About howard

Wine, Physics and Song is my blog. Roughly speaking, I'm a quantum physicist, working mostly in the foundations of quantum theory, and in quantum computation and quantum information processing. My main focus recently has been understanding the nature of quantum theory by understanding how the possibilities it gives us for processing information compare to what might have been, by studying information processing in abstract mathematical frameworks, using tools like ordered linear spaces and category theory, in which not only quantum and classical theories, but all sorts of "foil" theories that don't seem to be realized in our physical world, but are illuminating to contrast with quantum theory, can be formulated. Sometimes I like to call this pursuit "mathematical science fiction".

Skim away (Long run return to equities...)

Everybody who makes any investment decisions (like what to do with the money in your IRA or other retirement account) needs to understand something that Bill Gross, managing director at PIMCO and involved in the running of the PIMCO Total Return bond fund (PTTRX), the world's largest, with a market capitalization of $263 billion as of the market close yesterday, apparently does not.  Namely, that one should not expect the long run rate of return on ownership of stock to be equal to the growth rate of GDP, or even of the economy's capital stock.  Gross (quoted by CNBC online):

The 6.6 percent real return belied a commonsensical flaw much like that of a chain letter or yes - a Ponzi scheme," he says. "If wealth or real GDP was only being created at an annual rate of 3.5 percent over the same period of time, then somehow stockholders must be skimming 3 percent off the top each and every year."

"If an economy's GDP could only provide 3.5 percent more goods and services per year, then how could one segment (stockholders) so consistently profit at the expense of the others (lenders, laborers and government)?"

It's remarkable that someone in finance is conceptualizing the returns to capital as "at the expense of others (labor, lenders, and the government)".  (I'm not implying that that's never the case...) I guess it is part of his main misconception, that returns beyond the rate of growth of the capital stock must be somehow at the expense of other sectors, rather than any kind of return to capital based on its productivity, or scarcity, or similar economic factors.    What Gross fails to understand is that the economy does not necessarily invest all of the returns to capital in growing the capital stock, and thus growing potential GDP; some of these returns are, if you like, "skimmed off the top" and consumed.  For publicly traded companies, for example, this can take the form of dividends returned to shareholders.  Doing a more precise accounting of where firms' profits go, in terms of new capital formation, dividend payouts and other ways of getting cash to investors, and so forth, and comparing it to long-run stock market returns, seems like a worthwhile exercise.  It's one I'm not especially well-equipped to do although I suspect it would begin with a (salutary for any investor) review of financial accounting---in particular, how to interpret corporate income statements and balance sheets.   And I suspect many economists have done versions of it.  [Added Aug. 2nd 2012:  I think that dividends and distributions are not really the key here:  investors might reinvest dividends (supporting the stock price, and tending to increase market returns), or sell stocks and consume some of the proceeds without reinvesting (reducing overall market returns).  The main point is as stated above, that economy-wide, all of the returns to capital should not be assumed to be reinvested.] But it's shocking that someone managing money at this scale (or any scale, actually!), even if it's mostly not equities, doesn't have their mind around this basic fact.

That doesn't mean I necessarily endorse the 6.6% real returns mentioned by Gross for US equities over the last century, as a reasonable expectation of (very) long-run returns to US stocks...I would need to see how the calculation is done, and of course, past performance is no guarantee of future returns...    But when I saw Gross' statements linked on major financial information websites, I felt like I had to say something.  Brad DeLong explains in more detail.  He also makes the point that the earnings yield of the S & P 500 is currently around 7.7%, and in a further post, points out that the yield using the past 10 years' earnings, smoothed, is around 4.5%, which together with an (historically reasonable) assumption of 2% real earnings growth, suggests to him that around 5% real returns to equity is a reasonable expectation (unless you expect a collapse in earnings, or price-to-equityearnings ratio).

Billy Hart quartet Live at the Village Vanguard in 2009

Jazz fans should not miss the opportunity to download an mp3 of a 70 minute set by the Billy Hart quartet playing live at the Village Vanguard in New York on Sept. 23, 2009.  I really enjoyed a couple of sets from this run at the Vanguard, possibly including this one.  If I find my listening notes I may post some impressions of the live gig.  Billy Hart, drums, Ethan Iverson, piano, Ben Street, bass, Mark Turner, tenor sax.  Lots of thanks to the group for making this available, and not just as a stream but as a free download.  Reward them by buying one or more of their CDs...I'll post a review when mine arrives.

