Recorda Me

Although I am not a big fan of Chick Corea, his Trilogy with Christian McBride and Brian Blade is one of my favorite recent jazz releases. On Joe Henderson's classic "Recorda Me," Corea lives up to his penchant for Latin jazz quite well. Brian Blade's drumming is spectacular, too, but Corea's ingenious piano solos twist and turn in surprising directions while McBride holds it down on a funky bass. One does not even realize it is just a trio because of the volume and space the trio occupies. Beautiful.

The Razor's Edge

One can see immediately the appeal of Maugham's The Razor's Edge. There is much humor through the "arch-snob" Elliot, who I like to see as a Frasier or Niles kind of character. We have a rich spiritual and philosophical discourse through Larry's search for meaning, social mores of the US and French characters, and Maugham's self-insertion into the text for much appreciated commentary and order. Like Greene's The End of the Affair, Maugham's presence within the text makes it more relatable and seemingly "real" to the reader. One cannot help but feel that one is on this journey of Maugham, who also traveled to India and modeled some of the characters and experiences on his own time there. Indeed, Naipaul alludes to this in great later novel, Half a Life, which inspired me to read Maugham. And in contrast to what I was led to believe about this novel's impact on the Beats and the generation of the 1960s, which it certainly hints at, Maugham avoids the romanticized or extremely problematic exoticized Western exploitation of "India" as the fount of spiritual redemption or force.

In fact, Maugham's character, the narrator, is never quite sure if Larry did indeed achieve union with the Absolute (Illumination), and the "mystical Orient" did not answer all of his questions. Does the novel reinforce cultural stereotypes? Yes, but not to the absurd degree future writers accomplished. Since India itself does not become an important part of the novel until much later in the text, I read it as a particularly clever and witty critique of Western society in the interwar years, especially the American obsession with growth and their belief in an infallible future of greatness. The obsession with success, status, and, excess, in the US, London, France, and Germany appears to drive the novel, yet one cannot help but feel that the author's conclusion is a call for a form of tolerance or coexistence of individualized expressions of a "successful life," perhaps a match to the ambiguity surrounding Larry's alleged union with the Absolute.

Rambling Thoughts on the Black Bourgeoisie

I enjoy making fun of the bourgeoisie of all colors. However, Frazier's scathing sociological study of the US black bourgeoisie is so mean-spirited and bitter that the reader can feel his venom. And his savage skewering of Negro colleges, fraternities, and 'society' was a bit too personal at times...Was he rejected by those Jack and Jill types? Also, how does his conclusions hold up today with regard to ongoing arguments about black politics, black nationalism, and the role of class in African American politics? What about the argument that the more wealth an African American person has, the more likely they are to be in favor of black nationalism or racial politics? Surely, Frazier's study of the black bourgeoisie contradicts that theory.

Moreover, one cannot help but wonder how Frazier responded to the 'domestic colony' argument for the conditions of African-Americans. The Negro bourgeoisie as a dependent, comprador class that exists based on the good will and interests of the white bourgeoisie, playing at being rich in their 'make-believe' world, does suggest a comprador class. Indeed, their conspicuous consumption, which certainly connects them in habits to the white bourgeoisie, is their sole basis as bourgeois class in the first place. Indeed, Frazier hints at possible implications of the African American bourgeoisie for the decolonizing world. Fanon also warned us about the indigenous bourgeoisie after colonialism. Does Frazier's study support the Black America as domestic colony of the US, an argument popular with some of my good leftist friends?

The true tragedy of Frazier's book is his message on the failure of black capitalism as the salve to white supremacy is still under debate. Despite political scientist Lester Spence's critiques of neoliberalism's infiltration of Black America, some of us still believe supporting black businesses and entrepreneurial spirit will save us. And for the fools who think Jim Crow was better for us because of black businesses, even before its dismantling, black businesses in the North were doing better, according to Frazier's data. No, black businesses and capitalism will not save you from white supremacy.

