LONESOME OR LOATHSOME ?

BLUE AND LONESOME
--The Rolling Stones

Yes, yes, I realize the Rolling Stones started out, under the behest of belated founding member Brian Jones, as a blues band, more or less, with Chicago style as their touchstone. Blue and Lonesome, their new blues tribute album, is awful. Never a good blues singer--technically, he's a horrible singer, in fact--Mick Jagger's better to refer to as a "vocalist, distinct from someone who can truly carry a tune and remain on the pitch. His best vocals are studio-made performances, masterful assemblages of grunts, yowls, mewlings, and sundry other bull noises. In the context of great songs like "Satisfaction," "Shattered," "Start Me Up," or "Driving Too Fast," it has allowed him to still sound like a 19-year-old punk after all these decades. It was the perfect foil for the fire-fight guitar cross-rhythms of guitarists Keith R. and Ron W. As a soul man and bluesman. However, Jagger honestly sounds like a parody of blues singing, to no avail. I realize others will argue that what he does here extends the vocal genius I've already described, but that does not wash. Rock and roll vocals can get by on attitude, but blues, I think, requires vocal color, a bit of range, and a field that can twist the lyrics to emotional suggestion as much as a good guitarist or harmonica player could. Jagger obviously tries to channel Muddy Waters and Howlin Wolf among other brilliant blues icons, but his vocal attributes, or lack of them, betray him fiercely. Jagger's harmonica work here is weak, goddamned awful, in fact. The band had the good sense to bring in Eric Clapton for a couple of tracks to give the session the needed fret-gritting it needed, but why didn't it call in an old hand like harmonica genius Sugar Blue to handle the harmonica parts. Jagger's harmonica work wheezes, honks, hits the marks but does nothing memorable once he gets to them. All that said, the band itself cranks it along just fine, what you expect from the Stones, a sturdy, ornery, crackling set of leg-breaking in 4/4 time. They may take a bow. The pity is the band's most famous member is this album's most significant defect.

BILL MAHER : a man who can't step away from the megaphone

There more pressing matters to argue about in this uncooperative existence, but the recent claptrap comedian and gadfly Bill Maher wrote about the recently departed comic book maven Stan Lee reveals a man who has an opinion on everything, including matters he hasn't, it seems, given much thought to. The short form is that Maher is tired of fans cooing that the comic book writer, co-creator of many of the Marvel comic book heroes who dominate the box office with their movie adaptations, was a genius on a par with Shakespeare, a true literary master of the universe. It's easy enough to deflate those claims with a more level-headed approach to appraising the artistic worth of comics as an art form, but Maher is no centrist on the matter. Cuing up his familiar dumbing-down-of-America riff and order coughs up the equation that Donald Trump is President because someone decided that Comic Books Are Important. I am increasingly irritated with Maher's smug egalitarianism even if I agree with him on many issues. The slam against Lee wasn't insightful or revealing of anything other than Maher's cheerful willingness to be mean-spirited. He was cruel. I will leave more detailed and historically astute counter-arguments to Maher's claim that superheroes have seduced the American population into believing violence and rugged individualism solves our problems, democratic traditions are damned, to others. On the matter as to whether comic books have made us collectively dumber, there is not much, if any data, to support the assertion. Anecdotedly, I have never met a comic book fan, in my 66 years of life as writer, musician, artist, bookseller, who was dumb, illiterate, or unaware of what was happening in the news. Anecdotedly, I would say the legion of comic book fans I know are a smart bunch of folks. Not everyone is an Einstein or a Gore Vidal or a Susan Sontag, or a Neil Tyson DeGrasse, nor do they have to be. Maher, who ought to know better, denies them their humanity and implicates them in the origins of the "Slow moving coupe" of the Alt-Right merging with the American mainstream. Maher's hot take on the passing of Lee and his cultural legacy is controversy created where none need to have existed. Other matters about Lee need to be discussed, debated, researched, a longer view of his work needs to be done, but equating him with a growing trend toward strongman politics is the rant of a blister brained dumbfuck who spends his life yelling from the bus stop, a man with no bus fare and no direction . 

