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Wednesday, May 12, 2010
Let there be no doubt that Eric Dolphy warrants mention amongst jazz music’s all-time immortals.

When it comes to art in general and music in particular, entirely too many people are very American in their tastes: they know what they like and they like what they know. And there’s nothing wrong with that, since what they don’t know won’t hurt them. Also, let’s face it, the only thing possibly more annoying than some yahoo proselytizing their religion on your doorstep is some jackass getting in your grill about how evolved or enviable his or her musical tastes happen to be. Life is way too short, for all involved.


On the other hand, back in the day we were obliged to talk about music using only words. Now there is YouTube! If you can’t believe everything you read, you can always have faith in what you hear; the ears never lie. Not when it comes to music. Not when it comes to jazz music.


But how to talk about jazz music? Well, perhaps it’s better to determine how not to talk about jazz music. Hearing is believing. That’s it. And if you hear something that speaks to you, keep listening. Whatever effort you put in will be immeasurably rewarded. But first, eradicate cliché. Possibly the most despicable myth (that, fortunately doesn’t seem as widespread today, perhaps –sigh– because less people talk or care about jazz music in 2010) is one I found myself ceaselessly rebutting back in the bad old days. You know which one: that lazy, anecdotally innacurate and often racist assumption that all jazz artists are (or at least were) heroin addicts. That’s like saying all pro athletes are steroid abusers. Oh wait…


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Thursday, Apr 22, 2010

Throughout the course of its storied career, Blur more often than not seemed to be playing a role. While the Britpop group’s incarnations as faux-Cockney punters (circa Parklife) and as the British Pavement (Blur) are most often hailed as the band’s high water marks, Blur’s early dabbling in the top trends of the British indie scene at the start of the 1990s—Madchester and shoegaze—on its 1991 debut Leisure is often referred to in less affectionate terms, if at all. In spite of the lack of love for that period, consensus is clear that the record yielded at least one top tune, “There’s No Other Way”, a groovy genre workout that outdid some of the better attempts at crafting danceable Madchester singles by actual Mancunian bands.


Tagged as: blur, damon albarn
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Tuesday, Apr 20, 2010
In a weekend where Gorillaz closed out Coachella and Blur released its first single in a decade, one man swoons over the force at the center of it all.

Credibility is apparently a big deal in the music journo biz. I get that, at least in theory. I mean, I know why I’m supposed to take shit at face value and not let myself fall in love. But the whole reason I got into this mess in the first place was because I’m a fan and I get all emotional about music, and then I get all verbose and that just leads to trouble.


I love Damon Albarn.


There, I said it. It feels kind of good to get it out there, like therapy. Or exorcism.


I know it’s uncool or whatever to admit to having a musical crush on someone, but screw it. I love Damon Albarn. I love his vocals, both languid and falsetto, his enthusiasm for music of all shapes and sizes. I love that ridiculous gold tooth.


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Sunday, Apr 18, 2010
They are simply the albums that shaped my musical landscape, for which I know every lyric of every song backward and forward, that I would take with me to that mythical desert island we music lovers always talk about

April might be a bit late for a list like this, but I did hear from some Expert on NPR that the decade does not technically end until December 31, 2010. So really, I’m early!  And although every rock rag in the world did their lists months ago, I will submit my picks now.


Caveat: these are based purely on personal quirk. Before you call bullshit, let us remember the wise words of Rob Gordon in High Fidelity, “How can it be bullshit to state an opinion?” They are simply the albums that shaped my musical landscape, for which I know every lyric of every song backward and forward, that I would take with me to that mythical desert island we music lovers always talk about. They comprise the soundtrack that was playing when I fell in love, when I got married, when I had my babies, when I went to work, when I fell out of love, when I got divorced, when I did all the good and bad and fun and serious and stupid things I did in this oddest of decades. Most people, places and things come and go, but one truth that has never left me since the day I was born is my intense and abiding love for my music. This is my music. Maybe some of it is yours, too.


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Friday, Jan 15, 2010
How long does it take to document a relationship's implosion? If you're Liz Phair, it only takes three minutes.

After reading a solid month of “decade’s best” lists, I couldn’t help but think back to my “Best Album of the ‘90s” pick, Liz Phair’s Exile in Guyville. I occasionally have pangs of regret not choosing Radiohead’s OK Computer because technically, I believe it’s a superior album. But in general, I have no qualms about letting this pick stand because while other albums may have defined their specific genres like Nirvana’s Nevermind and Dr. Dre’s The Chronic, Guyville perfectly encapsulated not one but two major defining trends of that decade: the rise of a new generation of female singer/songwriters and the do-it-yourself ethos of indie rock, which took on a whole new life this past decade.


When Phair’s album came out (and several years after), most people I talked to readily brought up one of two songs: “Flower” and “Divorce Song”. For many, “Flower” was often-quoted because of the brazen, graphic lyrics, which was one of the first major elements of the album that made critics take notice. At one party, a fellow student talked about how she quoted the lyrics to her boyfriend whom she didn’t think knew the artist or album, and the boyfriend said “Can you say something to me that did not come from a Liz Phair song?”



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