The Turkish referendum: implications for democracy and world peace

According to a Dutch news site, 71% of expatriate Turks living in the Netherlands voted in favour of Erdogan's power grab - that is, 71% of the merely one-third of those who chose to take part in the referendum:

http://www.dutchnews.nl/news/archives/2017/04/dutch-turks-back-erdogan-in-referendum-as-turkey-slides-towards-dictatorship/

Similarly, in Germany 61% of votes favoured Erdogan, but the "high" turnout was only 48.7%:

http://aa.com.tr/en/europe/high-turnout-abroad-in-turkey-s-referendum/793715

Yet in Switzerland, 62% said no:

 http://www.bbc.co.uk/news/world-europe-39619354

- possibly reflecting the better wealth and education of those who settled there.


Would the results have been much different if all Turks in Europe had been made to vote?

Or are the significant factors:

(a) who is allowed to come into the country,
(b) why they chose to come and
(c) what efforts the host country has made both to welcome the immigrant and to insist on integration into the political and social culture of the country?

My recent EU dystopia (envisioning what might have happened had PM Blair taken us into the Eurozone, as he wished) imagined not only the defeat of the British Army in Ukraine as a result of EU empire-building, but the rise of a Turkish President who exploits the idiotic free-movement openness of the EU to blackmail it into sending him his UK-based opponents so he can eliminate them.

In the same piece, I also looked at the role of Turkey as a NATO counterweight to perceived Russian expansionism, and the possible diplomatic reorientation of the Greeks as they continue to suffer from the economic imbalances within the EU.

Maybe not such a fantasy. Are the attractive yet dangerously naive "Alle Menschen werden Brüder" ideals of the EU to be used against it, judo-like, by a strongman who has ambitions for the Middle East?

What are the conditions for, the limits to, democracy?

Cyberspying: nobody's safe

http://news.softpedia.com/news/A-New-Worrying-Trend-Paparazzi-Using-Drones-to-Spy-on-Celebrities-453532.shtml

Sunday Music: Jazz Piano 3, by Wiggia

Art Tatum

 
You may or may not be wondering why the piano is getting more coverage from me than any other area or instrument in modern jazz. It is quite simply that when going through my recordings the piano has more prominence than I had expected and the piano is the one instrument that has solo recordings in abundance in the genre.

If you add in the two greatest bands Ellington and Basie being led by two more than accomplished piano players and the fact that most arrangements and scores are written at the piano, you can see why the piano has such prominence. As with previous pieces even taking into account the extra space I have given the piano many great artists will be left out for purely practical reasons, there simply is not space to include all even when justified.


For that reason the likes of Red Garland, Tommy Flanagan, and Ahmad Jamal are left out, but of course almost certainly will feature in other recordings noted in this series.

McCoy Tyner was born in 1938. He grew up in Philadelphia and was encouraged to play the piano at home. By fifteen he knew that music was going to be his vocation. Influenced by Bud Powell, he was early into the be bop scene. After playing with Benny Golson and Art Farmer's Jazztet he joined John Coltrane in 1960 and stayed until ‘65; during that period apart from touring he was on the influential My Favorite Things album, A Love Supreme and all the other great Coltrane albums in that period.

He did make some albums in his own “name” at that time but because of contractual ties could not use his real name. He left Coltrane in ‘65 when he said, "I didn't see myself making any contribution to that music... All I could hear was a lot of noise. I didn't have any feeling for the music, and when I don't have feelings, I don't play." This was when Coltrane started down the free jazz route, not his most successful period with good reason. From ‘67 - ‘70 he was with Blue Note recording with his group and then joined Milestone for a period, when he experimented with different instruments and stayed with them until ‘81. He still records and tours.

I start with one of his later works, Fly With the Wind from the album of the same name from’76. His quartet of Billy Cobham (drums), Ron Carter (bass) and Hubert Laws (alto and flute) is augmented by strings, oboe, harp … a commercial success, it holds up well after all these years.




and here a Jobin Latin American tune, “Wave”:



Dave Brubeck has the distinction ? of being the first recipient of my hard-earned moolah in the jazz world when I purchased his Jazz at Oberlin album and joined the modern jazz world as an enthusiast. Thereafter a lot of Brubeck's work had little effect on me but his overall effect on jazz of the period was immense. You could say he was a “populist” as the public certainly went in droves to his concerts and purchased his albums in large quantities. Too much to put in here but his Wiki page is worth a read……

https://en.wikipedia.org/wiki/Dave_Brubeck

It was a combination of unusual time signatures and the use of block chording along with his smooth alto player Paul Desmond that kept Brubeck at the top of the jazz ratings for many years. Even after Desmond left his groups still toured to large audiences and his records still sold well, yet it was his ‘57 album Time Out containing all original compositions including the hit Take Five that he will be remembered for by most. Did the Oberlin album stand the test of time? To me it did as for obvious reasons it has a place in my appreciation of the genre; whether it actually stands the test is for you to decide.

