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Today's Stories January 9/11, 2009 George Ciccariello-Maher January 8, 2009 Jean Bricmont / Franklin Lamb Paul Craig Roberts Kevin Alexander Gray Chris Floyd Ewa Jasiewicz Steve Conn Harvey Wasserman Wayne S. Smith Linda Mamoun Adam Turl Chris Papaleonardos Website of the Day January 7, 2009 Saree Makdisi Franklin Lamb William Blum Belén Fernández Lawrence Davidson Allan Nairn Jonathan Cook Muhammad Idrees Ahmad Deepak Tripathi Cal Winslow Manuel Garcia, Jr. Dr. Hannah Safran Website of the Day January 6, 2009 Pam Martens Victoria Buch Neve Gordon Tami Sarfatti / Mike Whitney Alan Farago Gary Leupp Larry Everest Ron Jacobs David Macaray Stephanie Basile Stacey Warde Website of the Day January 5, 2009 Paul Craig Roberts Sousan Hammad Wajahat Ali Mats Svensson Jen Marlowe Muhammad Ali Khalidi Brian Cloughley Faheem Hussain William Cook Dr. Trudy Bond Christopher Ketcham Steve Early Dave Lindorff Website of the Day January 2 - 4, 2009 Alexander Cockburn Uri Avnery Jonathan Cook Paul Craig Roberts Brian Eno Ralph Nader Omar Barghouti Graham Usher P. Sainath Belén Fernández Deb Reich Gary Leupp Michael Yates Joanne Mariner Seth Sandronsky Cynthia McKinney Sonja Karkar Deepak Tripathi Robert Fantina John Ross Norm Kent Larry Portis Richard Rhames Dee C. Lubell David Yearsley Lorenzo Wolff Marc Catone Poets' Basement Website of the Weekend
January 1, 2008 Jennifer Loewenstein Oren Ben-Dor Wajahat Ali Saul Landau David Michael Green Website of the Day December 31, 2008 Pam Martens Neve Gordon / Ted Honderich Brian Cloughley Ron Jacobs Vijay Prashad Franklin Lamb Mike Whitney David Macaray Richard Thieme Mary Lynn Cramer Stephen Lendman Worthy Group of the Day December 30, 2008 Paul Craig Roberts Tariq Ali Robert Bryce Jonathan Cook Gary Leupp Dave Lindorff Brian McKenna John Walsh Ramzy Baroud Bob Sommer Worthy Activist of the Day
December 29, 2008 Jennifer Loewenstein Neve Gordon Joshua Frank George Salzman / Norman Solomon Ewa Jasiewicz Rob Larson Kenneth Libby Robert Weissman Elsa Johnson Nicola Nasser Belén Fernández Worthy Group of the Day December 26-28, 2008 Alexander Cockburn Dr Eyad Al Serraj Jeffrey St. Clair Bradley Simpson Ralph Nader Gary Leupp Ellen Cantarow Matt Landon David Macaray Patrick Bond Norm Kent Brian T. Ketcham Rannie Amiri Larry Portis Richard Rhames Stephen Lendman James L. Secor Ramzy Baroud Harold Pinter Cpt. Paul Watson Howard Lisnoff Michael Dee Steve Conn Poets' Basement Worthy Group of the Weekend December 25, 2008 Judy Gumbo Albert Rev. William E. Alberts Hannah Mermelstein Worthy Group of the Day December 24, 2008 Bill Quigley Saul Landau Sam Smith Brian Cloughley John Ross Eric Walberg Norm Kent Stephen Martin Worthy Group of the Day December 23, 2008 Michael Hudson Michael Yates Chuck Spinney Vijay Prashad Brian Horejsi David Macaray Neil Watkins / David Michael Green Worthy Group of the Day December 22, 2008 Pam Martens Gary Leupp Mike Whitney Karl Grossman Niall Meehan Steve Conn Uri Avnery Corey D. B. Walker David Swanson Worthy Group of the Day December 19 - 21, 2008 Alexander Cockburn Jeffrey St. Clair Paul Craig Roberts Patrick Cockburn Felice Pace Diane Farsetta George Ciccariello-Maher Eric Bergoust Marjorie Cohn Stan Cox Michael Donnelly Robert Weissman Ralph Nader Alan Farago Sam Smith Timothy G. Hermach Seth Sandronsky Rannie Amiri David Yearsley Martha Rosenberg Dave Lindorff Christopher Brauchli Missy Beattie Richard Rhames Stephen Martin Paul Krassner Lorenzo Wolff Poets' Basement Worthy Group of the Weekend December 18, 2008 Phillip Doe Ronnie Cummins Jesse Sharkey Saul Landau Peter Morici Dave Lindorff Panos Petrou Jeff Cohen / Worthy Group of the Day December 17, 2008 Peter Lee Conn Hallinan Mike Whitney Jeff Halper Alan Farago Peter Morici Norm Kent Col. Douglas MacGregor Margaret Kimberley Ron Jacobs Worthy Group of the Day December 16, 2008 Vicente Navarro Patrick Cockburn Thomas Michael Power Jason Hribal Farzana Versey Wajahat Ali / Mats Svensson Paul Fitzgerald / David Macaray Howard Lisnoff Worthy Group of the Day December 15, 2008 Andy Worthington Franklin Lamb Karl Grossman Brian Cloughley Mary Lynn Cramer Steve Early Thomas Christie Ken Paff Niranjan