Using Bees To Effect Vengeance

I get to be as self-indulgent as I want without wasting anyone's time. Guilt-free solipsism -- excellent!

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Monday, January 17, 2005
 
Shortly before we moved to Bees Towers, I stumbled upon a cache of Bethlehem Jazz reissues in a $3 bin at some godforsaken mall record shop (Hastings? FYE?), and consequently came home with a sizeable grin on my face and 20-odd obscure records to plow through. While I am often referred to as the Plow King, I didn't get around to listening to all of them before the move, and so tonight's the night (as both Rod the Mod and Neil "Forever" Young have seen fit to point out).

So far it's been

  • The Pat Moran Quartet (hard swingin' chick piano player)
  • Eddie Vinson Sings (my first exposure to Cleanhead and his unique jump- blues style -- great "making coffee and eggs on Sunday morning" music, as one web reviewer put it)
  • Booker Little And Friend (lovely version of If I Should Lose You)
  • Audrey Morris (wow! warm, sexy voice and interesting song choices -- and she still sings in Chicago clubs)
  • Betty Roche -- Take The A Train (soulful boppish vocals from one of Duke's canaries)
  • Donald Byrd/Pepper Adams -- Motor City Scene
This one is a pretty straightforward bop date with a pretty hot all-Detroit band -- Byrd, Adams, Kenny Burrell, Tommy Flanagan, Mr. PC, and Louis Hayes (under a pseudonym -- "Hey Lewis"). It also features an unboppish and really beautiful 10-minute version of Stardust, with an especially lovely solo from Flanagan two-thirds of the way through. So Jefe, here's another version of Stardust for your collection...everyone, say hello to our latest MP3 Of The Time Increment.

Still to come: some Mal Waldron, some Claude Williamson, some JJ & Kai, and some Charli Persip.

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100 Greatest Jazz Bassists

I don't know, any list that puts Ray Brown beneath Stanley Clarke has serious flaws.

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Sunday, January 16, 2005
 
The recent White-House-pays-journalists-to-talk-up-pet-programs revelations are yet another example of the moral bankruptcy of this administration, and Frank Rich's column in the NYT is appropriately outraged at the administration, Armstrong Williams, and the TV punditocracy as a whole. It's well-written stuff, but to me was most notable for featuring another installment of "Dick Cheney displays jaw-dropping chutzpah, cynicism, and contempt for common decency":

But perhaps the most fascinating Williams TV appearance took place in December 2003, the same month that he was first contracted by the government to receive his payoffs. At a time when no one in television news could get an interview with Dick Cheney, Mr. Williams, of all "journalists," was rewarded with an extended sit-down with the vice president for the Sinclair Broadcast Group, a nationwide owner of local stations affiliated with all the major networks. In that chat, Mr. Cheney criticized the press for its coverage of Halliburton and denounced "cheap shot journalism" in which "the press portray themselves as objective observers of the passing scene, when they obviously are not objective."

This is a scenario out of "The Manchurian Candidate." Here we find Mr. Cheney criticizing the press for a sin his own government was at that same moment signing up Mr. Williams to commit. The interview is broadcast by the same company that would later order its ABC affiliates to ban Ted Koppel's "Nightline" recitation of American casualties in Iraq and then propose showing an anti-Kerry documentary, "Stolen Honor," under the rubric of "news" in prime time just before Election Day. (After fierce criticism, Sinclair retreated from that plan.) Thus the Williams interview with the vice president, implicitly presented as an example of the kind of "objective" news Mr. Cheney endorses, was in reality a completely subjective, bought-and-paid-for fake news event for a broadcast company that barely bothers to fake objectivity and both of whose chief executives were major contributors to the Bush-Cheney campaign
.

Buying a journalist in order to complain about the lack of objective journalism? Staggering cynicism.... As my wife said, "And conservatives wonder why liberals are so paranoid about the media?"

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Wednesday, January 12, 2005
 
I might have to spend some quality time with my Beatles records and this site.

One of the things I love about Beatles songs is how damn sloppy the recordings are...there's always some fluffed harmony that got left in, or a misprounounced word (e.g "slubmarine"), or a clearly wrong note in the bassline.

I assumed that during the early years, this was because they were moving so fast and everyone involved thought "Sod it, they're only pop records, no one will even be listening to this song 3 years from now". Towards the end, though, it became clear that everyone had loosened up (even good ol' George Martin, who you know must have been pained at the early mistakes) and it became part of the aesthetic to leave the corners frayed. I suspect much of this was at John's insistence.