All four of these guys are fantastic players, with very individual approaches.  They listen to each other and interact a lot, too.  A bit of silly trivia is that I thought Ben Street looked like a dead ringer for House (of the TV show), though he's a bit less so in photos.

Incidentally, Iverson's blog, Do the Math, is essential for jazz fans, especially jazz piano fans.  He is willing to stick his neck out about what he likes and doesn't, the perspective of a player is fascinating and invaluable, and the interviews with musicians (like Keith Jarrett, Jason Moran, Wynton Marsalis...) and others are fantastic and create irreplaceable first-hand anecdotal documentation of parts of jazz's history.

Summer Sauvignon Blanc

2009 Pouilly Fumé, Cave des Perrières négociant, around $12.99 at Trader Joe's.  Seems also to be associated with Lacheteau (who provided a nice Vouvray that was available at Trader Joe's last year), as the web address on the back label  is theirs.  A very nice example of what a Sauvignon from the Loire should be---good fruit, fairly lively acidity, a bit of grassiness or chalkiness, and a fairly elegant, balanced impression overall.  Not quite as taut or refined as some Pouilly Fumés might be, but then again, cheaper than most.  A slight "wateriness" that is not necessarily a bad thing, probably correlated to the impression of less acidity than a typical Loire SB.  Went very well with both squash blossom risotto, and pasta with pesto.  A good deal, and a wine I'd rate around, oh, say 8 on my 10 point scale that goes to 11.   Our local TJ's has moved on to the 2010, though (not tasted).

Castoro Cellars 2009 Fumé Blanc (Paso Robles, California).  Tasted at cellar temperature (and spit not swallowed), seems really excellent.  Possibly a hint of a bit of spiciness, maybe even green chile, with a balanced but very full-flavored overall impression and a long finish.  (Will update after drinking more of it.)  A relatively darker yellow than the above Pouilly, possibly correlated with the stronger flavor impression though the Pouilly is certainly not weak.  Fumé Blanc is a term (invented by Mondavi, I think) for California Sauvignon Blanc that is intended to resemble one from the Loire.  Probably around an 8.5.  Again, this is likely last year's vintage but TJ's regularly has wines from Castoro (which is a well-regarded Paso Robles winery, not some label invented for TJ's).

2008 Sauvignon Blanc, Santa Ines Winery, cheap at TJ's although this vintage may no longer be available.  This was less balanced and a bit rougher than either of the above two, but still quite drinkable, more refined and enjoyable than a random cheap California SB.  Some of it went into the squash blossom risotto.   Probably a produced-for-TJ's label, but none the worse for that.  I'm not going to rate it since it's been too long since I drank it and I didn't take notes, but it's definitely one to check out when available as an inexpensive wine suitable for either cooking or drinking.

