Bernard ‘Acker’ Bilk b. 28 Jan 1929, d. 2 Nov 2014
Above: Acker’s band in Prague, 1964 with Colin Smith on trumpet, Johnny Mortimer, trombone, Ron McKay (joined by pianist Stan Greig), drums, Tony Pitt, banjo, Tucker Finlayson, bass.
News has just come in of the death Acker Bilk, aged 85. He’d been ill for some time and had to stop playing about a year ago. His tremendous popularity tended to obscure the fact that he always led really good bands, and his own clarinet playing was much better than he was usually given credit for. At first a follower of New Orleans clarinettists like George Lewis and then Ed Hall, in later years his playing took on a quirky, Pee Wee Russell-ish quality that displeased some fans, but I found very attractive.
When I last saw him (about 18 months ago) he was still telling his jokes and stories and described is big hit, Stranger On The Shore as “my pension.”
I once asked the trombonist Ian Bateman, who worked in the final edition of the band, whether Acker was such an easy-going, affable bloke to work for as his public persona would seem to suggest (not always the case with apparently jovial bandleaders): the answer was an immediate and unequivocal “yes.”
Farewell Acker. And thanks for the laughter, the good times and (most of all, of course) the music.
Telegraph obit here
This bit is a classic example of Milne’s method; a crude “my enemy’s enemy is my friend” view of the world that, dressed up in pompous verbiage, pretends to be some kind of serious analysis:
“Putin’s oligarchic nationalism may not have much global appeal, but Russia’s role as a counterweight to western supremacism certainly does. Which is why much of the world has a different view of events in Ukraine from the western orthodoxy – and why China, India, Brazil and South Africa all abstained from the condemnation of Russia over Crimea at the UN earlier this year.”
At least one BTL commenter has nailed Shameless good and proper:
In the 1930s, people like Seumas would have argued that the infamous Moscow Trials were an antidote to Western influence, that the Nazi-Soviet pact that carved up Poland was a necessary antidote to perfidious Western democracies, similarly the invasions of Hungary and Czechoslovakia etc etc.
It’s simply wrong to counterpose Russian and Western power in the way he does. Ironically, this is simply a variant of the geo-political approach taught in bourgeois universities.
Neither Russia nor the US is a champion of democracy and Putin’s regime is increasingly totalitarian to boot. Socialists counterpose the struggle of workers and their supporters to the reach and policies of the states that oppress them and should never rely on these vary same states to come to our rescue.
Unfortunately, this is one of the most shocking articles I have read in a long time and an abject apology for a nationalist Kremlin regime that praises Stalin and rules for and on behalf of oligarchs.
What’s the betting that Shameless will soon be appearing on an exciting new TV channel about to launch in the UK?
A lovely, and seasonally appropriate ballad, performed by a singer I know nothing about (other than what I’ve gleaned from her Wikipedia entry), Eydie Gormé:
The song was written by Henry Nemo, an interesting character
Other nice versions:
Above: the Ottawa ISIS supporter
In the light of Rhodri Evans’s shrewd analysis of how ISIS has forced the ‘anti- imperialist’ left to re-examine its stance on Islamist terrorism, I was about to comment upon how ‘blowback’ has been absent from most of the liberal-left’s response to events in Canada…
…when this wretched article appeared in today’s Independent.
The BTL comments are, in the vast majority, superb in their contempt for this shit. Sarah AB also does a very good fisking job, over at That Place.
James Bloodworth has also done an excellent job over at the Spectator, fisking the creepy ‘blowback’ promoter Glenn Greenwald and more or less writing the article I was going to come up with. So he’s saved me the trouble … here it is:
Anti-NSA crusader Glenn Greenwald published an article on Wednesday morning where he explained that the recent murder of a Canadian soldier by a radicalised Muslim convert was down to Canadian foreign policy. The important sentence in Greenwald’s piece is this one:
‘A country doesn’t get to run around for years wallowing in war glory, invading, rendering and bombing others, without the risk of having violence brought back to it.’
To put it another way, it was inevitable that the jihadists would come after Canadians, given that Canadians had meted out some fairly ripe treatment to the jihadists – first in Afghanistan and now against the Islamic State in Iraq and Syria (I’m being generous to Greenwald here, I grant you).