________________________________________________________________________________

Barry Alfonso:
Maher wouldn't know how to count the change for the bus fare if it dropped into his hand. He is a bronchial punk who has been lingering at the free lunch bar of public opinion for way too long. I remember him saying years ago what a nice pal he found Ann Coulter to be. I am all for trans-ideological comity and all that, but she is an anal wart upon the body politic. Bill and Ann should hang out together behind the Velvet Hammer waiting for the wet laundry to dry by the septic tank.

HAMMERED SHIT

Save your cash on and skip the slow-moving, turgid and criminally inane Thor: The Dark World. It is an improvement over the first Thor film, but there is a lethargy in all the action scenes. Nothing seems crisp or crucial in the physical battles, although there is some good GGI of London smashed to pieces by the invasion of the Dark Elves. Chris Hemsworth as Thor talks like a bad High School drama student who is trying to force his voice into a lower register--he sounds like he's trying to suppress a burp while he speaks--and there is a frown on his face through the film that makes him look as though someone gave him a shot of castor oil. Tom Hiddleston as Loki is inexplicable anyway you look at-- he fluctuates between glee, sorrow, and rage raggedly, scene to scene. Plus he is incapable of not looking like Data from Star Trek: Next Generation. They've thrown a lot of things in the air for this juggling act, and too many things hit the stage they're playing on.our money on the visual laxative otherwise known as Thor: The Dark World. Anthony Hopkins appears rumpled and ready for a nap, while Natalie Portman, consistently the least charismatic actress I can think of, moves through this movie in a variety of self-loathing postures, as though in pain realizing everyone she knows will see her in this expensive, flailing wind-up toy of a film. I think a Thor movie could be entertaining if there was the right cast, director and script, a crew that had a feel of the source material, ie, the Marvel comic book, not the original Norse legend. This is an efficient, professional bit of filmmaking and does provide a moment or two of entertainment, but the cast is so indifferent--either phoning it in or gnawing the scenery--and the plot points so diffuse, distracted and pitifully predictable, in blockbuster terms, that what we have is an expensive, noisy apparatus utterly without charm. What's missing is the grace, energy and, yes, basic good humor and humanity of the original Kirby/Lee comic book tales. Jack Kirby had an extraordinary visual imagination and a capable rendering of his version of Asgaard could have been simply magnificent, magical even. The comic book version of these characters, with and without Kirby, had a verve that seemed to sock you in the face straight from the page. As fine as this movie's production values might be, there never seems a time that the enterprise seems to rise above a very competent reenactment ritual. What they settled for were computerized variations of Shangri La from Lost Horizon. Worse, the make-believe city resembled a cross between Hearst Castle and an M.C.Escher painting. That, combined with the sluggish momentum this movie is barely capable of, is quite enough to make you calculate how much you worked to make the money for the ticket you bought to see something that finally made you feel like a moron for seeing.

DEEP THOUGHTS

Well, you must stop sometimes so you can appreciate what the senses have given you as you go your way through the world. You must stop in order to write about the need to pursue the seductive logic of never stopping. But you must stop before you go forward, as the brain absorbs only so much; you stop, you breathe, you think, you connect what has happened recently with the narrative of a life already recorded. This engages you with the world, truly, this is where the poetry comes from, not gushing hot lava adjectives and verbs while writing that the world is made more real by moving forward, without apology, without pause or reflection, following the string where ever it leads. But this is not poetry and it is not lyricism. Self-acceptance is one thing, but it seems to me that changing oneself is required in order to maintain a level of sanity that can return you sanity after the battering, high and low and in-between, human existence brings us. We cannot remain stubbornly the same as a means of spiting those who attempt to add us to their particularized set of neurosis; learning how to change is an essential skill. Perhaps “change” is the wrong word, as its been co-opted and poisoned by every fad pop-psychology has heaped upon our mass-mediated culture. More appropriate, more useful, perhaps, would be “grow”. Screw trying to change yourself into an internet meme, our tasks is to remain teachable and to grow into new experience, to learn, to become wiser and more full of the love for the world as well as love for ourselves. Too many of us pay a sorry price for having an excess of one or the other. We can grow into ourselves into the world we find ourselves, as individuals, as citizens, as members of a community. I realize the phrase “To thine own self be true” is a cliché that makes many cringes, but that doesn’t mean it isn’t a bad way to go. It’s a matter of how we do it. Besides gaining knowledge through experience, we should be able to gather wisdom as well. Or one would think. The writer in those times they stop agitating the gravel and take pause to reflect, meditate, consider the thingness of the world they’ve blazed through a little too quickly, there arises the sense that one forgets that they are a writer, the self-appointed priest of making things happen on the fly; the writing becomes about the world , the people, the places, the things that occupy the same space as you, the same patch of land your visiting. It becomes less about the writer, the seeker of knowledge attempting to gain knowledge through velocity, the impatient explorer more concerned with inflaming their senses rather than being genuinely curious about and teachable within the world. You have to stop, take a breath, create a language, a poetry, a prose style that convinces the reader that they’ve actually encountered something extraordinary in their travels through hill and dale, river and inlet, village and burg, that they’ve actually learned something they didn’t know before. Otherwise, I believe, nothing is revealed because nothing was learned and, despite all manner of ranting and such protests defending one’s unique view, that view is forgotten, and another opportunity is lost to move a reader in ways you might not have expected.