Vega De Castilla Ribera del Duero; Columbia Crest Two Vines

Two relatively inexpensive wines from Trader Joe's, one of them in two vintages  Although Two Vines is said on the label to refer to their trellising system, the 2008 and 2009 Two Vines wines from reliable Washington State mass-market wine producer Columbia Crest are made almost entirely, and in almost equal measure, from two grapes: Merlot and Cabernet Franc.  The 2008, recommended by one of TJ's often-knowledgeable and always enthusiastic in-store staff, was indeed a good buy in the $7ish range.  Quite full-bodied, and with a dose of chewy tannin, the first day it was a bit on the foxy, grapy, and somewhat unbalanced side for my taste, but consumed over four or five days (my wife and I don't exactly slug back the juice with the best of them), it smoothed out, lost most of the foxiness, and exhibited a fair amount of complexity, tasty blackcurrantish flavors and hints of tar and the like.  Worked well with a variety of foods including some somewhat tough-on-wine ones like cheese, and pasta with beans, tomatoes, collard and mustard greens.  I suspect it would age interestingly for up to five years or so, maybe more.  The 2009 was decidedly lighter, with some similar foxiness that didn't go away, initally seeming a bit more suave and velvety but not developing over its period of being open.  However, with some fairly bright red fruit flavors, including strawberry and, I fancy, cherry, it went remarkably well with a wonderful dish my wife adapted from Jeff Smith's excellent cookbok "The Frugal Gourmet On Our Immigrant Ancestors".  To wit, Yugoslavian njoki (=gnocchi) of potato, wheat flour, ricotta and an egg (with a slight spicing of nutmeg and paprika), with an intense sauce of cherries, tomato, red wine, and (in place of the specified duck) huge reconstituted dried lima beans.  The dish was clearly the main attraction here, but the wine just happened to echo it really nicely.  I once read, probably in something by Hugh Johnson, that there are two main strategies for pairing wine with food:  go for a contrast in which each heightens, and somehow sets off, the other's flavor; or go for a harmony, in which aspects of the wine echo and underline flavors and textures in the food; this was clearly a fortuitous example of the latter.  The 2009 Two Vines also went pretty well with a vegetarian paella, but overall was not as satisfying as the 2008; definitely a simple wine, and slightly out of balance and with slightly off-putting elements of foxiness or perhaps even a slight cough syrupy sweetness.  Not a bad wine, it definitely enhanced some meals, though I probably won't be buying more for later.  I'd give the 2009 a  6.5 or 7 out of 10 (keep in mind that for me, this is definitely "worth drinking", and probably a bit better than you might think if you multiplied by 10 and compared to Robert Parker's scores).  The 2008 would get another point, probably a 7.5, perhaps 8.

The Vega De (I think that's an E nested inside the D on the label) Castilla Ribera del Duero Oak Aged 08 (from the Tempranillo grape) was on the order of $10.  A really excellent wine, relatively simple but not one-dimensional, remarkably well balanced for 14% alcohol.  I have had some Ribera del Dueros, mainly in restaurants, that were disappointing, kind of mushroomy and stale-ish, but also a fabulous one in a wine bar in Madrid that had the fresh, velvety, lush and balanced deliciousness that it sometimes seems you can buy even in young wine.  (I have a bottle in my cellar and will report when consumed.)  This does not have that voluptuousness, but it is just really tasty, with honest, non-foxy, non-funky fruit flavors (maybe blackberry, and after it's been open for a while, definitely cherry) that are not at all jammy and cloying, backed up by a decent, but not mouth-puckering, measure of tannin.  A little bit of complexity comes from some leafy, or tea, flavors behind the fruit.  Maybe this is the Ribera del Duero ("Banks of the Duero"---same river as the Douro of Portgual's Port-growing region) terroir coming through---the same terroir that can manifest as a bit mushroomy, vegetal, or funky in a suboptimal scenario.  This wine also reminded me of Graham Greene's novel Monsignor Quixote, in which one of the two central characters (I forget if it is the priest or the communist) will only drink wine bought in jugs straight from the winemaker (they keep a huge jug of such wine in their jalopy Rosinante), because he thinks the stuff sold in bottles is too pompous, adulterated, processed, and poncey.  This stuff is in a bottle, and even (bad news!) has a vintage barely acknowledged on the label, which also evinces some somewhat cool design---white, with the text in some mod-twiggy-medievalish font, the nested "DE" in gold, and a silhouette of a vine that looks like a sketch for some twiggy art installation---but I fancy it's got the straightforward, grapey, winey, non-fruit-bomb flavors that the priest, or the communist, were looking for.  Goes great with more of the veggie paella.  I guess 8.5 out of 10, although it's essentially a perfect example of what it is striving to be, which is an unpretentious but flawless and tasty wine for drinking with unpretentious but flawless and tasty food, like my veggie paella.  (I guess I'm reserving the extra 1.5 points for something more pompous and poncey.)