Read the rest here
I have been asked, by a regular reader, to carry more material explaining our position on antisemitism – and, in particular our allegation that a lot of contemporary antisemitism comes from the “left” and takes the form of Palestinian solidarity (a cause that, in principle, Shiraz supports). I intend to write at some length on this subject soon, but as a starting point I’d refer readers to Galloway’s recent refusal to support Palestinian statehood (and his explanation, here) and the following account of a meeting at Oxford University. Note that one of the main speakers is an Oxford academic who frequently writes for the liberal-left Guardian. In other words, these people are not fringe elements within the pro-Palestinian movement in the UK. Support for the total destruction of Israel (ie the Hamas position) and casual comparisons between Israelis and Nazis, are now commonplace in the pro-Palestine movement. Even placards stating “Hitler was Right” are allowed on pro-Palestine demos, apparently unchallenged by the organisers or other marchers. As usual, when we re-publish material, it should go without saying that we don’t necessarily agree with all the article’s contents or endorse all the politics of the author.:
15 October 2014:
Tonight I had the misfortune to attend the inaugural Palestine Society event here in Oxford. I went with Sapan and Jonathan out of a mixture of open mindedness and intellectual curiosity.
What I heard and saw genuinely shocked me. I’ve heard a lot in my time but this was by far the worst event I have ever attended. I can only describe it as a two hour hate fest of the variety described in George Orwell’s ’1984.’ It went from the downright idiotic to the explicitly anti-Semitic – and often both. I heard a girl complain about the evils of ‘Zionist’ control in her native America – she even attacked ‘Zionists’ for controlling the make up she wore! No one challenged this girl’s delusions: they only reassured her that fighting Zionism must remain paramount. I heard numerous people glorify the ‘right of the resistance’ and reject non-violent tactics, even including an Oxford academic on the panel (Karma Nabulsi).
I had a question of my own. I read to the panel a quotation from John Molyneux, a theorist from the Socialist Workers’ Party;
“To put the matter as starkly as possible: from the standpoint of Marxism and international socialism an illiterate, conservative, superstitious Muslim Palestinian peasant who supports Hamas is more progressive than an educated liberal atheist Israeli who supports Zionism (even critically).”
I then added – “I’d be interested to know what the members of the panel think about this mode of analysis. Do they support what I consider to be a totally irrational – and dangerous – position?”
Not only did the panelists evade my question – Avi Shlaim, Karma Nabulsi and Barnaby Raine – to my horror, they actually agreed with its sentiment. Mr Raine, a student at Wadham College and a student activist, mocked me by saying that “anyone would stand up for the oppressed against an oppressor.” It should also be noted that Mr Raine noticeably hesitated when I put up my hand – he looked everywhere around the room before reluctantly taking my question. This person excuses the most morally reprehensible actions. He practically fetishises totalitarianism.
It got worse. Near the end of the talk, a local PSC activist defended Molyneux’s remarks by arguing that he’d rather be a Medieval, backward Chassidic Jew in the Warsaw Ghetto than a cultured German in a Nazi uniform. A sizable proportion of the room – hundreds of people – applauded this awful anti-Semitic distortion of history and trivialization of the Holocaust.
I am aware this status is long and most students couldn’t care less about student politics. However, I think it’s important that all students know that here, in 21st Century Britain, at one of the best universities in the world, political extremism is flourishing. Whereas far right fascists are, rightly, tarred and made into social pariahs, their equivalents on the far left get away with it time and time again. These are the totalitarians in our midst.
I have done what I can. I tried exposing rampant anti-Semitism in the Palestine Society at the start of this year and I was treated with ridicule. It’s time to take this stuff seriously. I saw many freshers at this event – freshers whose minds have been poisoned and given a wholly false narrative which demonises one people at the expense of the other, one that demonises the forces of peace and rewards the actions of hate and terrorism. I saw a room of intelligent, perhaps highly naive students, express the most hideous and morally warped trash. I saw no effort to condemn outright anti-Semitic prejudice when it was expressed. I saw pure intellectual fascism – people attending a talk to confirm their prejudices, and actively ostracising those that disagree with them.
I cannot think of a worse introduction to Oxford for incoming students to this University. Anyone who genuinely cares about Palestinians – whether in the West Bank or Gaza, or elsewhere in the Middle East or the diaspora – should stay the hell away from Oxford University’s Palestine Society. And remember that all it takes for the triumph of evil is for good people to do nothing.
I am a woman. I am a Kurd. And since I entered this world, this is the second time that my family and my people are experiencing a genocide and massacre. And this is the story of our life.