MARTY BALIN

Marty Balin, co-founder, lead singer, and a principal songwriter for the iconic ’60s band Jefferson Airplane died September 27, 2018, at the age of 76. The cause of death hasn’t yet been disclosed. It’s always sad when a musical talent from your prime music listening years passes on, and although natural as it is to reflect upon morosely, I found myself smiling, remembering why I liked him beyond his psychedelic pedigree. During the infamous Altamont Rock Festival of 1969, when the Rolling Stones were convinced to headline a hastily and badly planned “West Coast Woodstock” at a motor speedway, it was obvious from those in the know that the fete was doomed to disaster; the producers had the monumentally bad idea to hire the Hells Angels as security. To wit, when audience members crowded the front of the festival stage during the Jefferson Airplane’s performance, Angels “security” began beating up unfortunate attendees. Seeing this, Balin left his microphone and jumped into the crowd to intervene in the beating. Balin received a beating himself from the hired help. He was knocked unconscious. Nothing about Altamont turned out right, with the death at the hands of the Angels security of a young black man. But my respect for Balin grew immensely. Balin jumped in, man, was my refrain for years when speaking of the unique vocalese of the Airplane’s singing partnership. He stepped in, he stepped up, he took a fist in the face to do the right thing.

Born Martyn Jerel Buchwald on January 30, 1942, of immigrant parents in Cincinnati, Ohio, Balin changed his name in 1962 and did some early recording for Challenge Records. Later, he moved on from pop-rock and became a folkie, leading a folk music foursome called the Town Criers. In time he moved to California’s Bay Area, knocking around as guitarist and folk musician, eventually meeting fellow Jefferson Airplane co-founders Paul Kanter and original lead vocalist Signe Anderson. After some gigging around area clubs and venues, lead guitarist Jorma Kaukonen, bassist Jack Casady, and drummer Skip Spence joined the troupe, and soon afterward they released their 1966 debut album Jefferson Airplane Takes Off. The nascent band earned a growing popular following and later gained national attention in 1967 after Anderson left the band and was replaced by Grace Slick and the release of their second album, the classic Surrealistic Pillow. This was the classic formation that remained intact for their best and most creative period.

Jefferson Airplane was a side of psychedelic rock I found most appealing, being in their short-lived prime a volatile and imaginative forced marriage of folk tradition, jazzy “mystery chords,” Joycean/ Eliot verifying, and bracing harmonies provided by the bulldozing Grace Slick and Balin’s bittersweet tenor. Their albums were a fascinating, eclectic mess, indulgent and snotty and harsh; I would put them, along with the Stooges, MC5, and the Velvet Underground, as stylistic forerunners of the punk rock anti-aesthetic. Balin was the ballast for the band—a balladeer, a genuine folk singer, a romantic who never abandoned his tendency for the oddly effective lyric that emphasized an actual relationship rather than a worldview. He was the sensual, intuitive romantic that balanced Slick’s jagged surrealism and Dadaesque wit. Even as the jarring exponents of what was called “acid rock,” the musical evocation of the hallucinogenic LSD trip intended to expand consciousness and such, Balin’s strongest songs, lyric, disarming, reasonably center in relatable emotion and sentiment, was something of the sane center of a band otherwise committed to the vagaries of extreme experience. A jangling folk rocker with “It’s No Secret,” an able writer of street-action anthems like “Volunteers,” the loneliest of the lonely true hearts in “Coming Back to Me,” or a perplexed consciousness sussing through confounding circumstances with angular hard rock tempos, Balin was an essential presence and creative force in a great but generally unstable band. Both the quality of his songwriting, both alone and as a collaborator, and the sincere, crooning anguish of his vocals was an irreplaceable weave through Jefferson Airplane’s discography between 1966 through 1969: five studio albums and one blistering live set, one of the strongest of any American rock band from the period.