Ramakrishnan Dave Lindorff Alan Farago Worthy Group of the Day December 12 / 14, 2008 Alexander Cockburn Michael Hudson / David Price Jeffrey St. Clair Frank Barat John Ross Binoy Kampmark David Macaray Ralph Nader Eamonn Fingleton Lawrence Velvel Behzad Yaghmaian Sam Husseini Tom Barry Howard Lisnoff Laura Carlsen Raj Patel Ron Jacobs Paul Watson David Yearsley Lorenzo Wolff Kim Nicolini Susie Day Poets' Basement Worthy Group of the Weekend December 11, 2008 Patrick Cockburn P. Sainath Vicken Cheterian Ray McGovern Dedrick Muhammad Lee Sustar Peter Morici Ayesha Ijaz Khan George Wuerthner Christopher Brauchli Worthy Group of the Day December 10, 2008 Ismael Hossein-Zadeh Mary Lynn Cramer Manuel Garcia, Jr. Joshua Frank Steve Conn Lee Sustar Glen Ford Stephen Lendman Nadia Hijab Dave Lindorff Website of the Day December 9, 2008 Mike Whitney Fawzia Afzal-Khan Ghada Karmi Dave Lindorff Steve Breyman Lee Sustar / Rev. William E. Alberts Martha Rosenberg Sam Husseini David Macaray Website of the Day December 8, 2008 Steve Early Michael Hudson Patrick Cockburn Diane Farsetta Paul Craig Roberts Daniel Gross Saul Landau Harvey Wasserman Mike Ferner Norman Solomon David Michael Green Website of the Day
December 5 / 7, 2008 Alexander Cockburn Brian Cloughley Paul Craig Roberts Liaquat Ali Khan Farzana Versey Peter Lee Peter Morici Ralph Nader / Yinon Cohen / Wajahat Ali Johnny Barber Alan Farago Jeremy Scahill Mike Whitney Ranjit Hoskote Carl Finamore Marjorie Cohn Norm Kent Missy Beattie Binoy Kampmark David Macaray Nancy Stohlman Ron Jacobs David Yearsley Lorenzo Wolff Poets' Basement Website of the Weekend December 4, 2008 Ece Temelkuran Ralph Nader Harry Browne Eamonn Fingleton Conn Hallinan Mike Whitney Stewart J. Lawrence Paul Fitzgerald / Karyn Strickler Jennifer Matsui Website of the Day December 3, 2008 Andrew Cockburn Sheldon Rampton Robert Weissman Yifat Susskind William Blum Alan Singer David Macaray Martha Rosenberg Mats Svensson Website of the Day December 2, 2008 Jeremy Scahill Paul Craig Roberts Ayesha Ijaz Khan Sarah Anderson / William Blum John Ross Dave Lindorff Nicola Nasser Steve Conn Robert Bryce Website of the Day December 1, 2008 Patrick Cockburn Damien Millet / Vijay Prashad Deepak Tripathi Joshua Frank P. Sainath Alan Farago Binoy Kampmark Chris Genovali David Michael Green Stephen Martin Website of the Day November 28-30, 2008 Alexander Cockburn Mike Whitney Ted Honderich Tom Kerr Mike Ely David Yearsley Deepak Tripathi Sonja Karkar Ramzy Baroud Robert Weitzel Robert Roth Carlos Fierro David Macaray David Rosen James Cockcroft Stan Cox Steve Conn Stephen Martin Richard Rhames Kim Nicolini Lorenzo Wolff Poets' Basement
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Weekend Edition The Musical PatriotTo Gotham City with Dexter GordonBy DAVID YEARSLEY To drive out of Ithaca in January you need music, a soundtrack. Once you’ve left the citadel of Cornell University and its outlying fiefdoms of sport and agriculture, the snow-covered countryside is dominated by trailer parks, weather-beaten houses, junked machinery and appliances, and prisons. Winter is unkind to the landscape. With the luxurious shroud of leaves gone, human poverty confronts the motorist at nearly every turn on the way to the New York City, beginning with rural route NY 79 heading southwest towards to the closest Interstate, I-81, then traversing Pennsylvania before hooking up with I-80 for the final more affluent stretch across New Jersey and into Manhattan. The towns along the way are devoid of commerce except for gas stations. Citgo is the only thing that thrives. This part of New York state, once you get outside of Ithaca, is Republican country, yet many of these very evangelicals have Hugo Chavez to thank for their heating oil. The former downtowns of post-industrial cities like Binghamton look like they’ve been hosting a civil war: derelict buildings and boarded-up shop fronts alternate with bombed out parking lots. Residents seek refuge in the ailing malls. Coming down from the Endless Mountains in northeastern Pennsylvania civilization emerges in the form of Scranton, a place that has attained an unexpected fame—or perhaps infamy—first as the setting for the American version