This is the second time in 23 years, because of the threat of a genocide, there has been a mass exodus of my people to the borders of a hostile state, only to be shot at and beaten as they sought refuge from a greater evil.
This is the second time, in 23 years, that our girls have been carried away, erased from history; left only in the memory of those who loved them, forever left wallowing in the pits of the darkness that the evil in the hearts of some men forced on them. Their lives, their hopes, the love that they carried in their young hearts blowing away in the wind like the barely written pages in the rarest books; and surely each and every one of them was as rare and as precious as the next.
There is a certain beauty in the fleeting nature of life. The meaning of life is in the nature of our experiences and what these experiences teach us. Some of us go through life never knowing any better, never questioning life or our value or place in the scheme of things. We know with certainty that the wheel of time spins a life of joy and immense privilege. We know that only good things come to us tomorrow, and we lay ourselves to sleep each night knowing the certainty of a blessed life.
And then there are others who carry a load so heavy that the weight of their pain is enough to break a lessor person a million times over. And I think of the elderly Yazidi woman who had no one left but a son that she raised with the tears of her loneliness; only for him to be lost careless in the dozens of massacres by ISIL. As if his life was not worth every ache in the bones of this mother, whose hopeless weeping should have shamed a thousand men- if we lived in a better world. I think of the force of her despair as her tears burst from her broken heart, and I wonder, as my own heart bleeds in response, “how can she persevere?”. And I think of the five year old boy who carried his 18 month old sister across miles, in extreme heat, with no water or food with his little feet, so that he could escape from grown men meaning him harm his innocent mind could not fathom; and I think a child should never have to live such a terror- but I am only reminded of my own childhood, and I realize my heart is twisting because he reminds me of my older brother and how we grew up in war, in refugee camps, escaping another genocide, another massacre, in hunger and poverty and I KNOW that reality is different. And still, I think of the Yazidi girls, renowned for their beauty, being carried away for the pleasure of men who, surely if hell existed, deserve no better place. And I think of the mother whose six daughters and new bride had been carried away by this same evil, and I struggle to understand; and surely, “how can we ask them to bear such pain?”
And YET, today is Eid- the Festival of Sacrifices. And TODAY my people were meant to be sacrificed by ISIL as a gift to their people. And today is day 19 of the siege of Kobane. 19 days in which no support, food, aid and supplies have entered Kobane to the YPG AND YPJ forces simply because they are Kurds, and they are homeless, and because they dare to ask for the same right that so many people enjoy each and every single day. And, YET, against all odds, they persevere; because their brave hearts hope that one day they will leave this world a little bit better than when they entered it. One in which the Yazidi girls are safe and the little children are safe and in which Kurdish mothers do not celebrate their Eid in the graveyards of their sons and daughters, lost for a homeless nation.
And yet, we persevere. We persevere despite our tears. We persevere, because we must
NB: Coatesy’s coverage of the fight against IS (ISIS/ISIL), the need to stand with the Kurds, and the bankruptcy of the wretched ‘Stop The War Coalition’ (and its supporters at the Guardian) has been outstanding. He excelled himself today.
I learned from Radio 4′s Poetry Please that last Thursday, October 2nd, was National Poetry Day, on the theme of “Remember.”
Ever since I first heard it sung (on a 1938 record by Connee Boswell), I’ve thought that Irving Berlin’s 1925 song ‘(You Forgot To) Remember’ was sheer poetry. Unfortunately, I couldn’t find Connee’s version on Youtube, but I did stumble across a remarkably moving version by Cliff ‘Ukulele Ike’ Edwards, an extraordinary entertainer from the 1920′s and ’30′s, who is now only (if at all) remembered as the voice of Jiminy Cricket in Walt Disney’s Pinocchio:
Remember the night, the night you said, “I love you”
Remember you vowed by all the stars above you
Remember we found a lonely spot
And after I learned to care a lot
You promised that you’d forget me not
But you forgot to remember
Into my dreams you wandered it seems, and then there came a day
You loved me too, my dreams had come true, and all the world was May
But soon the Maytime turned to December
You had forgotten, do you remember?
PS: here’s Connee Boswell singing another lovely old tear-jerker, ‘In The Middle Of A Kiss’.
Spot the similarities:
1/ From BBC News (East):
Banksy anti-immigration birds mural in Clacton-on-Sea destroyed
A new Banksy mural showing a group of pigeons holding anti-immigration banners has been destroyed following a complaint the work was “racist”.