I liked this band up until 1969’s Volunteers album when Paul Kanter’s sci-fi libertarian fantasies turned J.A. into a plodding monstrosity of ego and half-measured music. Those among the readership who followed the career arc of this band through the ’60s and the ’70s will recall, perhaps stifling a gag reflex, the slew of Jefferson Starship albums that evolved from the original band. It will suffice it to say for this short note that the best thing the Starship ever did was recording and releasing Marty Balin’s vocal on perhaps the best song he ever wrote,“Miracles" from their  1975 album Red Octopus. He glides over the songs unusual-for-a-pop song complexity with a chanteur's confidence; he infuses the moody inflections of the melody with a sufficiently moaning timbre which suggests a rich mesh of responses, everything between agony and ecstasy. Balin turns it into a radiant ode to the act and the sensual philosophy of romantic sex with your partner. It was a refreshing difference of how a male talk of such things.It was the best thing Jefferson Starship ever did, a masterpiece of pop-rock sexuality that rose to canonical heights over the increasing vapidity and knuckleheaded irrelevance. The band, or at least the management and record company, hung their heads in shame all the way to the bank, and it remains, I suppose, the supreme irony of things that a band beginning as Jefferson Airplane, counterculture revolutionaries singing of a society without pretense, class structure, false morality and, by implication, cash, evolved into the Jefferson Starship, a cash cow for corporate interests. So yes, money changes everything. That said, it should be mentioned that the guitar work of Jorma and Jack Cassidy’s basslines were among the best teams of the era. And Balin was a fine musician, singer, and songwriter who might have done better if he had a less dicey means to bring his music to the public.

(This was originally published in the San Diego Troubadour. Used with permission.)

LOOK NOW, AN ALBUM BY ELVIS COSTELLO

LOOK NOW--Elvis Costello

Look Now, the new Elvis Costello is, at first listening, a highly finessed and fussed -over a collection of songs that seem amorphous, meandering, structurally inert. Lyrically, long Costello's strong suit, in addition to being a solid melodist, reveals a man who has had a few too many harvests from the same sterile acreage. Understandably, his vivid imagery has been tamed for decades. Still, we witness here an attempt, over and over, to remain allusive, elliptical, sketching in just enough narrative to provide that this might be a tune that actually has something to say, buried under the happenstance blankness of the lyrics. Those who want to excavate for more profound meanings can leave their shovels and pickaxes in the shed. At age 64 Costello has been through this emotional thicket before, and one worries that he has nothing new to say. Worse, it would seem at his age that he now lacks the knack, or interest, to finesse his established themes. This is a missed opportunity of somewhat immense proportions. It's been one of the more intriguing aspects of being a close observer of songwriters as they age and seeing how they deal with the unavoidable fact of  aging, less nimble of body and mind, simultaneously confronting the advantages and shortcomings of getting older. We had it in the late work of Lou Reed, a writer who regretted nothing in later albums and who tried to extract something like wisdom and balance from his life of self-created crisis. Or from Leonard Cohen, who kept his oddly compelling blend of religious undertones and Laurentian erotica while emphasizing the intellectual paradoxes and oppositions of instinct which a longer view of experience make possible; Cohen embraced it and went on to offer a late body of songs that took the problematic events of life and ventured into musings that traced a higher, profound kind of irony. 