How High the Moon from the Oberlin album, still a “tour de force” in my view and it still has the same effect when I listen to it now as then:



Ray Bryant earns a place on here for one reason: I liked him. His 1958 album “Alone with the Blues” is one of those records that I always return to and for that alone he gets his place, in a long career in which he was also a composer of several well known jazz number. He played with many of the greats of the be bop period: Parker, Davis, Hawkins and Sonny Rollins plus the singers Carmen McRae and Aretha Franklin.

From that album a solo masterpiece of blues playing My Blues (Blues No 5):



Herbie Hancock is best known for his fusion smash hit “Headhunters” and much of his fusion cum rock / jazz African music, but he started out as a classically trained pianist and was considered a child prodigy playing Mozart's Piano Concerto No 26 in D major with the Chicago Symphony Orchestra at the age of eleven!

In 1960 at the age of twenty he heard Chris Anderson play and begged him to be accepted as his student. He then left college and moved to Chicago where he worked with Donald Byrd and Coleman Hawkins, took further courses at Roosevelt University and got a degree in Fine Art to add to his degree in music and electronics he got from his other uni.

After playing with Phil Woods and Oliver Nelson he caught the eye of Miles Davis and joined his second quintet in ‘63. It was here he developed his style, and I quote: “Not only did he find new ways to use common chords, but he also popularized chords that had not previously been used in jazz. Hancock also developed a unique taste for "orchestral" accompaniment – using quartal harmony and Debussy-like harmonies, with stark contrasts then unheard of in jazz.“

He stayed with Davis until ‘68 and during that period made many albums under his own name as well as a sideman with many others on the Blue Note label. His two albums Empyrean Isles ‘64 and Maiden Voyage in ‘65 were to many his zenith in modern jazz as post be bop standards; after this time he started to experiment with larger ensembles using different instruments.

His branching out continued unabated, writing the score for Antonioni’s film Blowup (1966) and several TV commercials. He also started his route where he was incorporating popular music and rock into his work and electronic keyboards. He left Davis in ‘68 and formed his own sextet.

Leaving Blue Note a year after Davis and joining Warner Bros was the start of his electronic voyage. Mwandishi in ‘71 started the ball rolling but was not a success and more followed: it was in ‘73 with his new band The Headhunters that Head Hunters was released; a huge hit maybe, but the jazz world thought he had sold out to commercialism.

Since then he has worked in both the fusion pop rock world and returned to jazz. Much of his “popular music” has been slated but he never stood still and has always mixed the genres with a variable success rate with much of it incorporating electronics.

I own none of his more current work, to me most is interchangeable with almost any fusion/rock/ items out there, little has any point over buying an earlier Rick Wakeman album, but that’s just me.

This is from his Taking Off album of ‘62, Water Melon Man, his own composition recorded when he was just 22, with Freddie Hubbard and Dexter Gordon:



I was going to put up for comparison the later version with his Head Hunters band with Miles Davis in his fusion lost mode, but to me it is self indulgent rubbish; it seems many have gone this route, sadly.

Horace Silver was always a favourite of mine. One of the founders of hard bop, he grew up playing the piano and tenor sax at school. In 1950 he was recruited by Stan Getz and then he moved to NY. His co-founding of the Jazz Messengers with Art Blakey is what brought Silver and his compositions with that group to the public eye. He left the Messengers in ‘56 and formed his own group. In the ‘70s he not only disbanded his group as touring was interfering with his composing and his home life but he also went on a spiritual track. His output in this vein with Blue Note was not successful yet the company indulged him to a degree, though the titles were dropped from the catalogue later. His Silver albums from’75 on were a return to the group and sounds we knew and he finally left Blue Note in ‘78, the longest run (28 years) by any artist. According to Silver the new owners were not interested in jazz so he formed his own record company, toured for six months of the year and composed for the rest. Later he cut back the touring and his royalties from a substantial song book kept him going. Ill health in later life struck several times and his performances became sparser. After suffering undiagnosed blood clots he then contracted Alzheimer's; he died in 2014.