The mural in Clacton-on-Sea – where a by-election is due to take place following the local MP’s defection to UKIP – appeared this week.
It showed four pigeons holding signs including “Go Back to Africa”, while a more exotic-looking bird looked on.
The local council, which removed it, said it did not know it was by Banksy.
Tendring District Council said it received a complaint that the mural was “offensive” and “racist”.
The artist, who chooses to remain anonymous, posted pictures of the work on his website earlier.
But by the time it had been announced, the mural had already been removed due to the complaint received on Tuesday.
2/ From politics.co.uk
Thin-skinned anti-racist protestors shut down an anti-racist exhibit
By Ian Dunt
The closing down of the Barbican’s Exhibit B event marks a significant moment in the rise of censorship in Britain. We have now become so sensitive, so uninterested in the purpose of a work of art, that we are closing down exhibits intended to support our own politics. We are censoring ourselves.
What an extraordinary point to have reached. Self-professed anti-racist campaigners shutting down an anti-racist exhibit because it features images of racism. Two hundred of them blocked the entrance and the road leading to the building. Organisers cancelled last night’s performance and then confirmed the remaining performances would be cancelled as well.
One wonders how else we are supposed to dramatise racism without featuring images of it? Should 12 Years a Slave have been banned too? It was hardly an easy watch.
The black performers in Exhibit B stand perfectly still, in chains, in a reference to the ‘human zoos’ of the Nineteenth Century. There are also exhibits featuring modern-day asylum seekers, with accompanying text describing them as “found objects”
This is how the actors themselves described it:
“Each audience member walks in alone into the exhibit, and each performer is exhibited in their own tableau vivant. Each performer is instructed by Brett to look into the eyes of each audience member. On arrival, at the first tableau, most people don’t even recognise that human beings are standing there. For a moment, particularly for the first few, we are objects.
“Then, our eyes meet.
“In that moment when our eyes meet, we cease to be objectified and become human. Some people literally jump back. Some break into tears; others immediately look away. Others still gaze deeper as their eyes well up.
“As they move through the exhibit, we watch them and witness anger, grief, pity, sadness, compassion. Above all, we witness a dawning of awareness. This is why we keep doing this, and would keep on doing it, if we could.”
I haven’t seen the exhibit. I can’t, because the protestors have managed to shut it down. But even without having seen it, it is quite clear that it was an anti-racist event, conceived by someone challenging racism and performed by those who shared his vision. It was trying to draw links between the injustices of the past, which we understand to be so, and those of the present, which are still subject to debate. The Guardian, that bastion of racism, called it “unbearable and essential”.
It is perfectly obvious the Barbican would never put on a racist event. It would be almost impossible to smuggle a racist piece of theatre, TV or visual art into modern Britain. So the ultra-sensitivity which has overcome our political debate feeds not on racism, but on the use of shock in art. The same applies in journalism. Demands for ‘trigger warnings’ are fired off angrily every time something even remotely emotive is published online.
For whole sections of the left and right, offence is something to be wallowed in, to be savoured. It is as if they are dedicated to seeking out and exploiting opportunities for it.
And yet, there is precious little support for actually tackling the brutality of Britain’s immigration and asylum system. Earlier this month Rubel Ahmed died in a British immigration detention centre. Authorities say he took his own life. Fellow residents say he was crying out in pain and no-one came to help. Either way, he was a victim of an immigration system which locks up the most vulnerable people in our society without them having committed a crime. And yet when protests are organised against it, the numbers are far fewer than the 22,000 who signed a petition attacking the Barbican for Exhibit B.
The modern censorship movement dresses itself up in compassionate clothing, but it is fundamentally selfish. It does not care about the world. It cares only about its own feelings.
The protestors who shut down Exhibit B should be ashamed of themselves. They act against their own principles, while doing nothing to help those who might actually need them.