Costello does none of this, and appears obsessed with the awful curse of Miles Davis, a musician who found his genius for quick changes in styles and manner of presentation resulting, late in life, in work that might be better described as collaborations between rhythm sections, synth players, producers, and engineers, with cameos by the top-billed trumpeter. Some time ago, this artist decided to become a master of all genres and seemingly wanted to be thought of as a Modern Master than as a consistently good-to-great songwriter. This pains me to say this, but this hero of mine has been a superficial, over-stylized drudge for some two decades. There is nothing that was preventing EC from becoming a latter-day Bacharach or Newman, of course. It wouldn't have been an unworthy goal. Bachrach and Newman, however, kept a tight reign on song construction. Their songs, had shape, focus, employed subtle musical cues and underpinnings in chord choies and key changes to suit the humor, pathos, grief, irony of their respective lyrics.  Costello's desire to add to the canonical Great American Songbook , his drive to elevate his work from punk hipster isms and anger has made a large swath of his recent shapeless things, loose baggy monsters of a sort. Eclectic as both were regarding musical sources, their material was generally sharp and melodically defined. The record demonstrates his increased interests in vague atmospherics; the introduction of horn sections seems intrusive, an afterthought. Had these songs been tighter in the arrangement, more purposeful, that is too say, "catchier" for the listener to go along with mood, narrative perspective and psychology, I might have forgiven the slack lyric writing. But I'm afraid this is a case of one bad habit holding hands with another.

Well, of course, these have been featured here before over the years in this space, but someone asked me to assemble a list of authors and books I'd recommend to someone looking for a novel that was both a pleasure to read and satisfied the measures required of being "Literary" . What is meant by the last word in quotation marks is brutally subjective, and perhaps we'll leave it for a future discussion, if not one of my caffeinated and barely comprehensible manifestos, ie, rants. In the meantime, three authors, three books that I enjoyed to a major degree. I hope some of you might read them and find pleasure as well.

-tb

THE LEFTOVERS by Tom Perrotta
.I am inclined to agree that the HBO production was one of the best TV series in recent memory, but the novel by Tom Perrotta is no less brilliant, perplexing, comic and able to undermine a reader's sense of metaphysical sure-footedness. Perrotta is a cross between Don DeLillo and John Cheever, someone who brings weirdness into the suburbs and small towns and has us observe how oddly things come unglued. The plot here centers around a small, Cheeveresque suburb, but the difference is that these townsfolk, like the rest of the world, is trying to deal with the unthinkable fact that a quarter of the world's population has vanished, gone, literally into thin air, rapture-like. This is about how the folks try to reconstruct their daily routines both in personal lives in social structures and how different groups come to interpret that event which is, by its nature, sealed off from interpretation.

THE BIG IF by Mark Costello

First, this author isn't to be confused with another fiction writer named Mark Costello, who is the author of two brilliant collections of short stories called The Murphy Stories and Middle Murphy. Those books, a series of related tales involving the title character, is a sort of Portrait of the Artist as a Young Man for a generation growing up in Illinois, and it is one of the most beautifully written sagas of dysfunction, alcoholism, and despair I've ever come across. This Costello does things with the language that take up where prime period John Cheever or John Updike left off and offer up a virtuoso prose only a handful of lyric writers achieve; it is the brilliance and beauty of the writing that makes the unrelieved depressive atmosphere of the two books transcend their own grimness. The prose in these two books demonstrates the sloppier pretender Rick Moody cannot help but seem. Buy these books and experience a devastating joy.The other mark Costello, a younger writer, has equal genius but a different approach to the world, and his novel Big If is quite good, and what makes it works is that Costello accomplishes the dual difficulty of handing us a small town/suburban comedy the likes of John Cheever would have admired, and the other is with the rich detailing of the other secret service agents who work with Vi Asplund. There is something of a domestic comedy seamlessly interwoven with a skewed Washington thriller, with the elements of each spilling over and coloring the underlying foundations of both. In the first part of the novel, we have an atheist Republican insurance investigator who has a habit of crossing out the "God" in the "In God We Trust" inscription on all his paper money, replacing the offending word with "us". Vi, years later, winds up in a job where "in us we trust" is the operating rational, as she and her fellow agents strive to protect they're protected from the happenstance of crowds, acting out on intricate theories and assumptions that can only be tested in the field. Costello is wonderful at the heightened awareness in the ways he presents his details, his comic touches, A beautiful agent who still receives alimony checks from her smitten ex-husband carries on a correspondence with him via the memo line of the checks, where he continually writes "come back to me". She writes "No, never" each time, deposits the check, knowing that her ex will see the reply when he receives the canceled checks. The book is full of these fine touches. We have a sense that it's the small things, the small frustrations as much as the larger disasters that conspire against our happiness. A fine book.