This is the ‘64 version of A Song for my Father, his own composition featuring Joe Henderson on tenor, lovely number and a jazz standard:



Footnote

From the above it is obvious I have included little or nothing from the current crop of piano players, I have listened to the likes of Brad Mehidau, Keith Jarrett and Cecil Taylor Paul Bley and there is much to admire, the technical ability, the sounds, all can produce stunning music; but overall I find their albums hard work, and if they are hard work to listen to, 15 minute solos of 5 minute standards, then I don’t enjoy and don’t purchase. Yet not all is one beautiful note and a ten second pause: this Paul Bley from ‘62 When Will The Blues Leave with his trio is terrific.



I will leave it there.

Friday Night Is Music Night: Spring, by JD

Here is a selection of Spring (doesn't feel very springlike today but we live in hope):

Sunday Music: Jazz Piano 2, by Wiggia

Duke Ellington

 With the start of be bop jazz went in only one direction for a while, where Bud Powell took it Thelonious Monk and others carried the flame forward. Monk of course had a separate article so I will not refer here to him in music terms, only by inference.

Lennie Tristano arrived on the scene in the mid to late forties bringing with him an expanded bop ethic incorporating classical harmonic themes from contemporary classical music.

Tristano was stricken permanently blind as a child, and studied music through his mother who played piano and was an opera singer; maybe this was the time that subconscious implanting of the classical harmonics happened ? He went to the Chicago school for the blind and learnt music theory and also played several wind instruments, then to a bachelor's degree in ‘43 from the Chicago American Conservatory of Music. From an early stage Tristano taught as well as played and he did this right up until his death in ‘78.

He also invented “free jazz” in ‘49 when his sextet including saxophonist Lee Konitz produced two albums with no pre set tempo meter or chord progression - this was ten years before the term “free jazz” was coined.

This is him playing “Tangerine” in 1965 whilst in Copenhagen.



From that there is that link to cool jazz, very refined and laid back and the travelling bass line very apparent. And here an earlier piano solo “Requiem” from ‘55, this piece was played at Charlie Parker's funeral.



Bill Evans became one of the most celebrated musicians in jazz on any instrument, another who was classically trained and whose inventive use of harmony, interpretation, his melodic lines and the use of block chording had a profound influence on pianists then and now.

In 1955 he moved to NY and met up with and worked with George Russell the bandleader. In ‘56 he joined Miles Davis and his sextet where his influence was such that the album they produced “Kind of Blue” became the biggest selling jazz album of all time - who indeed doesn’t own it?

He left Davis in ‘59 and set up his trio, a format that stayed with him and also the trio had the bassist Scott La Faro. La Faro died in a car accident in ‘61 after the trio had recorded “Sunday at the Village Vanguard”, an album that contained Evans' best known number “Waltz for Debby” which became a jazz standard. Some of his later work on solo albums involved overdubbing Like Lennie Tristano before him who used overlaid tracks, similar it was new ground.

Evans' own influences on the piano were Earl Hines, George Shearing and Nat Cole then Bud Powell, not obvious associations until you listen to his music.

The dark side of Evans was never far away, from his alcoholic father through struggling to get over the loss of La Faro he turned as so many did at that time to drugs, heroin, and his association with his girlfriend Ellaine who was also an addict saw his playing affected though they both went away and evidently kicked the habit, but in 1970 he turned to cocaine, his health suffered and when his brother committed suicide in ‘78 , he was a schizophrenic, his sister in law said he would not last long and his friend Gene Lees said it was the longest suicide in history , referring to his struggle with drugs. He died in hospital from multiple ailments in 1979.

His legacy is a volume of work that is important regards the jazz piano and always worth listening to. His album “Everybody Loves Bill Evans” was one of my first jazz record buys.

"Waltz For Debby", with Scott La Faro on bass and Paul Motian drums:



and this solo performance from his album “Alone” “A Time for Love” - everything he did was beautiful:



Oscar Peterson is one of those names almost everyone has heard at some time in their life. The son of West Indian parents who emigrated to Canada, he learnt first trumpet and piano but a bout of TB stopped the trumpet playing.

He was a prodigious performer both live and in the studio: there are over two hundred recordings to his credit and a world wide audience for whom he toured endlessly. Over sixty years of performing is good going in anyone's book.

