Blog Entries [930 - 939]

Sunday, December 18, 2016

Weekend Roundup

I have better things to do than to continue documented this entirely predictable trainwreck. Still, a few links and brief notes if you're still transfixed:

  • David Atkins: Democrats Should Hope the Economic Populists Are Right:

    • More than a month after the election, a war of words and ideas still rages on the left between the Sanders-leaning economic populists and the more establishment defenders of the Clinton campaign. Broadly speaking, the contours of the argument center around whether Clinton could have done more from a populist messaging standpoint to appeal to white working class Rust Belt voters and to disaffected voters who stayed home, or whether Clinton's overall approach was good, but that she was overwhelmed by the prejudices of white voters and stabbed in the back by Comey, Russia, and various parts of the progressive left.

    I suppose I quoted this because the last clause led me to react: well, the progressive leftists I know gave her a lot more support than she would have given us over the next four years had she won. And I say that even though I know a few Stein supporters (probably, even, a couple folks who voted for Johnson), and I know a lot of people who voted for Clinton but weren't happy with her. I voted for her, fully understanding that we'd wind up spending the next four years protesting and organizing against much of her platform, because I was also every bit as aware that putting the Republicans into power would be far worse for virtually all of us. That's what we call a rational decision, and that's something we on the left weigh carefully and practice more or less consistently. Clinton's problem in the 2016 election wasn't with rational people, ergo it wasn't with "progressive leftists." Her problem was with crazy people, or effectively the same thing, people who were willing to put aside reason and vote on some emotional whim, a belief backed with no more than a scintilla of evidence.

    There are, of course, two approaches to this problem: one is to make voters more conscious of real problems and to better articulate real solutions. The other is to do a better job of identifying the emotions that can be made to work for you, and to hit them in ways that move voters to your side. (The Republicans are quite good at the latter, and have the much easier job doing the opposite of the former: all they need to do is to convince voters that problems are beyond political remedy, and ignorance helps as much as mendacity there.) As much as we'd like to see reason win out, that's a long term project. For right now, suffice it to say that wasn't especially effective at picking her issues, and was vulnerable to precisely the sort of attacks Republicans specialize in.

  • Lauren Fox: Obama: 'Reagan Would Roll Over in His Grave' Over GOP Support for Russia: One of Obama's strangest quirks is his continuing affection for Ronald Reagan, even to the point of imagining he's some sort of kindly national father-figure far removed from his actual history and legacy. It's not as if Obama wasn't conscious during the Reagan administration -- he was 18 when it started -- but he didn't have the Vietnam War to inform his politics at that age (like I did), so maybe he's normalized his memory in some way those of us who can recall Reagan from his days as governor of California in the 1960s cannot. (Maybe he's conflated Reagan with his first experiences of getting high and getting laid?) In any case, his comment reflects a simpler misunderstanding. Reagan's wailing about the Soviet Union was purely ideological -- even when he framed it as some sort of Manichaean struggle between good and evil -- he never went off on nationalist rants against the Russians, nor did he grasp the neoconservative doctrine that seeks to punish any nation that isn't sufficiently obsequious to American power. Moreover, like all conservatives of his era (and for that matter today), he appreciated the efficient order that dictators abroad offered -- one might even say he preferred them to the risks of unruly democracy America itself posed. So why on earth would Reagan be disturbed by Trump's fondness for Putin? -- a fellow plutocrat who's willing to cut corners when it comes to democratic niceties to consolidate the power of his favored cronies? It's not like conservatives care any more about ordinary Russians than they do about ordinary Americans.

    Liberals (and leftists), at least, can offer a plausible claim to caring about iniquities around the world, because they care about them at home, and recognize that the rest of the world isn't that different. Still, nothing Obama (nor any of the Democrats who have lately been obsessed with Russian meddling in our election) has said indicates any concern for the Russian people. Rather, he has simply fallen for the post-Cold War neoconservative line that demonizes any nation outside of America's "security" umbrella -- especially any political leaders who think they have any interests beyond their own borders (as Russia does with Syria and Ukraine). The neocons motives are pretty transparent: they like to puff up Russia and China as rivals and enemies to justify America's expensive indulgence in world-threatening arms. On the other hand, it's just plain ignorant and lazy for Democrats like Obama (and the Clintons) to take up the neocon cudgel against Russia. It leads to greater militarization, less diplomacy, a world torn into hostile camps where America rules by brute intimidation, and has ceded any motivation except for self-interest.

    As for the "Russian hack" of the election, which is presumably the imagined (if not the real) inspiration for Obama's attempt at wit, see Sam Kriss: The Rise of the Alt-Center, or as the subhed put it, "Why did establishment liberals fall in love with a deranged Twitter thread?" Or as the link I followed read: "Establishment Liberals Have Lost Their Damn Minds." The tweet thread was by Eric Garland, and Kriss adds a full paragraph of liberal praise, including "if there were a Pulitzer for tweeting -- this thread would be the updisputed winner of 2016." Kriss continues:

    Clearly something horrifying has happened to America's great liberal intellects. One moment they were yapping along in the train of a historic political movement; now, ragged and destitute, they wander with lolling tongues in search of anything that might explain their new world to them. This is, after all, how cults get started. Cultists will venerate any messianic mediocrity and any set of half-baked spiritual dogmas; it's not the overt content that matters but the security of knowing. If Trump's devoted hype squad of pustulent, oleaginous neo-Nazis can now be euphemized as the "alt-right," the Eichenwalds and Jefferys of the world might have turned themselves into something similar: an alt-center, pushing its own failed political doctrine with all the same vehemence, idiocy, and spleen. So it's strange, but not surprising, that so many people would sing the praises of Garland's masterpiece, because it is absolutely the worst piece of political writing ever inflicted on any public in human history. [ . . . ]

    Whatever Russia did or didn't do, the idea that its interference is what cost Hillary Clinton the election is utterly ludicrous and absolutely false. What cost Hillary Clinton the election can be summed up by a single line from Sen. Chuck Schumer, soon to be the country's highest-ranking Democrat: "For every blue-collar Democrat we lose in western Pennsylvania, we will pick up two moderate Republicans in the suburbs in Philadelphia, and you can repeat that in Ohio and Illinois and Wisconsin." As it turned out, he was fatally wrong. It wasn't the Russians who told the Democratic Party to abandon the working-class people of all races who used to form its electoral base. It wasn't the Russians who decided to run a presidential campaign that offered people nothing but blackmail -- "vote for us or Dangerous Donald wins." The Russians didn't come up with awful tin-eared catchphrases like "I'm with her" or "America is already great." The Russians never ordered the DNC to run one of the most widely despised people in the country, simply because she thought it was her turn. The Democrats did that all by themselves.

  • Barack Obama's presidency will be defined by his failure to face down Assad: No, Obama's presidency has been defined by his failure to face down the real threat to the security and welfare of the American people: the Republicans. He's done this by not blaming them for their misdeeds. He's done this by not breaking with their failed policies -- above all the wars against Muslims, but also much of their domestic policy. And he's done this by not offering real alternatives, and by not supporting his party or its voters. As for Syria, sure, he screwed up, but not for backing away from the "red line" over chemical weapons -- pace, the author, he won the only meaningful resolution of that issue, and did it diplomatically (the only way that would stick). But in his early rejection of Assad, his congenital antipathy to Russia and Iran, his willingness to give supposed allies (like Israel, Turkey, and Saudi Arabia) a free hand to pursue radically opposed goals), and his general belief in the effectiveness of military might (and his continued support for the most clandestine and irresponsible American warmakers), he made sure the US would be a much bigger part of the problem than of the solution.

And briefly noted:

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Monday, December 12, 2016

Music Week

Music: Current count 27433 [27403] rated (+30), 385 [369] unrated (+16).

Two leftover thoughts from yesterday's Weekend Roundup:

  1. As I've been saying for much of last year, the surest way for Clinton to lose to Trump is to present herself as a reckless, foolhardy hawk, which she did with all that "who's fit to be Commander-in-Chief" talk, especially combined with her neocon attempts to shame Trump on Russia and Putin. I didn't cite any articles on it yesterday, but ever since the election mainstream Democrats have been harping on the alleged Russian hack of the elections, which makes themselves look pathetic, and gives Trump one issue where he comes off as relatively sane. It also detracts from them scoring real points, like how Clinton received 2.84 million more votes than Trump (a margin of more than 2.0%), or how she did that despite Republican voter suppression efforts. It also wastes time that could be spent exposing the actual things the Trump transition team are doing.

  2. Speaking of which, if there's any theme I've hit on even harder throughout the year it's that the problem with Trump isn't his deviant personality -- even much more than deplorable traits like his racism and misogyny -- but the fact that he's found common cause with extreme right-wingers who have come to dominate and define the Republican Party. Maybe if Republicans had nominated someone like Ted Cruz we could have had a straight referendum on the party's worldview, but Clinton chose to focus on Trump's quirks instead of the real threat, so now we have cretins like Paul Ryan plotting to destroy Social Security and Medicare, while Trump is stocking his cabinet with people who are just fine with that sort of double cross.

One problem with doing these rush posts is that real points, themes even, get lost in the nest of links. Just wanted to reiterate those two points. And I'll add a possible third one: in order for the Democratic Party to provide effective resistance against Trump's oligarchs, they have to actively, consistently, as a matter of principle, oppose war and support and promote equality. Quite frankly, if they don't step up to that challenge -- the real threat that Trump and the Republicans pose -- they're helpless and worthless.

Thirty newly rated albums below. Last time that happened was Oct. 10, eight weeks ago. I still don't have the newly rebuilt computer all hooked up -- still have a printing problem -- and I still haven't restored my unplayed (not to mention played) downloads, but I've been able to listen to Napster and Bandcamp. I've also been plowing through EOY lists, so my searching has been more inspired and better targeted than usual. One result is no less than eleven A- records. In particular, I finally got a chance to catch up with Robert Christgau's last two months of Expert Witness picks. Given how far behind I was, I'm a bit surprised that I didn't concur with more. As it is, I more/less agreed with five (Alicia Keys, Tanya Tagaq, A Tribe Called Quest, Pat Thomas, and Urgent Jumping), while six others didn't quite do it for me (Margaret Glaspy, Macy Gray, Pussy Riot, Regina Spektor, and Jinx Lennon twice).

I also added five A- records to my EOY Jazz List shortly after voting for the Jazz Critics Poll closed -- seems like it always works out that way. Four were late arrivals to my mailbox (Albert Cirera, Eve Risser, Steve Swell, and a vault treat from 1994 with Dave Burrell and Bob Stewart), and I picked up the fifth (Taylor Ho Bynum) on Napster. The eleventh was one by Tom Zé that I only found out about from Phil Overeem's list (also my source for Tyler Keith).

I've continued adding EOY lists to my . EOY Aggregate file. I currently have 97 lists compiled, which I assemble in two weight groups: one for longer lists which scores 5 points (1), 4 (2-5), 3 (6-10), 2 (11-20), and 1 (everything else); the other for shorter lists, scoring 3 (1), 2 (2-5), and 1 (everything else). Unranked lists are noted + (sometimes ++ or +++ if they are somehow tiered). I've also scored grades by Robert Christgau and myself (A/A+ 5, A- 4, B+/*** 3, ** 2, * 1), and will probably do that for Michael Tatum as well. These grades have a minor effect of biasing the results towards things I/we like, but then my point isn't to offer some kind of objective, impersonally scientific ranking. It's, as always, to help identify records worth searching out.

Speaking of which, I've tended to skip over lists dedicated to genres I have no real interest in, which mostly means metal. I'll also note that in addition to Overeem (who picked enough records this year to qualify as a major listmeister), I've picked up a couple lists from Facebook friends where I've noticed them (Thomas Walker and Joe Yanosik). I'll do more of that when I find them. I haven't picked up Chris Monsen's still-evolving favorites list, but at some arbitrary point will do so.

Current standings according to my way of counting (counts in opening brackets, my grades in closing):

  1. [208] David Bowie: Blackstar (Columbia) [***]
  2. [182] Beyonce: Lemonade (Columbia/Parkwood) [?]
  3. [162] Frank Ocean: Blonde (Boys Don't Cry) [**]
  4. [144] Radiohead: A Moon Shaped Pool (XL) [B]
  5. [133] Solange: A Seat at the Table (Saint/Columbia) [**]
  6. [131] Chance the Rapper: Coloring Book (self-released) [A-]
  7. [120] Kanye West: The Life of Pablo (Def Jam/GOOD Music) [***]
  8. [110] A Tribe Called Quest: We Got It From Here . . . Thank You 4 Your Service (Epic) [A-]
  9. [108] Nick Cave & the Bad Seeds: Skeleton Tree (Bad Seed) [B-]
  10. [104] Anderson Paak: Malibu (OBE/Steel Wool/ArtClub/Empire) [A-]
  11. [104] Bon Iver: 22 a Million (Jagjaguwar) [*]
  12. [101] Angel Olsen: My Woman (Jagjaguwar) [***]
  13. [92] Anohni: Hopelessness (Secretly Canadian) [*]
  14. [85] Car Seat Headrest: Teens of Denial (Matador) [***]
  15. [81] Leonard Cohen: You Want It Darker (Columbia) [A-]
  16. [73] Kaytranada: 99.9% (XL) [A-]
  17. [71] Mitski: Puberty 2 (Dead Oceans) [*]
  18. [68] Rihanna: Anti (Roc Nation) [A-]
  19. [61] Blood Orange: Freetown Sound (Domino) [A-]
  20. [60] Danny Brown: Atrocity Exhibition (Warp) [A-]
  21. [59] Sturgill Simpson: A Sailor's Guide to Earth (Atlantic) [***]
  22. [52] Kendrick Lamar: Untitled Unmastered (Top Dawg Entertainment) [***]
  23. [46] Margo Price: Midwest Farmer's Daughter (Third Man) [A-]
  24. [44] Drive-By Truckers: American Band (ATO) [A-]
  25. [40] PJ Harvey: The Hope Six Demolition Project (Vagrant) [**]
  26. [40] Parquet Courts: Human Performance (Rough Trade) [A-]
  27. [40] Skepta: Konnichiwa (Boy Better Know) [***]
  28. [38] The 1975: I Like It When You Sleep for You Are So Beautiful Yet So Unaware of It (Dirty Hit/Interscope) [*]
  29. [38] Iggy Pop: Post Pop Depression (Loma Vista) [*]
  30. [36] Young Thug: [No My Name Is] Jeffery (300 Entertainment/Atlantic) [A-]

Album of the Year's Aggregate has same top seven, but a closer race for the top spot (Bowie over Beyoncé 286-282), and Solange ahead of Radiohead (225-208), They actually have the same top-twenty records, with the big difference that they move Angel Olsen up from 12th (my list) to 8th. From 21-30 they add Jenny Hval (31-26), The Avalanches (33-28), and Savages (38-29), in place of Drive-By Truckers (24-31), Parquet Courts (26-36), and Young Thug (30-37) -- three records graded A- or better by both Christgau and myself, so there's my cheat for you. (I have Hval C+, Avalanches B, Savages ***.)

My next project will be tallying the Jazz Critics Poll ballots, which I finally have but haven't really cracked into yet.