of the television series The Office, and then as the hometown of Joe Biden. Though I can’t claim an intimate knowledge of its civic glories, Scranton seems to be amalgam of malls, slag heaps, and pork-barrel highway projects. Most striking, however, is the landmark spread across the first hills of the Poconos rising up from the city’s southern edge. This could well be the world’s largest junkyard, a vast “parking lot of the dead” as James Dickey put it in his immortal “Cherrylog Road,” though Scranton’s sprawling acres of wreckage hardly seem a compelling place for an erotic encounter. After the Pocono’s it’s Delaware Water Gap and then the relentlessly encroaching sprawl of New Jersey all the way to the Hudson. I’ve brought along a random assortment of CDs snatched from my largely unorganized shelves and thrown the discs into a canvas bag. I reach in and randomly pull out Dexter Gordon’s Gotham City. It’s been about fifteen years since I listened to this recording. Strange that I haven’t even missed it until now. Great music stays with you until the final erasure, be it slow or sudden, of the personal hard drive. That I own about half of Dexter’s recorded output isn’t much of collector’s boast, since he spent a good deal too much of the 1950s, which would have been one of his most productive decades, in jail for heroin possession. Still, he made fifty or sixty recordings after his years in the big bands of Lionel Hampton, Louis Armstrong, and Billy Eckstine in the 1940s. I can’t say exactly why Gotham City holds a special place in my affections, but it does. Yes, there are the dates of thrilling tenor madness with Wardell Gray, and some boisterous sets for Savoy in the mid-40s; also the gleaming monument, “Daddy Plays the Horn”, made in 1955 just before Dexter did a five-year stretch at Riker’s Island penitentiary. Then there is the Blue Note series started before Dexter left to go play a month-long gig at Ronnie Scott’s London jazz club in 1962 (a trip that turned into fourteen years expatriation in Europe), and continued on occasional trips back to the U.S. There are also the radio broadcasts (issued on Steeplechase) from the Jazzhus Montmartre in Copenhagen, the city where Dexter lived for over ten years. (Youtube has much excellent footage from this smoky, atmospheric venue.) There’s also the early 70s sessions done back in the U.S.; I would single out “The Jumping Blues” of 1970, simply because it has Wynton Kelly on piano). These were soon followed by Dexter’s return to this country in 1976, an event commemorated in Homecoming: Live at the Village Vanguard (featuring trumpeter Woody Shaw’s marvelous quartet, with Ronnie Matthews making the Vanguard’s out-of-tune piano jump). Notable monuments of Dexter’s repatriated years are Great Encounters with saxophonist friend Johnny Griffin (“fastest tenor in the West”) in concert at Carnegie Hall, and the live recording from Keystone Korner in Oakland with Dexter’s stellar quartet from the late 70s—George Cables on piano, Rufus Reid on bass, and Eddie Gladden on drums. (I’ll admit that I’m not so enthusiastic, though still reverential, about the soundtrack for Round Midnight, the role for which Dexter received a Best Actor Academy Award nomination in 1985). After Benson’s intro, a volcanic drum roll ushers in a shuffle of such vitality that it can only be the work of Art Blakey, reunited on record with Dexter for the first time since 1944 when they were both members of Billy Eckstine’s Big Band, that traveling crucible of be-bop. The long arms of Blakey’s drumming embrace all that enter the tent of his big beat, welcoming them with the ebullient counter-rhythms of his left hand and feet, the mighty crescendo of his right hand on the ride cymbal, electrifying the musical space like ionized steam. Dexter enters with warm-hearted noblesse oblige, lagging far behind Blakey’s beat with aristocratic surety. This refined confidence will be in evidence both in swinging affairs and when he enjoys the album’s lone ballad, “A Nightingale Sang in Berkeley Square.” The tallest tenor, Dexter is never in a hurry even at fast tempos like that of “Blues March,” where he’s joined by trumpeter Woody Shaw, whose angular, harmonically