Taught by his sister and then trained by a classical pianist, he was another with that classical background, it seems more prevalent with pianists than any other instrument in jazz, and Peterson would often throw in harmonisations and quotations from classical works. Of all the influences Art Tatum was the biggest and indeed Peterson was often likened to Tatum later in his career.

He worked with various outfits and even played as backing piano (if you can call him that) with Ella Fitzgerald, but it was his trio that defined him in most people's eyes; the one containing Ray Brown on bass and Herb Ellis on guitar is considered his best even by the man himself.

Various formats followed after the fifties.

He suffered ill health from childhood when arthritis formed and an increase in weight later did not help even after a replacement hip; in’93 he had a serious stroke that kept him out of action for two years and his performing after that was somewhat limited. In 2007 his health deteriorated rapidly and he canceled a concert and went home; he died of kidney failure at the end of that year.

His best known album is probably Night Train; his solo albums came somewhat later.

If Peterson had a weakness it was what some would call a lack of advancement: he stuck with what he knew and was another for whom TV beckoned, which meant you always got what you expected - nothing wrong in that.

"It Ain’t Necessarily So":

It Ain't Necessarily So - Oscar Peterson from JB - Jazz & Blues House on Vimeo.


and "Moten Swing" from the Night Train album.



Concert by the Sea is an album that was an enormous success for Errol Garner. One of the most distinctive pianists, his style and sound were instantly recognisable. Self taught, he could play the piano at the age of three, but never learnt to read music - an ear player all his life, with an amazing memory that helped counteract his lack of reading music.

At seven he was appearing with a group on local radio and by eleven playing on riverboats.

Only 5ft 2",  he played sitting on telephone directories; his style was such that comparisons and influences are not easy to define though Earl Hines is mentioned along with Fats Waller.

The Concert by the Sea album was the biggest selling album in its day and followed ten years of recording starting in ‘44. The same album was re released in 2015 by Sony in a 3 CD set with eleven previously unheard tracks, a legacy of his late manager's estate which also released much previously unheard material to add to a large existent catalogue; there are apparently in an agreement in 2016 between two music companies several master discs discovered that have never been published.

He was another who toured for most of his active career and was in demand world wide, appearing on Jazz 625 with Steve Race (for those old enough to remember) in ‘64, he died in ‘77 at the age of 53 after a cardiac arrest believed to be bought on by emphysema.

Here he plays Misty, his own composition and a jazz standard that is much played and was featured in the film starring Clint Eastwood (who is a jazz fan) "Play Misty for Me".



And the unforgettable version of "I’ll Remember April" from the ‘Sea album:

Friday Night Is Music Night: Country, by JD

...... along country roads this week:

Academia’s Intellectual Orthodoxy

Quillette has a piece on the invasion of the humanities by an intolerant political orthodoxy.

Over the last three or four decades, the humanities have witnessed a shift so massive that it is barely noticed anymore. What was once an upstart movement has achieved the status of a truly successful usurper—normality. The leather arm patched ancien régime has been exiled to the land of past things. Horn-rimmed glasses, tattoos, and dyed hair no longer occupy the periphery, but the center. It is a revolution so thorough that it has completely painted over the canvas of our mental imagery.

If you consider the stereotypical picture of a literature professor at a major university today, a myriad of images might come to mind—so many, in fact, that it might be impossible to conjure a single, coherent figure. However, what almost certainly won’t come to mind is a Byron-quoting septuagenarian in tweed.

This revolution has been political. Entire disciplines—Literature, Anthropology, Sociology, and the various interdisciplinary programs that end in the word “Studies” – have all become more strongly associated with a particular species of left-wing interpretation that now influences the broader discourse in journalism and on social media. In some departments, the social categories of analysis—race, class, and gender—have attained complete hegemony.

Equally interesting is the first comment on the article which suggests an apolitical cause.

This outcome was foreordained when research surpassed teaching as an academic’s primary duty and function. A teacher needs to love an intellectual field and desire to convey its beauty to a new generation; a researcher needs to generate papers and get them reviewed and approved by peers. The latter is an inherently political activity, and it attracts people whose talent and passion are for assessing the zeitgeist–political, social, intellectual–of a particular community, catering to it, and winning a position of social status in it. It should surprise no one that such people share many traits, and are inclined to disdain–and use their political skills to exclude–those whose intellectual approach is very different from theirs. Nor should it surprise anyone that the research output of such people is of little use to anyone but themselves, and contributes only to their own career advancement.