New records rated this week:

  • Aesop Rock & Homeboy Sandman: Lice Two: Still Buggin' (2016, Stones Throw, EP): [bc]: B+(***)
  • Aziza Brahim: Abbar El Hamada (2016, Glitterbeat): [r]: B+(**)
  • Burial: Young Death/Nightmarket (2016, Hyperdub, EP): [r]: B+(*)
  • Taylor Ho Bynum: Enter the Plustet (2016, Firehouse 12): [r]: A-
  • Joăo Camőes/Jean-Marc Foussat: Ŕ La Face du Ciel (2014 [2016], Shhpuma): [r]: B+(***)
  • John Dikeman/Luis Vicente/Hugo Antunes/Gabriel Ferrandini: Salăo Brazil (2016, NoBusiness): [cdr]: B+(*)
  • Paolo Fresu & Omar Sosa: Eros (2016, Otá): [r]: B+(*)
  • Margaret Glaspy: Emotions and Math (2016, ATO): [r]: B+(**)
  • Macy Gray: Stripped (2016, Chesky): [r]: B+(**)
  • Brian Kastan: Roll the Dice on Life (2016 [2017], Kastan, 2CD): [cd]: C+
  • Tyler Keith & the Apostles: Do It for Johnny (2016, self-released): [bc]: B+(**)
  • Alicia Keys: Here (2016, RCA): [r]: A-
  • Lady Gaga: Joanne (2016, Streamline/Interscope): [r]: B
  • Jinx Lennon: Past Pupil Stay Home (2016, Septic Tiger): [r]: B+(***)
  • Jinx Lennon: Magic Bullets of Madness to Uplift Grief Magnets (2016, Septic Tiger): [r]: B+(**)
  • Bruno Mars: 24K Magic (2016, Atlantic): [r]: B
  • Mark Pritchard: Under the Sun (2016, Warp): [r]: B+(*)
  • Pussy Riot: XXX (2016, Nice Life, EP): [r]: B+(***)
  • Eve Risser White Desert Orchestra: Les Deux Versants Se Regardent (2016, Clean Feed): [cd]: A-
  • The Rolling Stones: Blue & Lonesome (2016, Polydor): [r]: B+(***)
  • Daniel Romano: Mosey (2016, New West): [r]: B-
  • Ned Rothenberg/Mark Feldman/Sylvie Courvoisier: In Cahoots (2014 [2016], Clean Feed): [cd]: B+(**)
  • Regina Spektor: Remember Us to Life (2016, Sire): [r]: B+(**)
  • Steve Swell Quintet: Soul Travelers (2015 [2016], RogueArt): [cdr]: A-
  • Tanya Tagaq: Retribution (2016, Six Shooter): [r]: A-
  • A Tribe Called Quest: We Got It From Here . . . Thank You 4 Your Service (2016, Epic): [r]: A-
  • William Tyler: Modern Country (2016, Merge): [r]: B+(*)
  • Wilco: Schmilco (2016, dBpm): [r]: B+(*)
  • Tom Zé: Cançőes Eróticas de Ninar (2016, Circus): [r]: A-

Recent reissues, compilations, and vault discoveries rated this week:

  • Dave Burrell and Bob Stewart: The Crave (1994 [2016], NoBusiness): [cdr]: A-
  • Steve Lehman Camouflage Trio: Interface (2003, Clean Feed): [r]: B+(***)
  • Joe McPhee & Raymond Boni: Live From the Magic City (Birmingham, Alabama) (1985 [2016], Trost): [bc]: B+(**)
  • Pat Thomas: Coming Home: Original Ghanaian Highlife & Afrobeat Classics 1967-1981 (1967-81 [2016], Strut, 2CD): [r]: A-
  • Urgent Jumping: East African Musiki Wa Dansi Classics (1972-82 [2016], Sterns Africa, 2CD): [r]: A-

Old music rated this week:

  • Taylor Ho Bynum & SpiderMonkey Strings: Other Stories (2003-05 [2005], 482 Music): [r]: B+(*)
  • Taylor Ho Bynum Sextet: Asphalt Flowers Forking Paths (2008, Hatology): [r]: B+(**)

Unpacking: Found in the mail last week:

  • Peter Brötzmann/Steve Swell/Paal Nilssen-Love: Live in Copenhagen (Not Two)
  • Club D'Elf: Live at Club Helsinki (Face Pelt): January 10
  • Sandy Cressman: Entre Amigos (Cressman Music): February 3
  • Dog Leg Dilemma: Not This Time (self-released): January 6
  • Mark Dresser Seven: Sedimental You (Clean Feed)
  • Laura Dubin Trio: Live at the Xerox Rochester International Jazz Festival (self-released, 2CD): January 6
  • Dre Hocevar: Transcendental Within the Sphere of Indivisible Remainder (Clean Feed)
  • Donny Most: Swinging Down the Chimney Tonight (Summit, EP)
  • Motif: My Head is Listening (Clean Feed)
  • Michael Occhipinti: Stabilimento (Modica Music)
  • Evan Parker/Daunik Lazro/Joe McPhee: Seven Pieces: Live at Willisau 1995 (Clean Feed)
  • Eve Risser White Desert Orchestra: Les Deux Versants Se Regardent (Clean Feed)
  • Ned Rothenberg/Mark Feldman/Sylvie Courvoisier: In Cahoots (Clean Feed)
  • Jimmy Scott: I Go Back Home (Eden River): January 27
  • Steve Swell: The Loneliness of the Long Distance Improviser (Swell)
  • Steve Swell Quintet: Soul Travelers (RogueArt): cdr
  • Steve Swell/Gebhard Ullmann/Fred Lonberg-Holm/Michael Zerang: The Chicago Plan (Clean Feed)

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Sunday, December 11, 2016

Weekend Roundup

I woke up yesterday morning thinking about how America, if little else, has become something of a consumer paradise over the last 30-40 years. I often wonder why it is that so many people are so uncritical of the established order, and that seems to be a big part of why. Sure, one can nitpick, and if you know much about how business, marketing in particular, works, you'll realize that the real gains still fall way short of what's possible or desirable. You may also may feel some qualms about what has actually been achieved by all this consumption. And, of course, like everything else the gains have not been equally distributed. But for those who can afford today's markets, life has never been better.

I count Trump's voters among them. Sure, many gripe about economic fears, some even about hardships, but somehow they overlook their own bosses and the businesses who take most of their money while perceiving others as threats. I'm aware of lots of reasons why they think that, but I can't say that any of them make real sense to me. What I am sure of is that the incoming Trump administration isn't going to solve any of their imaginary (let alone real) problems. Trump's cabinet is going to have more ultrarich (say, half-billionaires and up) than any other in history. In fact, this represents a new plateau in the history of American plutocracy: even as recently as the Shrub administration, titans of industry and finance were happy to stock the government with their lobbyists and retainers, but Trump is tapping "the doers, not the talkers" -- people who don't just take orders but who intimately know how to convert public influence into private gain. In the past, the most notoriously corrupt administrations (Grant, Harding, Reagan) combined indifferent leadership with underlings imbued in a culture of greed. Yet today, Trump not only hasn't divested himself of his business entanglements; he's actively continued to work his deals, nakedly using his newly acquired leverage. Unlike the others, he won't just turn a blind eye to corruption; he's ideally positioned to be the plunderer-in-chief.

One thing Trump's election has spared us was being plagued with four years of non-stop Clinton scandals -- sure, mostly likely as bogus and conflated as the ones she's endured for 24 years, but still catnip to the press. Instead, Trump promises to give us real scandals, huge scandals, the kind of scandals that expose the rotten core of American Greatness. One hardly knows where to begin, or when to stop, but this will necessarily be brief.

Some scattered links this week:

  • Peter Beinart: Trump Excuses the White Working Class From the Politics of Personal Responsibility: The author has been reading JB Vance's Hillbilly Elegy and detects some manner of irony:

    Under Reagan, Republicans demanded personal responsibility from African Americans and ignored the same cultural problems when displayed by whites. Under Trump, Republicans acknowledge that whites exhibit those same pathologies. Trump, for instance, spoke frequently during the campaign about drug addiction in white, rural states like New Hampshire. But instead of demanding personal responsibility, Trump's GOP promises state protection. Unlike Vance, who speaks about his poor white neighbors in the way Reagan-era conservatives spoke about poor blacks, Trump-era conservatives describe the white working class as the victims of political and economic forces beyond their control. Sounding a bit like Jesse Jackson defending the black underclass in the 1980s, Trump Republicans say that what the white underclass needs today is not moralistic sermonizing but government assistance and cultural respect.

    Of course, there is a simpler reason why Republicans would present different sets of standards and prescriptions for white and blacks: it's called racism. Such double standards are hardly novel. Nor was "separate but equal" merely ironic. But Beinart is also wrong when he thinks Trump intends to solve the problems of poor whites through state actions. Like all Republicans since Reagan, his solution is to reduce the political options of the state, reserving it for violence against any challenges to authority, while allowing the private sector to expand its power over workers, customers, and mere bystaders.

  • Rosa Brooks: Don't Freak Out About Trump's Cabinet Full of Generals: I doubt I'd take Brooks seriously without knowing that her mother is the brilliant left journalist Barbara Ehrenreich, as Brooks' own resume paints her as an insider in Washington's foreign policy establishment, a perch from which she's observed the creeping hegemonic encroachment of military brass (her recent book is How Everything Became War and the Military Became Everything: Tales From the Pentagon). So, yeah, she's uncommonly comfortable with generals and admirals running things, even respects and admires them. Still, she may be right that the problem with all Trump's generals isn't that they'll upset the intricate checks and balances the founding fathers devised, but she misses the real point: that Trump's generals consummates a steady drift that started back in WWII transforming the US military from a rarely-used last resort to an everyday implement of world-hegemonic imperial policy. And sure, all that (so far) happened before Trump, but in hiring those generals Trump is demonstrating that his own foreign policy thinking is nothing more than an echo of that long (and frankly disastrous) drift. Of course, that should come as no surprise to anyone who paid attention to him during the long campaign. They only thing that doesn't alarm me about the generals is the fact that I can think of even worse civilians to hand power over to. (Brooks herself contrasts State candidates Rudy Giuliani and David Petraeus, and she's got a point there, but I'm still drawing a blank on who Michael Flynn is saving us from.)

  • Martin Longman: Breitbart Does Not Like Trump's Labor Pick:

    So, if you go look at the Breitbart website right now, you'll see an anti-Trump headline that accuses him of nominating a Labor Secretary that prefers foreign labor to American workers. And if you actually go ahead and read the article, you'll see that it lashes out at Andy Puzder for standing "diametrically opposed to Trump's signature issues on trade and immigration."

    As an example, they cite his decision to "join forces with Michael Bloomberg, Bob Iger, and Rupert Murdoch's open borders lobbying firm, the Partnership for a New American Economy, to call for 'free-market solutions' to our immigration system." They also question Puzder's support for "amnesty" and overall view him as a poster-boy for what they oppose, which is bringing in low-wage immigrants that take jobs from white Americans and suppress their wages.

    The man Trump nominated to be Labor Secretary, Andrew Puzder, is CEO of a chain of fast food restaurants (Hardee's, Carl's Jr.), so his labor expertise is in how to hire minimum wage, no benefit workers. (His business experience includes taking his firm through a private equity deal valued at more than $1 billion. The company generates $1.4 billion in revenues, operating in the US and 40 foreign countries.) I'm not sure whether Puzder counts as one of Trump's billionaires, but he comes pretty close.

    One thing that worried me about the prospect of Sanders becoming president was that the Democratic Party regulars -- the people he'd have to draw on for appointments and support -- weren't ready to back his "revolution." I never believed that Trump would veer significantly from Republican Party orthodoxy, but I can see how those who did think he offered something different -- notably the Breitbart crowd, and as many "white populists" as you can count -- are likely to belatedly discover the same problem. Much as Trump went with impeccably demented Mike Pence as his VP, he's stocking his cabinet from the same stock of utter reactionaries.

  • Daniel Politi: Trump Explains Why He Rejects Daily Intelligence Briefings: "I'm, Like, a Smart Person": I saw Michael Moore on Seth Myers the other night making a big stink about how Trump has sloughed off going to CIA briefings, and for once I thought, "good for Trump." As far as I know, the first president to receive daily briefings was Shrub, and the chemical reaction of misinformation-meets-ignorance there didn't do anyone any good. Supposedly Obama tried to fix this by laying down a rule -- "don't do stupid shit" -- but his own daily briefings allowed all sorts of loopholes to that rule, backed by presidential authority. The fact is that the "war on terror" isn't important enough to require daily input and direction from the so-called Commander-in-Chief. A sane president would simply, quietly wind it down, mostly by not encouraging "stupid shit" to happen. The fact that Trump isn't a reasonable person, that he pretty much campaigned on doing "stupid shit" all the time, makes it even more important to steer him away from meetings about killing people and embarrassing the country.

  • Nomi Prins: The Magnitude of Trump's Cronyism Is Off the Charts -- Even for Washington: "The President-elect's incomplete cabinet is already the richest one ever."

    There is, in fact, some historical precedent for a president surrounding himself with such a group of self-interested power-grabbers, but you'd have to return to Warren G. Harding's administration in the early 1920s to find it. The "Roaring Twenties" that ended explosively in a stock market collapse in 1929 began, ominously enough, with a presidency filled with similar figures, as well as policies remarkably similar to those now being promised under Trump, including major tax cuts and giveaways for corporations and the deregulation of Wall Street. . . .

    Harding's other main contributions to American history involved two choices he made. He offered businessman Herbert Hoover the job of secretary of commerce and so put him in play to become president in the years just preceding the Great Depression. And in a fashion that now looks Trumpian, he also appointed one of the richest men on Earth, billionaire Andrew Mellon, as his treasury secretary. Mellon, a Pittsburgh industrialist-financier, was head of the Mellon National Bank; he founded both the Aluminum Company of America (Alcoa), for which he'd be accused of unethical behavior while treasury secretary (as he still owned stock in the company and his brother was a close associate), and the Gulf Oil Company; and with Henry Clay Frick, he co-founded the Union Steel Company.

    He promptly set to work -- and this will sound familiar today -- cutting taxes on the wealthy and corporations. At the same time, he essentially left Wall Street free to concoct the shadowy "trusts" that would use borrowed money to purchase collections of shares in companies and real estate, igniting the 1929 stock market crash. After Mellon, who had served three presidents, left Herbert Hoover's administration, he fell under investigation for unpaid federal taxes and tax-related conflicts of interest.

    Prins goes on to run down the wealth and interest conflicts of several Trump picks, including Wilbur Ross ($2.9 billion, Commerce), Betsy DeVos ($5.1 billion, Education), and Steven Mnuchin (up to $1 billion, Treasury, from Goldman Sachs). If, as reported, Trump picks Exxon CEO Rex Tillerson to be Secretary of State, he's not going to lower the average much.

  • Theda Skocpol/Alexander Hertel-Fernandez/Caroline Tervo: Behind "Make America Great," the Koch Agenda Returns With a Vengeance: The Koch network spent about $750 million on the 2016 elections, mostly on down-ballot races that saved and shaped the Republican Congress, and that is rapidly becoming the framework that shapes the Trump presidency, even on issues where Trump publicly differed from the Kochs and their cronies (like Scott Walker and Mario Rubio).

    Publicly available numbers suggest that AFP's grassroots organizing made a real difference -- and indirectly helped Trump, who had little campaign capacity of his own. In Wisconsin, for instance, AFP claims that it reached over 2.5 million voters in phone banking and canvassing efforts. In North Carolina, AFP claimed over 1.2 million calls and 120,000 door-to-door efforts, or nearly the entire reported margin of victory for Trump. And in Pennsylvania, AFP claims it made over 2.4 million phone calls and knocked on over 135,000 doors, more than twice Trump's margin of victory in that state. AFP's grassroots efforts were especially pronounced in Florida, where AFP boasts that its people knocked on a record-breaking one million doors throughout the state to help re-elect Senator Marco Rubio. Hillary Clinton lost the state by just over 100,000 votes. In all four of these states AFP helped to re-elect the incumbent Republican Senator and make important down ballot gains. Obviously, given what we know about the decline of split ticking voting, most of the same citizens AFP mobilized for state and Congressional contests also cast ballots for Donald Trump.

Briefly noted:

One last note: I just finishing reading Peter Frase's Four Futures: Life After Capitalism (Verso). He sets up a 2x2 matrix, one axis determined by plenty/scarcity, the other inequality/equality. Needless to say, only one quadrant reads like something we're already in the midst of: scarcity/inequality, the one he calls "exterminism" -- not a very euphonious term, but one which underscores how the rich, as they increasingly automate labor come to view the workers they discharge as expendable, and ultimately as threats. (Frase never uses the term "useless eaters" but you may recall how that terminology paved the way for the Nazi genocide.) Needless to say, aside from branding, "exterminism" sounds more than a little like the Trump agenda. More blatantly, there's increasing inequality while progressively stripping the poor and marginal of any semblance of rights.

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Tuesday, December 6, 2016

Music Week

Music: Current count 27403 [27386] rated (+17), 369 [362] unrated (+7).

I lost track of how many days of listening I lost due to cooking last week. In fact, I lost track of almost everything else, only remembering that I needed to publish November's Streamnotes column when I saw the calendar had turned to December (fortunately, that was soon enough after the moment I was able to backdate the post). That pattern continues here as I'm trying to finish my usual Monday Music Week column well into Tuesday evening.

My Jazz Critics Poll ballot was due on Sunday. I gave up trying to find new things and/or fiddle with the order sometime Saturday, when I dashed off the following:

New releases:

  1. Aly Keita/Jan Galega Bronnimann/Lucas Niggli: Kalo Yele (Intakt)
  2. Houston Person & Ron Carter: Chemistry (HighNote)
  3. Henry Threadgill Ensemble Double Up: Old Locks and Irregular Verbs (Pi)
  4. Murray, Allen & Carrington Power Trio: Perfection (Motéma)
  5. George Coleman: A Master Speaks (Smoke Sessions)
  6. Roswell Rudd/Jamie Saft/Trevor Dunn/Balasz Pandi: Strength & Power (Rare Noise)
  7. JD Allen: Americana (Savant)
  8. Gary Lucas' Fleischerei: Music From Max Fleischer Cartoons (Cuneiform)
  9. Dave Rempis/Joshua Abrams/Avreeayl Ra + Jim Baker: Periheleon (Aerophonic, 2CD)
  10. Rodrigo Amado Motion Trio: Desire & Freedom (Not Two)

Reissues or Historical albums:

  1. Thad Jones/Mel Lewis Orchestra: All My Yesterdays (1966, Resonance, 2CD)
  2. Peter Kuhn: No Coming, No Going: The Music of Peter Kuhn, 1978-1979 (NoBusiness, 2CD)
  3. William Hooker: Light: The Early Years 1975-1989 (NoBusiness, 4CD)

Best Vocal album:

  • Gary Lucas' Fleischerei: Music From Max Fleischer Cartoons (Cuneiform)

Best Debut album:

  • Damana (Dag Magnus Narvesen Octet): Cornua Copiae (Clean Feed)

Best Latin Jazz album:

  • Sonic Liberation 8: Bombogenic (High Two)

This mostly follows my EOY Jazz List -- the main exception being that I skipped over a Coleman Hawkins compilation I had heard on Rhapsody in favor of three comps that publicists had sent me. On the other hand, I included no less than three records that I didn't get physical copies of in my new releases list (Murray, Coleman, Lucas). I don't recall ever doing that before.

My list strikes me as more mainstream, or more specifically less avant, than usual. No idea whether that represents a mellowing of my taste or just how the cookies crumbled this year. Thus far I haven't gotten any of the ballots back from Francis Davis for my website, and I've only seen two ballots posted on the net (Ken Franckling, Tim Niland). In previous years JJA published member lists that lined up (and in some cases expanded from) critics' lists, but I haven't yet found anything there.

I'm actually not all that curious about how the JCP turns out. OK, I do have a hunch that Henry Threadgill's Old Locks and Irregular Verbs (Pi) will win, but not much faith -- but not much faith. It's more that I can't imagine what the competition can be. (Mary Halvorson? Dave Holland? Vijay Iyer? Steve Lehman? Sonny Rollins? Wadada Leo Smith? Those should all finish top-20, but I don't have more confidence than that.) I've started tallying EOY lists for my own EOY List Aggregate file, but at present I don't have enough jazz to predict anything. (I will go out on a limb and say that the current leader, Canadian crossed-over band BadBadNotGood, won't finish top-40 in JCP -- nor, I hope, will Snarky Puppy.)

On the other hand, the non-jazz lists are starting to take shape (understanding that the early lists skew Anglo and miss out on late-breaking hip-hop). Current top-ten: David Bowie, Radiohead, Beyoncé, Frank Ocean, Nick Cave, Angel Olsen, Leonard Cohen, Bon Iver, Anderson Paak, Car Seat Headrest. I figured Beyoncé to win, and she still might (and probably will dominate the Village Voice poll), but right now Bowie's lead is solid (92-61-58-53-52), and he's regularly finished top-5 in US as well as UK lists. Cohen has never polled especially well before, so I figure he and Bowie are riding a rarely-tested dead legend boost. Bowie, Radiohead, and Cave also benefit from the current UK skew, with Cave the most likely to slip on later lists.

Second ten (11-20): Chance the Rapper, Solange, Anohni, Kanye West, A Tribe Called Quest, Mitski, Blood Orange, Kaytranada, Sturgill Simpson, Danny Brown. Tribe is this year's late-breaker (released Nov. 11), rising lately but hard to project how much more. I expected Chance to do better, maybe Brown also. Some of the more promising names further down: Parquet Courts (24), PJ Harvey (27), Kendrick Lamar (29), Drive-By Truckers (34), Rihanna (38), Miranda Lambert (86, but released 11/18).

Speaking of Lambert, you'll noticed that I nudged her grade up a notch from my Streamnotes review. I was sitting on the fence anyway, and what pushed me over was a Greg Morton review, which I'd rather quote here than try to link you to Facebook:

Miranda Lambert: The Weight of These Wings. I hope Bob [Christgau] does a long form on this since the songs aren't just consistently great, but consistently interesting as well. Worthy of thorough track-by-track analysis. I'll give you "Good Ol' Days" as filler and "Covered Wagon" as one road metaphor too many but other than that it sounds to me like a 90-minute song cycle about caring, from the perspective of a modern young women who turns out to be more articulate, successful, and worldly than her raising taught her she could be. Your mileage may vary dependent on how interested you are in that perspective, but my evidence is two days of the album on shuffle. Where no matter the sequence, an hour and a half later you're listening to a song that was as good (and as interesting) as the one that started it. At least an A.

Of course, before committing I did give the record(s) another spin. Seven cuts in I was reminded how long it took me to realize Exile on Main Street was the Stones' best. But fourteen cuts in I killed that line of thinking and settled for a solid A-.

New records rated this week:

  • BadBadNotGood: IV (2016, Innovative Leisure): [r]: B-
  • François Carrier/Michel Lambert/Rafal Mazur: The Joy of Being (2015 [2016], NoBusiness): [cd]: B+(***)
  • The DKV Thing Trio: Collider (2014 [2016], Not Two): [r]: B+(**)
  • Charlie Haden/Liberation Music Orchestra: Time/Life (Song for the Whales and Other Beings) (2011-15 [2016], Impulse): [r]: A-
  • I Am Three: Mingus Mingus Mingus (2015 [2016], Leo): [r]: B+(***)
  • Ich Bin Nintendo: Lykke (2016, Shhpuma): [r]: B+(**)
  • Martin Küchen/Mark Tokar/Arkadijus Gotesmanas: Live at Vilnius Jazz Festival (2016, NoBusiness): [cdr]: B+(**)
  • Lambchop: FLOTUS (2016, Merge): [r]: B
  • Miranda Lambert: The Weight of These Wings (2016, RCA Nashville, 2CD): [r]: A-
  • Live the Spirit Residency: Presents the Young Masters 1: Coming of Age (2016, self-released): [cd]: A-
  • Donny McCaslin: Beyond Now (2016, Motema): [r]: B+(*)
  • Mekons: Existentialism (2015 [2016], Bloodshot): [r]: A
  • Myra Melford + Ben Goldberg: Dialogue (2014 [2016], BAG): [r]: B
  • The Monkees: Good Times! (2016, Rhino): [r]: B-
  • Van Morrison: Keep Me Singing (2016, Caroline): [r]: A-
  • The Nu Band: The Final Concert (2012 [2016], NoBusiness): [cdr]: B+(**)
  • Alexander von Schlippenbach: Jazz Now! (Live at Theater Gütersloh) (2015 [2016], Intuition): [r]: B+(***)

Recent reissues, compilations, and vault discoveries rated this week:

  • Miles Davis Quintet: Freedom Jazz Dance [The Bootleg Series Vol. 5] (1966-68 [2016], Columbia/Legacy, 3CD): [r]: B+(*)
  • David S. Ware & Matthew Shipp Duo: Live in Sant'Anna Arresi, 2004 (2004 [2016], AUM Fidelity): [r]: B+(***)

Unpacking: Found in the mail last week:

  • Dave Burrell and Bob Stewart: The Crave (1994, NoBusiness): cdr
  • François Carrier/Michel Lambert/Rafal Mazur: The Joy of Being (NoBusiness)
  • Albert Cirera/Hernâni Faustino/Gabriel Ferrandini/Agustí Fernández: Before the Silence (NoBusiness)
  • John Dikeman/Luis Vicente/Hugo Antunes/Gabriel Ferrandini: Salăo Brazil (NoBusiness): cdr
  • The Fat Babies: Solid Gassuh (Delmark)
  • Noah Haidu: Infinite Distances (Cellar Live): February 15
  • Irene Kepl: Sololos (Fou)
  • Martin Küchen/Mark Tokar/Arkadijus Gotesmanas: Live at Vilnius Jazz Festival (NoBusiness): cdr
  • Live the Spirit Residency: Presents the Young Masters 1: Coming of Age (self-released)
  • Modus Factor: The Picasso Zone (Browntasaurus)
  • The Nu Band: The Final Concert (NoBusiness): cdr
  • Howard Riley: Constant Change 1976-2016 (NoBusiness, 5CD)
  • Randy Weston: The African Nubian Suite (African Rhythms, 2CD): January 20

Also got a batch of Clean Feeds on Monday which I'll list next week.

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Monday, December 5, 2016

Peace Dinner

I ran behind in writing this, so I'll have to postpone Music Week until tomorrow (Tuesday). Unfortunately, nobody I'm aware of thought to take any pictures of the event below, and the evidence is now far gone. Without such documentation, I reckon we're already entering the realm of myth. I figure the least I can do is to write this event up, to establish some sort of paper trail.

Friday night the Peace and Social Justice Center here in Wichita had its annual dinner and business meeting. My little part in that was to plan and direct the menu, preparing food for 62 guests. I spent much of last week hashing out the menu with Janice Bradley and Leah Dannar-Garcia. Leah and I went shopping on Wednesday. I spent about thirteen hours on Thursday at home prepping and in some cases finishing dishes, while Janice and Leah did their own home prep. On Friday about 1 PM we met at Lorraine Avenue Mennonite Church, along with several other people (Pat Cameron, Gretchen Eick, Kathy Hull, Russ Pataki) where the dinner would be held, and started cooking. By 6 PM we had dinner ready to serve. We put small bowls of appetizers and bread on the tables so people could start noshing. And we set up a double-long table for people to serve themselves with the main dishes. The menu was mostly Mediterranean, with dishes from Spain, Italy, Greece, Turkey, Israel and the Arab countries, plus one salad from Iran:

The appetizer array:

The main dishes:

Dessert:

  • Mutabbaq: filo pastry sheets filled with ricotta and goat cheese.
  • Macedonia: mixed fruit: apples, pears, red and green grapes, strawberries, pineapple, macerated with sugar and citrus juices.
  • Vanilla Cream: vanilla-flavored whipped cream.

The recipes (follow the links) were typically scaled 2 times for the appetizers and desserts (more for the hummus and fruit), the salads 2-3 times, the main dishes 3-4 times (8 lbs fish, 16 lbs chicken). The main thing that limited the scaling was the size of cooking and serving dishes, although several dishes were limited by shopping -- I didn't buy nearly enough kalamata olives, so had a single one pound recipe of tapenade and had to buy extra for the salad. The salads ran out first -- possibly because they were first in the serving line, but we could have fixed another batch of the horiatiki and mast va khiar and served it in the same large bowls. The root vegetables fit neatly into two deep baking dishes, the fish into two shallow ones, and the chicken was optimally packed into my largest pot (16-inch diameter, 6-inches deep).

I made two trays of mutabbaq, and cut them into 60 2.25 x 2.5-inch pieces, so only a couple people missed out. We served them at the counter, on plates, and let people add fruit and/or cream. (I was surprised to see people dolloping the cream on top of the mutabbaq.) The cream, which I had borrowed from a "berries and cream" recipe, was exceptional -- we should have made a second batch. We had a couple cups of caponata and a couple pints of cacciatore left at the end, plus hummus and fruit -- Janice overscaled while I erred on the low side -- but I didn't hear complaints about not cooking enough.

I think it's safe to say that it all came out delicious -- one could even say fabulous. Also that the mix of dishes worked and the tastes complemented one another. (The desserts offered a mix of sweet, tart, and creamy, none of which were overly heavy.) We could have done a better job of pointing out which things were vegetarian (or vegan), which dishes had dairy or gluten or nuts or some other real or imagined hazard -- we published the menu, but that was hardly self-explanatory.

The last few years we had the dinner catered, using various Mexican and Middle Eastern sources, nothing especially memorable. Further back, we tried pot lucks, and I made large main dishes for a couple of those -- jambalaya and cacciatore are the ones I remember -- which often produced better food, but were also inconsistent and chancey. This year, when the board decided to try another pot luck, I suggested that a planned and assigned menu would work better, maybe something Mediterranean like the Ottolenghi menu we fixed for an Alice Powell memorial dinner, but a bit broader (and simpler). Leah, who runs a small organic farm east of town, suggested a seasonal fall menu, which I was fine with, but when I spelled out my proposal she embraced it, and provided invaluable support.

Also invaluable was the kitchen and equipment provided by the church. They had a 10-burner range (which we barely used), with two ovens (exactly what we needed), large baking dishes and bowls, lots of counter space, ample dishes and flatware, and a terrific dishwasher for cleaning up. We also had about the right mix of people helping out. If we were to do it again, the one change I would make would be to get together in that kitchen the night before and do the meze and prep together rather than dividing them up and working at home (especially as I had taken on most of that work myself -- by the end I was so exhausted that I wound up knicking myself a couple times cleaning up a knife). Friday had moments that seemed like chaos, but I managed to keep everything lined up and moving along properly, so it all came together at the appointed time (6 PM).

Also, other people (especially Leah and Russ) took over the clean up when I wore out. I got in line after the salads were gone, and wandered in and out of the actual meeting. The guest speaker was Maxine Phillips, a former executive editor of Dissent Magazine and a vice chair of Democratic Socialists of America, who blogs at religioussocialism.org. She spoke about "Forced Migrations and US Immigration Policy." I didn't catch enough of this to comment, but I will risk saying two things:

  1. Most migration today, especially from Latin America, Africa, the Middle East and South Asia, is the result of the US (and Europe) exporting neoliberal economic dogmas and the tools of war which are primarily used by complicit local elites against their own people. It's all good and well to sympathize with the victims of economic and military dislocation, but the root causes are embedded in our own political system, so much under the thumb of supra-national corporate interests. In particular, we need to guard against the tendency to militarize our response to every crisis, especially as that knee-jerk reaction primarily serves to avoid self-scrutiny.

  2. Nonetheless, the fact that refugees and emigrants still come here is a testimony to the fact that America (and Europe) still have functioning and (relatively) humane institutions such that most of our citizens are spared the most brutal effects of our economic and military dogmas. And it's worth noting that immigrants generally add to supporting those institutions, and to the economy as a whole, in part because they're more appreciative of them than so many of our embittered "natives" (who have mastered the knack of taking them for granted while doing little to support). Whatever else it may be, net immigration is a vote of confidence in our shared future, something we should appreciate rather than curse.

Unfortuantely, the 2016 election, especially of Donald Trump to the presidency, promises nothing constructive on this front. Indeed, if Trump does manages to reduce immigration it will probably be more due to making our own country less livable than to enforcing draconian laws, and even less to making the rest of the world any less treacherous.

I'm afraid I have rather mixed views on immigration. As someone whose most recent foreign-born ancestors came to America nearly 150 years ago, and whose family preserved not one shred of previous ethnic identity, I've never had any sentimental attachment to the notion that America as a melting pot of immigrants. Nor do I have a problem with the idea that a nation has a right to control its borders and limit immigration. I'll also note that the one period of history when Americans seemed to exhibit the greatest care for one another -- at least in the sense of moving furthest to the left -- was in the 1930-40s, when immigration was largely halted. One wonders whether loosening immigration restrictions in the 1970s didn't contribute somehow to the nation's rightward drift since 1980. (That nearly a third of last year's Republican presidential candidates had at least one foreign-born parent is troubling, to say the least.)

On the other hand, I've known dozens of immigrants, most real fine people, credits to our communities, and they've helped to broaden and deepen our lives. One way, of course, was to share with us the range of food we made for this Peace Dinner (plus a great many other dishes we couldn't include -- things we can explore further in future dinners). Admittedly, most of the immigrants I know are professionals, many citizens, pretty much all with their legal status in order. The only problem I see is with those lacking proper documentation, mostly because their lack of proper credentials leaves them open to exploitation, and that less because I'm sympathetic to their plight than because their vulnerability allows those in power to be more abusive -- and not just to undocumented immigrants.

But Trump's anti-immigrant tirades are not some isolated tick. They are wrapped up in all sorts of mutually reinforcing hatreds meant to appeal to the vanity of increasingly marginalized white voters -- at least those sucker enough to overlook the obvious architects of their demise: the barons of industry and finance, whose pillage of the economy has made everyone more vulnerable. But we need to recognize that what makes this tactic work is how effectively mass fears have been stoked through decades of war. The only way to break that cycle is to insist on peace, which is why organizations like out Peace Center are so important. Please consider a contribution.

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Wednesday, November 30, 2016

Streamnotes (November 2016)

No time to write an introduction. Maybe I'll have something to say for next week's Music Week.

Most of these are short notes/reviews based on streaming records from Napster (formerly Rhapsody; other sources are noted in brackets). They are snap judgments based on one or two plays, accumulated since my last post along these lines, back on October 29. Past reviews and more information are available here (8835 records).

Recent Releases

Sophie Agnel/Daunik Lazro: Marguerite D'Or Pâle (2016, Fou): Piano/sax duets, Lazro on tenor and baritone, although Agnel's concept of the piano ("a real living & breathing organism") had me wondering whether they had slipped a percussionist into the mix. B+(**) [cd]

Aguankó: Latin Jazz Christmas in Havana (2016, Aguankó): Percussionist Alberto Macif's group, inspired by Havana but based in Michigan, have a couple previous albums. This one's subtitled "Cool Sounds & Warm Wishes," and is that with an extra shot of clavé, but the songs keep shaking off their dressing. Still, you could be stuck in a department store with much worse. B [cd]

Rodrigo Amado Motion Trio: Desire & Freedom (2016, Not Two): Portuguese tenor saxophonist, always an imposing figure in free jazz settings, with his most dependable group -- Miguel Mira on cello and Gabriel Ferrandini on drums. Three long improv pieces, terrific all around, drummer especially. A- [cd]

Amendola vs. Blades: Greatest Hits (2015 [2016], Sazi): Duo of drummer Scott Amendola, probably best known for his work with Nels Cline although he has his name on five previous albums (doing back to 1999), and Hammond B3 impressario Wil Blades. No known hits between them, but take the title as intending some sort of semipop move -- pop in form if not in fact -- ane enjoy the groove and pomp. B+(**) [cd]

BassDrumBone: The Long Road (2013-16 [2016], Auricle, 2CD): Long-running free jazz trio, first album together recorded nearly 30 years ago, lineup on this seventh album the same: Mark Helias (bass), Gerry Hemingway (drums), Ray Anderson (trombone). Second disc is padded out with 31 minutes live. Studio cuts include three cuts each with Jason Moran (piano) and Joe Lovano (tenor sax), the latter making the bigger splash. Still great to hear Anderson's trombone leads, but could be further concentrated. B+(***) [cd]

Martin Bejerano: Trio Miami (2016, Figgland): Pianist, teaches at University of Miami, has a couple previous albums and side credits with Roy Haynes and Russell Malone. Leads a trio, bright and fast. B+(*)

Eraldo Bernocchi/Prakash Sontakke: Invisible Strings (2016, RareNoise): The former plays baritone and electric guitar, the latter lap steel guitar, but Bernocchi is also credited with electronics, which explains the percussion. The synthetic groove may be too regular for jazz, but sets up a seductive ambience with the layered guitar. B+(***) [cdr]

Nat Birchall: Creation (2016, Sound Soul & Spirit): British tenor saxophonist, probably sounds more like Coltrane than any saxophonist alive (including Ravi Coltrane), an effect added to by pianist Adam Fairhall and bassist Michael Bardon, although the group doubles up on drums. Unlike his last two albums, I never quite shook the sense of imitation here, though it's hard to go far wrong while hewing so close to genius. B+(***) [bc]

Karl Blau: Introducing Karl Blau (2016, Raven Marching Band): Singer-songwriter from Anacortes, Washington, with seven previous records before this seeming debut, mostly Nashville covers, done with disconcerting aloofness (no drawl, scant drama, anonymous backup singers). B

Boi Akih: Liquid Songs (2016, TryTone): Dutch group, formed in 1997, has a half-dozen previous albums. Guitarist Niels Brouwer writes the pieces, Monica Akihary sings, also with: Ryoko Imai (marimba, reyong & percussion) and Tobias Klein (bass & contrabass clarinet). Abstract, arty, hated it at first but wound up pleasantly surprised. B+(*) [cd]

Christiane Bopp/Jean-Luc Petit: L'Écorce et la Salive (2015 [2016], Fou): Free jazz duets, Bopp playing trombone, Petit contrabass clarinet, tend to be sparse and abstract. B+(*) [cd]

Buselli-Wallarab Jazz Orchestra: Basically Baker Vol. 2: The Big Band Music of David Baker (2016, Patois, 2CD): A fine big band based in Indianapolis, led by Brent Wallarab (credited here as conductor and musical director, but previously a trombonist) and Mark Buselli (trumpet), play compositions and arrangements by David N. Baker (1931-2016), a longtime jazz studies professor at Indiana University who back in the 1960s was affiliated with George Russell. Their original Baker tribute was recorded in 2004, this one about three months after the composer's death. An impressive big band, although the case for Baker's music is less clear. B+(*) [cd]

Oguz Buyukberber and Simon Nabatov: Wobbly Strata (2014 [2016], TryTone): Free jazz duets, clarinet/bass clarinet and piano, respectively. The former was born in Turkey, studied in Amsterdam, probably still based there but this was recorded in Germany. Nabatov is twenty years older, born in Russia, studied in Rome and New York and wound up settling in Cologne. Brisk and challenging. B+(**)

Nick Cave & the Bad Seeds: Skeleton Tree (2016, Bad Seeds): One of the year's top-metarated records, no idea why unless the doom and gloom synth tones are somehow calming to the doomed and gloomy. When we were young we used to look for something cathartic to overcome a bad mood, not something that merely added to it. B-

John Chin: Fifth (2014 [2016], Jinsy): Pianist, born in Korea, raised in LA and based in Brooklyn, has several albums. My advance copy has Chin's name scratched out, implying an eponymous group album. Chin's Bandcamp credits all five in alphabetical order: Chin, Stacy Dillard (soprano sax), Lawrence Leathers (bass), Spencer Murphy (drums), Tivon Pennicott (tenor sax). Indeed, all five have song credits, but mostly Chin (7) and Dillard (3), with one each for the others, and they go all sorts of ways, the free-ish postbop just one tendency. B+(**) [cdr]

Richie Cole: Plays Ballads & Love Songs (2015 [2016], Mark Perna Music): Alto saxophonist, not quite 70, his discography goes back to 1976 but tails off after 1999 (several featured spots, one album in 2005). Quartet with Eric Susoeff on guitar, Mark Perna on bass and Vince Taglieri on drums -- surefire material, bright, lovely. B+(***) [cd]

Tom Collier: Impulsive Illuminations (2014-15 [2016], Origin): Vibraphone/marimba player based in Seattle, discography starts with Northwest Jazz Sextet in 1979, and has a half-dozen albums since. Five 10-17 minute pieces here, with Richard Karpen on piano and one guest for each piece: Bill Frisell (guitar), Ted Poor (drums), Stuart Depmster (trombone/didjeridu), Bill Smith (clarinet), Cuong Vu (trumpet). Mostly reminds me of Dempster's "deep listening" pieces, so often too deep to keep me listening. B [cd]

Common: Black America Again (2016, Def Jam): Chicago rapper, can marshall guests ranging from BJ the Chicago Kid to Stevie Wonder, is as conscious as he should be of the uphill political struggle -- I can't fault him for being overly didactic, but the music doesn't always carry him. B+(**)

The Core Trio: Live Featuring Matthew Shipp (2014 [2016], Evil Rabbit): Houston-based sax trio, with Seth Paynter on tenor, Thomas Helton on bass, and Joe Hertenstein on drums. They have two previous albums, each with a pianist added, the second an impressive match with Shipp, who returns here for two 31-34 minute sets in a Houston night club. A bit spotty, the sax never quite getting in gear, but the piano impressive (as you'd expect). B+(**) [cd]

The Delegation: Evergreen (Canceled World) (2014-15 [2016], ESP-Disk, 2CD): Main person here is pianist-composer Gabriel Zucker, also credited with electronics and voice (along with a couple more singers). A sprawling art project, with long, complex forms and a story line that's way over my head. Group includes trumpet (Adam O'Farrill), three saxophones, violin-viola-cello, bass, drums, and additional electronics. Music has points of interest. B+(*) [cd]

Dim Lighting: Your Miniature Motion (2014 [2016], Off): Guitar-bass-drums trio, based in Chicago, Andrew Trim, Kurt Schweitz, Deven Drobka. First album, guitar metallic, can crunch out a groove or spring free, or just bide time. B+(*) [cdr]

Andrew Downing: Otterville (2016, self-released, 2CD): Bassist, born in London, Ontario and based in Toronto, plays cello here, presenting a series of ornate landscape pieces, lovely in a rather uneventful way. Group includes alto sax, vibes, lap steel guitar, bass guitar, and drums, with occasional touches of trumpet and trombone. B [cd]

Rebecca DuMaine and the Dave Miller Trio With Friends: Happy Madness (2016, Summit): Standards singer trying to pass as good-time girl -- nothing really standard but hits the usual bases including Jobim and McCartney -- backed by piano trio and presumably more, although I have no idea who the "friends" are. B- [cd]

Earth Tongues: Ohio (2015 [2016], Neither/Nor, 2CD): Filed this under trumpeter Joe Moffett, joined here by Dan Peck on tuba and Carlo Costa on percussion, the horn players also credited with "cassette player." Long-form industrial ambient, or (not quite) noise, the length undoes any sense of structure (or as they put it, "immersive pieces that explore dynamic and temporal extremes"). B [cd]

The Fat Babies: Solid Gassuh (2016, Delmark): Seven-piece trad jazz band, founded 2010 by bassist Beau Sample, based in Chicago, they play old stuff going back to "Maple Leaf Rag" and clearly are having fun. B+(**) [cd]

Clare Fischer Latin Jazz Big Band: ĄIntenso! (2016, Clavo): Directed by son Brent Fischer, less a ghost band than a living memorial to the late pianist-arranger, whose clients ranged from Dizzy Gillespie to Prince. Six Clare Fischer originals (out of ten), mostly old arrangements, the band solid, a couple Roberta Gambarini vocals a plus. B+(**) [cd]

David Friesen Circle 3 Trio: Triple Exposure (2015 [2016], Origin): Bassist-led piano trio, the pianist Greg Goebel, drummer Charlie Doggett. Friesen has a long discography going back to 1976. He composed and arranged all the pieces here, gets bright leads and patiently works his bass into the cracks. B+(*) [cd]

Clay Giberson: Pastures (2015 [2016], Origin): Pianist, based in Portland, has five previous records plus four by his group Upper Left Trio. Draws on a strong quartet here with Drew Gress (bass), Matt Wilson (drums), and most valuable player Donny McCaslin, whose tenor sax chops dominate everything. Less so his flute and soprano, or the string quartet added on four tracks. B+(***) [cd]

Jari Haapalainen Trio: Fusion Machine (2016, Moserobie): Drummer-led sax trio, with Daniel Bingert on bass guitar, and Per 'Texas' Johansson on "the saxophone." Reminiscent of the Thing in their new wave fusion mode (though less squawky, and less free). Thirteen cuts, 28:29. B+(*) [cd]

Jason Hainsworth: Third Ward Stories (2015 [2016], Origin): Tenor saxophonist from Houston, studied in New Orleans and Florida, teaches at Broward College. Probably his debut, a lively hard bop sextet with Josh Evans on trumpet, Michael Dease on trombone, and Glenn Zaleski on piano, makes it seem easy. B+(***) [cd]

Stu Harrison: Volume I (2016, One Nightstand): Pianist, Canadian, leads a trio with Neil Swainson (bass) and Terry Clarke (drums) through a batch of very familiar standards, teasing and tussling without losing the thread. B+(**) [cd]

Heroes Are Gang Leaders: Flukum (2016, Flat Langston's Arkeyes): Group abbreviated HAGL, led by poet Thomas Sayers Ellis (not the sole lyricist) with saxophonist James Brandon Lewis and various others, most songs with vocals in various voices ("dedicated to poets Etheridge Knight and Ntozake Shange with moments of James Baldwin and Michael S. Harper thematically-seasoned in"), pushing boundaries while the sinewy music slithers around, or sometimes just enjoys a funk groove. B+(**) [cd]

Eric Hofbauer Quintet: Prehistoric Jazz Volume 3: Three Places in New England (2016, Creative Nation Music): Guitarist, quintet includes trumpet, clarinet, cello, and drums. Like the two previous volumes, this picks up a piece of modernist classical music and reframes it as jazz -- the previous volumes used Stravinsky and Messaien, this one goes after Charles Ives, who patterned his own music on brass bands obliquely heard. The indirection works nicely here. B+(***) [cd]

Roger Ingram: Sklyark (2015, One Too Tree): Trumpet player, finished second for trumpet in Downbeat's 2016 Readers Poll, a complete surprise to me -- only his second album (and short ones at that, this one seven cuts, 28:40) I can find, but he has many side credits going back to Woddy Herman in 1986. Not sure of credits here, but starts solo before a big band (Jim Stewart Orchestra) with singer (Christine Cooney) enter. The vocals swing agreeably, but the instrumentals are a little gaudy. B

Erik Jekabson: A Brand New Take (2015 [2016], OA2): Trumpet player, based in Bay Area, has a handful of records dating back to 2002. Quintet here with alto sax (Kasey Knudsen) and piano (Matt Clark), plus a couple tracks with guests -- "Thriller" is a highlight, with John Gove (trombone) and Dave Ellis (tenor sax). B+(*) [cd]

Jerome Jennings: The Beast (2016, Iola): Drummer, wrote four (of nine) songs here, leading a hard bop sextet much like the groups his bassist (Christian McBride) has led -- most obviously with Christian Sands on piano, also Sean Jones on trumpet and Howard Wiley on tenor sax. Steady pulse of energy, as if they're afraid they might be taken for retro. B+(**) [cd]

The Matthew Kaminski Quartet: Live at Churchill Grounds (2015 [2016], Chicken Coup): Organ player, from Chicago, earns his scratch playing for the Atlanta Braves. Quartet includes guitar and tenor sax (Will Scruggs), and Kimberley Gordon sings a couple tunes. All covers, done up like a gaudy burlesque, with "Sail On Sailor" a surprise lead. B+(*) [cd]

Walter Kemp 3oh!: Dark Continent (2016, Blujazz): Pianist, sometimes adds a III to his name but styles his piano trio thusly, picking up last initials from bassist RiShon Odel and drummer David Hulett. Densely chorded pieces have some power, slower ones thoughtful. B+(*) [cd]

Frank Kimbrough: Solstice (2016, Pirouet): Pianist, first appeared as part of a New York postbop circle that included Ben Allison, Ron Horton, and Matt Wilson, and always struck me as the least adventurous of that crowd. Trio, with Jay Anderson on bass and Jeff Hirshfield on drums. One original, one standard, the rest from postmodern jazz sources like Carla Bley, Paul Motian, Andrew Hill, Maria Schneider, and Annette Peacock (twice). B+(**) [cd]

Lambchop: FLOTUS (2016, Merge): Acronym more convoluted than expected: For Love Often Turns Us Still. Band, fronted by Kurt Wagner, has recorded a dozen albums since 1994. This one's slow with a light touch, delicate even, pleasant in passing but little registers. B

Miranda Lambert: The Weight of These Wings (2016, RCA Nashville, 2CD): Twenty-four songs, runs 94:01, the first disc titled "The Nerve" and the second "The Heart." Gossip columnists tell us it's about her breakup with Blake Shelton and her current relationship with Anderson East. Still, not much tumult here -- certainly no "Kerosene" -- everything on a level keel, making me wonder why the album had to be so damn long. Probably because she's got a lot to say. B+(***)

Ingrid Laubrock: Serpentines (2016, Intakt): German tenor saxophonist, based in Brooklyn, has produced quite a few records since 1999. This one mixes in trumpet (Peter Evans), koto (Miya Masaoka), piano (Craig Taborn), electronics (Sam Pluta), tuba (Dan Peck), and drums (Tyshawn Sorey). Some bright spots, especially Taborn, but also seems rather scattered. B+(*) [cd]

Jerry Leake: Crafty Hands (2016, Rhombus Publishing): World-spanning percussionist, has a dozen or so albums as well as the books that helped name his label, but draws mostly on African and Indian here, plus a standard drum set, vibraphone, and he (and others) sing some. The others add to the "world-rock fusion" -- eclectic is their motto, making most of this enchanting, not that it all fits neatly together. B+(**) [cd]

Nate Lepine Quartet: Vortices (2016, Eyes & Ears): Tenor saxophonist from Chicago, seems to be his debut album, quartet with Nick Mazzarella on alto sax, Clark Sommers on bass, and Quin Kirchner on drums. The extra sax shadows the leads, adding depth and lustre, but beware of slowing down. B+(*) [cd]

Jasmine Lovell-Smith's Towering Poppies: Yellow Red Blue (2015 [2016], Paint Box): Soprano saxophonist, originally from New Zealand, based in Mexico after a few years in New York. second album, quintet with Josh Sinton (bass clarinet) and piano-bass-drums. B+(**) [cd]

Allen Lowe: In the Diaspora of the Diaspora: A Day in Brooklyn: At Ibeam (2015 [2016], Constant Sorrow, 2CD): The fifth (of six so far) installment under this title, "a series of recordings based on American song forms," something hardly no one has researched deeper than alto-saxophonist Lowe. A disparate, sprawling set of works, with two mid-sized groups and a number of guest spots -- hard to see how they could all have fit into a single day of recording. Opens with a solo piano piece by Loren Schoenberg, then another by Kelly Green -- the first of several "Mary Lou Williams Variations." Then moves on to a group with Kirk Knuffke (trumpet) and Paul Austerlitz (clarinet), later to another with Lisa Parrott (baritone sax) and Larry Feldman (violin). Not easy to follow, but even when you don't something liable to jump out and grab you. B+(***) [cd]

Allen Lowe: In the Diaspora of the Diaspora: Hell With an Ocean View (2016, Constant Sorrow): Opens with some of Lowe's best alto sax, but often gives way to let the twin guitarists (Nels Cline and Ray Suhy) shine. With Matthew Shipp (piano), Kevin Ray (bass), Larry Feldman (violin, mandolin), and Carolyn Castellano (drums). The song forms range from hymns to Hendrix, each with its own fascination. A- [cd]

Thierry Maillard Trio and Philharmonic Orchestra: Ethnic Sounds (2016, Blujazz): French pianist, has perhaps a dozen albums since 1998, explains in the liner notes that "My biggest musical dream has always been to hear one day my music written for a jazz trio and a symphonic Orchestra," so I guess he can scratch that off his bucket list. He went to Prague to get the orchestra, an outfit that has never shown much finnesse around jazz, and he brought in some ringers like guitarist Nguyen Lę. The music leans toward fusion, or maybe it's just energetically muddled. B- [cd]

Mamutrio [Lieven Cambré/Piet Verbist/Jesse Dockx]: Primal Existence (2015 [2016], Origin): Alto saxophonist, from northern Belgium, backed by bass and drums, Verbist the main writer (5/10 compositions). Subtle, relaxed postbop, sometimes pushes not out but in. B+(***) [cd]

Tom Marko: Inner Light (2016, Summit): Drummer, director of jazz studies at Illinois State, first album, lineups vary but generally a standard quintet, sometimes with added guitar, sometimes percussion. Big name here is "special guest" Scott Wendholt (trumpet), who earns his billing. Postbop moves, has some hot spots. B [cd]

Melanie Marod: I'll Go Mad (2016, ITI): Standards singer, from Michigan, based in New York, probably her debut. Has a seductive voice, eclectic taste in Anglo standards ("Spanish Harlem," "Dance Me to the End of Love," "Candy," but "Everybody's Talkin'" is a let down; plus "Corcovado" and two equally obvious Latin tunes. Backed by guitar (Masami Ishikawa), keyboards (Art Hirahara), bass and drums. B+(*) [cd]

Bruno Mars: 24K Magic (2016, Atlantic): Loved his first album, shrugged off his second, and can't say that anything really grabs me in this big-time pop production, though I continue to be wowed by his voice. B

Delfeayo Marsalis presents the Uptown Jazz Orchestra: Make America Great Again! (2016, Troubadour Jass): Big band, led by the trombone-playing Marsalis brother, takes America to be a macro-extension of black New Orleans, with Wendell Pierce narrating a spiel that reminds me of "Chocolate City," egged on by a chorus reiterating the title with just a bit of sarcasm, reminding us that the greatest traitors to America were the "rebels" who fought the union for slavery. Frames the program with "Star Spangled Banner" and "Fanfare for the Common Man." Personally, I'd rather make America good than great, but that's the effect here, too. B+(**) [cd]

MAST: Love and War_ (2016, Alpha Pup): Album cover stylizes group name as all caps followed by an inverted-V and two backslashes, sort of a broken-M, although their Bandcamp page sticks with ASCII. Second group album, leader is Tim Conley, they didn't bother to table up the credits, but it would have been a long list, including the ten-piece Fresh Cut Orchestra. Structured as a three act play, with various spoken and sung characters, lush instrumental passages, the sort of high art concept I have trouble focusing on. I will say he's better at it than the Pretty Things, though maybe not better than Sufjan Stevens (or the Who). B+(*) [cdr]

Matt Mayhall: Tropes (2015 [2016], Skirl): Drummer, based in Los Angeles, also credited with keyboards on this debut album, leads a trio with Jeff Parker on guitar and Paul Bryan on bass guitar, plus guests on a couple cuts each: Chris Speed (tenor sax) and Jeff Babko (organ, keyboards). Rather mellow showcase for Parker. B+(*) [cd]

Donny McCaslin: Beyond Now (2016, Motema): Tenor saxophonist, has outstanding chops which he frequently flexes to steal the spotlight on others' albums, although I've only rarely been a fan of his own albums (2008's Recommended Tools is an exception). David Bowie hired him to work on his final album, Blackstar, and McCaslin returns the compliment here, using Bowie's band (Jason Lindner, Mark Giulliana, Tim Lefebvre) on a couple of Bowie songs, others from Deadmau5 and Mutemath. Leans hard toward fusion, turning into its own kind of sax blowout. B+(*)

The Monkees: Good Times! (2016, Rhino): Someone thought some sort of 50th anniversary remembrance was in order, then discovered that three of the original four actors who were tabbed for a popular TV series about an American Beatles spoof were still living, so why not a reunion? They even hired three members of Fountains of Wayne to craft fake Monkees songs. It's not like they couldn't recapture the vibe, but somehow it sounds pathetic this time around. Indeed, the whole thing turned so depressing they let the original Monkees write some of their own songs. And they dug up an unreleased 1967 track to pretend Davy Jones lives. B-

Van Morrison: Keep Me Singing (2016, Caroline): Past 70 now, knighted, one of the all-time greats, so much so that mere echoes of his great albums can blow you away. This one is that and a bit more as he's found a new comfort not just in his skin but in the warmth of his Celtic-blues soul. A-

John Moulder: Earthborn Tales of Soul and Spirit (2014-16 [2016], Origin): Guitarist, based in Chicago, teaches at Benedictine and Northwestern, sixth album, cut in two sessions with different bass/drums and tablas on one, but Jim Trompeter (piano), Marquis Hill (trumpet), and Donny McCaslin (tenor sax) appeared on both. McCaslin flexes his chops, but this can get murky without him. B [cd]

Moutin Factory Quintet: Deep (2016, Blujazz): Twin brothers François (bass) and Louis Moutin (drums), leading a quintet with alto/sopranino sax (Christophe Monniot), guitar (Manu Codjia), and piano (Jean-Michel Pilc). One very nice Fats Waller medley, mostly just bass and drums, but the originals tend toward post-fusion (in the sense of what postbop made of bebop, I suspect Weather Report was their ur-text). B+(*) [cd]

Fredrik Nordström: Gentle Fire/Restless Dreams (2016, Moserobie, 2CD): Tenor saxophonist from Sweden, look him up and most likely you'll find a different person -- a heavy metal guitarist with the same name. This one has a half-dozen previous albums going back to 2000. Two albums here cut in the same two-day session, with the same quartet: Jonas Östhom (piano), Torbjörn Zetterberg (bass), Gerald Cleaver (drums). Mixed with the gentle stuff on one disc, the restless on the other (or vice versa). Restless is better, of course, but I've played this enough I've also grown quite fond of the fire. A- [cd]

Phil Parisot: Lingo (2016, OA2): Seattle-based drummer, first album, has a couple of side-credits including the group Big Neighborhood. Sax quartet, Steve Treseler out front on tenor and soprano, Dan Kramlich on piano and Fender Rhodes, Michael Glynn on bass. Seven originals, three non-standard covers, pretty much what everyone else is doing, though lively for that. B+(*) [cd]

Felix Peikli & Joe Doubleday: It's Showtime! (2016, self-released): Clarinetist, from Norway, and vibraphonist, playing standards, backed by a swing-oriented rhythm section with Rossano Sportiello on piano. Bright, even a bit frothy. B+(*) [cdr]

Ivo Perelman/Karl Berger/Gerald Cleaver: The Art of the Improv Trio Volume 1 (2016, Leo): Avant tenor saxophonist from Brazil, celebrated twenty years of recording back in 2009-10 with six releases, and has duplicated that feat nearly every year since. He released five records this spring (my top picks were Soul and Blue), and now for the fall he's come out with six volumes of Improv Trio -- one suspects too much and too similar, but we'll see. Berger here plays piano, a steady influence that mostly keeps the sax on track, even brings out a touch of elegance. B+(***) [cd]

Ivo Perelman/Mat Maneri/Whit Dickey: The Art of the Improv Trio Volume 2 (2016, Leo): Tenor sax, viola, drums. Maneri is the wild card here, his microtonal meanderings sometimes lose me, but in the end he provokes the saxophonist into upping his game. B+(***) [cd]

Ivo Perelman/Matthew Shipp/Gerald Cleaver: The Art of the Improv Trio Volume 3 (2015 [2016], Leo): Probably the most imposing of the trio lineups, but pianist Shipp -- a frequent Perelman mate going back to 1996's Bendito of Santa Cruz -- never charges into the clear (as he sometimes managed in the David S. Ware Quartet). Still a fine showing for the saxophonist, but not exceptional. B+(**) [cd]

Ivo Perelman/William Parker/Gerald Cleaver: The Art of the Improv Trio Volume 4 (2016, Leo): The bassist makes a difference here, setting up a groove (or at least momentum) that keeps the sax man on his toes, bobbing and weaving, never far from the edge. Moreover, he can go loud without knocking the leader out, so he has no need to hold back (as the pianists have done). A- [cd]

Ivo Perelman/Joe Morris/Gerald Cleaver: The Art of the Improv Trio Volume 5 (2016, Leo): Morris plays electric guitar, somewhat inconspicuously poking around the edges, adding bits of color and brightness. Another strong outing for the saxophonist. B+(***) [cd]

Ivo Perelman/Joe Morris/Gerald Cleaver: The Art of the Improv Trio Volume 6 (2016, Leo): Recorded in July, probably the same time as Volume 5, the difference here is that Morris has switched from guitar to bass. As with Volume 4, this both loosens up the saxophonist and lets him be fiercer or more eloquent as the opportunity arises. A- [cd]

Pink Martini: Je Dis Oui (2016, Heinz): Portland group dating back to 1994, principally pianist Thomas Lauderdale and singer China Forbes, play an ecclectic mix of jazz, chanson, and kitsch drawing on pretty much everything. More of all of that, in some ways remarkable but less satisfying than, e.g., 2007's Hey, Eugene!. B+(*)

Bobby Previte: Mass (2016, RareNoise): Jazz drummer, often leans toward fusion but has more eclectic tastes -- esoteric, too. This starts with a baroque piece by Guillaume Du Fay (1397-1474, Missa Sancti Jacobi), adds pipe organ "inspired by Olivier Messaien" (played by Marco Benevento), vocals (The Rose Ensemble), and some electric bass that could have been dubbed by Black Sabbath. I suppose if you cared about any of those things, this might seem interesting, or blasphemous, or something. C+ [cdr]

Carol Robbins: Taylor Street (2016 [2017], Jazzcats): Plays harp, has a couple previous albums, backed here by Los Angeles musicians -- Bob Sheppard (tenor sax), Curtis Taylor (trumpet), Larry Koonse (guitar), Billy Childs (piano), Darek Oles (bass) -- generating an easy momentum without turning too smooth. B+(*) [cd]

Rudy Royston Trio: RisEofOrion (2016, Greenleaf Music): Drummer from Texas, only his second headline album but side credits go back to 1992, notably with saxophonists Fred Hess and J.D. Allen, and more recently with Jim Snidero, Doug Webb, and trumpet master Dave Douglas. This is another sax trio, with Jon Irabagon tugging him out of the mainstream, and Yasushi Nakamura on bass. B+(***) [cd]

Ken Schaphorst Big Band: How to Say Goodbye (2014 [2016], JCA): Big band composer-conductor, chairs the jazz department at New England Conservatory, has a half dozen albums since 1989, maybe more. Plays trumpet and keyboards here, just one cut each. Band is chock full of well-known names, including Ralph Alessi, Donny McCaslin, Chris Cheek, Uri Caine, Brad Shepik, and Matt Wilson -- much solo power, some impressive passages. B+(*) [cd]

Adam Schneit Band: Light Shines In (2016, Fresh Sound New Talent): Plays tenor sax and clarinet, has two previous appearances with Old Time Musketry (both A- records), leads his debut album with Sean Moran (guitar), Eivind Opsvik (bass), and Kenny Wollesen (drums). Nice mainstream sax album, the clarinet less so. B+(**) [cdr]

Steve Slagle: Alto Manhattan (2016 [2017], Panorama): Mainstream alto saxophonist, most often heard with Dave Stryker (who usually gets top billing), but here takes center stage and is terrific though sevel cuts, mostly burners aside from a solo "Body & Soul." He switches to flute on the last two cuts and adds congas, nice but less impressive. Joe Lovano joins in on three cuts. B+(***) [cd]

Enoch Smith Jr.: The Quest: Live at APC (2016, Misfitme Music): Pianist, born in Rochester, based in New Jersey, has several albums. Wears his religion on his sleeve -- first album was called Church Boy -- and dabbles in nursery rhymes, coming together here in two takes of "Jesus Loves Me." Uses two singers, neither adding much nuance or style. C [cd]

Snaggle: The Long Slog (2016, Browntasaurus): Jazz group, "often described as Canada's answer to Snarky Puppy," main songwriter is keyboardist (no piano) Nick Maclean, plus guitar, a couple horns (trumpet, tenor sax), bass and drums, with a "special guest" credit for second trumpet player Brownman Ali (also producer). CDBaby has a blurb from Randy Brecker saying "reminds me of a band I used to play in." Underwhelming comps pursued vigorously, leaves me uninterested. B- [cd]

Soul Basement feat. Jay Nemor: What We Leave Behind (2016, ITI): Recorded over three months in Siracusa [Sicily], Gothenburg [Sweden], and Oslo. Soul Basement is an alias for Fabio Puglisi, who plays keyboards, bass, drums, and programming, and co-wrote the songs with non-bandmember J. Harden. Nemor does the speakeasy vocals and some saxophone, making him the real focal point. All in English, including a couple timely political excursions. B+(*) [cd]

Terell Stafford: Forgive and Forget (2016, Herb Harris Music): Mainstream trumpet player, originally from Miami, last time tried his hand at a Lee Morgan tribute (BrotherLee Love), but didn't really get the vibe right until now, with a superb hard bop quintet. Pianist Kevin Hays is essential, tenor saxophonist Tim Warfield mostly shades but delivers when he gets a solo shot. But it's mostly the trumpet -- the fast ones grab you right away, the ballads take a while for the slow burn to emerge. A- [cd]

Andrew Van Tassel: It's Where You Are (2016, Tone Rogue): Alto saxophonist, also plays soprano, based in New York, probably his first album, a quartet with Julian Shore on piano and Rhodes. One cover, from Charles Ives, the originals insightful but soft-edged and pleasant. B+(*) [cd]

Anna Webber's Simple Trio: Binary (2016, Skirl): Plays tenor sax and flute, here in a prickly trio with Matt Mitchell on piano and John Hollenbeck on drums. B+(***) [cd]

Scott Whitfield: New Jazz Standards (Volume 2) (2016, Summit): Trombonist, eighth album since 1989, side credits include Toshiko Akiyoshi's big band. Quartet with Christian Jacob (piano), Kevin Axt (bass), and Peter Erskine (drums) playing song written by producer Carl Saunders. As far as I can tell, the previous volume of New Jazz Standards was released in 2014 and credited to the late flautist Sam Most -- another Saunders production. B+(*) [cd]

Basak Yavuz: A Little Red Bug (2015 [2016], Things&): Turkish singer-songwriter, studied jazz in New York and picked up some tricks, but this second album was recorded in Istanbul with a long list of Turkish names (but no instrument credits). Music, too, is more Turkish than jazz, but its dramatic flair is informed (and stretched) by the latter -- most obviously on the "Bye Bye Blackbird" cover. B+(**) [cd]

Zarabande: El Toro (2016, AFlo): San Antonio-based marimba player Alfred Flores is billed as "El Toro" here, and seems to be the leader (listed first, producer) -- band includes Joe Caploe on vibraphone, Mark Little on piano, plus bass and drums -- and "Zarabande" is one of the song titles, but the credits are reversed, perhaps because Little and Caploe split all the song credits (6-3). Nice flow, lots of tinkle. B+(*) [cd]

Recent Reissues, Compilations, Vault Discoveries

Miles Davis Quintet: Freedom Jazz Dance [The Bootleg Series Vol. 5] (1966-68 [2016], Columbia/Legacy, 3CD): His greatest group, close to mid-term, so it's fair to expect jazz of the highest order, and to be disappointed with tentative outtakes and rambling session dialogue only scholars need to hear once. The songs mostly turned into Miles Smiles (1966) with some leftovers that wound up on Water Babies (belatedly released in 1976). The false starts and not-very-audible banter especially mar the first disc, but the music on the latter discs is pretty much what you'd expect. Doesn't strike me as essential, but I also don't have the booklet that no doubt draws out the historical context. B+(*)

Erroll Garner: Ready Take One (1967-71 [2016], Legacy): Fourteen previously unreleased tracks from three sessions late in the pianist's career. Mostly trio, some extra percussion, the sound weak enough that the bass isn't always clear. Flashes of the idiosyncrasy that marked his work in his '50s prime, but not a major find. B+(*)

Old Music

Sonny Criss: The Complete Imperial Sessions (1956 [2000], Blue Note, 2CD): Also saxophonist, cut his first albums for Imperial at age 28 (although some older recordings were released later), three albums -- Jazz USA (with Barney Kessel and Kenny Drew), Go Man! (with Sonny Clark), and Sonny Criss Plays Cole Porter (Clark again, plus Larry Bunker on vibes) -- all rounded up here. Bright and fast, manages to bridge bebop and a more mainstream standards repertoire. A- [cd]

Ella Fitzgerald & Duke Ellington: The Stockholm Concert (1966 [1994], Jazz World): Same year as the official Ella and Duke at the Côte D'Azur -- issued in an 8-CD box and a recommended 2-CD sampler. Pretty much their standard show, opening with four Ellington pieces, closing with scat takes of "How High the Moon" and "Mr. Paganini." B+(***) [cd]

Notes

Everything streamed from Napster (ex Rhapsody), except as noted in brackets following the grade:

  • [cd] based on physical cd
  • [cdr] based on an advance or promo cd or cdr
  • [bc] available at bandcamp.com
  • [sc] available at soundcloud.com
  • [sp] available at spotify.com
  • [os] some other stream source
  • [dl] something I was able to download from the web; may be freely available, may be a bootleg someone made available, or may be a publicist promo

Ask a question, or send a comment.

Monday, November 28, 2016

Music Week

Music: Current count 27386 [27362] rated (+24), 362 [379] unrated (-17).

Finally, on Saturday, got my new computer build working, hooked up, and able to stream from Napster. I'm somewhat embarrassed to finally realize that the problem all along was a faulty monitor (a Samsung, like most of the other faulty equipment in the house right now -- my big complaint is a broken ice maker in the refrigerator, and by broken I mean that the plastic tray is badly cracked on both ends, such that the screw drive that moved the ice forward jams). The monitor actually displays internally generated messages fine, but doesn't display the signal coming in through the D-SUB connection. In fact, the manual says the monitor has a self-test feature, and when I tried that the self-test came out OK. But it took weeks for it to finally sink in that the monitor was the problem.

Went out on Black Saturday and picked up a new LG 24-inch monitor for about $140. The new computer works fine with it. The old computer works fine too, so now I have a spare. It had been 5-6 years since I built the old one, so one can argue that I was due for a new one, but I hate to have blundered into it like that. The new one has an 8-core AMD FX-8350 processor, ASUS motherboard and video card (not a fancy one, but has 2GB RAM), plus I have 32GB RAM and a 2TB hard drive, a DVD burner, and a parallel printer port board so I can still hook up to my old HP laser printer. Loaded Xubuntu 16.04 desktop on it, and I've had to load a couple dozen extra software packages so I have a LAMP web server, emacs, gimp, and a few extra applications that looked promising (including a CAD system, an alt-Adobe Illustrator, and a database program for recipes). That's all free software. Had to jump through some extra hoops to get non-free (but zero cost) Adobe Flash (needed by Napster) and gstreamer drivers for playing DVDs. Probably still need some further work, but it's basically functional now. Used a cheap old box, so it's not the most elegant thing in the shop, but should be a solid machine.

Only three Napster streams among the records listed below. I also played the new A Tribe Called Quest (given an A+ last week by Christgau) but didn't get into it enough to pass any sort of judgment. (Two-thirds sounds pretty good, but nothing sounds as great as that grade implies. And it's two discs, and I'm often slow getting into hip-hop records, so I figured it best to return later).l The three rated below only got a single play. Could be that a second play might nudge Common up a notch, but Bruno Mars was disappointing and Pink Martini clearly not their best work. Playing the latest Miles Davis bootleg as I write this, but at 3-CD it's going to take a while.

Besides, I needed to make a serious dent in the incoming jazz queue, which I did. The 2016 pending list is currently down to six albums: no one I've heard of (although I filed one under Ernest Dawkins, whose last three albums came in at A-, so I need to check that one out soon). Jazz Critics Poll ballot due next week, and Francis Davis is already getting anxious about that. I did a preliminary sort on my jazz list a couple weeks ago, but I still expect to fiddle with the order quite a bit (depending on time and whether I can find things, so possibly not before I have to turn a ballot in).

I'm afraid I have no sense whatsoever how that poll is going to go. I currently list 61 A- (or better) new jazz albums. The only one in my top-ten I'm reasonably sure will finish top-ten (probably top-three) is Henry Threadgill's Old Locks and Irregular Verbs. I suppose JD Allen (Americana) and David Murray (Perfection) are possibles; further down my list Steve Lehman, Sonny Rollins, Greg Ward, Jack DeJohnette, Dave Holland, and Fred Hersch seem likely to get a few votes, but I'll be surprised if anything else cracks the top forty. (George Coleman maybe? Rich Halley? Jane Ira Bloom?)

Rather seems more likely that some of my HM records will poll well -- Michael Formanek, Mary Halvorson, Wadada Leo Smith, Tyshawn Sorey -- or records I listed lower -- Darcy James Argue, Kenny Barron, Vijay Iyer, Charles Lloyd -- not much else I've noticed other critics liking, but I'm sure I've missed some things. As for records I've heard of but haven't heard, I scanned through my checklist file and added 13 records to the "estimated to have a 2% chance of A-" list in the EOY Jazz file cited above (also added 19 to the EOY Non-Jazz file). I'll add more as I see some actual EOY lists.

Speaking of EOY lists, the first few have appeared (starting, as usual, in the UK with NME, Mojo, Uncut, and a few record store lists). I put a lot of work into tracking these things last year, and doubted that I would again, but the last few weeks have been so stressful to me that I thought it might be calming to waste some time on them this year. After eight (or so) lists this year looks like this. (Note that I'm already counting my grades, although I've only included those on other lists.) My initial guess was that Beyoncé would win going away, with Chance the Rapper in second, and then, well, I don't know -- AOTY has Nick Cave top-rated based on review averages (a B- as far as I'm concerned), followed by Bon Iver (*), Beyonce (?), Solange (**), Radiohead (B), Frank Ocean (?), Leonard Cohen (A-), A Tribe Called Quest (probably A-), Mitski (*), and Angel Olsen (***). But at least in the UK, David Bowie jumped into a clear lead, followed by Cave, Radiohead, Olsen, Thee Oh Sees, and Iggy Pop, with Beyoncé and Chance back in the 30-40 range.

However, the first American list to appear, from Consequence of Sound, is closer to what I expect: Beyoncé, Chance, Bowie, Ocean, Anohni, Cave, Olsen, Anderson .Paak, Bon Iver, Cohen, Mitski, A Tribe Called Quest (first list appearance for a late release), Radiohead, Blood Orange, Schoolboy Q, Wilco, Tim Hecker, Car Seat Headrest, Solange; plus some further down records that may do better: Kaytranada, Danny Brown, Savages, Kevin Gates, Young Thug, White Lung.

One list that's out that I haven't bothered with is Decibel's. Last year I faithfully tracked all the metal lists, but wound up listening to fewer than five albums, so that much doesn't seem to be worth the effort this year. I suppose that makes my tally a bit less objective, but I'd rather spend my time on things I consider worthy.

I made a mistake last week in listing Heroes Are Gang Leader's new album Flukum, so corrected that and repeated it this week. I liked their previous album this year (Highest Engines Near/Near Higher Engineers) a bit more, but both should be of interest if you're interested in jazz-rap fusion. The two A- records this week are from Ivo Perelman's six-volume set, only marginally better than the others because bass seems to fit in better than piano (or viola or guitar). Could be I downgraded the one with Shipp only because I expected more (it was the one volume I singled out to listen to in the car). Perelman finishes the year with 4 A-, 4 ***, 1 **, 2 * records.

PS: Monday's mail brought a nice package from NoBusiness in Lithuania, and a new Randy Weston 2-CD that officially drops on January 20 (so I can ignore it for a couple weeks). Also email from Steve Swell offering me a couple CDs, so they'll be coming soon. Also, that new Dawkins album is pretty good.

New records rated this week:

  • Aguankó: Latin Jazz Christmas in Havana (2016, Aguankó): [cd]: B
  • Eraldo Bernocchi/Prakash Sontakke: Invisible Strings (2016, RareNoise): [cdr]: B+(***)
  • Karl Blau: Introducing Karl Blau (2016, Raven Marching Band): [r]: B
  • Common: Black America Again (2016, Def Jam): [r]: B+(**)
  • The Delegation: Evergreen (Canceled World) (2014-15 [2016], ESP-Disk, 2CD): [cd]: B+(*)
  • The Fat Babies: Solid Gassuh (2016, Delmark): [cd]: B+(**)
  • Jari Haapalainen Trio: Fusion Machine (2016, Moserobie): [cd]: B+(*)
  • Stu Harrison: Volume I (2016, One Nightstand): [cd]: B+(**)
  • Heroes Are Gang Leaders: Flukum (2016, Flat Langston's Arkeyes): [cd]: B+(**)
  • Jerome Jennings: The Beast (2016, Iola): [cd]: B+(**)
  • MAST: Love and War_ (2016, Alpha Pup): [cdr]: B+(*)
  • Ivo Perelman/Karl Berger/Gerald Cleaver: The Art of the Improv Trio Volume 1 (2016, Leo): [cd]: B+(***)
  • Ivo Perelman/Mat Maneri/Whit Dickey: The Art of the Improv Trio Volume 2 (2016, Leo): [cd]: B+(***)
  • Ivo Perelman/Matthew Shipp/Gerald Cleaver: The Art of the Improv Trio Volume 3 (2015 [2016], Leo): [cd]: B+(**)
  • Ivo Perelman/William Parker/Gerald Cleaver: The Art of the Improv Trio Volume 4 (2016, Leo): [cd]: A-
  • Ivo Perelman/Joe Morris/Gerald Cleaver: The Art of the Improv Trio Volume 5 (2016, Leo): [cd]: B+(***)
  • Ivo Perelman/Joe Morris/Gerald Cleaver: The Art of the Improv Trio Volume 6 (2016, Leo): [cd]: A-
  • Pink Martini: Je Dis Oui (2016, Heinz): [r]: B+(*)
  • Bobby Previte: Mass (2016, RareNoise): [cdr]: B-
  • Rudy Royston Trio: RisEofOrion (2016, Greenleaf Music): [cd]: B+(***)
  • Enoch Smith Jr.: The Quest: Live at APC (2016, Misfitme Music): [cd]: C
  • Snaggle: The Long Slog (2016, Browntasaurus): [cd]: B-
  • Basak Yavuz: A Little Red Bug (2016, Things&): [cd]: B+(**)
  • Zarabande: El Toro (2016, AFlo): [cd]: B+(*)

Old music rated this week:

  • Ella Fitzgerald & Duke Ellington: The Stockholm Concert (1966 [1994], Jazz World): [cd]: B+(***)

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Sunday, November 27, 2016

Weekend Roundup

I didn't really plan on posting a Roundup this week, but when I looked at Salon's politics section way too may red flags jumped out at me. I'm generally inclined to give Trump a little rope to hang himself, but I'm surprised by the speed with which he's set about the task. I realized that Trump was a guy who spent every waking moment conniving to make money (well, aside from the time spent plotting sexual conquests), and thought it unlikely that he'd change for a moment. But these pieces are mostly self-explanatory, so at least I don't have to annotate them.

Some scattered links this week on all things Trump:

Also a couple things not exactly on the incoming disaster, although not exactly unrelated either:

I don't have much to say about Fidel Castro. I've never held any romantic attachment for Cuba's communist regime, and I don't doubt that it has sometimes been repressive and that its planned economy could have been more dynamic. However, I can't begrudge their early expropriation of foreign (mostly American) assets, and must admit that they've built a literate, highly educated, and for the most part egalitarian society, while maintaining a vibrant culture, all despite cruel economic hardships imposed variously by America and Russia. It's worth remembering that Cuba was the last slaveholder society in the Americas, and the last of Spain's colonial outposts, and after the US seized it in America's 1898 imperialist expansion was only granted "independence" because it was thought easier to run it through local puppet strongmen -- a scandalous series that was only ended by Castro's revolution.

I've long thought that the vitriolic reaction of American politicos to Cuba's real independence and defiance reflected a deep-seated guilt (and embarrassment) about how badly we had mishandled our power there. But it manifested itself as sheer spite, ranging from the CIA's Bay of Pigs invasion and numerous assassination plots the CIA tried to mount against Castro to the long-running blockade -- all of which reinforced Castro's anti-Americanism and made him a hero for underdogs all around the world. Obama's recent normalization of US-Cuban relations finally gives us a chance to be less of an ogre -- although the reflexive instinct is still apparent in recent comments by Trump, Rubio, and others. Hopefully they'll blow this jingoistic thinking out of their systems.

Here are a few scattered comments on Castro from: Tariq Ali; Greg Grandin; Tony Karon (2008); also: Stephen Gibbs/Jonathan Watts: Havana in mourning: 'We Cubans are Fidelista even if we are not communist'; Kathy Gilsinan: How Did Fidel Castro Hold On to Cuba for So Long?.

One quote, from the Karon piece above:

There's been predictably little interesting discussion in the United States of Fidel Castro's retirement as Cuba's commandante en jefe, maximo etc. That's because in the U.S. political mainstream, Cuba policy has for a generation been grotesquely disfigured by a collective kow-towing -- yes, collective, it was that craven Mr. Clinton who signed into law the Draconian Helms-Burton act that made it infinitely more difficult for any U.S. president to actually lift the embargo, and the equally craven Mrs. Clinton appears to pandering to the same crowd -- to the Cuban-American Ahmed Chalabi figures of Miami, still fantasizing about a day when they'll regain their plantations and poor people of color will once again know their place. [ . . . ]

What fascinates me, however, is the guilty pleasure with which so many millions of people around the world revere Fidel Castro -- revere him, but wouldn't dream of emulating his approach to economics or governance. People, in other words, who would not be comfortable actually living in Castro's Cuba, much as they like the idea of him sticking it the arrogant yanqui, his physical and political survival a sure sign that Washington's awesome power has limits -- and can therefore be challenged.

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Monday, November 21, 2016

Music Week

Music: Current count 27362 [27338] rated (+24), 379 [395] unrated (-16).

I expected my computer problems would be solved by now, but seems like they've multiplied. I basically work on three computers. I built my main one close to a decade ago, then upgraded most of it four or so years ago: new motherboard, 8-core AMD cpu, 32GB RAM, kept the old mirrored hard drives. I write on it, and maintain master copies of a half-dozen websites. It's great, but I fell off the update track some while back, so it's still running Ubuntu 12.04, which includes one very annoying flaw: Firefox doesn't handle JavaScript very well, so I avoid it (NoScript helps) but even so it crashes a couple times a week. Ubuntu is now up to 16.04, and at some point I need to break down and do the upgrade(s).

Meanwhile, I've had a second, less powerful Ubuntu computer -- I bought the components there on a pretty limited budget (probably something like $500, maybe five years ago), and I've kept it up to date. I hooked up some Klipsch speakers to it, and used it for streaming music, downloading, and Facebook (one of those JavaScript monsters that kills my main computer). However, a couple months ago I started noticing loud clicks in the audio, and occasional freezes when I would look at DVDs. I tried replacing the power supply, which got rid of the clicks. But then something happened: the video went blank (a deep screensaver option), but wouldn't wake up. I could still log into the machine remotely, and I've been tracking down similar issues and possible fixes, but none have worked. Knowing the computer was old and weak, I decided to buy new components -- AMD 8-core FX cpu, motherboard, 32GB RAM, 2TB hard drive, a fairly cheap ATI Radeon video card. I figured I'd use the recently purchased power supply (a 650W Corsair) and an old box (which previously hosted my wife's computer; when I rebuilt I got her a new mini-tower box).

The old box had a 550W Thermaltake power supply which looked quite viable, so I decided to try an experiment: I swapped power supplies, then stuck my new video card into the old computer. I rebooted, and it came up with proper graphics. I finally was able to listen to a record on Napster (Erroll Garner, below, and got about half-way through the new Miles Davis bootleg before I went to bed). Anyhow, that seemed to work well enough I ordered yet another video card. Then next morning I got up and the video was blanked, and nothing I did made could wake it up. The blackout is so bad not even the BIOS splash screen appears. The monitor, however, displays diagnostic info (analog, digital, no cable). I just remotely did a software update, then reboot. Still no screen. Very frustrating, very perplexing.

Meanwhile, I've built the new computer, except for the new video card I expect to arrive tomorrow. Then I'll plug it in, do a fresh Xubuntu desktop install, and try to patch up the various things I need (emacs, mysql, apache, php, etc.). Should take the better part of a day, if all goes well. Not that anything's gone well in the last month or so. At some point all this frustration threatens to turn into depression.

So, all but one of this week's records were reviewed from CDs, so all are jazz. (I don't think I've bought a single CD all year.) At least I've drained about half of the queue that built up in September and October. Main thing left is six Ivo Perelman discs, giving him ten on the year. All are titled The Art of the Improv Trio then a volume number. First one is pretty good, and most likely they're all like that, so I'll be struggling with marginal distinctions for a couple days -- at least that beats the Xmas CDs, which I figure I'll suffer through sometime closer to the holiday.

I did finally flesh out my first pass at EOY lists: one for Jazz, and the other for Non-Jazz. The former is much larger (61 A-list, 120 HM, 385 other, so 566 total, 8-6-11=25 for reissues/compilations, vs. non-jazz: 41 A-list, 36 HM, 105 other, so 182 total, 11-9-6=26 for reissues/compilations). At this time last year the Jazz A-list was well ahead of the Non-Jazz, but eventually they evened out. That seems less likely this year, but is still possible. Assuming I get Napster up and running again, the ratio of Jazz/Non-Jazz further down the grade scale should reduce somewhat, but hard to see that ever balancing out. Reissues and compilations remain especially hard to get hold of.

No Thanksgiving plans. My wife never wants me to cook on that day, and all the usual friends and family have their own plans, so most likely we'll be home alone. Maybe I'll get some listening done.

Still scanning through the notebooks for stray record reviews. Up to December 2006, where I noticed that I had in fact made Thanksgiving dinner that year. Went Japanese that year:

  • miso soup
  • pan-fried gyoza
  • salmon teriyaki
  • tiny roast potatoes
  • french-cut green beans with peanut sauce
  • grilled Japanese eggplant with spicy peanut sauce
  • agedashi (fried bean curd)
  • pineapple upside down cake

Also planned on sushi rice with grilled unagi (eel), but evidently didn't get that done until the next day. I hardly ever cook Japanese (except for the salmon, one of the easiest really good recipes I know), so this mostly seems unfamiliar (aside from the ringers: the eggplant is one of Barbara Tropp's Chinese fusion recipes, and the cake is my Mom's recipe, an old family standard -- in fact, one of the cakes I made for her funeral reception).

New records rated this week:

  • Sophie Agnel/Daunik Lazro: Marguerite D'Or Pâle (2016, Fou): [cd]: B+(**)
  • Tom Collier: Impulsive Illuminations (2014-15 [2016], Origin): [cd]: B
  • Dim Lighting: Your Miniature Motion (2014 [2016], Off): [cdr]: B+(*)
  • David Friesen Circle 3 Trio: Triple Exposure (2015 [2016], Origin): [cd]: B+(*)
  • Clay Giberson: Pastures (2015 [2016], Origin): [cd]: B+(***)
  • Heroes Are Gang Leaders: Flukum (2016, Flat Langston's Arkeyes): [cd]: B+(**)
  • Erik Jekabson: A Brand New Take (2015 [2016], OA2): [cd]: B+(*)
  • Walter Kemp 3oh!: Dark Continent (2015 [2016], Blujazz): [cd]: B+(*)
  • Frank Kimbrough: Solstice (2016, Pirouet): [cd]: B+(**)
  • Jerry Leake: Crafty Hands (2016, Rhombus Publishing): [cd]: B+(**)
  • Allen Lowe: In the Diaspora of the Diaspora: A Day in Brooklyn: At Ibeam (2015 [2016], Constant Sorrow, 2CD): [cd]: B+(***)
  • Allen Lowe: In the Diaspora of the Diaspora: Hell With an Ocean View (2016, Constant Sorrow): [cd]: A-
  • Thierry Maillard Trio: Ethnic Sounds (2016, Blujazz): [cd]: B-
  • Mamutrio [Lieven Cambré/Piet Verbist/Jesse Dockx]: Primal Existence (2015 [2016], Origin): [cd]: B+(***)
  • Tom Marko: Inner Light (2016, Summit): [cd]: B
  • Melanie Marod: I'll Go Mad (2016, ITI): [cd]: B+(*)
  • John Moulder: Earthborn Tales of Soul and Spirit (2014-16, Origin): [cd]: B
  • Moutin Factory Quintet: Deep (2016, Blujazz): [cd]: B+(*)
  • Fredrik Nordström: Gentle Fire/Restless Dreams (2016, Moserobie, 2CD): [cd]: A-
  • Phil Parisot: Lingo (2016, OA2): [cd]: B+(*)
  • Ken Schaphorst Big Band: How to Say Goodbye (2014 [2016], JCA): [cd]: B+(*)
  • Steve Slagle: Alto Manhattan (2016 [2017], Panorama): [cd]: B+(***)
  • Anna Webber's Simple Trio: Binary (2016, Skirl): [cd]: B+(***)
  • Scott Whitfield: New Jazz Standards (Volume 2) (2016, Summit): [cd]: B+(*)

Recent reissues, compilations, and vault discoveries rated this week:

  • Erroll Garner: Ready Take One (1967-71 [2016], Legacy): [r]: B+(*)

Unpacking: Found in the mail last week:

  • Dr. Mint: Voices in the Void (Orenda): January 21
  • Live Human: Scratch Bop (Cosmic)
  • Mast: Love and War (Alpha Pup): advance, October 7
  • Rudy Royston Trio: RisEofOrion (Greenleaf Music)
  • David Wise: Till They Lay Me Down (self-released): January 6
  • Basak Yavuz: A Little Red Bug (Things&Records): December 15

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Saturday, November 19, 2016

Election Roundup

First, a few summary points, many drawing on my previous post-election piece:

  • Hillary Clinton still has a popular vote margin over Donald Trump, one that currently stands at 1,322,095 votes, up nearly one million votes since I checked earlier, and up about 100,000 votes since I started this post. (I've seen a tweet that has Clinton's lead at 1.65 million votes.) Still, that's less than Clinton's margin in New York state alone (1,507,241), a mere 45% of her margin in California (2,904,526). In fact, California topped Hawaii as her best percentage state (61.78%; she won 90.4% in DC). By contrast, Trump's biggest popular win, in Texas, was 813,774, followed by Tennessee (651,073), Alabama (588,841), Kentucky (574,108), Missouri (530,864), Indiana (520,429). Trump topped 60% in 9 states (AL, AR, KY, NB, ND, OK, SD, WV, WY), but most were small.

  • Clinton lost three states that she was heavily favored in by very slim margins: Michigan (0.27%), Wisconsin (0.93%), and Pennsylvania (1.24%). Had she hung on to those three states she would have won the electoral college. It's easy to imagine various technical shifts in her campaign strategy that might have secured those states and won her the election, even without any substantive adjustments to her platform. She was not a hopeless candidate, but was a flawed and for many people uninspiring one, and was not well served by a staff and organization built to flatter her.

  • Voter turnout was down 1.2 points, to 53.7%. Trump was elected president with about 25% of the vote, and Clinton lost with just a hair more. As was widely reported, they were the two least approved candidates in history. Clinton maintained a polling lead throughout the campaign, but was never able to top 50%, her leads varying widely as Trump's numbers waxed and waned. Trump caught a break a week before the election when FBI Director James Comey re-opened Clinton's email troubles, and Trump avoided major blunders in his last week, so his win can be attributed to a lucky break.

  • The Democrats gained two Senate seats and seven House seats, so the party as a whole was not swept up in a Republican tide. More likely she was a drag on down-ticket Democrats. I believe that one of the biggest tactical errors was Clinton's failure to run against what Harry Truman once called "the do-nothing Congress" (Democrats lost control of Congress in 1946, but recovered in 1948 with Truman's come-from-behind campaign). Ultimately we'll see that most of the bad things that happen in the next four years will originate in the Republican Congress, and most of Trump's own disasters will be tied to his forming an extremist Republican administration. The election would have been very different if Clinton had run not on Obama's "successes" but by blaming Republicans for his shortcomings.

  • I think it's safe to say that Bernie Sanders would have been a more formidable candidate for the Democrats. What is certain is that we didn't have any of Clinton's sleazy vulnerabilities. Also that he was far enough removed from the Clinton-Obama mainstream he could have run as a credible change, and that he has shown the ability to rally large and enthusiastic crowds (which Trump did and Clinton did not). Maybe the Republicans could have come up with an effective set of slanders to undo him, but they wouldn't have had the benefits of 24 years of target practice against Clinton. Sanders' real vulnerability was that the Clinton-Obama Democrats would sandbag him (much as previous generations of Democrats did to Bryan and McGovern), but perhaps fear of Trump would have held them in check.

  • Whatever divisions were thought to exist in the Republican party have vanished. The only thing Republicans really care about is winning and ruling, and they really don't care how ugly it looks. And while their current margins are extremely thin, that didn't impose any scruples on Bush and Cheney in 2000 -- another time when the presidential victor lost the popular vote -- and Republicans have only become more vicious and unscrupulous since then. (Trump, for one, never had to feign compassion.)

One thing that we should bear in mind is that many disasters take a long time to fully reveal themselves. That Republican Congress elected in 1946 has had an especially long-lasting impact. George Brockway, for instance, cited a banking "reform" bill that they passed as the first chink in the deregulation that finally sunk the economy in 2008. More obvious was the Taft-Hartley Act, which made it significantly harder to form and maintain labor unions. After that act was passed, the CIO gave up on organizing unions in the South, which left American businesses with an alternative to union labor in the North. That, more than anything else, gradually ate away at the Rust Belt, leading to this year's Democratic debacle.

But then the Democrats haven't been passive observers to the destruction of their party's base. Harry Truman was so militantly opposed to worker strikes after WWII that he inadvertently validated the public opinion behind Taft-Hartley (a bill he vetoed, but his veto was overridden). And one can argue that the Clinton-sponsored NAFTA was the straw that broke the camel's back -- he's certainly the one who gets blamed, even though it was mostly Republicans who voted for the agreement.

On the other hand, the half-life of disasters certainly seems to be quickening, especially as public institutions become more and more corrupt, as wealth and income are distributed ever more inequally, as decades of bad choices slowly add up into harder ones. A lot of the links below concern the destruction of the middle class, especially in the Rust Belt, and raise the question of why even people who are still doing OK have become anxious about the economy. This can only remind me of a book published back in 1989, Barbara Ehrenreich's Fear of Falling: The Inner Life of the Middle Class. And really, she wasn't way ahead of the learning curve. She was merely more perceptive than most people were. Recent books, such as the six recommended in the list below, focus more on those who have fallen, and who can't get up. But fear came first, and Democrats would have been better served had they recognized that, instead of blundering on and pushing more and more people down and out.

Here are a mess of links I've collected, thinking they may be of some interest (more or less alphabetical by author).

  • Scott Alexander: You Are Still Crying Wolf: Title refers to a piece, Frank Bruni: Crying Wolf, Then Confronting Trump, which complains that Democratic denunciations of "honorable and decent men" like McCain and Romney have inoculated many Americans against even more strident warnings about Trump (he cites an essay by Jonah Greenberg, "How the Media's History of Smearing Republicans Now Helps Trump"). Alexander argues that Trump did better than Romney among blacks, Latinos and Asians, then concludes: "The only major racial group where he didn't get a gain or greater than 5% was white people." He then goes on to argue that Trump isn't nearly as racist (i.e., no more than "any other 70 year old white guy") as people think, and that white supremacists -- at least as represented by people like David Duke (who got 3% in his Louisiana Senate campaign) or groups like the KKK (national membership in the 3000-6000 range) are extremely marginal. I think he goes too far in making excuses for Trump, but it does raise the question: given that Republicans have spent forty-some years "dog-whistling" race-charged themes, isn't it possible that Democrats have become hyper-sensitive to that veiled rhetoric? (And conversely, isn't it possible that much of the Republican target audience have grown so accustomed to it they no longer pay it any mind?) On the other hand, Alexander does stress how bizarre he finds Trump:

    16. But didn't Trump . . .

    Whatever bizarre, divisive, ill-advised, and revolting thing you're about to mention, the answer is probably yes.

    This is equally true on race-related and non-race-related issues. People ask "How could Trump believe the wacky conspiracy theory that Obama was born in Kenya, if he wasn't racist?" I don't know. How could Trump believe the wacky conspiracy theory that vaccines cause autism? How could Trump believe the wacky conspiracy theory that the Clintons killed Vince Foster? How could Trump believe the wacky conspiracy theory that Ted Cruz's father shot JFK?

    Trump will apparently believe anything for any reason, especially about his political opponents. If Clinton had been black but Obama white, we'd be hearing that the Vince Foster conspiracy theory proves Trump's bigotry, and the birtherism was just harmless wackiness.

    Likewise, how could Trump insult a Mexican judge just for being Mexican? I don't know. How could Trump insult a disabled reporter just for being disabled? How could Trump insult John McCain just for being a beloved war hero? Every single person who's opposed him, Trump has insulted in various offensive ways, including 140 separate incidents of him calling someone "dopey" or "dummy" on Twitter, and you expect him to hold his mouth just because the guy is a Mexican?

    I don't think people appreciate how weird this guy is. His weird way of speaking. His catchphrases like "haters and losers!" or "Sad!" His tendency to avoid perfectly reasonable questions in favor of meandering tangents about Mar-a-Lago. The ability to bait him into saying basically anything just by telling him people who don't like him think he shouldn't.

  • Krishnadev Calamur: Donald Trump's CIA Pick Made His Name on the Benghazi Committee: That's Mike Pompeo, currently 4th district congressman from Canada, a district which includes Wichita and a half-dozen rural counties. Pompeo was first elected in 2010 when Todd Tiahrt ran for Senate (and lost to Jerry Moran). Tiahrt, who I had long regarded as the worst congressman in America, tried to take back his House seat in 2012, and lost to Pompeo -- at the time I characterized them as R(Boeing) and R(Koch), respectively. Indeed, the Wichita Eagle has an article today titled "Koch Industries, Pompeo's biggest backer, cheers his CIA nomination." In Congress, Pompeo has been a faithful defender of the Koch's brand of laissez-faire, but far more than that he's emerged as one of the House's most rabid neocons -- a fact that was recognized by Bill Kristol when he put Pompeo's name on his short list of vice presidential candidates. At this article points out, Pompeo's was one of the Benghazi Committee's most forceful foes of Hillary Clinton. Indeed, as CIA Director it wouldn't surprise me if he forgoes the Special Prosecutor and just "renders" her to a black site to be tortured until she confesses all. At least, nothing in that sentence violates his understanding of law or morality.

    Martin Longman has more on Pompeo (as well as Flynn and Sessions) here: Trump Makes Three Catastrophic Picks. I do have a bone to pick with one line: "What unites [Pompeo] with Mike Flynn is his outrage about Obama's firing of Gen. Stanley McChrystal for disloyalty." Uh, McChrystal was fired for incompetence. If you go back to the Rolling Stone article where all this dirty laundry was aired, you'll find that Flynn was even more outspoken in berating and belittling Obama, yet somehow Obama looked past that to nominate Flynn to be head of the DIA. Sure, that may rank as the worst appointment Obama ever made, but you can't say it was because he was thin-skinned about criticism.

  • Robert Christgau on the End of the World

  • David Dayen: Beware Donald Trump's Infrastructure Plan:

    Does this sound familiar? It's the common justification for privatization, and it's been a disaster virtually everywhere it's been tried. First of all, this specifically ties infrastructure -- designed for the common good -- to a grab for profits. Private operators will only undertake projects if they promise a revenue stream. You may end up with another bridge in New York City or another road in Los Angeles, which can be monetized. But someplace that actually needs infrastructure investment is more dicey without user fees.

    So the only way to entice private-sector actors into rebuilding Flint, Michigan's water system, for example, is to give them a cut of the profits in perpetuity. That's what Chicago did when it sold off 36,000 parking meters to a Wall Street-led investor group. Users now pay exorbitant fees to park in Chicago, and city government is helpless to alter the rates.

  • Elizabeth Drew: How It Happened: Some fairly dumb things here, including a metric comparing votes in counties that have Cracker Barrel vs. Whole Foods stores, and an assertion that the third party vote cost Clinton the election. Also includes this quote from J.D. Vance (author of Hillbilly Elegy):

    "People who are drawn to Trump are drawn to him because he's a little outrageous, he's a little relatable, and fundamentally he is angry and spiteful and critical of the things that people feel anger and spite toward," Vance has said. "It's people who are perceived to be powerful. It's the Hillary Clintons of the world, the Barack Obamas of the world, the Wall Street executives of the world. There just isn't anyone out there who will talk about the system like it's completely rigged like Donald Trump does. It's certainly not something you're going to hear from Hillary Clinton."

  • Jason Easley: It Was a Union Contract, Not Trump, That Kept a Ford Plant From Leaving the US

  • Barbara Ehrenreich: Forget fear and loathing. The US election inspires projectile vomiting: Pre-election piece (sorry I didn't link to it earlier). Still, this works fairly well as a post-mortem:

    [Trump's] supporters -- generally portrayed as laid-off blue-collar workers who, in the absence of unions, have devoted themselves to the cause of whiteness -- cheer on each of his macro-aggressions. To them, he is a giant middle finger in the face of the bipartisan political elite, and the crazier he acts, the more resounding this fuck-you gets. It doesn't matter that most of Trump's assertions can't stand up to fact-checking; ignorance has been enshrined by an entire alternative media, stretching from Fox News to Stormfront on the Nazi-leaning right.

    On the liberal left, tragically, we do not have Bernie Sanders, who would have dispatched Trump's populist pretensions with a wrist flick. But no, representing the side of tolerance, good government and cosmopolitanism, we have the very epitome of Democratic party elitism, a woman who labeled half of Trump's supporters "deplorables," a politician who is so robotic that any efforts to analyze her motives risk the charge of anthropomorphism.

  • Liza Featherstone: Elite, White Feminism Gave Us Trump

  • Matt Feeney: The Book That Predicted Trump: The book touted here is Corey Robin's The Reactionary Mind: Conservatism From Edmund Burke to Sarah Palin (2012) -- I'm pretty sure those names are just historical bookends and not meant to imply a general vector of declining intelligence and coherence, as Robin's central thesis is that conservatism, whether you're talking about Burke or John Calhoun or Ronald Reagan or Trump is always pretty much the same thing, for the same reasons: to defend the privileged few against anything that might make us more equal.

    Speaking of books, the New York Times recommends 6 Books to Help Understand Trump's Win:

    • George Packer, The Unwinding: An Inner History of the New America (Farrar, Straus and Giroux)
    • Arlie Russell Hochschild, Strangers in Their Own Land: Anger and Mourning on the American Right (The New Press)
    • J.D. Vance, Hillbilly Elegy: A Memoir of a Family and Culture in Crisis (Harper)
    • Thomas Frank, Listen, Liberal: Or, What Ever Happened to the Party of the People? (Metropolitan Books/Henry Holt & Company)
    • John B. Judis, The Populist Explosion: How the Great Recession Transformed American and European Politics (Columbia Global Reports)
    • Nancy Isenberg, White Trash: The 400-Year Untold History of Class in America (Viking)

    I've only read one of these -- Thomas Frank's critique of Clinton's Democrats, a legacy which needs to be critically reviewed by anyone who wants to rebuild the Democratic Party -- but the common theme here is the economic and social stresses felt by the vanishing middle class of white people.

  • Kathleen Frydl: The Oxy Electorate:

    The number of people who cast a ballot in the 2016 presidential race was greater than in 2012, even though, as a state, Ohio recorded a net loss in turnout from the previous election. This pattern holds for nearly all opioid-ravaged counties. And not just in Ohio -- in Pennsylvania, Wisconsin, and Michigan as well, all of them crucial to the presidential election's outcome. In 9 of the Ohio counties that Trump successfully turned from Democrat to Republican, six log overdose rates well above the national norm. All of the Pennsylvania counties that chose Obama in 2012 and Trump in 2016 have exceptionally high overdose rates, averaging 25 people per 100,000; in none of these counties did vote totals fall.

  • Kathleen Geier: Inequality Among Women Is Crucial to Understanding Hillary's Loss:

    In these white working-class communities, it is the women who have experienced some of the worst hardships. You may have heard of that famous study that showed that showed an unprecedented decline in longevity among white Americans who lack college degrees. But most media reports missed a crucial point: As the statistician Andrew Gelman pointed out, "Since 2005, mortality rates have increased among women in this group but not men." And in addition to economic insecurity and rising mortality rates, working-class women have suffered from another indignity: invisibility. During the campaign, there was a blizzard of articles about the concerns of elite Republican women and white working-class men, but practically nothing about female members of the working class.

  • John Judis: Why Trump Won - and Clinton Lost - and What It Could Mean for the Country and the Parties: Quickie post-mortem, including some things that don't make much sense to me (like the anti-third term pendulum), but one thing I'm struck by is that immigration has different regional effects, and appears particularly threatening when used to break or undermine unions -- meatpackers in Iowa is a case in point. One conclusion I'd draw is that Democrats need to come up with better ways of talking about immigration, because the way this campaign played out they came off as reflexively pro, which raised legitimate questions of how much they cared about people who were born here. Theda Skocpol wrote a rejoinder which pokes a few holes without doing much to fill them in (partly because she feels the need to defend Clinton and to denigrate Sanders).

  • Mike Konczal: Preparing for the Worst: How Conservatives Will Govern in 2017:

    Unlike 2009, the conservative policy agenda is designed to not require any Democratic votes. The idea that a conservative policy agenda would create a dysfunctional system is a feature, not a bug. And the hope that conflicting factions of the GOP will provide opportunities to break them apart are not likely to pan out. But there's some reason for hope, because their overreach and lack of preparedness will give us opportunities. [ . . . ]

    They aren't ready with a replacement for Obamacare. They aren't ready for the heat of privatizing Medicare, or weakening Medicaid. There are constituencies for both, and town halls can be flooded and people organized. Those who desperately wanted a change towards economic security are going to be surprised that the factories aren't coming back and that they signed up for a libertarian kleptocracy instead. But we should also be clear on the challenges of their policy agenda, and that the cracks won't appear by themselves.

    Konczal recommends a book (as do I): Thomas Frank's The Wrecking Crew: How Conservatives Rule (2009) -- no mention of Trump, but lots of things you're going to be seeing. And back on Sept. 21, Konczal wrote a piece that provides useful background here: Trump Is Actually Full of Policy.

  • Michael Kruse: What Trump Voters Want Now: Talking to blue collar Trump voters in Pennsylvania:

    "Your government betrayed you, and I'm going to make it right," Trump told a boisterous crowd at the Cambria County War Memorial Arena less than three weeks before Election Day. "Your jobs will come back under a Trump administration," he said. "Your steel will come back," he said. "We're putting your miners back to work," he said.

    The people here who voted for Trump want all that. They want him to loosen environmental regulations. They want their taxes to go down and their incomes to go up. They want to see fewer drugs on their streets and more control of the Mexican border. They want him to "run the country like a business." And they want this fast. So now comes the hard part for Trump -- turning rhetoric into results. Four years ago, the largely Democratic voters in Cambria County flipped on President Obama, disgusted that he had not made good on his promise of change. What's clear from a series of interviews with Trump supporters here is that they will turn on Trump, too, if he doesn't deliver. [ . . . ]

    But beyond flared tempers in the immediate aftermath of this ugly election, said Rininger and Daloni, the larger point is that this isn't going to work. There's next to no way, they believe, that Trump can deliver on his promises.

    "The infrastructure for the steel is all gone," Daloni said. "It just doesn't exist anymore in Johnstown. It did used to be a steel boomtown, but it was long before Obama was elected. It was decimated, really, before Bill Clinton was elected. The mills were going down in the '70s and '80s."

    The Trump voters say they want change, but Daloni and Rininger say the change has happened already. And despite what Trump promised at the downtown arena a month ago, they believe there's a real chance that Trump's solutions could make things worse. Incomes won't go up -- they'll go down. "I make $32 an hour, with good benefits, and that's because I'm union," Rininger said. "I wouldn't even be f--king close to that if I wasn't union."

    And jobs, they worry, won't come back -- they'll disappear faster. And before long, they said, the only work in Cambria County will be minimum-wage counter jobs at the familiar collection of ring-road fast food-joints. "The service industry, I'm afraid," Daloni said.

    "If Trump starts trade wars," Rininger said, "you hurt us. You hurt our plant" -- which is owned by Swedes, with a CEO from India. And the steel the workers do still make, Rininger said, is sold to Brazil. It's sold around the world.

    Charles Pierce comments: You Can Keep Studying White Working Class Voters, But We Know the Answers.

  • David Leonhardt: The Democrats' Real Turnout Problem: Cites a study by Douglas Rivers of five east-to-midwest swing states that switched from Obama to Trump (plus Minnesota, which was very close):

    In counties where Trump won at least 70 percent of the vote, the number of votes cast rose 2.9 percent versus 2012. Trump's pugnacious message evidently stirred people who hadn't voted in the past. By comparison, in counties where Clinton won at least 70 percent, the vote count was 1.7 percent lower this year.

  • Eric Lichtblau: US Hate Crimes Surge 6%, Fueled by Attacks on Muslims: I wouldn't call 6% a surge, but it turns out that's a gross "hate crime" count. The real bottom line:

    There were 257 reports of assaults, attacks on mosques and other hate crimes against Muslims last year, a jump of about 67 percent over 2014. It was the highest total since 2001, when more than 480 attacks occurred in the aftermath of the Sept. 11 attacks.

  • Ryan Lizza: Donald Trump's First, Alarming Week as President-Elect: Old history, now eclipsed by an even more disturbing second week (e.g., Michael Flynn, Mike Pompeo).

  • Amanda Marcotte: Voter suppression helped make Donald Trump president -- now he'll make it worse

  • Sophia A McClennen: Like a double dose of Dubya: Donald Trump's presidency will be like the George W. Bush disaster -- only worse

  • Michael Moore: 5 Reasons Why Trump Will Win: This piece dates from July 21, 2016, so it counts now as prophetic, but was meant more as a warning, from someone who grew up in an industrial Great Lakes state and has spent much of his career chronicling the hard times his people have suffered. Here's the first point:

    I believe Trump is going to focus much of his attention on the four blue states in the rustbelt of the upper Great Lakes -- Michigan, Ohio, Pennsylvania and Wisconsin. Four traditionally Democratic states -- but each of them have elected a Republican governor since 2010 (only Pennsylvania has now finally elected a Democrat). In the Michigan primary in March, more Michiganders came out to vote for the Republicans (1.32 million) that the Democrats (1.19 million). Trump is ahead of Hillary in the latest polls in Pennsylvania and tied with her in Ohio. Tied? How can the race be this close after everything Trump has said and done? Well maybe it's because he's said (correctly) that the Clintons' support of NAFTA helped to destroy the industrial states of the Upper Midwest. Trump is going to hammer Clinton on this and her support of TPP and other trade policies that have royally screwed the people of these four states. When Trump stood in the shadow of a Ford Motor factory during the Michigan primary, he threatened the corporation that if they did indeed go ahead with their planned closure of that factory and move it to Mexico, he would slap a 35% tariff on any Mexican-built cars shipped back to the United States. It was sweet, sweet music to the ears of the working class of Michigan, and when he tossed in his threat to Apple that he would force them to stop making their iPhones in China and build them here in America, well, hearts swooned and Trump walked away with a big victory that should have gone to the governor next-door, John Kasich. . . .

    And this is where the math comes in. In 2012, Mitt Romney lost by 64 electoral votes. Add up the electoral votes cast by Michigan, Ohio, Pennsylvania and Wisconsin. It's 64. All Trump needs to do to win is to carry, as he's expected to do, the swath of traditional red states from Idaho to Georgia (states that'll never vote for Hillary Clinton), and then he just needs these four rust belt states. He doesn't need Florida. He doesn't need Colorado or Virginia. Just Michigan, Ohio, Pennsylvania and Wisconsin. And that will put him over the top. This is how it will happen in November.

    And that was exactly what happened -- had Clinton held the line in the three closest states (Michigan, Wisconsin, Pennsylvania; forget Ohio) she would have been elected. She is, of course, one of the other four points, but more interesting is what Moore calls "the Jesse Ventura Effect":

    Finally, do not discount the electorate's ability to be mischievous or underestimate how any millions fancy themselves as closet anarchists once they draw the curtain and are all alone in the voting booth. It's one of the few places left in society where there are no security cameras, no listening devices, no spouses, no kids, no boss, no cops, there's not even a friggin' time limit. You can take as long as you need in there and no one can make you do anything. You can push the button and vote a straight party line, or you can write in Mickey Mouse and Donald Duck. There are no rules. And because of that, and the anger that so many have toward a broken political system, millions are going to vote for Trump not because they agree with him, not because they like his bigotry or ego, but just because they can. Just because it will upset the apple cart and make mommy and daddy mad. And in the same way like when you're standing on the edge of Niagara Falls and your mind wonders for a moment what would that feel like to go over that thing, a lot of people are going to love being in the position of puppetmaster and plunking down for Trump just to see what that might look like.

    Of course, the polls told them that Trump didn't have a chance, that someone sane would catch them when they jumped. Moore also wrote another pre-election piece called 5 Ways to Make Sure Trump Loses, which included this bit:

    So many people have given up on our system and that's because the system has given up on them. They know it's all bullshit: politics, politicians, elections. The middle class in tatters, the American Dream a nightmare for the 47 million living in poverty. Get this straight: HALF of America is planning NOT to vote November 8th. Hillary's approval rating is at 36%. CNN said it last night: No one running for office with an approval rating of 36% has ever been elected president (Trump's is at 30%). Even in these newer polls, 60% still say that Hillary is "untrustworthy to be president." Disillusioned young people stop me every day to tell me they're not voting (or they're voting 3rd Party). This is a problem, folks. Stop ignoring it. You need to listen to them. Chastising them, shaming them, will not work. Acknowledging to them that they have a point, that Hillary Clinton is maybe not the best candidate, . . .

    The rest of the paragraph doesn't make a lot of sense, and maybe acknowledging your candidate's flaws won't convince many people to overlook them, but one way to approach this would be to refocus the campaign on electing Democrats to Congress, both to help her and to keep her honest. And the easiest thing in the world should have been running against our current batch of Congressional Republicans. Of course, it didn't happen, perhaps because the Clintons rarely concern themselves with any but the first person.

  • Toni Morrison: Making America White Again: This is one of sixteen pieces the New Yorker commissioned as Aftermath: Sixteen Writers on Trump's America. See especially Jane Mayer on Trump and the Koch network. Also this from Jill Leopre:

    The rupture in the American republic, the division of the American people whose outcome is the election of Donald Trump, cannot be attributed to Donald Trump. Nor can it be attributed to James Comey and the F.B.I. or to the white men who voted in very high numbers for Trump or to the majority of white women who did, too, unexpectedly, or to the African-American and Latino voters who did not give Hillary Clinton the edge they gave Barack Obama. It can't be attributed to the Republican Party's unwillingness to disavow Trump or to the Democratic Party's willingness to promote Clinton or to a media that has careened into a state of chaos. There are many reasons for our troubles. But the deepest reason is inequality: the forms of political, cultural, and economic polarization that have been widening, not narrowing, for decades. Inequality, like slavery, is a chain that binds at both ends. [ . . . ]

    Many Americans, having lost faith in a government that has failed to address widening inequality, and in the policymakers and academics and journalists who have barely noticed it, see Trump as their deliverer. They cast their votes with purpose. A lot of Trump voters I met during this election season compared Trump to Lincoln: an emancipator. What Trump can and cannot deliver, by way of policy, remains to be seen; my own doubts are grave. Meanwhile, though, he has added weight to the burden that we, each of us, carry on our backs, the burden of old hatreds.

    I agree that inequality infects everything, but would also have blamed war: it's impossible to spend fifteen years at war, even if it only rarely touches us personally (as has oddly been the case with this one), without it coarsening and brutalizing us, and that shows up in an increasingly bitter and violent campaign. Trump evinced by far the more popularly resonant stance, on the one hand disowning misguided conflicts like Bush's Iraq war yet on the other hand showing an unflinching will to inflict violence whenever threatened. Clinton, on the other hand, seemed to follow Obama in thinking that war can be compartmentalized and managed, something that can continue indefinitely without changing us. For more on this point, see: Tom Engelhardt: Through the Gates of Hell: How Empire Ushered in a Trump Presidency.

  • Charles P Pierce: I Am Sure of Nothing Now: Concludes with this quote from Hunter S. Thompson on the 1972 election, the first time I was as grossly disappointed by American voters as this time (not that there haven't been a couple more times sandwiched between):

    This may be the year when we finally come face to face with ourselves; finally just lay back and say it -- that we are really just a nation of 220 million used car salesmen with all the money we need to buy guns, and no qualms at all about killing anybody else in the world who tries to make us uncomfortable. The tragedy of all this is that George McGovern, for all his mistakes . . . understands what a fantastic monument to all the best instincts of the human race this country might have been, if we could have kept it out of the hands of greedy little hustlers like Richard Nixon. McGovern made some stupid mistakes, but in context they seem almost frivolous compared to the things Richard Nixon does every day of his life, on purpose . . . Jesus! Where will it end? How low do you have to stoop in this country to be President?

  • Sean T Posey: How Democrats lost the Rust Belt in 2016:

    In 1964, 37 percent of Ohio workers belonged to a union; that number fell to 12 percent by 2016, and incomes for the working class tumbled in tandem. It's a similar story in Pennsylvania, Michigan, Indiana, West Virginia and Wisconsin. Republican policies are largely responsible, but Democrats have done little to address the precipitous decline of the working class.

    When Hillary Clinton famously referred to half of Trump's supporters as a "basket of deplorables," it rang hollow for voters who had waited in vain for her to acknowledge their economic plight. Ohio, Pennsylvania and Michigan helped elect Barack Obama in 2008 and 2012. However, for working families, the economic hangover of the post-industrial era never went away. Clinton's campaign failed to fully appreciate their pain.

    A couple years into the "recovery" it was reported that 97% of the gains had been reaped by the 1%. Maybe that number has inched down a bit since then, but that translates as a windfall for the very rich and no recovery for most people.

  • John Quiggin: The dog that didn't bark: One of the most glaring results from the election is that virtually none of the Republicans who had been so critical of Trump early on failed to vote for him in the end. Perhaps that's because socially liberal, economically moderate, or libertarian Republicans have become urban myths -- even though Clinton wasted a lot of time courting them (she did seem to be doing better among the neocons, but it looks like they'll do quite nicely under Trump).

  • Sam Stein: The Clinton Campaign Was Undone by Its Own Neglect and a Touch of Arrogance, Staffers Say

  • Steven Waldman: Did the Decline of Labor Finally Kill the Democrats? Uh, yes.

  • Gary Younge: How Trump took middle America: Lead-in: "After a month in a midwestern town, the story of this election is clear -- when people feel the system is broken, they vote for whoever promises to smash it."

  • Steve Bannon: 'we'll govern for 50 years': A boast that only seems modest next to "Thousand Year Reich." From the cited interview (more of a profile piece than tete-a-tete):

    When Bannon took over the campaign from Paul Manafort, there were many in the Trump circle who had resigned themselves to the inevitability of the candidate listening to no one. But here too was a Bannon insight: When the campaign seemed most in free fall or disarray, it was perhaps most on target. While Clinton was largely absent from the campaign trail and concentrating on courting her donors, Trump -- even after the leak of the grab-them-by-the-pussy audio -- was speaking to ever-growing crowds of 35,000 or 40,000. "He gets it; he gets it intuitively," says Bannon, perhaps still surprised he has found such an ideal vessel. "You have probably the greatest orator since William Jennings Bryan, coupled with an economic populist message and two political parties that are so owned by the donors that they don't speak to their audience. But he speaks in a non-political vernacular, he communicates with these people in a very visceral way. Nobody in the Democratic party listened to his speeches, so they had no idea he was delivering such a compelling and powerful economic message. He shows up 3.5 hours late in Michigan at 1 in the morning and has 35,000 people waiting in the cold. When they got [Clinton] off the donor circuit she went to Temple University and they drew 300 or 400 kids."

    Oh, then there's this final quote: "I am Thomas Cromwell in the court of the Tudors."

As I was putting this post together, I started reading Corey Robin's Conservatism From Edmund Burke to Sarah Palin (2011), and noted this quote (p. 59) on the asymmetry between left and right, on how hard change is for the former, and how easy reaction is for the latter:

Where the left's program of redistribution raises the questions of whether its beneficiaries are truly prepared to wield the powers they seek, the conservative prospect of restoration suffers from no such challenge. Unlike the reformer or the revolutionary, moreover, who faces the nearly impossible task of empowering the powerless -- that is, of turning people from what they are into what they are not -- the conservative merely asks his followers to do more of what they always have done (albeit, better and differently). As a result, his counterrevolution will not require the same disruption that the revolution has visited upon the country.

My main worry about the Sanders campaign wasn't that he might get slandered and lose his appeal, but that there wasn't a strong enough movement under him to deliver on his promises. And that mattered, of course, because his promises mattered. By contrast, all Trump voters had to do was to put their guy in power. After that, go back to work, and let their new right-thinking leader do what needs to be done. I've never had any inkling why they would trust him with that power, but then I don't think like they do: I learned early to question all authority, and found that when you give a greedy monster more power he only becomes greedier and more monstrous. But in a way, the great appeal of the right is that it offers simplistic solutions, wrapped in a little virus of paranoia which allows them to be used again and again, regardless of their repeated failures.

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