Anyway, there's lots of these that I'd never noticed. It's always nice to have an excuse to go on a Beatles bender. [via Waxy]

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100 things we didn't know this time last year

Some interesting items here, but the one that really blew my mind was finding out that Scooby Doo's full name is Scoobert Doo.

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Monday, January 10, 2005
 
Ask Metafilter thread on where to find downloadable classical music recordings. Lots of good stuff to follow up on. [via largehearted boy]

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Wednesday, January 05, 2005
 
OK, top albums of the year. Pretty boring and predictable on the whole. My primary source of music this year was MP3 blogs, so I listened a much larger variety of music, but often just one or two tracks from each artist. This sea of tuneage meant that an album had to be really special to get many repeat listens...although it almost surely meant that records I would have really loved had I listened to them more never got the chance. All caveats being in place, we can now move on:

1. Sam Phillips -- A Boot And A Shoe

This record shimmers and sparkles like a sequin dress in a diamond mine. Everything here meshes together beautifully -- Sam's warm croon, her impeccable phrasing, her wry but deeply-felt lyrics, her truly timeless melodic sense (see Reflecting Light MP3 below for an example), and some badass musicianship (Jay Bellerose, Jim Keltner, Marc Ribot, and of course T-Bone Burnett...clearly the subject of some of these heartbroken tunes). This record lives with you. Best live show of the year as well.

2. Rilo Kiley -- More Adventurous

I was disappointed with this, after the glory that was The Execution Of All Things. This one seemed a little too polished and a little too self-consciously eclectic...plus the songs were a little too straightforward, after Execution's schizophrenic song structures. That said, the record rarely left my CD player and as each song decided in turn to reveal it's essential bad-assness, I eventually had to concede that it's a very strong record.

"It's A Hit" boasts one of those unconventional structures, which somehow is in and of itself a hook in a song jam-packed with them. "Does He Love You?" is a little O.Henry story with a string section, leading into "Portions For Foxes" dumb-but-catchy ear candy...sonically essence du Rilo. There are some hits after that, and some misses...but the title track does something funny to my insides even after all this time, and that's all you can ask of a pop song.

3. Madeleine Peyroux -- Careless Love

Wow, I guess I am getting old, because this is chamber music, like Sam Phillips' record. Yes, she sounds just like Billie Holiday, but she's also got some of Billie Holiday's knack for completely inhabiting the lyrics of a song. Take the version of Leonard Cohen's "Dance Me To The End Of Love" that opens this record....no chorus, no bridge, just one verse after another, but you want it to go on forever because she swings those beautiful words while finding some new twist each time. A haunting version of Elliott Smith's "Between The Bars", smart, thoughful covers of Dylan and W.C Handy, plus classy arrangements and you've got a hugely enjoyable record.

Despite my top 3 records being tame, I actually listened to a lot more rock this year than recently, thanks to my wife's burgeoning interest in teh indie scene.

The Walkmen -- Bows and Arrows; Feist -- Let It Die; Wilco -- A Ghost Is Born; The Arcade Fire -- Funeral; The Streets -- A Grand Don't Come For Free; Graham Coxon -- Happiness in Magazines; Franz Ferdinand -- s/t; A.C Newman -- The Slow Wonder; Bjork -- Medulla; Kanye West -- The College Dropout; Trash Can Sinatras -- Weightlifting; M. Ward -- The Transfiguration of Vincent (I know, 2003, but I finally got it in every sense of the word in the '04); Elvis Costello -- The Delivery Man; Elliott Smith -- From A Basement On The Hill; Robyn Hitchcock -- Spooked; Ken Stringfellow -- Soft Commands

Great singles: Estelle -- 1980; Kylie Minogue -- I Believe In You; Usher/Alicia Keys -- My Boo; The Walkmen -- The Rat; Sondre Lerche -- Two Way Monologue; Fiona Apple -- Extraordinary Machine; The Thermals -- How We Know; Nellie McKay -- David; Franz Ferdinand -- Take Me Out; The Stills -- Lola Stars And Stripes; Wilco -- Theologians

Great shows: John Wesley Harding, Robyn Hitchcock and Ken Stringfellow together at El Sol y La Luna; The Shins @ Stubbs; The Walkmen @ Emo's; Lil Cap'n Travis/Grand Champeen/Moonlight Towers @ The Parish; The Decemberists @ SXSW; The Dears @ SXSW; Big Star @ Austin Music Hall; Sam Phillips @ Cactus Cafe; Wilco @ Stubbs; Midori Umi @ Room 710; The Roots @ ACL; Nick Lowe @ The Parish; Devendra Banhart/Joanna Newsom @ Flamingo Cantina

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