CRACKPOTS by Sara Pritchard

Brief, beautifully written book about an awkward young girl being raised by an eccentric family. Note that there is no child abuse or other hot-button stuff engineered in to make the book appeal to the Oprah book clubs, just a humorous and bittersweet novel of a girl, beset with any number of glum circumstances and embarrassments, maturing to a resilient adult with soft irony that gets her through the day. Pritchard is especially fine as a prose stylist.

VENTURI , ROBERT, RIP

The Dean of Postmodern Architecture, Robert Venturi, has died, gone from the earth who's ideas and practice of architecture he sought to change. Slate, in a fairly comprehensive article discussing his ideas and the controversies surrounding the work, calling him "...the most influential architect of his era." A hard fact to swallow among his severest critics and those who just downright despised his buildings and his theories . There were many of them, more, it seemed, than there were admirers, and yet he continued to work, build, write, and thrive as an artist and as a theorist who's notions of what urban architecture should be, what it should symbolize, what it should be against. Venturi's basic foe was Modernism, all of it, in all manifestations, but in architecture in particular. Though his theories are more nuanced than I'm prepared to summarize here, what the late builder loathed was the whole Bauhaus concern with creating styles and emphasizing materials that would reform the way the working class viewed the world and would then, through some sort of revolutionary revelation, make better choices about their own fate both as an economic class and as individuals. Venturi felt the late stages of Modernism gave us buildings that were monuments to power, to their own form and grandness, to the gigantism of the theory that provided the rationale for their construction. These were not buildings for those who lived in the city; his task was to come up with something more relatable, an aesthetic more in sync with the rhythms and twitches of how citizens lived in the cityscape. true, the late Venturi probably had more influence on architecture than any other practitioner in recent memory, and he was a prickly subject to bring up among fans of Modernist buildings and the theories that attended them. I was hot and cold over Venturi--fellow PoMo-ers Phillip Johnson and Michael Graves were more my taste, in that PJ had elegance as a virtue and MG took his Circus Maximus influences and made the buildings seem like actual constructions, not stage props. Venturi seemed to worship the strip mall, the billboard, the ugly building upon which one later festoons with all sorts of incongruent ornamentation in an effort to make it less a conspicuous eyesore. He saw his post-modern style of architecture (and that of his wife, his collaborator, to whom he gave credit) as means to make architecture less elitist, to make less a process that constructs monuments to entrenched power and make it more relatable to the average Jake and Joanne. His tract "Learning from Las Vegas" is a compelling argument in favor of basic building structures laden with add-ons, but for this boy, much of his work I've witnessed live and in photo essays seem like nothing more than dollhouses on varying scales of obscene density. Oddly, Venturi had a desire for the cityscapes of what seems like an idealized past, where design and function where merged quite well with the lives of citizens living in neighborhoods and business centers that composed the urban landscape; it should be a place of timelessness. His own work is anything but timeless, and is, in fact, inscribed to a specific era, a time and place, with an aesthetic that hasn't produced a body of work that continues to intrigue or enthrall years after the initial rush of excitement. Things that age well, whether paintings or old buildings are those manufactured things that remain astounding to look at decades later without any explanation. One is simply intrigued, beguiled, smitten without needing to be brought up to speed as to what the painter/architect et al happened to be thinking when they took on their project. Hardly so with  Venturi, much of whose work has already started to look dog-eared. The problem, it seems, is that PoMo architecture was more fad than anything else, the structural equivalent of the lava lamp. Future generations will be baffled why so much public and private capital was spent erecting his faddish and flimsy constructions. Once a historical background is explained and the then prevailing aesthetic is outlined, they'll be baffled even more as to why bad taste dominated the last thirty years of the 20th century