Upcoming Santa Fe show: Todd and the Fox at Second Street Brewery

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In case there are any readers who will be in Santa Fe tomorrow, I thought I'd point out what should be an enjoyable show:  Todd and the Fox, at the original (2nd St.) location of the Second Street Brewery, at 6 PM (June 16th, 2012).  You can check out some of their music here at Reverbnation.  Todd Eric Lovato plays a mean electric banjo (and some guitars), while simultaneously providing the bass line with a foot-pedal keyboard.  Erik Sawyer's drumming is excellent and he's found the perfect sound for this kind of folk/bluegrass/psychedelic-rock Americana thing these guys have going.   What's that you ask? Yes, of course they even mix in a little reggae at times ("Bad Friend").  Plenty of humor in the music and a really enjoyable groove.  I heard them at the Cowgirl Café last year. You can probably decide whether or not you'll like the show by asking yourself how you'll react to Pink Floyd's Shine On You Crazy Diamond covered on electric banjo. If the idea puts you off, you're too uptight for this show.  (It's a gas, although I can't guarantee they'll play it.)  The house-made beer on tap and the food at Second Street are pretty good too (we're talking hearty somewhat pubbish fare, not foodie fussiness, of course, but it's on the fresh and carefully cooked side for such fare), so it should be a good time all around. If you aren't in Santa Fe, you can get a taste of the music as mentioned above, though sadly, not Shine On.  Their Soundcloud page has a few more tunes, and their myspace page doesn't completely overlap (check out the live-at-Santa-Fe-Sol guit-boogie "Cougar", and the humorous doo-wop of "Cruise Line" ("I know that you you drive a muscle car / '69 Chevy Malibu / and me girl / I drive a Subaru Outback / but that doesn't matter girl / because I love you"), either.  The newgrass blues lament "I Miss My Girl", on most of these pages, is pretty nice too.  Overall their stuff is a nice mix between some more serious moments and good clean (er, if you edit a couple of the lyrics slightly) fun.

Derek Gripper: One Night on Earth: Music from the Strings of Mali

Via Wrath of the Grapevine, South African guitarist Derek Gripper plays arrangements of Manding kora music from Mali, notably the music of Toumani Diabaté, as well as Ali Farka Touré and others. Beautiful.  Derek is very informative on the music, the process of arrangement (which involved choosing different tunings to make the different pieces playable on guitar), and the recording of the album here.  You can stream it all for free in the player below, but I urge you to download it if you like it; you can choose your own price, no minimum.

The Genuines--- Goema / Offsides

A couple of posts ago I mentioned meeting Hilton Schilder of the 1980s Cape Town rock / pop / punk band The Genuines, at the District Six museum's film series. I downloaded their 1986 album Goema, along with the short outtakes/B-sides compilation Offsides, at their bandcamp.com page. I chose the lossless FLAC format, which won't play in e.g. windows media player but sounds great in a free player like foobar2000; foobar can also convert it to other formats; I converted it to .wav and ripped a CD in WMP, which sounds great blasting on a real stereo---the way music should be really listened to although it sounds great on headphones too. You can stream mp3s of every track on the albums at bandcamp to decide if you like it or not, but it's definitely worth the $9 for Goema and $4 for Offsides to have the high-fidelity versions, and to support these great musicians. Herewith a review of this essential piece of South African music history.

The Genuines' album "Goema" melds jazz, classic rock, punk, hints of R&B, reggae, ska and latin music and a big dose of Cape carnival music and goema, seamlessly and to excellent musical and lyrical effect. The result is not pastiche but a style that is The Genuines' own.  The songwriting is sophisticated but not fussy, the instrumental solos are excellent but usually quite short, rather than long-winded, becoming part of the form as in e.g. an Ellington composition. Excellent playing from everyone. Hilton Schilder's voice is very recognizable, with smoothness and flexibility needed but also a slighty dark, honeyed character, and a very effective throatiness or growliness at times. He sings with ease, and perfect control of pitch. Good lyrics, lots of positive messages, but also humour, sometimes dark. Most of the pieces show some jazz influence, whether in a solo or in the chord changes on a bridge, or some Steely-Dan-ish harmonic touches (6/9 chords?). Several tracks are absolute classics, certainly Goema, Struggle, and Do it Right, which integrate carnival-party musical influences with other musical elements (notably punk in the case of the first two) but I'm also big on the mellow but funky Troubled Dreams and Pictures, the peppy lounge jazz of Let's Walk, and the alternating classic rock and jazzy pop of Observations. The lyrics work well with the music, and the album is sequenced very well; the sound quality in lossless format is really excellent. Overall the album is very well mixed, with interesting instrumental and vocal detail easy to hear but not obtrusive. It may be just slightly smooth for my taste but that works great on many tunes---and you can always turn it up louder if you want more distortion.

