejected some of the GOP's sloppiest and most presumptuous arguments. It won't anymore if Republicans grow their majority." Anna North: Elizabeth Warren calls for investigation into Trump's politicization of Covid-19. Evan Osnos: Can Biden's center hold? Long piece, good background including some things I didn't know, recounting the campaign to date, not much forward projection, even on the title question. Of course, all you can really say is that what holds Biden's center together is fear and loathing of Donald Trump. Take that away and you can pick Biden apart from every angle. But for now, Biden is managing to straddle two theories that are normally in opposition: one is the centrist belief that if you can stop right-wing destruction and restore functioning institutions (not just government, although that's the big one), America will rebound largely on its own, and all will be well; the other is the leftist belief that unless equality and justice are restored, nothing can work right, and our problems will continue to multiply. Biden is more associated with the former, but not so dogmatically as to exclude inputs from the left. Moreover, as long as he's running against Trump, the left-center split isn't (or shouldn't be) an issue. JC Pan: Private equity is cannibalizing the post-pandemic economy: "These vulture firms helped create the conditions for economic collapse. Now they're cleaning up."
Alex Pareene:
Vijay Prashad: Why Cuban doctors deserve the Nobel Peace Prize.
Andrew Prokop: The Jerry Falwell Jr scandal, explained: "It's not just about sex -- it's a tale of financial, institutional, and political corruption. And there's a Trump angle." More on Falwell:
Robert Reich: Trump's 40 biggest broken promises. Aja Romano: Why we can't stop fighting about cancel culture: Is cancel culture a mob mentality, or a long overdue way of speaking truth to power?" No, neither, and not just because it isn't even a thing. Think about it. Cancel is something that only those in power can do. It's something they do all the time, usually without fanfare or even notice. They don't need a "culture" to get them to do it. All they need is the power. I made a joke above about "cancel culture" causing the cancellation of an RNC speaker who had suddenly become an embarrassment (although her usual racist shtick was probably why she got the invite in the first place). On the other hand, people without the power to actually cancel an appearance can still ask or demand that it happen, but they have no direct power to make it happen. It's really just a challenge to power, and those in power don't like those out of power butting into their business, so they imagine a "culture" which drives this dynamic on. Siguel Samuel: Germany is launching a new experiment in basic income. Luke Savage: Joe Biden's strategy of appealing to Republicans is courting disaster. See 2016. I don't mind the messaging going that way, but the mistake that Biden cannot afford is slighting the "ground game" to make sure the base votes, and understands what's at stake. That's something Obama did well, and Hillary barely did at all. John Schwartz: Climate is taking on a growing role for voters, research suggests. Related: Lisa Friedman: Climate could be an electoral time bomb, Republican strategists fear. Dylan Scott: How Obamacare helped millions who lost their jobs during Covid-19, in 3 charts. Avi Shlaim: UAE-Israel deal: Breakthrough or betrayal?
Emily Stewart: Americans are falling through the safety net. The government is helping predatory lenders instead. Libby Watson: The real pandemic gap is between the comfortable and the afflicted: "Beneath society's plutocratic layer, America is not as united in the face of crisis as we like to pretend." Who's pretending? The idea that this is a war, with its now-ancient implication that we're all in it together, didn't take root. Once the stock market rebounded, Trump and the Republicans lost interest in bipartisan deals that might help the non-rich. Still, there is another gap, between Watson's "comfortable" and those who struggle from paycheck to paycheck. Watson puts that gap somewhere between $30,000 and $130,000, noting that "Pew reports 18 percent of 'upper income' (above $112,600 in annual income) people have been laid off or lost their jobs since the pandemic started (compared with 39 percent of 'lower income' people, who earn less than $37,500)." I'd define it a bit differently: the "comfortable" are those who simply added their $1,200 stimulus checks to their savings, in contrast to the "uncomfortable" many who spent it on debts and necessities and soon wound up with nothing less. The big difference there is having an uninterrupted income stream larger than routine expenses, which has a lot more to do with who saves than thriftiness ever did. George Will: Biden needs a Sister Souljah moment: I read this op-ed in the Wichita Eagle this morning, and was appalled and disgusted. Will is a conservative pundit who doesn't love Trump but also doesn't like anything his opponents stand for, so he should be irrelevant at the moment. I might have skipped this, but then I found Robert Tracinski: Biden needs a Sister Souljah month, which elicited a response from Martin Longman: We don't need another Sister Souljah moment. I didn't recall what the rapper said to provoke Bill Clinton's wrath, but still recalled the incident for its gratuitous racism. It was Clinton's way of reminding white people that he's one of them, and that he can be counted on to defend them against raging blacks. Biden doesn't need such a moment, and shouldn't want one, and anyone who prods him in that direction is aiming to make the racial divide worse. Take Donald Trump: he has a Sister Souljah moment almost every day, and each one begets the next. Tracinski's real point is that Biden needs to make sure he's viewed as anti-riot. I'm against riots too, and I don't care how draconian he gets in prosecuting rioters -- as long as the same justice applies to police and to Trump's agitator-thugs. Or I would be, but shouldn't police be held to a higher standard? As it is, much of what they do seems designed to provoke riots, not to prevent or pacify them. PS: Biden did issue a strong statement, included here. As Steve M notes, "The New York Times covers it by burying it in the 13th paragraph of a story about President Trump's overnight Twitter barrage." He also notes:
Matthew Yglesias:
Ask a question, or send a comment. Monday, August 24, 2020 Music Week
Music: Current count 33865 [33814] rated (+51), 225 [221] unrated (+4). Started off last week playing old albums by the late tenor saxophonist Steve Grossman. (I only had two in my database, fondly remembering 1991's In New York.) Turns out I had missed quite a bit. Consistently strong albums, especially in the 1990's, with the Quartet with Michel Petrucciani perhaps closest to the cusp. Then I went after a long list of British jazz albums suggested by a recent Q&A query: Don Rendell, Ian Carr, and Michael Garrick. I had noticed but didn't pursue recent box sets of the 1965-69 Rendell-Carr Quintet and the Carr's 1970-75 Nucleus group, but as I had listened to everything on separate albums, I figured I could summarize the boxes and assign them a grade. I haven't seen the packaging, so no extra credit there, nor for the convenience of keeping everything together. Garrick, who played a lot with Rendell and/or Carr, is the more significant talent, and also the one I've missed most by. One not below I can heartily recommend is his For Love of Duke . . . and Ronnie (1995-97 [1998], Jazz Academy). These old jazz albums went fast, but by Friday, when I turned my attention to Weekend Roundup, I hadn't listened to a single new album. I promised to sort my input queue by release date and start picking off the oldest releases, but didn't get to that, and when I did pick out the most promising release I had seen reviewed, Matt Wilson's Hug!, I discovered it's not out until next week. I'll try again next week. The only things in the Q&A queue are suggestions for artists to explore. One is Jimmy Heath (1926-2020). I only had two of his records in my database before adding his latest/final this week. I'm surprised I don't have his 1992 Little Man Big Band listed -- pretty sure I owned that, although I doubt I've played it since it was new. Heath didn't record as much as others I think of as his peers (Benny Golson, Johnny Griffin, Joe Henderson, Clifford Jordan, maybe Hank Mobley and/or Wayne Shorter), but my sampling -- even against my "shopping list" -- has been relatively sparse. Something to look into. Another suggestion is Bilal's Love for Sale, recorded 2001-03 and unreleased but leaked in 2006, and evidently pretty easy to find. The guy who wrote up my Wikipedia page has written up an extremely detailed one on this album. Looking through the week's deaths, I see several familiar musicians: Justin Townes Earle (38, singer-songwriter, son of Steve Earle), Peter King (80, English saxophonist), Charlie Persip (91, drummer), Hal Singer (100, saxophonist). I tracked down several of Singer's albums back in June. I belatedly played Earle's 2019 album, and it's pretty good (see below). On a more personal note, my cousin Devoe Brown (89) died today -- the third cousin I've lost this year. He was a builder in Twin Falls, Idaho. He married Colleen in 1950, and they had four daughters and a son. For many years he would buy, live in, fix up, and resell old houses. He started building new ones, eventually whole subdivisions of them. His father was a blacksmith and railroad worker, William Clagge Brown (1907-74), who moved his family from Arkansas to Missouri to Pocatello in the early 1940s. Clagge rode in rodeos, and was the most credible outdoorsman in a family chock full of hunters. Some griddles he crafted are among my most prized possessions. We visited both ways in the 1950s and 1960s. I became reacquainted with Devoe in the 1990s, and we've remained close. I don't think I've known anyone who so much enjoyed to laugh. One couldn't ask for better company. About six months ago, when he was diagnosed with liver illness, he took it in stride, describing his decline as "the grand finale" of his life. The last few months haven't been so grande, but it's always been a pleasure to hear his voice. New records reviewed this week: Abraham Inc.: Together We Stand (2019, Table Pounding): Second group album: Klezmer clarinetist David Krakauer, funk trombonist Fred Wesley, and master sampler Socalled, with friends filling in guitar-bass-drums, horns (Eddie Allen trumpet and Jay Rodriguez sax), and adding raps (Taron Benson, Fat Tony, Sarah MK). About what you'd expect from the concept. B+(***) [bc] Gregg August: Dialogues on Race: Volume One (2020, Iacuessa): Bassist, probably best known as part of JD Allen's trio, but fourth album as leader since 2003, a composition written in 2009, reflecting on the 1955 murder of Emmett Till after Barack Obama got elected president. Many murders later, he's revived the piece, with 10+ musicians (one track adds strings, a couple more have vocals and/or extra percussion. Really like most of the music (except the strings thing); don't care for the vocals, though the message matters here. B+(***)> David Berkman: Plays Music by John Coltrane and Pete Seeger: Solo Piano (2020, Without): Pianist, from Cleveland, early albums (1998-2000) most impressive. "Music by" isn't restricted to their own compositions: Seeger covered the folk tradition, so you get extras like "Goodnight Irene" and "We Shall Overcome," and you get a "Body and Soul" too. The Seeger parts are more evocative, probably because they're the ones I recognize. B+(**) [cd] Black Art Jazz Collective: Ascension (2020, HighNote): Sextet, third album, horns return -- Wayne Escoffery (tenor sax), Jeremy Pelt (trumpet), James Burton III (trombone) -- but with a new rhythm section: Victor Gould (piano), Rashaan Carter (bass), Mark Whitfield Jr. (drums). Title track is a Gould original. Could have stuck with hard bop, especially with Pelt's chops, but progressively leans into postbop, getting slicker and slicker. B+(*) Charley Crockett: Welcome to Hard Times (2020, Son of Davy): Americana singer-songwriter from San Benito, Texas; grew up in Dallas, busked in New Orleans and New York, wound up in Austin, eighth album since 2015. More Western than country. B+(*) Justin Townes Earle: The Saint of Lost Causes (2019, New West): Singer-songwriter, dead at 38, cause not disclosed. Father was Steve Earle, absent from 2 to 12, the age he got into drugs. Toured with his father, started writing his own songs, a mix of country and blues, although he never impressed me much. This his ninth and evidently last album -- one I skipped when it came out. Turns out it's pretty good. B+(***) Paul Flaherty/Randall Colbourne/James Chumley Hunt/Mike Roberson: Borrowed From Children (2020, 577): Avant saxophonist, b. 1948, plays alto and tenor, has over three dozen albums since 1990 but this (somehow) is the first I've picked up. The others play drums, trumpet/cornet, and electric guitar. B+(**) Bill Frisell: Valentine (2020, Blue Note): Guitarist, trio with Thomas Morgan (bass) and Rudy Royston (drums). Opens with a piece from Mali. Closes with "We Shall Overcome. Originals inside, aside from the pairing of "A Flower Is a Lovesome Thing" and "What the World Needs Now Is Love." B+(**) Jimmy Heath: Love Letter (2019 [2020], Verve): Tenor saxophonist from Philadelphia, died at 93 in January, recorded with Kenny Dorham and Clifford Brown in 1953, led his first album in 1959, stood a mere 5 foot, 3 inches but called one of his best albums Really Big! With piano (Kenny Barron), guitar (Russell Malone), vibes, bass, and drums, a guest spot for Wynton Marsalis, also singers Cécile McLorin Salvant and Gregory Porter -- names fitting a legend, but it comes off rather dreamy, and the singers don't help. B+(*) Eddie Henderson: Shuffle and Deal (2019 [2020], Smoke Sessions): Trumpet player, I think of him as a hard bop guy but he started in fusion around 1973, has a lot of side credits but as he approaches 80, has more than two dozens albums under his own name. In his groove here with Donald Harrison (alto sax), Kenny Barron (piano), bass, and drums. B+(**) Christoph Irniger Trio: Open City (2020, Intakt): Swiss tenor saxophonist, backed by Raffaele Bossard (bass) and Ziv Ravitz (drums), with guests Loren Stillman (alto sax) and Nils Wogram (trombone). B+(***) Ingrid Laubrock + Kris Davis: Blood Moon (2019 [2020], Intakt): Sax/piano duo, Laubrock playing tenor and soprano. Both well known, often in each other's company, at least since their Paradoxical Frog trio (2010). Feels a bit sketchy. B+(**) Matt Wilson Quartet: Hug! (2019 [2020], Palmetto): Drummer, many records, adventurous quartet with Jeff Lederer (saxes), Kirk Knuffke (cornet), and Chris Lightcap (bass). Interesting music, including covers from Abdullah Ibrahim and Roger Miller. One spoil moment samples Donald Trump announcing the Space Force, which segues into Sun Ra with the band singing "Interplanetary Music." B+(**) [cd] [08-28] Recent reissues, compilations, and vault discoveries: Horace Tapscott With the Pan Afrikan Peoples Arkestra: Ancestral Echoes: The Covina Sessions, 1976 (1976 [2020], Dark Tree): Pianist, a major figure in Los Angeles jazz, his large group here more a scene than a mere band. A- [cd] Old music: Ian Carr With Nucleus: Solar Plexus (1971, UMC): Scottish trumpet player (1933-2009), best known for his quintet co-led by Don Rendell (1964-69) and his fusion group Nucleus (1969-89). Fairly large group with either Harry Beckett or Kenny Wheeler joining on trumpet, three saxes (Karl Jenkins also played oboe and keyboard, as did Keith Winter), guitar (Chris Spedding), two basses, drums (John Marshall), although many other folks passed through the band at some point. Third group album (first with Carr's name singled out). B+(**) Nucleus: Elastic Rock (1970, Vertigo): Debut of Ian Carr's fusion band, a sextet, mostly players with long and distinguished careers in British jazz: leader played trumpet, Karl Jenkins (bari sax, oboe, keyboards), Brian Smith (tenor/soprano sax, flute), Chris Speeding (guitar), Jeff Clyne (electric bass), John Marshall (drums). Slightly exotic, nothing revolutionary. B+(*) Nucleus: We'll Talk About It Later (1970 [1971], Vertigo): Same group, Jenkins is the principal writer (4.5 songs), followed by Carr and Cline (2 co-credits) and Marshall (1 half). Both energy and chops advance. Last two songs have vocals. Don't see a credit, but both are Carr co-writes, and they're actually pretty good. B+(***) Ian Carr With Nucleus Plus: Labyrinth (1973, Vertigo): Artist list after Plus: Kenny Wheeler, Brian Smith, Tony Levin, Roy Babbington, Clive Thacker, Tony Coe, Gordon Beck, Norma Winstone, Dave MacRae, Trevor Tomkins -- only one not in that list is Carr. The guests pull the band in various ways -- especially Winstone, to the atmospherics her voice usually dwells in. B+(*) Ian Carr's Nucleus: Roots (1973, Vertigo): Band stripped back down to a sextet plus singer (Joy Yates), with only Carr and Brian Smith (reeds) returning from more than one album back. B+(*) Nucleus: Under the Sun (1974, Vertigo): Sixth album, considerable churn in the lineup, with Bob Bertles on sax, Gordon Beck and Geoff Castle on keyboards, two guitars, the bassist and drummer writing one song each. Still Carr's band, and best when he takes charge. Starting to lose interest otherwise. B Nucleus: Snakehips Etcetera (1975, Vertigo): Last of eight 1970-75 albums for Vertigo: band lasted a few more years, with various labels, and has regrouped for occasional live gigs. Playing out the string here, faithful to the core fusion verities of power and propulsion, with maybe a bit of outer space. B+(*) Nucleus: Alleycat (1975, Vertigo): Cover image looks like a leopard. Ian Carr's band is back down to six: saxes (Bob Bertles), guitar (Ken Shaw), keyboards (Geoff Castle), bass guitar (Roger Sutton), drums (Roger Sellers), with Carr playing synthesizer as well as trumpet and flugelhorn. B+(*) Nucleus & Ian Carr: Torrid Zone: The Vertigo Recordings 1970-1975 (1970-75 [2019], Esoteric, 6CD): Having listened to all of this piecemeal (9 albums), I can pretend to having listened to the box. The mainstream jazz market collapsed in the late 1960s, and fusion (cf. Miles Davis and/or John McLaughlin) seemed like a way out, although few other artists really distinguished themselves. The early albums were most vital, with several musicians moving on to take over Soft Machine, while leader Ian Carr plugged on, producing records that weren't all that inspired, but no worse than what Weather Report in the US. A lot of important musicians passed through this band, but few did their best work here. Wish I could claim more historical value, but fusion repeatedly turned into a dead-end genre, even though the impulse is eternal, and occasionally shakes us up. B+(*) Shirley Collins and the Albion Country Band: No Roses (1971, Pegasus): English folksinger, perhaps the most famed of the age, introduces a large band which later sported leader Ashley Hutchings' moniker, and continued to record with Collins through 1980, when she retired (until her 2016 return). Band lists 25 names, including some like Lol Coxhill I know from jazz. Indeed, my favorite thing here is the horns, but then I've never been much of an English folk fan. B+(***) Michael Garrick Trio: Moonscape (1964 [2007], Trunk, EP): British pianist (1933-2011), first recorded in 1958, played with Ian Carr and Don Rendell in their 1965-69 quintet, occasionally recorded under his own name up to 1978, took a break, returned in 1994. Early trio with Dave Green on bass (John Taylor 1 cut) and Colin Barnes on drums. Short, six tracks, 23:28. Fine pianist, makes quite an impression. B+(***) Michael Garrick Sextet With Don Rendell and Ian Carr: Prelude to Heart Is a Lotus (1968 [2014], Gearbox): The Heart Is a Lotus is a 1970 Garrick album, on Vocalion. This precursor was cut for BBC Jazz, with four members of the Rendell/Carr Quintet, Coleridge Goode taking over bass, and Jim Philip on flute. Long on texture. B+(**) [bc] Michael Garrick: The New Quartet (2001 [2002], Jazz Academy): Garrick returned from a 15-year hiatus in 1993 with a trio, then produced a few big band records during the 1990s. Small group here with Martin Hathaway (soprano/alto sax), Paul Moylan (bass), and Alan Jackson (drums). Four originals, four more from the band, covers of Benny Golson, Joe Harriott, Duke Ellington, and Jaco Pastorius. A lot going on here. Surprised the saxophonist hasn't had a more of a career. A- Garricks' Strings Quartet: Green and Pleasant Land (2003, Jazz Academy): The plural reflects two Garricks in the lineup, pianist Michael and his son Chris Garrick on violin, the group rounded out with guitar (Dominic Ashworth) and bass (Paul Moylan), so not your typical string quartet, but a right fair piece of chamber jazz. Closes with a nice Anita Wardell vocal. B+(*) The Michael Garrick Trio: Gigs: Introducing Mick Garrett . . . ([2008], Jazz Academy): No info on when this was recorded, but title and picture mark it as early. Trios with bass (Dave Green, Paul Moylan) and drums (Trevor Tomkins, Alan Jackson) -- Green and Tomkins played with him in the Don Rendell/Ian Carr Quintet (1965-69), and they continued in his groups through 1973 (Green goes back at least to 1962); Jackson was in a 1978 quartet, and returned in the 2001 New Quartet, which is where Moylan finally appears. B+(*) Johnny Griffin/Steve Grossman: Johnny Griffin & Steve Grossman Quintet (2000 [2001], Dreyfus): Two tenor saxophonists, the elder a seasoned brawler in such contexts, backed by piano (Michael Weiss), bass (Pierre Michelot), and drums (Alvin Queen), selected from three nights in Paris. Title cut is one of three Grossman songs, matched by three from Griffin, with one from Weiss, two standards. Spirited jousts, nice ballad turns. [Napster has this as Take the "D" Train, but no evidence of that on cover. It is the lead song title.] B+(***) Steve Grossman: Some Shapes to Come (1973 [1974], PM): Tenor saxophonist, played for Miles Davis in his early 1970s fusion bands, so plays some soprano as well. With electric piano (Jan Hammer), electric bass (Gene Perla), and percussion (Don Alias), this builds on a fusion groove, but the saxophonist takes charge and delivers on his ambitious title. A- Steve Grossman: Terra Firma (1975-76 [1977], PM): Same quartet, bassist Gene Perla produces and wrote two pieces, vs. one for percussionist Don Alias, four for the tenor saxophonist, wailing strong over fusion beats. B+(***) Steve Grossman: Way Out East, Volume 1 (1984, RED): Tenor sax trio with Juni Booth (bass) and Joe Chambers (drums). He's turned away from fusion and become a mainstream player, relying on his tone and dynamics, with one original, seven standards. B+(**) Steve Grossman: Way Out East, Volume 2 (1984, RED): Continues with the second of two days at Studio 7 in Milan. More standards ("Body and Soul," "Trane's Slow Blues," "Soultrane," etc.). B+(**) Steve Grossman: Love Is the Thing (1985 [1986], RED): Quartet with Cedar Walton (piano), David Williams (bass), and Billy Higgins (drums). B+(***) Steve Grossman Trio: Bouncing With Mr. A.T. (1989 [1996], Dreyfus): Refers to drummer Art Taylor (1929-95), who's led albums with Mr. A.T. in the title, and who's bounced with everyone from Bud Powell and Thelonious Monk through Jackie McLean, John Coltrane, Gene Ammons, up to the tenor saxophonist here. With Tyler Mitchell on bass, A.T. brings out the saxophonist's uproarious best. A- Steve Grossman: Live at Café Praga (1990 [1991], Timeless): Quartet, recorded live in Bologna with piano (Fred Henke), bass, and drums. Five extended pieces. B+(***) Steve Grossman: My Second Prime (1990 [1991], RED): Discogs shows a steady stream of albums from his 1974 debut up to 1994, when he begins to slow down. Recorded at Spezia Jazz Festival on Dec. 17, probably why they picked "The Christmas Song"), with piano (Fred Henke), bass, and drums. Two originals, one from Henke, and three covers, ranging fast and slow, averaging 10 minutes. B+(*) Steve Grossman: Do It (1991, Dreyfus): Tenor sax quartet with Barry Harris (piano), Reggie Johnson (bass), and Art Taylor (drums). Back to bebop roots (if not his, then A.T.'s), with three Powells, two Monks, one Dameron (a gorgeous "Soultrane"). Opens with "Cherokee," closes with Charlie Parker's "Chi Chi." B+(***) Steve Grossman Quintet Featuring Harold Land: I'm Confessin' (1992 [2007], Dreyfus): Two tenor saxophonists, each lay out one track. Backed by Fred Henke (piano), Reggie Johnson (bass), and Jimmy Cobb (drums). B+(**) Steve Grossman + Cedar Walton Trio: A Small Hotel (1993, Dreyfus): With Walton on piano, David Williams (bass) and Billy Higgins (drums). B+(***) Steve Grossman/Michel Petrucciani: Quartet (1998 [1999], Dreyfus): Tenor saxophonist in much larger type, followed by the French pianist, without listing Andy McKee (bass) and Joe Farnsworth (drums). One original each, rest standards, mostly ballads, often lovely. B+(***) Don Rendell: Meet Don Rendell (1954-55 (2001), Jasmine): British tenor saxophonist (1926-2015), started in Johnny Dankworth's band, early recordings as leader: the title comes from a 10-inch LP released on Tempo in 1955, sandwiched here between seven earlier sextet tracks (a bit more trad-oriented) and four later quintet tracks. Nice cool tone, with some swing. B+(***) [yt] Don Rendell/Bobby Jaspar: Rencontre A Paris (1955, Swing, EP): Two tenor saxophonists, from England and Belgium, in a septet, with French horn (Dave Amram), guitar, piano, bass, and drums, for a six track, 10-inch LP (27:12). [Reissued 2015 on Trunk as Don Rendell Meets Bobby Jasper.] B+(**) Don Rendell/Ian Carr Quintet: Shades of Blue (1965, Columbia): Co-led this group with the trumpet player, first of five albums through 1969. With Colin Purbrook (piano), Dave Green (bass), and Trevor Tomkins (drums). Mainstream, shaded blue. B+(*) Don Rendell/Ian Carr 5tet: Dusk Fire (1966, Columbia): Michael Garrick, a notable British jazz figure in his own right, takes over the piano slot, and writes three songs to Rendell's four (Carr has a co-credit with each). B Don Rendell/Ian Carr Quintet: Phase III (1967 [1968], Columbia): Garrick is settling in nicely here, adding energy and clarity, although as jazz goes this remains pretty atmospheric. B+(**) Don Rendell/Ian Carr Quintet: Live (1968 [1969], Columbia): Actually recorded in Lansdowne Recording Studios in London, presumably in "live" takes. Rendell plays a fair amount of flute and clarinet in addition to his tenor/soprano saxes, adding atmosphere to the persistent rhythm. B+(***) Don Rendell/Ian Carr Quintet: Change Is (1969, Columbia): A final studio album, same group except for Jeff Clyne playing bass on one (of six) tracks. I haven't had much to say about Carr, but the fact that he plays flugelhorn as well as trumpet puts him in a line between Art Farmer and Kenny Wheeler -- perhaps too subtle for his own good, but he comes through nicely here. B+(***) Don Rendell/Ian Carr Quintet: The Complete Lansdowne Recordings (1965-1969 [2018], Jazzman): This is also available in box form, at least in vinyl (5-LP), only CD I can confirm is a single-disc sampler promo. Group got steadily better, especially as pianist Michael Garrick developed, but were so understated it took me a while, suggesting I've underrated the early albums. Lansdowne, by the way, was the studio they recorded in. The albums were originally released on Columbia [UK]. B+(**) The Don Rendell Five Featuring Barbara Thompson: Just Music (1974 [1976], Spotlite): Thompson's first record -- like Rendell, she plays tenor sax, soprano, and flute (Rendell also plays clarinet and alto flute). Backed by Peter Lemer (keyboards), bass, and drums. B+(**) Don Rendell/Ian Carr/Michael Garrick: Reunion (2001 [2002], Spotlite): One of the last things in Rendell's discography, although he wound up living longer than his younger colleagues. With trombone, bass, and drums. Eases into the traffic, but speeds up and before long they're enjoying themselves, ending with old standbys "How Deep Is the Ocean" and "Struttin' With Some Barbecue." B+(***) Grade (or other) changes: Steve Grossman: Time to Smile (1993 [1994], Dreyfus): Quintet with Tom Harrell on trumpet, Willy Pickens on piano, Cecil McBee on bass, but drummer Elvin Jones gets the big print. Probably took exception to Harrell's harmonizing, but the sax is often great, and the rhythm swings. [was: B] B+(**) Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, August 23, 2020 Weekend RoundupThe Democrats had their virtual convention last week. I didn't watch any of it live. For that matter, neither did my wife, who's got a much thicker skin for these things -- probably developed from hate-watching Fox News, although in fairness she mostly does that to watch them squirm on particularly embarrassing news days. I did watch Stephen Colbert's nightly post-convention monologues, so I got a taste of the virtual spectacle -- mostly selected for joke potential. I've also read (or at least skimmed) the pieces, both on the convention and on the Biden campaign, linked below:
Dylan Matthews: This is the future Joe Biden wants. Introduction to a series called A Biden Presidency: "The Democratic nominee's policy vision, explained." Other links in this series:
Ian Millhiser:
Nicole Narea: A Covid-19 victim's daughter delivered a moving account of her father's death -- and a searing critique of Trump. This may be the sound bite of the convention: "My dad was a healthy 65 year-old. His only preexisting condition was trusting Donald Trump, and for that he paid with his life." Ella Nilsen:
Anna North:
Cameron Peters: Bernie Sanders just made the progressive case for Joe Biden. David Remnick: Obama, Harris, and an unconventional convention. Aja Romano: Aaron Rupar: Fox News thinks Joe Biden's DNC speech was "a home run": "Trump won't be happy with Fox News's rave reviews of Biden's speech." David E Sanger: Top Republican national security officials say they will vote for Biden: "In a letter released hours before Joe Biden delivered his nomination acceptance speech, over 70 senior officials called President Trump 'unfit to lead' and outlined their support for his opponent." Every vote counts, but some endorsements create associations you'd rather not have. These, in particular, remind us that Biden has faithfully supported decades of national security blunders and disasters. One note is that the names most closely associated with Trump, while sometimes being highly critical of him (e.g., John Bolton), are still unwilling to break party ranks and commit to Biden. Dylan Scott: Biden's 2020 message rests on Trump's fundamental Covid-19 failure. Cites a major piece by Ed Yong: How the pandemic defeated America: "A virus has brought the world's most powerful country to its knees." Scott quoted this much:
When I scanned the article, I missed those but picked out a few additional paragraphs, which struck me as germane, albeit less pointed at Trump:
Yong has another piece out: Long-haulers are redefining COVID-19. Walter Shapiro:
Alex Shephard:
Doreen St Félix: Michelle Obama's unmatched call to action at the Democratic National Convention. Emily Stewart: Ordinary Americans stole the show at this year's Democratic convention. Emily VanDerWerff: Kara Voght/Rebecca Leber: Biden's pitch to voters: What America needs now is empathy: After Trump, a little empathy seems like a good idea. Still, remind me of the old George Burns quote: "The secret of acting is sincerity. If you can fake that, you've got it made." Biden's been trading in empathy his whole career, all the while voting for special interests. What we really need is someone to show us that government is on the people's side, doing things that help everyone in tangible ways. Republicans deny that this is even possible, which gives them an excuse for being so awful at it. Democrats, including Biden, have often gone along, touting deregulation and "market solutions" and austerity. But the thing is, in a world as complex and interconnected as ours has become, you need institutions committed to the public interest, and you really need them to work. Empathy may give you motivation to do that, but there are other motivations available, like survival. Matthew Yglesias:
Li Zhou:
On to the Republican Convention next week. For a preview, see Riley Beggin: The Repubican National Convention: Who's speaking and how to watch. Also not one but two hurricanes, one on Monday to open the RNC, a second (bigger) one for its climax: Hurricane warnings issued as Gulf Coast prepares for March and Laura. Neither are likely to come close to the RNC in Charlotte. Here's some early anticipation of the RNC:
Some scattered links on other subjects this week: Kate Aronoff: Ban yachts: "They're floating castles of crime, polluting our air and water." By the way, there's a striking passage in Paul Krugman's The Conscience of a Liberal, pointing out that during the era of relative equality in the 1950s/1960s (what he calls, in a phrase that surely will not stand the test of time, "the great compression") when private yachts were virtually unheard of -- in stark contrast both to the "roaring '20s" and now. Riley Beggin:
Adam Weinstein: The world's dumbest authoritarian: "Most dictators rig elections to win. With his Postal Service gambit, Trump merely wants everybody to lose with him." Jane Coaston: QAnon, the scarily popular pro-Trump conspiracy theory, explained. More QAnon:
Jason Ditz:
Dilip Hiro: Donald Trump is losing his tech war with Xi Jinping. Lots of interesting details here, but the big takeaway is that China has a national economic plan which invests in world-class high tech industries and is lifting itself to be a world leader, where the US has a system (loosely speaking) of crony capitalism, where privately-owned businesses (and not necessarily American ones) can buy government favors but also gain much of their profits by using low-cost labor and suppliers abroad, so their profits do little (if anything) to help American workers, who (if anything) get poorer in the bargain. One detail: in 2019, China applied for more patents than the US. Over the last few decades, the main thrust of American trade policy has been to force other countries to pay intellectual property rents (to companies, not really to America). China is now poised to capture the lion's share of that income stream. I am very firm in my belief that patents are bad, so my preference is to ban them everywhere. As the US sinks ever lower in the patent tribute system, Americans should realize that the patent system is a losing game. (Americans have long charged China with cheating at that game, although the US didn't recognize foreign patents back in the 19th century.) Sean Illing: What MLK and Malcolm X would do today: Interview with Peniel Joseph, author of The Sword and the Shield: The Revolutionary Lives of Malcolm X and Martin Luther King Jr., a dual biography.
Umair Irfan: What makes California's current major wildfires so unusual: "Dry lightning, extreme heat, and Covid-19 are all shaping California's efforts to contain massive, deadly blazes." Related:
Colby Itkowitz/Amy Gardner: Tennessee adopts new law that could strip some protesters of voting rights.
Ezra Klein:
Paul Krugman:
Nancy LeTourneau:
Eric Levitz: America is drowning in joblessness -- and swimming in cash: "Thanks to the CARES Act, Americans hae saved roughly $930 billion more in recent months than they were on pace to do before the pandemic." German Lopez: Why Trump shouldn't compare America's Covid-19 outbreak to New Zealand's, in one chart. Laura McGann: Melania Trump's changes to the White House Rose Garden, explained: "She dug up trees and put in paved walkways." Bill McKibben:
Stephanie Mencimer: Judge orders Trump to pay Stormy Daniels $44,000 in legal fees. Ashley Parker: The permanent outsider: "President Trump has no idea how to run for reelection as an incumbent. Yumna Patel: Gaza's health sector at risk as Israel's week-long airstrikes continue: "Israel has been bombing Gaza for eight days straight, all as part of what Israel says is a response to incendiary balloons sent from Gaza into Israeli territory." First I've heard about it, which gives you a measure of how Israel has routinized its arbitrary violence against Palestinians. No doubt there's more to link to here:
Gail Pellett: Out of China: An affair in a dangerous ditch. She spent 1980 working in China, chronicled in her marvelous book Forbidden Fruit: 1980 Beijing, recapped here with further thoughts. Paul R Pillar: Trump's schadenfreude foreign policy and its political appeal: The German word means to take joy in the suffering of others. Aside from highly touted arms sales, that's about the only return Trump has managed in foreign policy, and if/when those weapons are used you can count them too. Trump has dashed any delusions one might have hoped for based on his campaign. The author of The Art of the Deal seems consitutionally incapable of making any deals at all. (The only one so far has been the NAFTA band-aid.) What's the point of sucking up to Putin, Xi, and Kim except to negotiate deals to reduce conflict and stabilize relations? All he's managed to do with Russia has been to dismantle decades worth of arms limits agreements, leading to a renewed arms race. (Which seems, by the way, to be ok with Russia, as one of their few viable export industries is arms.) Elsewhere, he's repeatedly broken things, while encouraging "allies" like UAE, Saudi Arabia, and Israel to break even more. His withdrawal from the Paris Accords shows that his Bad Neighbor Policy -- not official term, but the suggested as the polar opposite of Franklin Roosevelt's Good Neighbor Policy, an attempt to build some good will that proved invaluable in WWII -- permeates all levels. Pillar is right to point out that foreign policy is not a zero-sum game: hurting other people and countries doesn't help America; it often hurts, and not just in loss of reputation, trust and prestige. So why does Trump do it? Pillar tip-toes around several theories, noting that his policies are more likely rooted in his understanding of domestic politics than in any concern for the rest of the world, and coming closest to the mark with "Trump supporters disproportionately exhbit traits that make them more likely to feel pleasure from someone else's pain." There's a much shorter word for Trump's syndrome: sadism. The only thing that restrains us from talking about his "sadistic foreign policy" is the sheer amount of indifference and ineptness, which blunts the pleasure sadists obtain from the pain of others. On the other hand, schadenfreude is a bit too kind, as it implies a degree of sorrow Trump is simply incapable of. Andrew Prokop:
Steven Rattner: The economic recovery that isn't: "Don't believe the story that Trump will tell at the Republican convention." Related:
Kate Riga: Pelosi's Kennedy endorsement and why people are so mad about it. David Roberts: Air pollution is much worse than we thought: "Ditching fossil fuels would pay for itself through clean air alone." David Roth: Trump's cloud of gossip has poisoned America: "The president's insatiable need to traffic in rumor and conspiracy blows larger holes in our shared reality with each passing day." Dylan Scott: Kanye West is running for president -- seriously: He's getting on the ballot in places like Ohio and Wisconsin. From what I've been able to tell, his sole support comes from Republican operatives who won't vote for him but hope he'll split some black votes away from Biden. I seriously doubt he'll find many, or be any sort of a factor, but he could kind of work as a "fuck it all" alternative to major party candidates who are widely despised. Who he draws the most votes from is so irrational it's impossible to predict. More: Ben Jacobs: Kanye West's presidential campaign is both proceeding and unraveling. Robert J Shapiro: How Trump may be plotting to stay out of jail:
If Trump loses non-trivially, I don't see that he has much leverage. I don't see how he can throw a fit and simply refuse to leave. I don't know that he can pardon himself, but I have entertained the idea that he might resign after November in expectation of a President Pence pardon, following the Ford-Nixon precedent, possibly extending to his family and company if not to all of his confederates. (I doubt he cares much about them anyway.) That still leaves possible state prosecution, and civil complaints. I'm not much impressed with the power of Congress to investigate Trump, so I don't see much worry there. On the other hand, Trump does have two pretty strong points in his favor. One is that although there is a lot he could be indicted for, it's almost inconceivable that he would ever be convicted by a jury that hadn't been rigged. The second is that it sets a rather nasty precedent for a new administration to criminally investigate its predecessor. As far as I know, that's never been done in the US -- well, until Trump, who currently has the DOJ investigating "Obamagate." Nixon deserved jail, but spared that spent the rest of his life out of politics and relatively harmless. (Not that eulogizing him didn't tarnish Clinton's reputation.) Obama never prosecuted anyone in the Bush administration, which effectively turned Bush's many faults into his own -- a huge favor to the Republicans, and a huge drag on his own ability to make changes. If Biden wins, he will inherit a mess even more huge than Obama did, so it's very important that he remind people how much this has been due to the mistakes and ill intentions of Trump and his gang. So whatever he does about prosecuting Trump, we need to make sure that the full extent of his crimes and scandals are aired. Perhaps this is time for some sort of "truth and reconciliation" commission? With it you could grant some degree of amnesty for honest testimony. You should be careful about how this is set up, but the emphasis should be on getting to the truth, and learning from it, and not on petty revenge. For a cautionary piece on why you need to keep people aware of truth, see Ari Rabin-Havt: We shouldn't have to remind people George W Bush was a terrible president. But we do. Margaret Sullivan: Trump is 'Fox's Frankenstein,' insiders told CNN's Brian Stelter -- and here's the toll it's taken. Stelter has a book coming out next week: Hoax: Donald Trump, Fox News, and the Dangerous Distortion of Truth. It's hard to escape the conclusion that everyone involved deserve each other -- especially the ones who think they have scruples but don't act on them. Trevor Sutton: How the US can fight corruption after Trump: Talking about foreign policy here, although one reason the US has never done much about limiting corruption abroad is that we tolerate so much of it at home. The other reason, which isn't much touched on here, is that buying off foreign officials is usually good for business (at least in the short term, which with business is the only term that matters). Alex Ward:
Luke Winkie: 3 renters on getting screwed over by landlords during the Covid-19 housing crisis. Joe Yerardi/Alexia Fernández Campbell: Fewer inspectors, more deaths: The Trump administration rolls back workplace safety inspections. Isn't this really what the Trump administration is all about? This is part of a Vox series called System Failure, a collaboration with Center for Public Integrity. Other pieces:
Mairav Zonszein: How this year's primary season demonstrated the waning influence of pro-Israel hawks: At least that's true within the Democratic Party, where AIPAC efforts to purge Representatives critical of Israel have largely failed. Most Democratic politicians are as obeisant as ever to the Israel lobby, but rank-and-file voters have been drifting away for years, partly as they recognize Israel as a racist warmongerer, and partly as Netanyahu has personally aligned with the Republicans. Biden was personally able to secure a pro-Israel plank in the Party platform, but a more representative platform would have been a good deal more critical. Ask a question, or send a comment. Monday, August 17, 2020 Music Week
Music: Current count 33814 [33774] rated (+40), 221 [218] unrated (+3). My wife announced that she's not going to watch any of the Democratic Convention speeches, figuring they'll just be depressing. Needless to say, I wasn't even considering the prospect. I can read up whatever it is I need (e.g., here's Vox's The 2020 Democratic National Convention's speaker lineup and how to watch). Looking at the lineup, the show will be sanctimonious, condescending, and more than a little nostalgic, reminding you of the opportunities past Democrats have squandered, and how little we have to show for it. I can see the value of inviting the occasional token Republican, and I'm glad Doug Jones gets a spotlight moment, but do we really need both Clintons to speak? And is the bench of Democratic prospects so weak Michelle Obama needs to be the keynote speaker? Barack Obama was nobody when he spoke in 2004, and it looks like the DNC is never going to let something like that happen again. While I'm sure Alexandria Ocasio-Cortez will make the most of her token minute, bracketing her between John Kerry and Chuck Shumer is pretty much guaranteed to spoil the night. Then Sally Yates? On the other hand, at least they passed over Adam Schiff and Jerry Nadler. In past successful Democratic presidential campaigns -- by which I mean Clinton in 1992 and Obama in 2008 -- the candidates ran to the left until election, then made their accommodations with the established powers after they won, leaving most of their platforms with their luggage. To some extent, Gore did that in 2000, although not very convincingly, and even less Hillary tried that tack even less credibly in 2016. Biden seems determined to run through the vast open ground to his right, reassuring business, the suburbs, the shattered remnants of the middle and working classes, that he will restore a measure of normalcy and sanity after the batshit craziness of the Trump (and, if you still have any memory cells, Bush) fiascoes. And the left (including me) seem willing to let him call the tactical campaign shots however he sees best. On the other hand, the "democratic wing of the Democratic Party" has gradually accumulated a real power base in Congress, one that Biden and Harris will have to deal with to move forward -- not least because the real answers to the real problems are the ones coming from the left, but also because there no longer is a neoliberal Republican block like the one Clinton (and much less successfully Obama) tried to triangulate through. That residual power base is why the left doesn't need to get its message out during the rest of this campaign. The other is that you can't build toward an egalitarian vision of peace and prosperity without first establishing a fundamental commitment to decency, honesty, and trust, and you won't have any of that if Donald Trump and the Republicans win in November. We may have differing ideas how to accomplish this, but the one that the Democrats have chosen was arrived at more or less democratically, and it is important to respect that process. Even if it means a week of boring, uninspiring TV. I really don't need any of these speakers to tell me who to vote for in November. But if you do need help, by all means tune in. You're the person they want to address. One reason I'm not too terribly disappointed with the way the ticket has turned out is that I've been reading Thomas Frank's new book, The People, No! Eighty pages in, most of what he's covered so far has been the 1896 presidential election -- the one between William McKinley (R-OH) and William Jennings Bryan (D-NE) -- and the slanders against Bryan were harrowing. This doesn't have much relevance to the actual 2020 election. Trump's credentials as a populist are totally bogus, and Biden's aren't much better. Indeed, Biden will probably wind up raising more money than Trump (as Hillary did in 2016, and as Obama previously did). But if Sanders had won the nomination, he would have represented the most radical break in Democratic Party nominees since Bryan in 1896, following the ultra-conservative Grover Cleveland in 1892. The shift from 1968-1972 was comparatively miniscule: both Hubert Humphrey and George McGovern were midwestern liberals who agreed on virtually everything -- the one sticking point, and it was a big one, was the Vietnam War. Still, that was enough for many Democrats to sabotage their ticket by voting for Nixon. It seems unlikely to me that establishment Democrats would have broken ranks as decisively as they had done in 1896 and 1972, if only because Trump is far too odious an alternative, but it is likely that the degree of vitriol directed at Sanders would have approached the levels aimed at Bryan. Of course, Republicans being the deranged scum they are, much the same will be aimed at Biden and Harris, but at least with them it's not something I have to take personally. (Not that I wouldn't be game to try, had Sanders won the nomination. At least the upside there justifies the risk.) One hopes that people will not only see through the slanders, but that they will reflect back properly on those who launched them. Also that they will be seen as evasions of responsibility for the tremendous harm caused by Trump and his party. (And, by all means, never attack Trump without also blaming his accomplices. He may be their nominal leader, but often as not he's the one being led around by the nose.) I thought this was going to be a lax week, but ran the numbers and came up with 40 again. Started off with more Polish jazz left over from last week, plus another ZAUM album. Then Robert Christgau published his August Consumer Guide. As I noted in a tweet, I had previously graded several albums: Car Seat Headrest (A-), Dream Wife (A-), Haim (**), Lori McKenna (A-), X (*). Picked up almost all of the rest below. That leaves Birds of Prey, Deap Vally, and the Boswell Sisters -- I have Sony's That's How Rhythm Was Born (1931-34) in my database (B+); Christgau's pick isn't on Napster, but there are several alternatives. Three of this week's A- records come from Christgau, although only John Chibadura was an easy call -- City Girls and Kehlani could have gone either way, and probably would have fallen short without the encouragement and extra time. Other suggestions came from all over. A couple were recommended in an Expert Witness Facebook post asking for items on Bandcamp. I can't say as they were particularly good, but they led indirectly to the new Mekons album, which is. I played a couple things I downloaded, and searched for a recent batch of Clean Feed releases. One I looked for but didn't find is a new WHO Trio album of Strayhorn/Ellington compositions. When I saw the Keith Ingham/Harry Allen records, I just had to check them out. When in doubt, I look at Napster's "featured" records, and decided to check out the live Stooges set. That reminded me of two albums I used to have but hadn't entered into the database. I probably should have looked and given them a fresh listen, but the memories were clear enough. A couple other albums were suggested by working on Christgau Consumer Guides from September last year. Christgau wants to impose an eight month delay on them to give subscribers a sense of exclusivity, so I haven't been in any hurry to tackle them. Anyhow, finally started entering them into my private copy of the website last week. Still not sure what to do about enforcing the delay. I've long had code for handling timelocks on regular pages, so those are working on the CG columns, but I've never imposed delays on database fetches, so that will require new code. It seems to me that the way it should work would be to set up an account management system synched to Christgau's subscription newsletter, so that paid subscribers could also see restricted content on the website, but that would take a lot of work, and it's not clear how to keep the two sites in synch. I should note that Steve Grossman died last week. I knew him mostly as one of a cluster of mainstream tenor saxophonists from the 1990s -- Bennie Wallace is the one I followed most closely, but I especially liked Grossman's 1991 In New York. Rather surprised to find that I only had one more of his albums in my database. I'll write up more next week. I'm especially glad that I started with his 1973 debut, Some Changes to Come. That dates from his tenure in Miles Davis's great fusion band, and builds thereupon. It's been a trying week for me, with my brother hospitalized for what at first looked like Covid-19, but turned out to just be pneumonia. Had another scare with a friend in Massachusetts, which again turned out to be something else (but still quite serious). We continue to do virtually no socializing, and only rarely make even the most rudimentary shopping efforts. With this isolation, it's been a rare pleasure to occasionally post on Facebook a picture of some little meal I've managed to whip up. Some recent ones: ribs; dosas; carbonade; shrimp boil; Szechuan chicken wings; beef stroganoff; shells; Chinese ribs. (Looks like if you click on one, you can cycle through the rest, as you won't find many pictures there not of food. I think all the links are public. My rule is to only seek and accept friends that I have personal relationships with, and I very rarely bother Facebook with my writings -- that's what Twitter is for.) Not as satisfying as cooking for others, but in times like these we make do. Still open for questions. New records reviewed this week: Aminé: Limbo (2020, Republic): Portland rapper Adam Daniel, goes by his middle name, parents from Ethiopia and Eritrea, second album, marking his adulthood from the death of Kobe Bryant, although I suspect the daughter had more to do with it. A- Arbor Labor Union: New Petal Instants (2020, Arrowhawk): Alt/indie band from Atlanta, influenced by "DIY punk" and classic rock and Walt Whitman and Woody Guthrie. B+(**) BROM: Dance With an Idiot (2019 [2020], Trost): Free jazz group, from Moscow, ninth album since 2008 -- Anton Ponomarev (alto sax), Dmitry Lapshin (bass guitar), and Yaroslav Kurilo (drums) appear to be long-time members, with Felix Mikensky (electronics, guitar) joining here, modulating the raw furor a bit, even making it a bit tuneful. B+(***) City Girls: City on Lock (2020, Quality Control/Motown): Hip-hop duo from Miami, Caresha Brownlee (Yung Miami) and Jatavia Johnson (JT), both with too much street cred/scars too soon. Second album after a mixtape. Most frequent word: pussy, probably followed by N* and bitch (especially when they host a male guest). Over the top, but so are the trap beats. A- Emily Duff: Born on the Ground (2020, Mr Mudshow Music): Singer-songwriter from Queens, couple albums but pretty low profile, has picked up a bit of drawl in her voice, giving her some appeal to country/Americans afficionados, picks up a roots-rock producer to sharpen her rockabilly edge. B+(***) Tyler Higgins: Broken Blues (2016 [2020], Shhpuma): Guitarist, also plays organ, describes this as "experimental music that draws on folk/blues/jazz traditions," third album, short one (29:47), trio with upright bass and drums. Gospel pieces like "Yes Jesus Loves Me" are the clearest cases, turned into dense walls of sound with nothing especially improvisational about them. B+(**) Kehlani: It Was Good Until It Wasn't (2020, Atlantic): Sometime around the turn of the century, r&b went slack, turning away from the dominant church-based wail to its opposite. While I'm not a big fan of the former (at least for lesser artists than Aretha), I've long had trouble getting into the latter. Three plays in, I'm barely with her, the bits of rap helping. Sex, too. A- Martin Küchen & Landaeus Trio: Mind the Gap of Silence (2019 [2020], Clean Feed): Pianist Mathias Landaeus's trio, plus the saxophonist (soprano, alto, tenor). Fourth album together (counting the compilation Vinyl), mostly Küchen's songs. Some very strong passages. B+(***) Makaya McCraven: Universal Beings E&F Sides (2017-18 [2020], International Anthem): Drummer, second generation, born in Paris, grew up in Massachusetts, 2018 album was a crossover hit, had four sides: one each recorded in New York, Chicago, London, and Los Angeles. These look and feel like outtakes from the same sessions. B+(**) Paulette McWilliams: A Woman's Story (2020, Blujazz): Standards singer, had an album and a couple singles c. 1977, a couple more since 2001. Closes with a strong "Both Sides Now." B+(*) [cd] Mekons: Exquisite (2020, self-released): Surprise release, pieced together following the formula of a surrealist game "cadavre exquis," with each remotely locked down member adding their bits remotely. Easily recaptures the sound and feel of Mekons albums everywhere. B+(***) [bc] Dawn Oberg: 2020 Revision (2020, self-released, EP): San Francisco-based Singer-songwriter, plays piano, flirted with jazz, turned political with her Nothing Rhymes With Orange EP, offers 3 more songs here (8:52), including a lame takedown of "Mitch McConnell." B- [bc] Larry Ochs/Aram Shelton Quartet: Continental Drift (2012-18 [2020], Clean Feed): Two saxophonists (tenor/sopranino and alto), plus bass (Mark Dresser on six cuts from 2012, Scott Walton on two from 2018) and drums (Kjell Nordeson). A- The Rails: Cancel the Sun (2019, Psychonaut): English group, principally James Walbourne and Kami Thompson -- daughter of Richard and Linda, sister of Teddy Thompson, so tempting to call this folk-rock, but tries hard to escape. One song goes: "save the planet/ kill yourself/ it's the least that you could do," then flips that around to "kill the planet/ save yourself." B+(*) Roots Magic: Take Root Among the Stars (2019 [2020], Clean Feed): Italian quartet, third album: Alberto Popolla (clarinets), Errico De Fabritiis (alto/baritone sax), bass, and drums, plus guest flute on two tracks, vibes on one. Starts off with an irresistible rhythm track, covers blues (Skip James, Charley Patton) and jazz (Sun Ra, Ornette Coleman, Kalaparusha, John Carter, Charles Tyler), with the occasional hot spot. B+(***) Thumbscrew: The Anthony Braxton Project (2019 [2020], Cuneiform): Trio, fifth album, the subject a natural given that Tomas Fujiwara (drums/vibraphone) and Mary Halvorson (guitar) studied under him, and Michael Formanek (bass) played in Braxton's legendary 1980s Quartet. Braxton's compositions have always been opaque to me, leaving me with the fascination of his playing around them. Halvorson has that same effect. A- [dl] Charles Tolliver: Connect (2019 [2020], Gearbox): Trumpet player, main period recording was 1968-88, though he returned with two 2007-09 records, and now this one. Started out on the left fringe of hard bop, and hasn't budged much. Recorded this in England with Jesse Davis (alto sax) and Keith Brown (piano), adding Binker Golding (tenor sax) for 2 (of 4) tracks. B+(***) Matt Ulery: Pollinator (2019 [2020], Woolgathering): Chicago bassist, tenth album since 2012, plays sousaphone here, in a sextet with trumpet, trombone, tenor sax, piano, and drums. Has an upbeat party vibe, before it gets too serious. B++(**) Otomo Yoshihide/Chris Pitsiokis: Live in Florence (2018 [2020], Astral Spirits): Prolific Japanese guitarist, also turntables here, Discogs lists 119 albums since 1989; duets with alto saxophonist, also credited with electronics. Experimental, rather ragged and harsh, but has some appeal. B+(*) [dl] Recent reissues, compilations, and vault discoveries: Harry Beckett: Joy Unlimited (1974 [2020], Cadillac): Trumpet player (1935-2010), originally from Barbados, moved to UK in 1954, played in a number of important British jazz bands. With Ray Russell (guitar), Brian Miller (piano), bass, and drums. Opens with tension and edge, eventually settling for groove. B+(**) Nublu Orchestra Conducted by Butch Morris: Live in Sao Paulo (2008 [2020], Nublu): Morris (1947-2013) came up with a system of conducted improvisations (conduction), and applied it extensively in his 1988-95 10-CD box Testament. He organized this group for a stand at Nublu, a club in Manhattan's Lower East Side, and they released an album in 2007, before going on tour. Plan now is to release a dozen live albums at monthly intervals. This is the second, looks like most of the 9 musicians and 4 vocalists were picked up in Brazil. Only two horns -- Graham Haynes on cornet and Ilhan Ersahin on tenor sax -- keyboards, and double guitar-bass-drums. B+(*) The Stooges: Live at Goose Lake: August 8th, 1970 (1970 [2020], Third Man): A month (and a day) after their second album, Fun House, dropped, reprising all seven songs, and nothing else. Awkward, sloppy, has some cathartic moments in "Fun House," then blows up. B Gillian Welch: Boots No. 2: The Lost Songs, Vol. 1 (2002 [2020], Acony): Folksinger, turned some heads with her 1996 album Revival (A- in my book), although Christgau was quick to pan her (B-). Boots seems to be her authorized bootleg series, begun in 2016 with outtakes from Revival. These songs were reportedly recorded to wrap up a record contract, but went lost along the way. B+(*) Zam Groove: Music From Zambia ([2020], SWP): "2 deep trance tracks by xylophone master Crispin Mutanuka, 3 shining examples of the Barotse Guitar style by the Lipa Band and Libala Band, and 2 sparkling tracks with the kalimba and golden voice of Mufrika Edward." Adds up to 7 tracks, 34:36, collected by Zambian-born field-recordist Michael Baird, and that's all I know. B+(*) [bc] Old music: John Chibadura: The Best of John Chibadura ([1986], ZMC): From Zimbabwe (1957-99), original surname Nyamukokoko, nickname refers to his guitar prowess (impressive, indeed), recorded an album with Sunguru Boys in 1985, more with Tembo Brothers. Discogs has nothing before 1983, and I can't place these ten titles. Fast and catchy, more like a single slice than a career retrospective -- this appears to have been released just as his short career was starting. A- Extra Ball: Birthday [Polish Jazz Vol. 48] (1976, Polskie Nagrania Muza): Polish fusion band, first of six albums 1976-83, led by guitarist Jaroslaw Smietana, with tenor sax, keyboards, bass, and drums. B Steve Harris/ZAUM: A Is for Ox (2006-07 [2008], Amazon): Live tracks, group has extra guitar and piano, meanders some, takes shape with Geoff Hearn's saxophones. B+(***) [bc] The Keith Ingham-Harry Allen Quintet: My Little Brown Book: A Celebration of Billy Strayhorn's Music, Volume One (1993 [1994], Progressive): English pianist, retro swing player from the late 1970s on, moved to New York in 1978, often starring on other folks' albums -- Marty Grosz's Unsaturated Fats (1990) is a favorite. Here with a fresh-faced tenor saxophonist, doing what they love most, with guitar (Chris Flory), bass (Denis Irwin), and drums (Chuck Riggs). A- The Harry Allen-Keith Ingham Quintet: The Intimacy of the Blues: A Celebration of Billy Strayhorn's Music, Volume Two (1993 [1994], Progressive): Swapped the credit around, but same band, same three-day session. Caveat here is that Napster only has 7/16 tracks, but I'd be surprised if I ever find a more drop-dead gorgeous take of "A Flower Is a Lovesome Thing," and I've heard plenty. Note: the focus on ballads here actually does bring Allen to the fore. B+(***) Keith Ingham: Rockin' in Rhythm (2010 [2011], Arbors): Piano trio with Frank Tate (bass) and Steve Little (drums), nice set of standards including some bop-era jazz pieces (Powell, Lewis, Shorter, Walton). B+(*) Krzysztof Komeda-Trzcinski: Komeda [Polish Radio Jazz Archives 04] (1957-62 [2013], Polskie Radio): Poland's most famous jazz composer, legendary long past his early death (at 37 in 1969), even known abroad for his film scores (mostly for Roman Polanski). Trzcinski was his last name, added to some credits here, mostly writing. He was also a MD, so originally used Komeda as a stage name to keep his careers distinct. These are radio shots: four sextet tracks from 1957, three live tracks with Swedish saxophonist Bernt Rosengren, four piano trio tracks from a 1962 concert. Each slice impresses. I haven't figured out why he seems so coherent, but he does. A- Krzysztof Komeda: Ballet Etudes (1963, Metronome): Title continues: The Music of Komeda: A Jazz Message From Poland Presented by an International Quintet. Recorded in Copenhagen, with Komeda on piano, Jan Wroblewski (tenor sax), Allan Botschinsky (trumpet), Roman Dylag (bass), and Rune Carlsson (drums). The title piece(s) run 21:56. Trumpet drops out on the second side, with long takes of "Crazy Girl" and "Alea" (12:58 + 7:06). A- Jerzy Milian Trio: Baazaar [Polish Jazz Vol. 17] (1969 [1970], Polskie Nagrania Muza): Vibraphone/marimba player (1935-2018), recorded a couple dozen albums. Trio presumably with bass and drums, but there are also some flute and vocals (Ewa Wanat). He sounds nothing like the swingers who popularized the instrument, or the tinklers who followed them, or even the later ones who edged into the avant-garde -- moody, I guess. B+(*) Zbigniew Namyslowski: Zbigniew Namyslowski (1977, Polskie Nagrania Muza): Alto sax quartet, plus extras all the way up to orchestra, nudging them into fusion or something. Scattered, redeemed by occasional sax solos. B Zbigniew Namyslowski: Standards (2003, Quartet): Quartet plus guest trumpet on one track, trombone on three, all standards starting with "After You've Gone." B+(***) Zbigniew Namyslowski: Assymetry (2006, Quartet): Quintet, the leader playing soprano as well as his usual alto sax, with trombone, piano, bass, and drums, on all original material. B+(**) Jan Ptaszyn Wróblewski Quartet: Flyin' Lady [Polish Jazz Vol. 55] (1978, Polskie Nagrania Muza): Tenor saxophonist, played in Polish Jazz Quartet (1964), remained important enough to be nicknamed "the godfather of Polish Jazz." Backed by guitar, bass, and drums, hard bop with the occasional funk riff. B+(***) Jan Ptaszyn Wróblewski Sextet: Komeda: Moja Slodka Europejska Ojczyzna [Polish Jazz Vol. 80] (2013 [2018], Warner Music Poland, 2CD): Live tribute, presumably songs from Krzyzstof Komeda, the patron saint of Polish jazz, led by his former tenor saxophonist (albeit 50 years earlier). With Robert Majewski (trumpet), Henryk Miskiewicz (alto sax), Wojciech Niedziela (piano), bass, and drums. Exhaustive, although it does have sweet spots, even majestic ones. B+(**) Added grades for remembered lps from way back when:
Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, August 16, 2020 Weekend RoundupAfter what seemed like a very long deliberation, Joe Biden selected Kamala Harris as his running mate for vice president. The main takeaway is that he'll listen to whatever the left wing of the party has to say, but he's going to staff the government with people friendly with and acceptable to business interests. The New Democrat vision was to show that business is better served with Democrats in power. Clinton and Obama worked hard to make that case -- especially with trade deals like NAFTA and TTP that were injurious and opposed by critically important traditional union allies. While they were unable to convince most capitalists, they did manage to break off enough support to run well-funded campaigns. Biden fits neatly into their program -- if anything, he anticipated it, coming from a state which is famed mostly for its lax corporate laws. Against Donald Trump, he has the potential to raise a lot of big donor money -- as long as he is seen as a buffer against, rather than as a tool of, the insurgent left. The strongest VP candidate, based on her campaign skills, organizational ability, and command of the issues and policies, was Elizabeth Warren, but she's widely viewed in business circles as antagonistic to their interests. Harris is not viewed as hostile -- indeed, she's had tremendous success raising money in Silicon Valley -- making her the safe (and lucrative) bet. Reassuring big money donors is one big thing Harris brings to the campaign. Her chuminess not only helps support Biden, it helps insulate the campaign from charges of being a vehicle for far-left radicals -- the main charge that Trump's Republicans have been making. In particular, Harris's reputation as a law-and-order hard case makes it clear that "defund the police" and "abolish ICE" are not part of the Biden agenda, quickly reducing a major thrust of Republican campaign fodder to the hysterical ravings of deranged paranoids. Biden's primary success was based on a hunch shared by many Democrats, including some who policy-wise are more sympathetic to the left, that this year, running against this exceptionally odious president, it is important to risk as little as possible, to build a broad coalition around the single essential goal of denying Trump a second term. The early primary season turned on issues, with Sanders and Warren pulling the party to the left with their strong command of issues and policy; Buttigieg and Klobuchar countered as the most articulate candidates on the right, squeezing out potential compromisers like Harris and Booker. As Sanders emerged as the leader, the billionaires jumped in, and Michael Bloomberg spent the better part of a billion dollars to prove how virulently opposed to Sanders and Warren his class was. Bloomberg had no personal appeal, but served as a catalyst, aligning the party rank-and-file's deepest seated fears into a surge of support for Biden. Had she not dropped out, Harris might have become the middle-ground candidate that Biden turned into. But having dropped out, she returns to the campaign largely unscathed. Biden committed to selecting a woman early on. Thus far, the only person who has found that decision controversial has been Donald Trump. There has been a good deal of discussion about race, which mostly struck me as misguided and/or irrelevant. I admit that I didn't see any advantage to Biden picking a black running mate. I figured doing so might cost him more white voters than it otherwise gained -- mostly because his own history on race and/or crime issues is rather tawdry, which may have helped him gain white votes, especially in Southern primaries. On the other hand, Harris is a brilliant solution to the question: she is the sort of black that iffy whites would find least stereotypical -- traits Obama shared, but her even more so -- yet she is black enough to provoke hideous reactions among more committed racists, who were solidly pro-Trump anyway. If anything has been made clear from first reactions, it's that Trump and his ilk are the ones trying to stir up America's race problem. One reason Obama won was that he made it possible for many iffy whites to feel good about themselves for rising above their racist past. In picking Harris, Biden shows that he's better than that. In slandering Harris, Trump shows that he's not. That's hardly the only clear cut distinction between the two, but it sure is one of them. Some background, referred or alluded to in the links that follow. Harris was born in 1964 in Oakland, California. Her parents were both immigrants, who came to UC Berkeley in 1960-61 as graduate students, received PhD's, and had distinguished careers. Her father is Donald J. Harris, from Jamaica, professor of economics at Stanford, now emeritus (age 81). Her mother was Shyamala Gopalan, from Tamil Nadu, India, studied endocrinology, and worked on breast cancer research in various universities and labs, including Lawrence Berkeley National Laboratory. She died in 2009 (70). They had two daughters, and divorced in 1971. The daughters lived with their mother, including several years in Montreal, Canada. Kamala graduated from high school in Quebec, then attended Howard University in DC, then UC Hastings College of Law. She was admitted to the Bar in 1990, working in the Alameda County DA office, then in San Francisco (DA and Mayor's Office). She was elected San Francisco District Attorney in 2003 and 2007, California Attorney General 2010 and 2014, and was elected to the US Senate in 2016. Some links on the Harris pick:
Tweet of the week, from Chris Hayes:
To which Steve M. astutely replied:
Some scattered links this week: Alexandra Alter: Michael Cohen releases details about his forthcoming memoir. Title is Disloyal. Publication date September 8. Annie Karni: has more: In tell-all foreword, Cohen promises sordid tales Trump 'does not want you to read': "In his memoir, Disloyal, Michael D. Cohen, President Trump's onetime lawyer and fixer, claims that he had unique access to Mr. Trump, a man with 'no true friends.'" Kate Aronoff:
Ruth Ben-Ghiat: Co-opt & corrupt: How Trump bent and broke the GOP. James Bruno: What are the chances Trump could actually go to jail? Kyle Cheney: GAO finds Chad Wolf, Ken Cuccinelli are ineligible to serve in their top DHS roles. Colin Dickey: The helpless outrage of the anti-Trump book: "The Trump era has birthed a distinct new genre of political writing: irate, forgettable, and strangely complacent." Review of Donald W Drezner: The Toddler in Chief: What Donald Trump Teaches Us About the Modern Presidency, and Jonathan Karl: Front Row at the Trump Show, with side glances elsewhere. I'm struck by a quote from long-time ABC White House correspondent Karl (previously known for his "reputation for pitching softballs to Bush Administration officials"): "I don't believe there has ever been a more exhausting, exhilarating, dangerous, maddening, frustrating, downright bizarre, or more important time to be a White House reporter." I'm sure that dealing with Trump on a daily basis can seem to be all of those things -- except important: nothing Trump says has any bearing on the stories journalists should be telling about his administration, and detracts from their ability to do so. Jason Ditz: US push to extend Iran arms embargo fails at UN Security Council: 2 votes for (US and Dominican Republic, of 13 needed), 2 against (Russia and China), 11 abstentions. More:
Jesse Dorris: How DeForrest Brown, Jr, centers the black body in techno music: I don't usually put music links here, but have had trouble keeping track of them for Music Week. I reviewed several records by Brown last week, especially recommending his (i.e., Speaker Music's) Black Nationalist Sonic Weaponry (A-). Robert Guffey: What is QAnon? A not-so-brief introduction to the conspiracy theory that's eating America: "Do millions of Americans really believe Donald Trump is saving children from underground demons? It seems that way." I admit that I never had any interest in even finding out what QAnon referred to. Still don't, even after often reading that Trump's most fervent supporters are psyched on whatever it is. Even if it weren't nuts, I doubt it would ever have a fraction of the ill-effects of believing in Atlas Shrugged. Or, for that matter, The Road to Serfdom. The old mental illnesses are still the direst.
Chris Hedges: America's death march: Whoever wins, this election won't save us: "Neither [Biden nor Trump] will stop hyper-nationalism, crisis cults and other signs of an empire in terminal decline." I hate coming off as an optimist, but Hedges has turned into a useless critic of modern life, like the existentialists around the time I stopped bothering with them. There are gross malaises that Hedges may still have some insight into, but there's also a lot of nuts-and-bolts dysfunction that even Biden can figure out and do something to keep utter chaos and collapse at bay -- like keeping the Post Office delivering mail. Halting global warming and unwinding America's worldwide "empire of bases" may be a bit harder, and Biden doesn't have the best of track records, but even there the election decision will surely have some bearing. Rebecca Heilweil: The dystopian tech that companies are selling to help schools reopen sooner. Mark Helenowski: Billionaires have made an absolute killing during the pandemic. The number is staggering. Patrick Iber: How the GOP became the party of resentment: Review of Rick Perlstein's book Reaganland, the fourth volume in what promises to be an immense history of American conservatism from Goldwater on. (I've read the second volume, Nixonland. Been meaning to get to the others, but I'm daunted by their length -- over 3,000 pages to date.) Ezra Klein:
Sheelah Kolhatkar: Trump's incoherent policy on TikTok and China. Robert Kuttner: Falling upward: The surprising survival of Larry Summers: "He is once again a senior economic adviser to another prospective Democratic president." Lyz Lenz: An inland hurricane tore through Iowa. You probably didn't hear about it. Gusts of up to 112 mph did considerable damage, leaving a quarter-million without power. There is some video from Chicago showing heavy rain, but no other mention of it. I've seen completely dry wind storms in Kansas, with winds in the vicinity of 80 mph. They are very rare. I've seen hurricanes from the Gulf of Mexico dump a lot of rain in Kansas, and I've read that the 1900 Galveston hurricane still produced hurricane-force winds as far inland as Chicago, but this wasn't one of those. Martin Longman: Trump's bizarre obsession with Mount Rushmore. German Lopez:
Louisa Loveluck/Chris Mooney: Baghdad's record heat offers glimpse of world's climate change future. Ian Millhiser:
Samuel Moyn: The Never Trumpers have already won: "They're not trying to save the GOP from a demagogue. They're infiltrating the Democratic Party." Review of Robert P Saldin/Steven M Teles: Never Trump: The Revolt of the Conservative Elites.
That Never Trumpers were more bothered by Trump's apostasy on Iraq than by his racism, self-dealing, and ignorance of the Constitution makes sense. However, it doesn't necessarily follow that their revolt against Trump has won them much influence in the Democratic Party -- where second thoughts on Iraq, for instance, is now the norm even among those who originally voted to authorize the war. It is true that they have reinforced the view among Democratic hawks that it is safest to attack Trump over foreign policy issues, especially when they can paint him as doing favors for Russia. But that's not because they've cultured any support among rank-and-file Democrats. All they did was to sway a few centrists into thinking that they might pick up support among nominal Republicans for impeachment and such if the issues were defined strictly in national security terms. That never worked, other than to sidetrack Democrats from pressing more popular charges, like corruption and gross negligence. By the way, Saldin and Teles wrote a reply to this review: Don't blame Never Trumpers for the left's defeat. They have a point, provided you don't count Michael Bloomberg among the Never Trumpers -- although you could argue that he was the biggest one of all, especially in a world where free speech is denominated in dollars. Olivia Nuzzi: The most tremendous reelection campaign in American history ever: "Inside the chaotic, desperate, last-minute Trump 2020 reboot." I can't read this because "You've reached your monthly article limit." But I read the Kos synopsis: Trump's campaign IS the cesspool of corruption and incompetence we thought it was. Osita Nwanevu: Trump's "blasphemous" attacks on Biden were torn from the Republican hymnal: "The president's pearl-clutching critics have forgotten how defaming Democrats' faith is a longstanding tradition for the GOP." Still, no examples here further back than 2012 -- I expected at least a reference to the Republicans' characterization of the Democratic Party in the 1880s: "The party of rum, Romanism, and rebellion." After all, charging your opponent with antipathy to religion just exposes your own bigotry and intolerance. Nwanevu quotes Ashley Parker: "Rather than look for campaign ammunition in the former vice president's long track record of politically vulnerable votes and policy proposals, Trump has instead chosen to describe Biden as a godless Marxist bent on destroying the country with a radical agenda that would make Che Guevara blanch." At least those are charges that require no work researching, or any measure of self-reflection. Aaron Rupar:
Katherine Stewart: Betsy DeVos's plot to enrich private schools amid the pandemic: "The secretary of education wants religious schools to flourish at the public system's expense; and she's doing it under the cover of the coronavirus crisis." Matt Taibbi: Big Pharma's Covid-19 profiteers. Alex Ward:
Li Zhou: Why Democrats are holding out for more comprehensive stimulus: "They don't think Trump's executive actions come close to covering what's needed -- and they have the leverage to push for more." Besides: "Republicans are set to bear more of the political backlash, for now."
PS: Robert Christgau forwarded this string of tweets from John Ganz (@lionel_trolling). I couldn't follow it as presented, so wondered if copying it down might help. Christgau's comment:
Ganz's thread:
There are also some comments by Ganz:
Well, no, I don't think he "nailed" me. I don't even think he struck a glancing blow. Although it's hard to tell what he was aiming at, due to the total lack of specific references. I don't doubt that there are strands of socio-political analysis that reflect one clique making fun of, belittling, and/or looking askance at a broader population, scoring points with their wit. At least since I started reading critical theory, I've always been critical of trying to understand, much less practice, politics as an aesthetic concern. In fact, I'm pretty skeptical of anyone who attempts to impose an arbitrary ethics on it. I have no idea what kind of political analysis Christgau wants to counter, but I can make a guess given his time frame: from now to the November election. On a good day, you can imagine an infinite range of political possibilities, and that's what people like me prefer to talk about. I'd like to write about why patents are always bad, or why everyone should have free access to the internet, and advertising should be banned there (except when you specifically ask for its, and even then you need to ability to challenge it). However, between now (roughly speaking) and election day in November, the political universe we live in has radically constricted to the choices on the ballots, in particular the two dominant political parties here in the US). During that time, the only practical thing you can do is to compare A and B (or, realistically, R and D) -- or, at least, that's the position of people who are totally invested in the election to the exclusion of all else. I'm not generally disposed to do that. In particular, I want to reserve the option of saying when both sides are in the wrong -- and I swear to you, I'm not being contrarian; there is always some underlying principle at stake. And those principles are grounded in serious thought; they're not just things that strike my aesthetic fancy. Of course, politics isn't just voting. If, between now and November, cops kill yet another unarmed black teenager for no reason, I'm not going to tell you not to go march, even if I suspect doing so might reflect poorly on the election. It might even be a good idea to put a march together in Washington for funding for the USPS, unemployment, to stop evictions, etc. (a good time might be during the so-called Republican Convention, but not at wherever it's supposed to be -- not to draw attention to them but to take away from their news cycle). And sure, take it easy on the Democrats until November. If they win, you'll have plenty of occasion to critique them in the future, but at least you'll be starting in a better place. And if they lose, you'll need them more than ever. Ask a question, or send a comment. Monday, August 10, 2020 Music Week
Music: Current count 33774 [33729] rated (+45), 218 [223] unrated (-5). Most of this week's haul is tied to a question I tried to answer a couple days back. I've done a little editing on my answer since its initial post. Always good to get back and tune some more -- something I rarely manage these days. The big questions concerned British jazz from the 1960s-70s, and also Polish jazz. The question mentioned a list of British and South African musicians by name. My review counts for them are: Joe Harriott (6), Michael Garrick (2), Don Rendell (0), Ian Carr (0), Mike Osborne (2), Tony Coe (4), Harry Beckett (2), Tubby Hayes (6), Chris McGregor (4), Dudu Pukwana (5), Mongezi Feza (1), Johnny Dyani (3), Louis Moholo (6), Annie Whitehead (0), Lindsay Cooper (0). That illuminates some holes in my listening. I thought I might come up with a reference list of British jazz musicians, but both Google and Wikipedia failed badly -- e.g., neither mentioned Evan Parker, who would certainly top my list with 48 albums. After Parker, my most reviewed British jazz musicians are: Barry Guy (32), John McLaughlin (32), John Surman (27), Dave Holland (25), Tommy Smith (19), John Butcher (17), Paul Dunmall (16), Marian McPartland (15), Billy Jenkins (14), Andy Sheppard (11), Trevor Watts (11), Derek Bailey (10), Elton Dean (9), Alexander Hawkins (9), Stan Tracey (9), Chris Barber (8), Tony Oxley (8), John Taylor (8), Keith Tippett (8). Very likely I've forgotton a few. Further down, you get important musicians like Howard Riley (6), Gordon Beck (5), Paul Rutherford (5), Iain Ballamy (3), Humphrey Lyttleton (3), Ronnie Scott (3), Alan Skidmore (3), Mike Westbrook (3), Acker Bilk (2), Spike Hughes (2), Ken Colyer (1). I've probably slighted most of them. But rather than try to catch up with British jazz musicians I've missed, I spent much of the week with Polish ones. Mostly it was just easier: Polskie Nagrania Muza (now owned by Warner Music Poland) has a series of 80 volumes of "Polish Jazz," and that's most of what you get when you do a title search for "Polish jazz" on Napster. The immediate appeal was a couple albums I had missed by Tomasz Stanko, and a couple more by Zbigniew Namyslowski -- I've long been a fan of his 1973 album, Winobranie. Most of this week's haul comes from that series, with a few more to come next week (although my interest is finally starting to flag). I wasn't surprised to find a bunch of trad jazz titles, but was pleased to note how well done they were. Indeed, the bop groups were also pretty sophisticated. The only genre that fell short of contemporary standards was 1970s fusion -- which, you may recall, could be pretty bad everywhere. Two other clusters in the "old music": I started the week with English folksinger Shirley Collins' latest, and thought I'd sample some of her early records (especially one with Albion Dance Band which I used to own, but couldn't find). That didn't last long. The second cluster is from English drummer Steve Harris. I was reminded of him while looking at my list of Penguin Guide crown albums, and his was the only one I hadn't heard. Turns out that both it and a bunch more have recently (2018) been released on Bandcamp. I wound up liking the 2002 ZAUM album even more. For new music, I worked a few things off my queue -- some of which won't be released until the Fall (it's hard to pace myself with them). Also spent a fair amount of time on the fence over DeForrest Brown Jr.'s latest album, so I wound up listening to his other releases. Listening order below, not release order. I'll try to get around to some old British jazz this week. See if anything really clicks. Would be great if I could find my old Blue Notes for Monghezi LP, still unrated. Also been looking at the Bandcamp lists, which suggested Speaker Music (also Jenna Camille and Hideto Sasaki). Recommendation: Jason Bailey and Mike Hull (my nephew) have started to produce podcasts. Episode 1: 'Fight the Power' discusses Spike Lee's film, Do the Right Thing. Questions queue is empty now. Please use the form. New records reviewed this week: Max Bessesen: Trouble (2020, Ropeadope): Alto saxophonist, originally from Denver, based in Chicago, records in both places for his debut album, adding Colorado-based trumpet player Ron Miles for the Denver set. With Eric Krouse on piano, plus bass and drums. Nice postbop. B+(**) [09-04] Jenna Camille: The Time Is NOW (2020, self-released): Singer-songwriter, plays keyboards, born in Atlanta, based in DC, last name may be Henderson, self-released an album in 2014, sixth release per Bandcamp. Politics first, experimentation always, finally settling into ambient groove. B+(*) [bc] Shirley Collins: Heart's Ease (2020, Domino): English folk singer, 85, MBE, I remember her from Albion Dance Band in the 1970s but didn't get anything into the database. Her debut was actually 1959, and she retired in 1980, but came back with a very solid album in 2016 (Lodestar, high B+). Voice is worn, gravity helps. B+(**) Duotrio: In the Bright and Deep (2020, Blujazz): "A modular chamber music ensemble" led by trumpeter Daniel Nissenbaum, configured as two bands, neither trios: one based in Holland (quintet), the other in Philadelphia (quartet plus strings/orchestra, vocals on one piece, guitar on another). Sounds semi-classical to me, not to my taste. B- [cd] Gato Libre: Koneko (2019 [2020], Libra): Japanese trumpeter Natsuki Tamura's group, a trio with Yasuko Kaneko on trombone and wife Satoko Fujii on accordion. Eighth group album, with 2006's Nomad my favorite (by far). Interesting enough, but seems a bit slow. B+(**) [cd] John Hollenbeck: Songs You Like a Lot (2019 [2020], Flexatonic): Drummer, mastermind bnehind the Claudia Project, Large Ensemble impressario, presents his third album of likable songs, with Theo Bleckmann and Kate McGarry singing, Gary Versace on piano, and the Frankfurt Radio Big Band. Mostly songs I don't much like, but he also manages to spoil "God Only Knows" -- and not just by twisting it into "Only God Knows." B- [08-14] Camden Joy: American Love (2020, self-released): Tom Adelman, a novelist before singer-songwriter, follows up his EP with a full-length album, 14 songs, lots of historical figures from the suffragists and William Jennings Bryan to Johnny Paycheck: "A lot of famous dead Amerians collide with a lot of dying American musical styles." Musically, reminds me a bit of Thomas Anderson, with less twang. B+(**) Kenny Kotwitz & the LA Jazz Quintet: When Lights Are Low (2020, PMRecords): Leader plays accordion and celeste. Rest of the quintet adds guitar (John Chiodini), vibraphone, bass, and drums. All standards, the title cut from Benny Carter, reprised at the end. Not as schmaltzy as one might expect, but a little. B+(*) [cd] Simon Moullier: Spirit Song (2017-20 [2020], Outside In Music): Vibraphone player (also credited with "balafon, percussions, synths"), first record, recorded over four sessions, with bass (Luca Alemano) and drums (Jongkuk Kim), most tracks adding piano and/or sax (Dayna Stephens or Morgan Guerin). I particularly like the balafon closer. B+(***) [10-09] Jose Rizo's Mongorama: Mariposas Cantan (2018-19 [2020], Saungu): Rizo is a DJ, songwriter, and (here) bandleader, based in Los Angeles. This, obviously, is a tribute band to Mongo Santamaria, reprising his songbook, with typical flair. B+(**) [09-16] Lawrence Sieberth Quartet: An Evening in Paris (2020, Musik Blöc): Pianist, based in New Orleans, handful of albums going back to the 1980s. Recorded this one in Paris, with Stephane Guillaume (sax), Michel Benita (bass), and Jeff Boudreaux (drums). B+(**) [cd] [09-24] Speaker Music: Black Nationalist Sonic Weaponry (2020, Planet Mu): DeForrest Brown Jr., "a New York-based theorist, journalist, and curator . . . a representative of the Make Techno Black Again campaign." Maia Sanaa's opening testimony of powerful and touching. A second tract is more pragmatic and less inspired. The beats hold up on their own, at least until the final track rattles my nerves. It's called "It is the Negro Who Represents the Revolutionary Struggles for a Classless Society." Comes with a 45 page PDF, which I haven't seen. A- Speaker Music: Of Desire, Longing (2019, Planet Mu): DeForrest Brown Jr., raised in the deep South, moved to New York 7 years ago, first album, two 23-minute pieces, "With Empathy," and "Without Excess." B+(**) [bc] Speaker Music: Processing Intimacy (2019-20 [2020], Planet Mu): A "reassessment" of material from Of Desire, Longing, five parts squeezed into a single 45:51 track. Bits of industrial warble, scales up nicely. B+(***) [bc] Speaker Music: Percussive Therapy (2020, Planet Mu, EP): Four tracks, 17:50. Starts with more focus on the drums (or whatever they are), but ends up in the electronic ether. B+(**) [bc] Recent reissues, compilations, and vault discoveries: Hideto Sasaki-Toshiyuki Sekine Quartet Plus 1: Stop Over (1976 [2020], BBE): Japanese group, leaders play trumpet and piano, accompanied by alto sax (Noriyasu Watanabe), bass, and drums. Hard bop with a lush overgrowth, comparison given is to Kenny Dorham. B+(**) [bc] Old music: Ewa Bem With Swing Session: Be a Man [Polish Jazz Vol. 65] (1981 [1982], Polskie Nagrania Muza): Singer, backed by trumpeter Henryk Majewski's swing band. First side in English, starting with a six-song medley and adding four more standards from "Misty" to "Groovin' High." She's very good at this. Second side is in Polish, no less swinging. B+(**) Shirley Collins: Sweet England (1959, Argo): English folksinger, sings and plays banjo, first album, Alan Lomax produced. High, lonesome voice, pretty basic guitar and banjo, still comes back to haunt you. B+(**) Shirley Collins: False True Lovers (1959, Folkways): Cover text: "A collection of British love songs about love, adapted and sung by Shirley Elizabeth Collins of Sussex, England, with guitar and five-string banjo accompaniment by John Halsted, Ralph Rinzler, Guy Carawan and Miss Collins. With notes by Alan Lomax." B+(*) Shirley Collins/Davy Graham: Folk Roots, New Routes (1964, Decca): Graham plays guitar -- indeed, his first (1963) album was called The Guitar Player. More elegant, but I rather miss the banjo. B+(*) Ducks Deluxe: Side Tracks & Smokers (1973-2009 [2010], Jungle): Six "rough mixes" from the eponymous debut sessions, sound great not least because they're looser than the final takes; two b-sides; eight live tracks from the Sean Tyla-Martin Belmont reunion band -- two Dylans I'd drop, three more bar band covers, two basic Tylas, a 9:19 "Teenage Head." B+(**) Hagaw: Do You Love Hagaw? [Polish Jazz Vol. 12] (1967, Polskie Nagrania Muza): Polish trad jazz band led by banjo player Gregorz Brudko, with trumpet, trombone, sax, violin, bass, and drums, tilts the balance toward the strings. Asocjacja Hagaw recorded ten albums through 1986. B+(**) Steve Harris: ZAUM (2002, Slam): British drummer (1948-2008), played in a rock band in the late 1960s (Woody Kern), a jazz-funk outfit from 1987 on (Pinski Zoo), formed this group in 2001, named after a Russian Futurist concept. With Cathy Stevens (six string violectra, viola), Geoff Hearn (tenor, soprano sax), Karen Wimhurst (clarinet, bass clarinet), Udo Dzierzanowski (guitar). "Instant compositions" -- works in large part because the group is so intricately balanced. A- Steve Harris/ZAUM: Above Our Heads the Sky Splits Open (2004 [2007], Amazon): This record was awarded a Penguin Guide crown in their 8th edition, and may be the only crown album I never picked up. Sax, clarinet, two guitars, a sampler, a bunch of strings. The simplest rhythmic-focused tracks are terrific (e.g., "Trouble at house-for-one"), but the strings lack such immediate appeal -- at least until the 19:43 closer ("White pass ink black moon") puts it all together. A- [bc] Steve Harris/ZAUM: The Little Flash of Letting Go (2004-05 [2005], Spitz Live): Band is stripped down a bit here: one horn (Geoff Hearn on tenor sax), two guitars, the strings reduced to Cathy Stevens (viola, electric violin). Also sampler on two tracks. Again, best track comes last. B+(***) [bc] High Society: High Society [Polish Jazz Vol. 18] (1969 [1970], Polskie Nagrania Muza): Trad jazz group from Gliwice, septet, seems to be their only album, not much about the musicians, although Witold Wertel (soprano sax) and Leszek Furman (piano) are the only ones with writing/arranging credits, and the banjo (Jan Piecha) is strong throughout. B+(***) Jazz Band Ball Orchestra: Jazz Band Ball Orchestra [Polish Jazz Vol. 8] (1966, Polskie Nagrania Muza): Trad jazz septet led by pianist Jan Boba, who wrote nearly half of the pieces. The other main composer was Zbigniew Raj, not in the band, otherwise best known for soundtracks. Bright, strong group. B+(***) Mieczyslaw Kosz: Reminiscence [Polish Jazz Vol. 25] (1971 [1972], Polskie Nagrania Muza): Pianist, died young (age 29 in 1973), only recorded a couple more albums. Backed here by Bronislaw Suchanek (bass) and Janusz Stefanski (drums). Two originals, one from Suchanek, covers from Borodin, Chopin, Liszt, and Lennon/McCartney. Nice, thoughtful touch. Bet he loved Bill Evans. B+(*) Andrzej Kurylewicz Quintet: Go Right (1963, Polskie Nagrania Muza): Trumpet player (1932-2007), leading a quintet with Jan Ptaszyn Wróblewski (tenor sax/flute), Wojciech Karolak (piano), bass, and drums -- songs from the leader and first two. Contemporary bop, strong performances, especially the saxophonist. B+(***) Andrzej Kurylewicz: Polish Radio Big Band [Polish Jazz Vol. 2] (1964 [1965], Polskie Nagrania Muza): Plays valve trombone here, piano elsewhere, leading a 19-piece big band, mostly wrote "serious music" after 1970, shows some knack for arranging here, with nice charts and solos. B+(**) Adam Makowicz: Live Embers [Polish Jazz Vol. 43] (1975, Polskie Nagrania Muza): Pianist, born Andrzej Matyszkowicz, clasically trained but more impressed by Art Tatum. Moved to New York in 1978, and wound up in Toronto, so he's relatively well known here. Solo piano, two Scott Joplin tunes, two Coltrane, rest originals. B+(*) Mieczyslaw Mazur: Rag Swing Time [Polish Jazz Vol. 27] (1971, Polskie Nagrania Muza): Pianist, seems to be his only album, but he also appeared in Ragtime Jazz Band and Old Timers. Delivers on his title, especially with the solo rags to open and close. Adds banjo, guitar, bass, and drums for most cuts. B+(**) The Wlodzimierz Nahorny Trio: Heart [Polish Jazz Vol. 15] (1967 [1968], Polskie Nagrania Muza): Leader plays alto sax and piano, most distinctly the former, has had a pretty substantial career, which as far as I can tell starts here. Avant, backed by bass and drums, makes a strong impression. B+(***) Zbigniew Namyslowski: Zbigniew Namyslowski Quartet [Polish Jazz Vol. 6] (1966, Polskie Nagrania Muza): Alto saxophonist, in the 1965 group that recorded Krzysztof Komeda's masterpiece Astigmatic, a prominent Polish jazz figure ever since -- best known to me for his 1973 album Winobranie. Quartet with the future Adam Makowicz on piano, plus bass and drums. A- Zbigniew Namyslowski Quintet: Kujaviak Goes Funky [Polish Jazz Vol. 46] (1975, Polskie Nagrania Muza): Adds a second saxophonist, Tomasz Szukalski (soprano/tenor), and electric piano (Wojciech Karolak) and lots of bass to go funky. A- Zbigniew Namyslowski Quintet: Polish Jazz - Yes! [Polish Jazz Vol. 77] (2016, Warner Music Poland): Plays soprano as well as tenor sax, with piano, two guitars, and trombone. B+(**) NOVI: Bossa Nova [Polish Jazz Vol. 13] (1967, Polskie Nagrania Muza): Vocal group, three male and one female, acronym for New Original Vocal Instruments, also known as NOVI Singers. First of ten albums through 1981. Inspiration may be Brazilian, hinted at in the rhythm, but all original credits, mostly scat blending into choral, with piano-guitar-bass-drums, or sometimes strings. B Polish Jazz Quartet: Polish Jazz Quartet [Polish Jazz Vol. 3] (1964 [1965], Polskie Nagrania Muza): Polish names are notoriously difficult for English speakers, which has led some to shorten Polish names, or simply to punt, e.g., Polish Notation (PN) for the scheme worked out by Jan Lukasiewicz. Not sure if that's at play here, but here are the names: Jan "Ptaszyn" Wroblewski (tenor sax), Wojciech Karolak (piano), Juliusz Sandecki (bass), and Andrzej Dabrowski (drums). The bassist produced little after this, but the others went on to substantial careers, with Wroblewski touted as "the godfather of Polish jazz." Contemporary bop, well done. B+(**) The Ragtime Jazz Band: The Ragtime Jazz Band [Polish Jazz Vol. 7] (1966, Polskie Nagrania Muza): Closer to what I think of as trad jazz than to ragtime. Octet, led by cornet player Wladyslaw Dobrowolski, with trumpet, trombone, tuba, clarinet, banjo, piano, and drums. All titles in Polish, credited to band members. B+(**) Tomasz Stanko Quintet: Music for K (1970 [2004], Polskie Nagrania Muza): Polish trumpeter, had played in Krzysztof Komeda's group in the 1960s, and Globe Unity Orchestra in 1970. This was his first album as leader, a quintet with two saxes, bass, and drums. Free jazz, pretty sharp all around, especially trumpet. Presumably K was Komeda, who died the year before, at 38. A- Tomasz Stanko: Music 81 [Polish Jazz Vol. 69] (1982 [1984], Polskie Nazrania Muza): Trumpet player, leads an impressive quartet with piano-bass-drums. B+(***) Andrzej Trzaskowski: The Andrzej Trzaskowski Quintet [Polish Jazz Vol. 4] (1965, Polskie Nagrania Muza): Pianist (1933-98), backed by bass and drums, with Tomasz Stanko (trumpet) and Janusz Muniak (alto/soprano sax). Contemporary bop, starts strong, both on piano and trumpet. B+(**) Michal Urbaniak's Group: Live Recording [Polish Jazz Vol. 24] (1971, Polskie Nagrania Muza): Violinist, also plays soprano/tenor/baritone saxes. Started in a Dixieland band, played with Komeda and Namyslowski in the 1960s. Moved to New York in 1973, adopted the group name Fusion, but ranges widely. Quartet with Adam Makowicz on piano, starting with the riotous 21:12 "Suite - Jazz Jamboree 70," followed by covers of Komeda's "Crazy Girl" and "Body and Soul." B+(***) Warsaw Stompers: New Olreans Stompers [Polish Jazz Vol. 1] (1959-64 [1965], Polskie Nagrania Muza): Polish jazz was first noticed in the West through Krzysztof Komeda's soundtracks and Tomasz Stanko joining avant-jazz groups like Globe Unity Orchestra, but it always made sense that there would be some trad jazz bands in the background -- Europe's first introduction to jazz was when the Original Dixieland Jazz Band toured England, and trad jazz remained the dominant form there through the 1950s, spreading elsewhere in Europe wherever you looked. I took a blind chance on a later album by trumpeter Henryk Majewski, clearly out of this tradition, and one of the stars here. This was assembled from six sessions over five years with various lineups -- the only constants are Majewski and Bogdan Ignatowski (banjo). As bright as anything out of London (or New Orleans) at the time. A- Janusz Zabieglinski: Janusz Zabieglinski and His Swinget [Polish Jazz Vol. 9] (1967, Polskie Nagrania Muza): Leader plays clarinet and alto sax, only other album I can find of his is Tribute to Duke (1997), but he was part of the long-running Old Timers group. Sextet, with guitar, piano, bass, drums, and (most distinctively) vibraphone. B+(**) Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, August 9, 2020 Weekend RoundupOne thing I've noticed here but don't have the time or patience to try to unpack is that a significant share of the articles below look ahead to after the November election -- usually assuming that Trump will be defeated, some allowing for the possibility that Trump will cheat massively and produce a disputed result. This was bound to happen sooner or later, but this soon is a bit surprising. Maybe it's because the whole year is something we can't wait to get over with? Some of the future articles imagine a chance for the Republican Party to reform itself after the Trump debacle, but I don't see that happening any time soon -- in large part thanks to the speed with which the Party recovered after the 2008 debacle. In many ways, Democrats will find it harder to function after winning than Republicans will -- especially if their victory isn't deep enough to capture both houses of Congress, allowing Republicans to obstruct their efforts, and Fox to blame those losses on the Democrats. Finally, some pieces start to look at where the economy is headed -- not so much after the pandemic but along with it. Had I tried to speculate on that 4-6 months ago, I no doubt would have come up with little more than reassertions of what I had long been thinking. Now I'm less certain than ever. Biden's date for announcing his VP pick is August 10. Good to get this posted before then. Some scattered links this week: Zeeshan Aleem: Trump falsely claims coronavirus is "disappearing" and Russia isn't meddling in the 2020 election: "Trump's surprise news conference held at his private club was packed with false claims about America's crises." Michael Arria: Biden personally intervened to get the word 'occupation' removed from the Democratic Party platform: I don't discount the significance of one's views on Israel-Palestine as a test of political principles, but as a practical matter in a contest between Biden and Trump, and more generally between the parties, dropping it from the platform, and inserting some pablum, doesn't bother me. Biden isn't stuck in Sheldon Adelson's pocket, and he's not going to owe anything to the fundamentalist Christian apocalypse-mongers backing Trump. After the election, he'll have options based on future events, which he may or may not respond to constructively. But at this point, Israel has gone so far down its racist-militarist apartheid path that it's hard to see the US having any real influence (as if it ever has). Elsewhere, it's more important that the US disengage from its own occupations and interventions. Dismantling systemic racism and militarism at home would also help, perhaps more than anything else. Israel has chosen to follow its own rogue path, but that choice has always been easier with the US as a model. Take that away, and maybe Israel will start to realize the folly of its path. In the long run, all nations have to change of their own accord -- even the ones the US is so obsessed with bending to its will, like North Korea, Venezuela, Iran, Russia, and China. Joshua A Barocas/Jennifer E Lacy: The pandemic is an extraordinary opportunity to reform US education: "We should allow kids to take a gap year and waive standardized testing before it's too late."
Isaac Chotiner: Why Stuart Stevens wants to defeat Donald Trump: Interview with Stevens, who worked in the GW Bush presidential campaigns and was Mitt Romney's top strategist in 2012. More recently, he wrote It Was All a Lie: How the Republican Party Became Donald Trump, and is an adviser to the Lincoln Project. Still a lot of delusions here for past Republicans, especially Romney. Also a strong belief that the president's number one job is opposing Putin. For another interview with Stevens, see David Corn: The Republican Party is racist and soulless. Just ask this veteran GOP strategist. Patrick Cockburn:
Chas Danner: Yes, Trump actually did want to be added to Mount Rushmore: "A White House aide reportedly looked into the process for adding another president's face to the monument." Filed under "Delusions of grandeur." Wade Davis: The unraveling of America: "Anthropologist Wade Davis on how Covid-19 signals the end of the American era." Jason Ditz: Superhawk Elliott Abrams named Special Envoy on Iran: Most recently, he's been Special Envoy for Venezuela, a job he's made a total mess of. Disasters are nothing new for Abrams. Ever since he got out of jail for his role in Reagan's Iran-Contra scandal, he's using his foreign policy clout to make things worse -- especially his tenure as GW Bush's top dog on Israel-Palestine. More on Abrams:
Tom Engelhardt: The unexpected past, the unknown future: It could have been different: Nostalgia for the bad old days, just following 9/11, when the Bushies thought all they had to do to rule the world was "to take the gloves off." Engelhardt resisted that idea from its inception, and if he's ever been wrong, it was to underestimate how bad it might get. Amy Gardner/Josh Dawsey: As Trump leans into attacks on mail voting, GOP officials confront signs of Republican turnout crisis: It's real hard to anticipate how turnout is going to break, but this is one part of the question. This was the first of several articles linked to in As Trump attacks mail voting, GOP officials confront signs of Republican turnout crisis. Another is Pema Levy: Democracy depends on the postal service more than ever. Republicans won't help fix it. Some more pieces on Trump, voting, and mail:
Shirin Ghaffary:
Susan B Glasser: "Mr President, what are your priorities?" is not a tough question: "Trump is running for reëlection, but, unlike four years ago, he can't even say why." Reduced to red hat slogans, he wants to keep America as great as it became the moment he was elected and inaugurated in 2017, which by definition will cover four more years. Why can't people grasp that? I mean, aside from the fact that none of the people are Donald J Trump?
John F Harris: Donald Trump has the sole authority to blow up the world. It is madness to let him keep it. Madness to give any president solo authority, much less one who seems incapable of understanding what nuclear weapons can do, yet who seems fascinated with finding out. Thought about filing this under Hiroshima (below), but decided this is a current issue, not history. One thing that keeps is current is how completely Trump has dismantled arms limitation treaties with Russia. Also how he's approved the plan to spend a trillion dollars rebuilding America's nuclear arsenal. I sometimes wonder what else Trump can do to destroy the country before leaving office, and this is high on the list. Kaleem Hawa: Present absences: Review of Rashid Khalidi's new book, The Hundred Years' War on Palestine: A History of Settler Colonialism and Resistance, 1917-2017, selecting the Balfour Declaration as his arbitrary starting point, no doubt cognizant that the "war" isn't over at a mere century. Jacob Heilbrunn: Why the United States invaded Iraq: Review of Robert Draper's new book, To Start a War: How the Bush Administration Took America Into Iraq. Seems like there should be more here on Afghanistan, but for Bush, Cheney, et al., war with Iraq was predetermined, and if anything Afghanistan just slowed them down a bit. One thing here I previously missed was the 1998 "Rumsfeld Commission," where Congress gave "Donald Rumsfeld, Wolfowitz and other hawks . . . a high-profile platform" to fantasize about and play up the Iraqi threat. Draper also "presents the former CIA director George Tenet in a particularly unflattering light, suggesting that he made up for his frustrations with Bill Clinton by excess ("slam dunk") enthusiasm for GW Bush.
Sean Illing:
Alex Isenstadt: Trump antagonizes GOP megadonor Adelson in heated phone call. Derrick Johnson: Voter suppression is back, 55 years after the Voting Rights Act. Fred Kaplan:
Roge Karma: How cities can tackle violent crime without relying on police: Interview with Patrick Sharkey, author of Uneasy Peace: The Great Crime Decline, the Renewal of City Life, and the Next War on Violence. Isabel Kershner/Pam Belluck: When Covid subsided, Israel reopened its schools. It didn't go well. Ezra Klein: How inequality is changing the Republican Party -- and breaking American politics. Review of Jacob S Hacker/Paul Pierson: Let Them Eat Tweets: How the Right Rules in an Age of Economic Inequality. I read the book recently, and recommend it. More on this book:
Hiroki Kobayashi: The elusive horror of Hiroshima: It's the 75th anniversary of our rude awakening to the atomic age. This refers back to John Hersey's early reporting of the bomb's devastation -- you can read Hersey's classic report here. I previously wrote about Hiroshima and Nagasaki on their 70th anniversary: Thinking about the unthinkable. I also wrote an earlier piece in the August 6, 2005 notebook. Some more on Hiroshima:
Zack Kopplin: How Mike Pompeo built a blood-for-oil pipeline: "The State Department, a conservative-connected shell company, and a key Kurdish crime family team up to siphon Syrian oil for US investors." Josh Kovensky: NRA looted its Foundation to cover cash hemorrhage, DC AG alleges. Michael Krimmage/Matthew Rojansky: The problem with Putinology: "We need a new kind of writing about Russia." Primarily a review of Catherine Belton's Putin's People: How the KGB Took Back Russia and Then Took on the West, which exemplifies the "old kind of writing," which trades in paranoia over Russia's evil designs to cripple and dominate the West -- easy enough to sell in America given the legacy and continuing hegemony of Cold War propaganda. The authors counter some of this, but don't go very far -- they certainly don't want to be dismissed as pro-Putin. It's easy for us to be critical of Putin, but we forget what a disaster Russia faced in the 1990s under Boris Yeltsin. With the old regime discredited, Yeltsin turned state-owned enterprises over to a set of underworld figures who emerged as more-or-less criminal oligarchs. Putin's principal task was the bring the oligarchs back from anarchy, which he did in classic Mafia manner by becoming capo di tutti capi. He wrapped his move by playing up nationalism, but he's more often been a limit against the ultra-nationalist opposition, which really does want to restore Russia's imperial greatness by recovering the periphery lost in 1991. He's also embraced the usual center-right power bases, like the church and the military. And he hasn't always respected the tenets of liberal democracy, but that's partly because they've never really taken root in Russia, and also because the left has never been able to form a credible opposition to Putin (remnants of the Communist Party are so wrapped up in nostalgia that they often wind up to Putin's right). Of course, America doesn't really care about Putin strong-arming his opponents -- even the tiny slice devoted to America's vision of neoliberalism. Rather, they cannot abide Russia doing business with countries on America's shit list, like Syria, Iran, and Venezuela. The fact is that Russia has few opportunities to form bonds abroad, and standing up to American bullying is still a popular stance in Russia. This situation only gets worse as American foreign policy gets ever more self-centered and myopic -- a trend that Trump has added a few new twists to but has been the rule since GW Bush decided to lead his Global War on Terror. The art to diplomacy is the ability to see what's important to the other side, and compromises which deliver more than half a loaf to both sides. Simply demanding that the other side bow over and submit has never worked very well (or for very long), and is even more ridiculous given America's declining stature with the rest of the world. A positive step here would be to start showing some respect for Putin, which doesn't necessarily mean glossing over his crimes, just putting them in context. Anita Kumar: 'She is absolutely our No. 1 draft pick': GOP pines for Rice as Biden VP. Hoping not to do a VP cluster this week, but must reiterate that Rice would be a really poor choice. PS: Mine is not the only such opinion:
Daniel Larison: The Jakarta method: How the US used mass murder to beat Communism: Review of Vincent Bevins' book, The Jakarta Method: Washington's Anticommunist Crusade and the Mass Murder Program That Shaped Our World. Aside from the brutal wars in Korea and Vietnam, and I suppose in Afghanistan and Iraq, I've long felt that Indonesia's anti-communist purge in 1965-66 was the single most reprehensible event in American foreign policy. David Leonhardt: The unique US failure to control the virus: "Slowing the coronavirus has been especially difficult for the United States because of its tradition of prioritizing individualism and missteps by the Trump administration." Also of prioritizing business over all other aspects of human life. Nancy LeTourneau:
Eric Levitz: David Shor's unified theory of American politics. He's obviously a very smart guy who's been paid by Democrats to think about how to win elections for the last decade, and he's come up with insights that are uncomfortable to everyone. One thing that occurred to me in his bit on the Obama-to-Trump voters is that while he's probably right that race was the determining factor, one should consider the different ways the two candidates affected thinking on race. Obama was very conciliatory, which encouraged white voters to credit themselves for rising above the race question. Trump, on the other hand, gave white voters reason to feel good about themselves even if they were racist, which it turns out many still were. But Trump's also allowed super-racists to thrive, and maybe that's starting to make the fence-sitters a bit nervous. All through the interview, Shor is very critical of people who develop any consistent sort of ideology, which includes most Democratic politicians, their campaign staffs, and their donors (even rich ones). His advice: "you should talk about popular issues, and not talk about unpopular ones." And do the research to tell one from the other, rather than just following your instinct. Here's an interesting quote:
Amanda Marcotte: Right-wing conspiracy theorists get (even more) unhinged as Trump's chances fade: "With QAnon on the rise, Alex Jones tells his fans to 'kill' progressives: Trump Nation is going full cuckoo." Terrence McCoy: Last year's Amazon fires stirred international outrage. This year's dry season has started out worse. Alexa Mikhail/Dan Rosenzweig-Ziff/Joel Jacobs: After hundreds of covid-19 deaths in state-run veterans homes, lawmakers press VA to adhere to science. I should mention again that my cousin was one of the victims in a VA facility in Oklahoma. Nicole Narea: Trump's latest plan to use the census for political gain, explained. As they note, "more than a third of all US coronavirus cases occurred in July." Michael T Osterholm/Neel Kashkari: Here's how to crush the virus until vaccines arrive: "To save lives, and save the economy, we need another lockdown." JC Pan: The pandemic benefit seems so great because actual wages are insanely low. Kim Phillips-Fein: Rethinking the solution to New York's fiscal crisis. Wendell Potter: The health care scare: "I sold Americans a lie about Canadian medicine. Now we're paying the price." David Roberts: How to drive fossil fuels out of the US economy, quickly. Aaron Rupar:
John Quiggin: The end of interest: This is interesting:
I have two thoughts based on this. The first is a corollary, that if capitalism is dead, the free market will no longer be able to rebuild the economy. Therefore, government must step in, providing planning and finance (and possibly even direction) for new ventures. The nations of East Asia (most dramatically China) have been able to grow above market rates thanks to central economic planning, in contrast to the relatively anemic growth in the West, especially if you discount the excess wealth generated by monopolies, corporate predation, and asset inflation (which is what happens when the rich have more money than things to spend it on). The Green New Deal is certainly one way the government could force feed the economy, and thereby prop it up, but probably isn't in itself all that will be needed. Which leads to the second point, which is that we need to come up with a better alternative than plutocracy. Indeed, we're far enough into plutocracy now that it's more properly seen as a problem, not a solution. But if Quiggin wants to scare people, sure, feel free to point out where that road heads. William K Rashbaum/Benjamin Weiser: DA is investigating Trump and his company over fraud, filing suggests. Jeffrey D Sachs: America's unholy crusade against China: Reaction to Mike Pompeo's big China speech -- "inflammatory anti-China rhetoric could become even more apocalyptic in the coming weeks, if only to fire up the Republican base ahead of the election" -- not sure why he focuses so much on evangelicals:
More on China (for pieces on TikTok, see Shirin Ghaffery above):
Claudia Sahm: Economics is a disgrace. Dylan Scott:
Steven Shepard: Kobach and Clay go down: Takeaways from a big primary night: Primaries in Arizona, Kansas, Michigan, Missouri, Washington, and Tennessee. In Kansas Republican Senate primary, Roger Marshall beat Kris Kobach 39.41% to 25.68%, with Bob Hamilton at 18.34% and Wichita Eagle-endorsed David Lindstrom in 4th with 6.33%. Kobach barely won the governor primary in 2018 then lost, so he's increasingly viewed as a loser as well as a lunatic. Lacy Clay (D-MO), who's always struck me as a pretty progressive Congressman, lost to Cori Bush, who promises to be even better. Another incumbent, Steve Watkins (R-KS), recently indicted, lost his primary. Rashida Tlaib (D-MI) faced a well-financed opponent she had barely won over in 2018, and won 66.27% to 33.73%. The biggest piece of election news was Missouri voting in favor of Medicaid expansion. Article doesn't have any "takeaways" from Tennessee (which voted later), where Trump-endorsed Bill Hagerty appears to have won the Republican Senate nomination. Related:
Alex Shephard:
Richard Silverstein: Israel bombed Beirut:
Silverstein followed this initial report with Ex-CIA analyst confirms Beirut blast initiated by "military munitions," Lebanese President to examine role of "external actors"; and Senior Israeli opposition leader: Hezbollah arms cache caused Beirut explosion. I should note that I haven't seen any corroboration of Silverstein's reports elsewhere. Israel has publicly denied its involvement, although they've frequently attacked alleged Hezbollah supplies and forces in Syria, waged a brutal war against Lebanon in 2006, and invaded Lebanon in 1982, not leaving until 2000. They still occupy a small patch of Lebanon, a major bone of contention with Hezbollah. Mainstream media sources have focused on the large store of ammonium nitrate, which came from an abandoned Russian ship, while claiming that the initial fire which ignited the larger explosion had something to do with fireworks. As the articles below note, Lebanon has been struggling for some time, and there is a lot of pent-up resentment against the long-ruling cliques. There were popular demonstrations against the government over a year ago, and they have flared up again.
Jeffrey Toobin: It really is time to get rid of the filibuster. Lucian K Truscott IV: Let's remember that long with everything else, Donald Trump's a total pig. Pic here of a much younger Trump with his old buddy, Jeffrey Epstein. Chris Walker: Students suspended for taking pictures of crowds in Georgia school's reopening: This is the "cancel culture" I remember from the 1950s. PS: 9 people test positive for coronavirus at Georgia school that went viral for crowded photo. Sean Wilentz: What Tom Cotton gets so wrong about slavery and the constitution: It was the Arkansas Republican Senator to called slavery "a necessary evil upon which the union was built" -- not the founders he cites. See Bryan Armen Graham: Tom Cotton calls slavery 'necessary evil' in attack on New York Times' 1619 Project. Note that Cotton is not only asserting his own views, he's trying to suppress the views of others: specifically, historians who have attempted to document the long and disgraceful history of slavery and racism in the United States. Matthew Yglesias:
Li Zhou/Ella Nilsen: Why Republicans are dragging their feet on more stimulus. Now that the stock market has recovered, and the rich are richer than ever, their job is done. Sure, they still would like to get lawsuit immunity for businesses. But fuck everyone else. Note: The first group of pieces date from earlier in the week, before Trump punted with his executive orders. I've put them first, then reports on the executive orders and the reaction in a second block.
Then on Saturday, Trump broke off negotiations and signed his orders. They are a purely political ploy: a way to claim he's doing something without delivering much of anything. They are a "free lunch," as in "there's no such thing as a free lunch":
Ask a question, or send a comment. Tuesday, August 4, 2020 Music Week
Music: Current count 33729 [33697] rated (+32), 223 [220] unrated (+3). After a month-plus of regularly hitting 40+ records per week, my energy and/or patience flagged last week. I started most days with something from the travel cases, or Tougher Than Tough: The Story of Jamaican Music (long out of sight, found it on a top shelf up stairs, along with Fats Waller's If You Got to Ask, You Ain't Got It box. Didn't unpack until Monday, and spent the rest of the day muddling through metacritic lists. After that, didn't feel like writing anything, so put that off a day. Still don't, but will try to touch a few bases. As I noted in the intro to Weekend Roundup, my cousin Duan Stiner caught Covid-19 and died last week, three days shy of 93. He had been living in a VA facility northeast of Tulsa for two years. Although "locked down" in March, the disease got in and decimated the population. Last time I visited was shortly after he moved there. I can't say as I was particularly pleased with the place, but his daughters were upbeat, and visited him virtually every day (until March). It was a sad end to a long life of hard work and good humor. I've been missing him for a while already. Duan was just one of several older relatives who have faced a lot of hardship this year. Another cousin, Chloe McCandlis, died in February. Others are ill or struggling, and even those who are getting by are finding 2020 to be an especially difficult year to be old in. I haven't traveled since my trip to see Duan in Oklahoma, and I'm not likely to for the foreseeable future, so I'm feeling especially helpless and useless these days. A friend here in Wichita, Don Bass, also died, and we just heard that another is in the hospital. In music, I should mention that Sean Tyla (73) died. He was the leader of the seminal pub rock band Ducks Deluxe, which recorded two albums 1974-75. Both records were personal favorites, with the second (Taxi to the Terminal Zone) the namesake for the short-lived magazine Don Malcolm and I published in 1977. Worth noting that I much preferred the UK version of their eponymous debut: there were two jazzy pieces that made much more sense in context than moved to weaken the second side of RCA's US release. They exemplified everything I loved in rock & roll. For the moment, I harbored the idea that the past of rock & roll might be its future. Of course, a couple years later the future did arrive, and it was something else. When Ducks Deluxe broke up, Tyla carried on as the Tyla Gang, while other band members joined the Motors and the Rumour (Graham Parker's backup band, but they also recorded without Parker). I enjoyed his first title (Yachtless), but nothing else he did made much of an impression. Best source for new records this week has been Bandcamp Daily, but I also tried picking off some of the higher ranking metacritic titles (link above). Also scanned Phil Overeem's July list, slimmed down and slightly annotated. The grade change came after receiving a CD, which certainly helped. One question in the queue. Feel free to ask more. New records reviewed this week: The 1975: Notes on a Conditional Form (2020, Dirty Hit): British group, fourth album since 2013, eponymous debut opened at number one on UK charts, other three albums also cracked top five in US. Starts with soft electronics framing a Greta Thunberg message ("Either we prevent a 1.5 degree of warming, or we don't/ Either we avoid setting off that irreversible chain reaction beyond human control, or we don't/ Either we choose to go on as a civilization, or we don't"), then the band breaks out like the Clash ("Wake up! Wake up! Wake up!"). Of course, they aren't the Clash, so the remaining 73 minutes is filled with their usual postmodern pop, though not without occasional interest. B+(***) Arca: @@@@@ (2020, XL): I ignored this when it came, out, seeing it flagged as a "single." Indeed, a single track, but 62 minutes, as jumbled at a typical album. B+(*) Armand Hammer: Shrines (2020, Backwoodz Studioz): New York hip-hop duo, rapper Billy Woods and producer Elucid, fourth album. Pretty sharp. B+(***) [bc] The Beths: Jump Rope Gazers (2020, Carpark): Alt/indie band from New Zealand, second album, harmony voices led by Elizabeth Stokes, guitar-bass-drums. B+(*) Boldy James & the Alchemist: The Price of Tea in China (2020, ALC/Boldy James): Rapper James Jones III, born in Atlanta, grew up in Detroit, second album, both with Daniel Maman co-writing and producing. B+(***) Lisa Cameron/Tom Carter/Ingebrigt Håker Flaten: Tau Ceti (2019 [2020], Astral Spirits): Last names only on cover, no instrument credits, but figure drums-guitar-bass, split between an "acoustic side," which feels like treading water, and an "electric side," which raises the ante. B+(*) [bc] Crazy Doberman: Illusory Expansion (2019 [2020], Astral Spirits): Collective improv group, has recorded extensively since 2017 (or, as Doberman, 2014). This, which lists 16 musicians, is the first on a label I've heard of. Mix of industrial ambient and free jazz. B+(*) [bc] Falkner Evans: Marbles (2019 [2020], CAP): Pianist, based in New York, handful of albums since 2001, aims big here with a sextet -- Michael Blake and Ted Nash (saxes), Ron Horton (trumpet), bass, and drums -- plus vibes (Steve Nelson) on three cuts. All originals, elegant postbop. B+(**) [cd] John Fedchock NY Sextet: Into the Shadows (2019 [2020], Summit): Trombonist, probably best known for his big bands, scales down nicely, with Scott Wendholt (trumpet) and Walt Weiskopf (tenor sax), plus piano-bass-drums. B+(**) [cd] Sue Anne Gershenzon: You Must Believe in Spring (2020, self-released): Standards singer, seems to be her first album, support includes Joel Frahm (tenor sax) and Ryan Keberle (trombone), a pianist-arranger hard on my eyes (Glafkos Kontemeniotis?), and occasional strings. Nice take on title track. B [cd] Kate NV: Room for the Moon (2020, RVNG Intl): Russian singer-songwriter, Ekaterina Shilonosova, from Kazan, singer in the postpunk band Glintshake, third solo album. Electronics and voice, "conjured from unlived memories of 70s and 80s Russian and Japanese pop music and film." Pretty delightful combination. A- Keys & Screws [Thomas Borgmann/Jan Roder/Willi Kellers]: Some More Jazz (2017 [2020], NoBusiness): Sax-bass-drums trio, leader playing tenor and soprano, also "toy-melodica." Nice, edgy free jazz, backing smartly away from the abyss. A- [cdr] David Krakauer & Kathleeen Tagg: Breath & Hammer (2020, Table Pounding): Clarinet player (also bass clarinet), klezmer specialist (1995 debut was Klezmer Madness), duets with piano, although pieces are built up in layers to form a "piano orchestra." B+(**) [bc] Lianne La Havas: Lianne La Havas (2020, Nonesuch): British singer-songwriter, third album, Matthew Hales shares most writing credits, the only cover song from Radiohead. B+(*) Jessy Lanza: All the Time (2020, Hyperdub): Canadian electropop singer-songwriter, third album. B+(*) Mako Sica/Hamid Drake: Balancing Tear (2020, Astral Spirits): Chicago group, dates from 2008 with Przemyslaw Krys Drazek (trumpet, guitar), Brent Fuscaldo (voice, electric bass, classical guitar, harmonica, percussion), and Chaetan Newell (keyboards, cello, viola, drums, ukulele, upright bass), plus the guest drummer. Group has rock roots, but vocals are atrophied, and they more properly belong in some kind of post-rock orbit. B+(*) [bc] Protomartyr: Ultimate Success Today (2020, Domino): Detroit band, Joe Casey the singer, backed with guitar-bass-drums, plus the occasional guest -- two names that jump out at me are Jemeel Moondoc (alto sax) and Fred Lonberg-Holm (cello), avant-jazz guys. Fifth album, always solid. B+(**) Jason Robinson & Eric Hofbauer: Two Hours Early, Ten Minutes Late: Duo Music of Ken Aldcroft (2018 [2020], Accretions): Aldcroft was a Toronto guitarist, died at 46 in 2016, left a pretty scattered legacy, ranging from AIMToronto to his Hat & Beard duo. I don't see a direct connection to the two Americans playing these duets -- tenor sax and guitar -- but they have a disjointed, somewhat Monkian aspect. B+(**) [cd] Christian Rønn/Aram Shelton: Multiring (2018 [2020], Astral Spirits): Danish keyboard player, doesn't really seem to be a jazz guy -- 6 years studying church organ, with sides in electronic music, ambient drone, microtonal composition, and soundtracks -- provides an engaging counterpoint for the latter's alto sax. B+(**) [bc] Benny Rubin Jr. Quartet: Know Say or See (2019 [2020], Benny Jr. Music): Saxophonist (tenor/alto), from Flint, MI; second album, quartet with piano-bass-drums, hard bop with harder leads. B+(***) [cdr] Andy Shauf: The Neon Skyline (2020, Anti-): Canadian singer-songwriter, sixth album since 2006. B+(**) Sparks: A Steady Drip, Drip, Drip (2020, BMG): Brothers Ron and Russell Mael, new wave pop band from Los Angeles, released their debut as Halfnelson in 1971, their best title in 1973 (A Woofer in Tweeter's Clothing), then got picked up by Island for three albums. I was briefly infatuated with them, but quickly grew annoyed and held a long-term grudge as they've cranked out new albums every few years. This is their highest US chart since 1974's Propaganda. Still annoying. C+ Paul Weller: On Sunset (2020, Polydor): Singer-songwriter from England, led the Jam (1976-82) and the Style Council (1983-89), went solo with an eponymous album in 1992, 14 more studio albums since then -- all 15 charted in UK (debut peaked at 8, one 5, one 4, rest either 1 or 2), only one cracked the US charts (Sonik Kicks at 166 in 2012). B Kamaal Williams: Wu Hen (2020, Black Focus): British keyboardist, second studio album under his own name, also has a DJ-Kicks mixtape, and several records as Henry Wu, something this title plays on. Saxophonist Quinn Mason lifts this out of its pop jazz groove, but without him it keeps sliding back. B+(*) Recent reissues, compilations, and vault discoveries: Doug Hammond/David Durrah/Charles Burnham: Reflections in the Sea of Nurnen (1975 [2020], Tribe): Drummer, sings some, first album, original cover listed eight musicians, Hammond and Durrah (keyboards) first, Burnham (violin) well down the list. B Nkem Njoku & Ozzobia Brothers: Ozobia Special (1980s [2020], BBE): Igbo highlife, presumably from Nigeria, seems to be only album, leader sings, no one named Ozzobia (or Ozobia) in the credits. Draws on Ghanian highlife, touted as a classic album, not as slick as Lagos juju, but catchy as can be. A- [bc] Shirley Scott: One for Me (1974 [2020], Arc): Organ player (1934-2002), known as "Queen of the Organ," 45 LPs starting with Great Scott! in 1958, slowed down after leaving Impulse! in 1967 and divorced Stanley Turrentine in 1971, recording this for Strata East. With Harold Vick (tenor sax, in fine form) and Billy Higgins (drums). B+(***) [bc] Sleaford Mods: All That Glue (2013-20 [2020], Rough Trade): British duo, James Williamson and Andrew Fearn, spoken word over punkish strum and drums, got noticed for their working class rage, their biggest hit last year's Eton Alive. They cash in here with a compilation of odds and sods ("a collection of songs spanning the last seven years of the bands career"). Unsure of dates, but most that I can pin down were 2013-15 singles. Good to hear them angry again. B+(***) Luiz Carlos Vinhas: O Som Psicodélico De L.C.V. (1968 [2020], Mad About): Brazilian pianist, made his mark in bossa nova from 1963, takes a stab at psychedelica here. B+(*) [bc] Old music: Kate NV: Binasu (2017, Orange Milk): First album, shows considerable pop sense. B+(***) Kate NV: For (2018, RVNG Intl): Half of album title, which like all ten songs is two 3-letter words, the second all caps in English, the first presumably Russian. Symmetry is the concept. The pieces are all instrumental, pretty minimal, and work as such. B+(*) Annie Ross: Sings a Handful of Songs (1963, Everest): Singer was British, had joined Dave Lambert and Jon Hendricks for their vocalese trio 1956-62, was back in London when she recorded this splashy set of standards with Johnny Spence & His Orchestra. B Annie Ross & Pony Poindexter: Recorded at the Tenth German Jazz Festival in Frankfurt (1966, SABA): Credit (or title) continues: "With the Berlin All Stars Feat. Carmell Jones and Leo Wright." Poindexter plays alto/soprano sax and sings, Jones trumpet, Wright alto sax and flute, and the others (piano-guitar-bass-drums) are less stellar. Opens with Poindexter leading a Louis Jordan song, closes with Ross doing "Twisted." B+(*) Grade (or other) changes: Luís Lopes Humanization 4tet: Believe, Believe (2018 [2020], Clean Feed): Portuguese guitarist, group name from the title of a 2008 album, although the group is unchanged, and everyone writes: Rodrigo Amado (tenor sax), Aaron Gonzalez (bass), and Stefan Gonzalez (drums). Gets a little rough in spots, but the guitar is remarkable, and I always like Amado. [was: B+(***)] A- [cd] Unpacking: Found in the mail last week:
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