A MYSTERY, OF SORTS, FROM DON DE LILLO

T

DeLillo is perhaps the best literary novelist we have at this time, which the career-defining masterwork Underworld made clear to his largest readership yet: at the end of all those perfect sentences , sallow images and long, winding, aching paragraphs is a narrative voice whose intelligence engages the fractured nature of identity in a media-glutted age.The Body Artist has him contracting the narrative concerns to a tight, elliptical 128 pages, where the Joycean impulse to have a private art furnish meaning to grievous experience is preferred over the dead promises of religion and philosophy. What exactly the woman character does with her performance body art, what the point is of her ritualized, obsessed cleansing of her body, is a mystery of DeLilloian cast, but it's evident that we're witnessing to a private ritual whose codes won't reveal themselves but are intended as a way for the woman to again have a psychic terrain she can inhabit following the sudden and devastating death of her film maker husband. The entrance of the stranger in the cottage turns her aesthetic self-absorption, slowly but inevitably, into a search into her past in order to give her experience meaning, resonance, a project she quite handily ignores until then. The sure unveiling of her psychic life is a haunting literary event. I meant to convey was that the meaning she was seeking, the connection between what she's examining outside herself, the precise moment where existence seemed purposeful, is a mystery. The answer is not revealed, if there was an answer at all. What is obvious to the reader is that we are witnessing rituals of some very private sort--the obsessed cleansing of the body, the concentrated on selected external facts, the momentary wanderings of mind that consider what sort of consequence the continued ritual of trying to bridge the gap between the subjective mind and a world external actually has. Evidence of consciousness, a soul, the essence of what makes us human. 

 Or merely the expected habit for the sort of creature we are, mere animal behavior, something directed by biology and an environment that shapes our responses to it? A mystery. My experience with this book was that it reminded of those times , alone, or in a crowd, when my thinking got the best of me, due to some sort of trauma or illness or some such thing, when the nature of existence became a dominant topic of all my thinking. Concentrated, felt existentialism, when all of what seems to be is questioned and nothing seems to fit this world right. It is the nagging sensation that all is mere perception, nothing else. DeLillo’s language is crisp, evocative, precise to the mood and his ideas: you envy his flawless grasp of rhythm and diction as these traits simultaneously make the cottage on the cold , lonely coast seem sharp as snap shot, but blurred like old memory, roads, and forests in a foggy shroud. A short, haunted masterwork. I think what I meant to convey was that the meaning she was seeking, the connection between what she's examining outside herself, the precise moment where existence seemed purposeful, is a mystery. The answer is not revealed, if there was an answer at all. What is obvious to the reader is that we are witnessing rituals of some very private sort--the obsessed cleansing of the body, the concentrated on selected external facts, the momentary wanderings of mind that consider what sort of consequence the continued ritual of trying to bridge the gap between the subjective mind and a world external actually has. Evidence of consciousness, a soul, the essence of what makes us human. Or merely the expected habit for sort of creature we are, mere animal behavior, something directed by biology and an environment that shapes our responses to it? A mystery. My experience with this book was that it reminded of those times , alone, or in a crowd, when my thinking got the best of me, due to some sort of trauma or illness or some such thing, when the nature of existence became a dominant topic of all my thinking. Concentrated, felt existentialism, when all of what seems to be is questioned and nothing seems to fit this world right. It is the nagging sensation that all is mere perception, nothing else.

 

Power of 3

BLUES BREAKOUT--
The Wayne Riker Trio

Longtime San Diego guitar stalwart Wayne Riker is a very fine musician, a fretster with enviable finesse, fire, and fluidity who’s had his skills showcased in many ways,  in big band setups, country outfits, coffee house duos, straight blues band and more besides. Lately, he’s been pushing the guitar upfront with the Wayne Riker Trio, a blues threesome who make the objects in the room shake with a simple formula: while bassist John Simons and drummer Walt Riker provide the steady, earnest, unflinching rhythmic backbone, lead guitarist Wayne lets it fly, unleashed.  Their new album, Blues Breakout, is literally a series of  5 extended guitar improvisations, each in a different groove, style, tempo, and steadily maintained by the solid rhythm section in unflinching precision while Wayne fills in all the available space. There is a lot of space to fill, but Riker is one of those seasoned players who has listened broadly— traces of BB King, Chet Atkins, Jimi Hendrix,  Joe Pass reveal themselves in Riker’s cascading phrases—and assimilated the variety into a sweetly swift and effortless style. On “Black and Blue Boogie”, the guitarist starts his soloing out the gate, rapid-fire runs dancing along the unyielding precision of the bass and drums, with Riker inserting punishing blues bends that snarl and growl as the mood demands and alternating his approach with each chorus he takes. A jazzy sting of notes is quickly followed by some clean, pointillistic bluegrass/ country playing, followed again by some marvelous juxtaposition between a swampy, bassy sound, a low E string thump, and  casually executed ostinatos, sustained notes that keep all this busy virtuosity in line with certain vocal quality that might otherwise be lacking.  The best of the 5 tracks is “Bleeding Blue”, a six-minute slow blues that highlights Wayne Riker’s superb sense of nuance and phrase-making in a 12 bar format. He is not one of those players who plays a phrase and will pause longishly before he plays another. Like the critically underrated Johnny Winter, Riker follows one idea with another, shifting rhythmic emphasis and varying the voicing of the finite form to create tension. His lines are rapid,  precise, but never sterile.  His ideas cascade gloriously until you think his virtuosity will overwhelm everything else, but there is a canny sense of pacing here.  When you suspect he’s run of ideas, yet new, fresh variations are sounded.  Blues Breakout is more or less a one-man show, with the rhythm section being relegated to maintaining a solid grounding for Riker’s pyrotechnical exuberance. One might wish for stronger song orientation, some vocals, and less showing off. I am pleased Riker chooses to show us what he can do, uncorked, a guitarist unchained.