displaced lines spark like syncopated ricochets. What I love so much about Dexter’s playing, something which finds such glorious expression throughout Gotham City, is the balance of the expected with the unexpected. When Dexter shows you around his enormous musical estate, you never go quite the same way; it is the unexpected turns of path through a familiar landscape and his knowing asides that make the tour so enjoyable. When embarking on a Dexter solo you know you will hear certain quotations and other figures, but never in precisely the way you’ve heard them before. It is also the way these figures are put together that is so compelling. . Each improvised motif seems both the answer to the preceding phrase and the question demanding the next response. The architecture of Dexter’s solos are constructed from these units, whose meanings range from the lofty to the ridiculous. Many of these building blocks are quarried from his own music and from pop, folk, and children’s songs. These motives are deployed with particular deftness on the album, as when his signature quotation of “Mona Lisa,” modulates onto itself across the boundary dividing two stanzas of “Hi-Fly.” There are those who might say that Dexter’s use of stock phrases is overly schematic, while others might claim that in signposting his improvisations in this way Dexter offers a critique of the art of improvisation itself, ironically laying bare the mechanics of his craft. The great orators of antiquity built up their speeches with well-known rhetorical figures, stock phrases; it was the way in which they manipulated these figures that made their reputations and moved their audiences. Dexter is the Cicero of the saxophone. Dexter’s inventive largesse has its effect on his sidemen. Benson’s solos are much more than prodigious technical demonstrations, filled with multi-directional arpeggios, virtuosic melodic configurations , rapid bursts of octaves, and a frenetic chordal arrays. The way he complements Cedar Walton’s incisiv e piano contributions with complex rhythmic commentary seems the perfect solution to the problem of having two chord-playing instruments playing behind a soloist. I’m guessing it is Blakey’s aegis that inspires his rhythm section colleagues to such great deeds. After Dexter takes his final chorus on “Gotham City,”Blakey starts right off on Benson’s solo with a quick pair of rim clicks on the fourth beat of every other measure. Walton notes this pattern and begins playing off of it. The dialogue here is fierce. Percy Heath’s bass is the grease in that groove, and though thick it’s just this side of combustion. By the second chorus Blakey is pushing into the ride cymbal on the fourth beat of those measures not given over to rim clicks, momentarily suspending the swing, so that there is a short, shimmering pause in forward momentum. Walton quickly perceives this additional layer of complexity and there is spirited conversation between him and his former Jazz Messenger employer, Blakey. They enjoy a second chorus combining these contrasting inflections of the fourth beat with bassist Heath joining in for its final utterance. Once agreed upon by the entire ensemble, the motif is just as quickly dispersed by the counterpoint of individual intentions. A great band knows when to disband a musical idea and move on. In this passage the dialectic between the ensemble and its members -- perhaps the greatest contribution of jazz -- reaches perfect and unforgettable synthesis. I’ve assembled my traveling companions for the drive south through Binghamton, Scranton, Stroudsburg and then east towards New York. There can’t be more than forty minutes of music on Gotham City, two tunes per side on the old LP. I get Gotham ten times back-to-back before the Empire State building rises above the New Jersey traffic. And on the way back, too. David Yearsley teaches at Cornell University. A long-time contributor to the Anderson Valley Advertiser, he is author of Bach and the Meanings of Counterpoint His latest CD, “All Your Cares Beguile: Songs and Sonatas from Baroque London”, has just been released by Musica Omnia. He can be reached at dgy2@cornell.edu
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