* depressing, self-righteous rubbish in the Morning Star
* A more intelligent view from Catherine Bennett in the Observer
Here’s a slightly amended and extended version of a review I’ve written for Just Jazz magazine. I have no commercial interest on this CD:
Hoagy, by the Chris Ingham Quartet
Downhome Records DOH0001
Riverboat Shuffle; Washboard Blues; Old Music Master; Memphis In June; My Resistance Is Low; Lazy Bones; Hong Kong Blues; Dear Bix; How Little We Know; Old Man Harlem; Baltimore Oriole; Old Buttermilk Sky; Skylark; Huggin’ And Chalkin’; Georgia On My Mind; Stardust
Chris Ingham (piano, vocals), Paul Higgs (trumpet), Rev. Andrew Brown (bass), Russell Morgan (drums)
Recorded at Toucan Tango Studios, UK, 13 December, 2013
Hoagland Howard ‘Hoagy’ Carmichael always considered himself to be, first and foremost, a “jazz guy” (his son’s description) and over the years his tunes have brought forth monumental performances from jazz musicians as disparate as Louis Armstrong and John Coltrane, both of whom recorded unforgettable versions of Hoagy’s masterpiece Stardust (Louis with his big band in 1931 and ‘Trane on his Standards album of 1958).
But it was Bix Beiderbecke, of course, who was Hoagy’s first and most enduring musical inspiration, and for whom he wrote his first composition, Riverboat Shuffle. So it’s only right and proper that this delightful album opens with that seminal number, and that trumpeter Paul Higgs paraphrases Bix’s 1927 solo, before launching into his own cool-school interpretation. It is also appropriate that one of the two non-Hoagy compositions on the album should be Dave Frishberg’s heartbreaking Dear Bix.
Leader Chris Ingham, as well as being a fine pianist (considerably better than Hoagy himself, if truth is told), also handles the vocals and stays pretty close to Carmichael’s 1940s Decca recordings. As Mr Ingham writes in his brief but erudite sleeve-notes, “We’ve resisted the temptation to reinvent the wheel here. Get too clever with stuff that’s already clever, you could end up with something stupid.”
Much of Hoagy’s material is, indeed, “clever” – and “whimsical” and “wry” and all those other words that might lead you to write him off as a lightweight. But listen to Stardust (or should it be Star Dust?) and Skylark and you will hear (as the late Richard Sudhalter noted) the melodic shapes, harmonies and sheer beauty of a Bix cornet solo. And when it comes to Washboard Blues, listen to the lyric: Hoagy didn’t write it (he only wrote the tune in this case), but he must have approved of it, and he sang it on several recordings. The lyric (clearly intended to be the thoughts of an impoverished black woman) concludes as follows:
I’m going to that river, going down to that river some day.
Hurry, day. Hurry.
I’s going down to that river, going down to that river some day.
And throw myself, self away.
I’m going to that river, going down to that river some day.
Hurry, day. Hurry, day. Hurry, day. Hurry…
If you’re already familiar with ‘Hoagland’ – small-town Americana, home-spun wisdom and a bittersweet yearning for something better that you somehow know will never come – then this CD will meet all your expectations. If Carmichael’s world is as yet unfamiliar to you, then this is as good a place to start as any.
By a melancholy coincidence, just as this album arrived, the news came through that sultry Lauren Bacall had died. A visit to Youtube’s clips from the 1944 film To Have And Have Not found Bacall singing How Little We Know (yes, it really was her voice, not Andy Williams’), accompanied by Hoagy at the piano. And watching that old classic confirmed the perceptive truth of Mr Ingham’s sleeve-note observation: “Hoagy was always the hippest guy in the room. Coolly apart from the central action, but all-seeing, all-understanding and always on hand to offer pithy philosophies to the hapless protagonists. And when he played his mysterious, dreamy, amusing songs, people stopped for a moment and listened, felt something and changed a little.”
That about sums up Hoagy and his world: to experience just some of it for yourself, buy this CD and be transported to Hoagland.
* Breaking News: the strike of Local Government employees on October 14 has been called off after an improved offer from the employers’ side.
“It is true that an informal offer has been made to unions of an average 2.2% pay increase which will mean some members getting less than 1% to pay for a better increase for others.
“The offer will need to go to NJC. I imagine there will be a call for a lobby of NJC. This is a lot more than I thought we’d be offered early on. I don’t know exactly how it’s being divided out, but it appears to involve a rise of 2.2 % from 1st of January with one off payments ranging from £250 for lowest grades. going down to £100 for other grades which will be paid in December.”
The march starts on Embankment 1pm , with form up from 11am. We suggest joining from the rear at Blackfriars to avoid a crush further up Embankment. After moving off, the march will go along Embankment to Northumberland Avenue, across Trafalgar Square, along Regent Street to Piccadilly Circus, and then along Piccadilly to Hyde Park Corner, where it will enter the park. The rally in Hyde Park will start as the march reaches the stage.