Waltz For Ruth

A beautiful ballad featuring John Gilmore, Lee Morgan, and Curtis Fuller from 1965. Written by pianist John Hicks, this sentimental waltz embodies all of my favorite attributes of a jazz waltz: syncopated valse rhythm, playful and sweet melodies, delicate piano solos, and even a boisterous but not too out of way trombone solo! Grachan Moncur III is still my go-to trombonist in jazz, but Fuller always knew how to blend into any ensemble or group. 

When You Wish Upon a Star

My obsessive listening of jazz trios has brought to my attention again the lovely music of Keith Jarrett's standards trio. This light-hearted, affectionate take to the classic "When You Wish Upon a Star" has been on repeat all day. Jack DeJohnette's graceful swinging is phenomenal here.

Isn't It Romantic with Kenny Drew

A rousing rendition of one of my favorite standards, featuring Niels-Henning Ørsted Pedersen on bass. Kenny Drew's bluesy soloing and comping is fantastic on this live performance from the 1970s. They're swinging so hard one does not even notice there isn't a drummer.

Bill Evans: How My Heart Sings

Pettinger's detailed biography of Bill Evans, Bill Evans: How My Heart Sings, remains the best read (and, surprisingly, one of the few) for those interested in the music of one of the most influential jazz pianists. Pettinger, reared in the classical tradition, provides numerous commentary on classical influences in Evans's music and style while also appreciating the value of jazz and improvisation (though there's certainly some elements of classical elitism at play). Nonetheless, Pettinger makes some odd statements throughout the book on Evans's Russian ancestors from the Ukraine, as if there is a 'Russian' or Eastern European classical style embedded in his genes or lineage that helps elucidate his style. There is also an odd claim in which Coltrane allegedly felt that Evans didn't belong in Miles's group because he was the sole white, which does not sound like something Coltrane would have believed, at least from the interviews and biographies I have encountered. 

Nevertheless, as an overview of the various incarnations of the trio and the transformations of his music, Pettinger's priceless, particularly for the commentary on various recordings, integrating interviews, jazz critics, and oral histories into the story quite well. For someone like myself who is not well-trained in music theory, Pettinger's coverage of the specific recordings of, for example, the Eddie Gomez years in Bill's trio, are informative and assist in guiding the reader as one explores the discography. The reader will appreciate Eddie Gomez, Scott LaFaro, Evans's brother, and the role of women in his life for shaping Evan's work. Now, I must read Thomas Hardy (Evans's favorite noveliest) and listen to more jazz piano trios beyond my usual fare (McCoy Tyner, Nat King Cole, Monk, Bud, Garner, etc.) for other influences on Evans or his impact on the genre. For those expecting a lurid biography going into great detail the various drug addictions of Evans or an in-depth analysis of, for example, the social context or issues of gender and race, this biography may disappoint, but readers eager for a guide of sorts to the music, Pettinger's quite useful.

La Valse

Listening obsessively to jazz waltz brought me, unsurprisingly, to classical music and the longer history of the waltz. Ravel's decadently delectable composition has been on repeat for the last week or so, and is far more interestingly than most of Strauss's waltz compositions.

Grant Green's My Favorite Things

An astonishing and Coltrane-like interpretation of "My Favorite Things" from Grant Green. Green is accompanied by pianist McCoy Tyner and Elvin Jones, so comparisons to Coltrane are inevitable. Despite some expected similarities between Coltrane and Grant's approach to this powerful song, I am particularly drawn to McCoy Tyner's piano solo here. Yes, there's the heavy block chords and chromaticism that we've come to expect in Tyner's style, but he plays more ferociously here, as if playing against the more ethereal solo on the famous Coltrane recording. Perhaps because of Jones's even more propulsive drumming, Tyner swings even harder. Maybe this is a sign I should move past my Bill Evans obsession and revisit my old McCoy Tyner obsession for the next few months. 

Liebestraum

A beautiful piece stuck in my head for the entirety of the week.