The album kicks off with a perfect piece of pop-inflected slow-groove R&B in "Troubled Dream", mellowish but with Schilder's vocal ranging from burnished smooth to an open-throated growl. "Pictures" is another medium slow
groove with a reggae-ish basic beat, latin-inflected melodies, and lush production, making good use of synthesizers or electronic keyboards, and occasional backing vocals. It seems to be continuing, from the previous cut, the story of a---romantic?---obsession.  There follows a more uptempo "Shadows", and then you're hit with a blast of "Goema", your basic melding of Cape carnival beat with uptempo thrash. Great tune, nice guitar solo. "Observations" turns down the tempo again, starting out in a classic-rock radio kind of groove but then segueing into a jazzier kind of bridge. Positive vibe inspirational lyric works well. We're back in classic rock territory again for the guitar solo, then another vocal bridge, and then a surprise...new material, double-tempo and also jazzy, with vocals and then a jazz keyboard solo into the fade. Another great cut. Uptempo again for "Struggle"---an Afrikaans language song about anti-apartheid action, melding upbeat almost Veracruzana party or carnival music with punky thrash.  Great bass breaks and fours between exchanged with guitar, keys. An instant classic. "20th floor" is solid moderate-tempo punkish rock.   "The Edge" is quirky, reminiscent of smooth jazz and---both lyrically and musically---Steely Dan. "On the edge... it's the only place to be. The edge was designed for you and me." Not the meatiest track on the album perhaps, but fun. And humorous: fades with some good advice for those on the edge: "don't let go." "Let's Walk" kicks up the tempo a bit while maintaining the jazzy Steely Dan-ish feel. Nice short guitar solo, nice organ work. "Narrow Escape" is a bit of an odd interlude, kind of gothic, with low-pitched sprechstimme (great voice!) and a police-show kind of theme. Probably not to be taken too seriously. "Three murderers chasing you....why did you have so many scotches with that girl?".  But then again street crime is a serious issue in the Cape Flats.  "Dancer" interweaves interludes of arabian-sounding vamping with bits of foursquare punkish stuff, not my top track but still interesting. The album ends on a high note with "Do it Right": great vocal harmonizing, a simple but effective lyric over a peppy latin carnival beat. The banjo (an essential element of Cape Klopse carnival bands) is a great touch.

The live "Offside" is a bonus track with the download of Goema; originally included on the B-sides/out-takes compilation "Offside" (it's also duplicated on that download). It's an excellent medium-tempo ska-ish track about taking care of your karma. Hilton is in beautiful form on vocals. The other tracks on "Offside" are also definitely worth having, especially if you like, as I do, the jazzier side of the Genuines.

 

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Numbers are kind of silly when it comes to art and such, but since I've started in with a 10 point scale, I'll say 9 out of 10.  Top notch stuff, and fun to listen to.

Tete Mbambisa "Black Heroes" CD release concert, University of Cape Town

At the showing of "Mama Goema: the Cape Town Beat in Five Movements", I was alerted by Calum MacNaughton to a concert concert by South African pianist Tete Mbambisa, celebrating the release of his new solo piano CD "Black Heroes", on April 22nd. We missed the first few numbers, as we were driving up from Cape Point after a day spent watching surfers at Muizenberg, watching penguins at the Boulder Beach unit of Table Mountain National Park, and walking to Diaz Beach and the Cape of Good Hope. And finding the school of music at UCT took a little while. What a finish to a fantastic day, though. Tete wrapped up a number with a crack rhythm section consisting of Ivan Bell on drums and Wesley Rustin on bass, and then his wife Vuyiswa Ngcwangu/uMambisa joined the band, in great voice, singing a standard whose name I've let slip, then Key Largo, then an excellent blues with refrain "I need a mellow man", really rocking the place.

It was great to talk to Calum, Gregory, and Vuyiswa at intermission, and Gregory gave me the info about the local jam Monday night jam session at Swingers' in Wetton. After intermission Tete came back on solo piano, playing a beautiful piece made up on the spot and titled "Gregory" for Gregory Franz, who has been photographing and blogging about the Cape jazz scene recently. Tete lamented the fact that since he had just made it up, he might not remember it---so he played it again. (Someone had been doing a video, so the tune is probably recorded.) More excellent solo piano including selections from the new CD, and then the rhythm section, along with saxophonist Sisonke, joined for Emavundleni, from the new CD, dedicated to his ancestors ("not mine", Tete's wife had earlier joked). Then a sanctified-sounding tune, with excellent sax work, segueing toward the end into a fantastic free-bop kind of interlude.