A woman rules the blues

A WOMAN RULES THE WORLD--Whitney Shay

Songstress Whitney Shay has been tearing up the stages of San Diego for a few years now, the petite and elegant songstress applying her impressive pipes to a variety of musical styles in a multitude of collaborations. Show tunes, torch songs, ballads, classic rock and roll and soul, and blues are only some of the classes the charismatic Shay selects from; in all of them, her voice wails, growls, soars, whispers and croons as the material requires.  Her tone is rich, her inflection and her feeling for emphasis at key points in her songs keep a listener on edge anticipating the next chorus, the next ad-lib, the next hoop, and holler. Shay keeps it moving, driving,  continually moving the pieces on the chessboard.  Shay consistently works with the best musicians available.

 Her new record, A  Woman Rules the World, is essentially a blues and  R&B project highlighting Whitney's vocals, equal parts sass, brass and an elegant sense of grit, with a band of A-List players, including Christoffer Anderson (guitar), Jim Pugh (organ/piano)  Kedar Roy (bass), Alex Pettersen (drums) and Gordon Beadle (saxophones). The outfit, which handles its duties with a seeming organic blend or swagger, swing, and soulfulness, brings a contagious verve to A Woman Rules the World, a record, that, as the title suggests, is a bluesy, gospel-tinged declaration of a woman's right to exclaim her blues.  Shay co-wrote four of the album's ten songs (with Adam J.Eros) and begins this heated session with the unmistakable assertion 'Aint No Weak Woman". This is a straight-up strut of self-definition, the band bristles and boils over with a sure groove of assertive funk as Shay delivers the news that you underestimate women at your own peril.

The title song, writing credit to one D.LaSalle, amounts to a feminist version of James Brown's 1966 classic, the fatally patronizing "It's A Man's World"; while JB tried to explain away male chauvinism at his song's midpoint with a haphazard tribute to women for their ability to bear children, Shay's reading of the lyric, slowly and dramatically  paced, pushes the condescension to the side and lays out the facts of being  a woman in the world of men. Shay remains true to the gut feeling required for the blues and conveys all this with the sock-it-to-ya conviction.r It's not a lecture, but a testimonial. The album isn't just inspired polemic, though, but also funky, joyful, very sexy indeed, sexy as in the case with the "Get it When I Want It",  a funk blues extravaganza with a trace of New Orleans heat that highlights Whitney wittily making it clear that what she needs from a lover has to  be good, great, greater, greatest , consistent and on time.  The emotions Shay handily , slyly and seductively puts across through the lyrics , of course, run  the full range of how one feels in imperfect relationship and in one of her original songs, "Empty Hand," a soulful, Percy Sledge/Sam Cook like ballad, she addresses a paramour who's continually let his end of the bargain fall to the floor. Shay reads the lyric with tenderness and genuine affection, tempering the anger. "I'm not done with you, baby" she wails, seeming to , just for today, give it one more try.

A Woman Rules the World is full of rocking, stomping surprises, ten hot selections grounded in the up-swinging, people moving traditions of blues, rhythm and blues and gospel. Whitney Shay has a voice that channels these styles and creates her distinct verve and originality on the traditions with each croon, holler, soaring high note and low and slow and sexily turned phrase.  The tight and sublime band and the guest appearances by guest musicians Igor Prado (guitar), Aki Kumar (harmonica) and John Halbleib (trumpet)  have made a record that is fun, feisty, ideal for raising the roof and creating convivial mayhem.