Mbambisa's piano style seems to me to mix mostly straight-ahead bop/hard bop with a bit of a more African sound, maybe influenced a bit by the repetition-with-slowly-evolving changes and additions of Mbira music. He has a very solid, round, ringing touch that can also be delicate when needed---and the sound he got from the Steinway (I think it was a D, the 9 foot concert grand) on stage was superb. He also has a good melodic sense, and tends to avoid cliche, often putting together short bits of melodic line in surprising but logical ways, leaving space, varying and developing rather than always running on.

A very informal concert, with very high-calibre music-making. At one point Tete was calling out the changes, teaching the bass-player one of his tunes on the spot---it sounded great as this went on, and after a chorus everything was locked in.

The last two were a slow, very pretty song, with lovely sax work, and (on the insistent request of, I think, relatives in the audience) Paul Desmond's "Take Five", the sax player sitting out. This was absolutely the most cooking version of that tune I've ever heard---with its ostinato in 5 (or a measure of 3 followed by a measure of 2) laid down in hard-rocking, hard-swinging style with changing harmonic colors, and piano lines and chordal interludes reminiscent of McCoy Tyner or mid-1960s Herbie Hancock (but all Mbambisa's) spun out over it, building a long, rollicking solo. Lines ringing out, then repeated up a half step, then punctuated by some block chords. I had never realized that Take Five was basically a hard-charging 1960s modal rave-up avant la lettre (well, barely), but Tete, playing with power but still relaxed, left no doubt about it. A fantastic closer. I bought the CD, which I will review in more detail soon; it's highly recommended and you can buy it at the link at the top of the post, and listen to excerpts here.

To wrap things up, from Youtube here's Inhlupeko from the out of print 1969 record of the same name by the Soul Jazzmen, Mbambisa on piano with Duku Makasi, saxophone, "Big T" Ntsele, bass, and Mafufu Jama, drums.

Mama Goema: the Cape Town Beat at District Six

On April 21 I caught a screening of "Mama Goema: The Cape Town Beat in Five Movements", at the District Six Museum in Cape Town.  Here's the trailer:

Part of a hip-hop film festival (schedule and more here), which casts its net rather broadly, including the musical roots of Cape Town hip-hop.  Two of the three directors, Sara Gouveia and Calum MacNaughton, were present for a Q&A session after the screening, as was musician Hilton Schilder.  Goema seems to be a type of drum, and a type of music growing from certain musical traditions of the Cape Carnival, but exactly what it is appears to be a bit fluid.  Calum is quoted in Cape Town Magazine saying "Carnival culture is the Goema blueprint and Cape Jazz is its link to modern sound..."  Possibly, it's especially associated with a certain beat, found also in some Brazilian carnival music, as claimed here. Common influences on Brazilian and Cape Carnival culture and music can, I think, be ascribed in part to connections between the two areas via the slave trade. The Cape Carnival is more commonly known as Kaapse Klopse, or---no offense intended, this is one of the most common local names for it---the Coon Carnival. The latter name may derive from the strong influence of minstrel troupes---whether black or white in blackface is not clear---that visited Cape Town in the late 19th or early 20th century. Besides the Carnival music and dancing, there were a couple of revelations for me in the movie---firstly,  the music of Xhosa musician Madosini (who was participating in a performance of a Goema symphony by Mac MacKenzie, and was further featured in the film to represent black African influences on Cape music), and secondly, the music of The Genuines, a 1980s thrash/pop/rock/jazz group of which keyboardist Hilton Schilder and bassist Mac MacKenzie were members and vocalists.

I talked with Hilton and Calum a bit after the event. Calum hipped me to Tete Mbambisa's CD release concert the next day at the University of Cape Town. You can stream---or better, buy---the music Hilton and Mac made with the Genuines at their bandcamp.com page.  Here's their track "Goema" from the album of the same name: