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".

Readings: Titta Ruffo, "My Parabola" / Video "Credo in un Dio crudel"

I recently read the autobiography of Titta Ruffo, an operatic baritone who was one of the greatest singers of all time.  Fascinating reading, very evocative of the atmosphere of Italy in the late 19th and early 20th centuries.  A tough childhood, deeply in conflict with his father, in whose metalworking shop he was apprenticed.  Apparently quite forthcoming about some aspects of his life, such as this conflict, an early affair with a married woman (he claims to have resisted on moral grounds until she assures him it is a loveless marriage that she never wanted), and very reticent on other matters, such as his own marriage, the identity of the female singer who was his muse and professional advisor for many years, and the nature of the news that required his abrupt return from a triumphal tour in South America, with which the book abruptly ends.  This news was the murder of his brother in-law, the antifascist Italian politician Giacomo Matteotti, by fascists.  The book seems a bit self-absorbed at times, but I don't find it as self-aggrandizing as some have:  the wonderful voice and worldwide triumphs are, after all, just the facts.  Besides a fascinating portrait of Italian life at the time, interesting insight into the life of a world-traveling musician at the time, and into worldwide musical culture.

As just one sample of why Ruffo is so important, I'll embed his performance of Iago's aria, "Credo in un Dio crudel" ("I believe in a cruel God") from Verdi's Otello.  I will admit to not being very familiar with this opera (I know, I know, how can I claim to love music and Verdi, etc...), and this aria.  I had listened to a few versions of this on Youtube, as it's considered one of the major baritone arias,  but although I could imagine it could be powerful, it had never quite gelled.  With Ruffo it does.   Interpretive power and vocal beauty...some of the long-held notes are amazing in their sustained, consistent sound that perfectly combines darkness, brilliance, and richness.  But even more significant is his characterization of Iago, whose implacable hatred of the world and determination to sow evil are audible.

Gerald Finley sings Donne set by Adams

My attention was drawn to Canadian-born baritone Gerald Finley by hearing (on CBC radio while visiting Kitchener-Waterloo for the Quantum Landscape conference at PI) his rendition of the aria "Batter my heart...", a setting of the John Donne poem, "Batter my heart, three-person'd God," as J. Robert Oppenheimer in John Adams' opera Doctor Atomic, about the creation of the atomic bomb.  A few years back I found the opera, on DVD, to be pretty good, though with some weak points.  Hearing Finley sing it reminds me that this aria was one of the strong points. He has a wonderful voice, clear, ringing at times, flexible but still with plenty of power when needed, and he gives meaning and drama to the words he sings.

Three Nebbiolos and a Barbera

Over the past couple of months I've had four remarkable red wines from the Piedmont region of Italy.  The Langhe---the region 30 or so miles south and southeast of Turin, whose hills, dotted with old castles and churches and commanding panoramic views, begin to rise just south of the wine, truffle, and nougat town of Alba, is the source of  most of the best Italian wines made from the local Nebbiolo grape (a few other places in Italy, such as Ghemme and Gattinara in northeastern Piedmont, also traditionally use the grape).  Three of the wines I'll discuss in this post are made from Nebbiolo: one from each of the two noble red-wine appelations, Barolo and Barbaresco, within the Langhe, and a straight Nebbiolo Langhe which, however, could legally have been sold as a Barbaresco.  The fourth wine is a Barbera d'Asti, from the region roughly north of the Langhe, around the town of Asti.

The 2005 "La Loggia" Barolo, at around $15 from Trader Joe's (probably sold out in many TJ's), while not at the level of true greatness that the appellation is apparently capable of, is an excellent wine and a great bargain.  It is on the light side of medium-bodied, somewhat tight or closed, but with some good raspberry flavor, hints of carameliness or vanilla in the nose and mouth, perhaps violets or rose petals or at any rate something floral, though only a hint, and most interestingly a definite rhubarb-ish note that I've found in some other Barolos and Barbarescos and that is very pleasant, becoming more noticeable in the finish.  Reasonably well balanced and smooth.  Tannins are noticeable, showing a bit of bite but not in a harsh way, and feel relatively fine-grained.  This is not a blockbuster complex Barolo, nor does it exactly have a silky velvety feel that the lusher, more immediately appealing ones do, but it is not priced like high-end Barolos either.  And it definitely gives a taste of some of the characteristics Nebbiolo exhibits in these high-end wines, and is a very enjoyable and interesting wine in its own right.

The 2009 "Rocca dell'Olmo" Barbaresco, $10 from TJ's, is an even better value.  It doesn't show much in the nose, perhaps a bit of strawberry, but in the mouth is fuller bodied than the Barolo, opening up over time in the glass though still not acquiring much of a nose.  Flavors are more intense, with strawberry, perhaps cherry, perhaps floral notes again, and darker, more mineral notes along with the pleasing and interesting rhubarb-like flavor mentioned in connection with the La Loggia above.  The finish maintains the same flavors experienced with the wine in the mouth, but is extraordinarily long and flavorful, definitely the most impressive aspect of this wine.  Tannins are a bit more pronounced and have a peppery, slightly coarser-grained feel than those in the Barolo, but are definitely under control and not coarse.  This went extremely well with a vegetarian supper of quinoa and a salad of chopped red and green peppers, tomatoes, feta, and mint dressed with olive oil and lemon juice.  The rhubarb-ish vegetal elements apparently echoed and complemented these tastes nicely.

I bought 5 or 6 more of these to age after trying this bottle.  The finish on this is first-rate, what one would expect from a great wine, and if bottle-age gives it a significant and complex bouquet, as seems possible, it will in fact have developed into a great or near-great wine... for 10 bucks.  We will see.  If this works, I'm guessing it will peak at around 3-7 years (from now, i.e. 7-11 years from the vintage). An extraordinary value in any case.

The third Nebbiolo is a plain Nebbiolo delle Langhe 2009 from Sottimano.  A bit more expensive ($22, not including mixed-half-case-discount, from the Casa Sena wine shop in Santa Fe). This is a really excellent wine. The description of the 2010 vintage, linked above, makes it clear that the wine could legal be labeled Barbaresco (from the "cru" area of Basarin, in fact), but has been downclassified by the winery to Langhe Nebbiolo because the vines are youngish (13-14 years old at the time of the 2009 vintage), and "cannot yet express the richness of polyphenols or all the aromas and the "nuances" that an important cru like this could have."  That right there tells you something about the values and aims of this winery:  many US wineries would have no problem considering vines that old more than ready for their higher-priced bottlings.  When tasted just after opening, this wine seems a bit on the light and tight side, with fine but slightly aggressive tannins, but still quite flavorful and balanced, with much more of a nose (still red berries but also typical Nebbiolo floral elements) than the Rocca dell'Olmo. It rapidly opens up to become a bit more velvety and smooth on the palate than the Rocca, the tannins starting to carry the flavor around the mouth and make it stick, the flavors developing to include more definite notes of caramel and hints of minerality.  Good length of finish, maybe less dark and mineral than the Rocca's, but still complex. I got the feeling from this wine's opening up to be fairly complex, but grapey and natural, and intense on the palate, that it was likely unfiltered. Sure enough, looking at it in the glass (the color is relatively toward the violet rather than red end of the red-wine spectrum) one can see a slight cloudiness of grapey particulate matter, and the Sottimano website confirms that it's neither filtered nor fined. A very good sign. From the website, it looks like the other wines they make are high-end Barolos and Barbarescos from named vineyards; Casa Sena has some of them, priced in the $60ish range. These probably are fuller-bodied, somewhat more tannic, and probably really need at least 7 years of age, perhaps substantially more. The Langhe Nebbiolo is good now, will likely benefit substantially from about 3-5 years of aging, but is not going to need (or perhaps, handle) the aging that the Barolos and Barbarescos do. Still, a very serious wine from what is clearly a very serious estate, a real taste of what serious winemaking with a light touch can do to grapes from an area with real terroir, and another excellent bargain even though not cheap. On my next visit to Casa Sena, I scarfed up the last two bottles for my cellar, and it looks like that may be the last of the 2009 around here. (Kokoman, at Pojoaque Pueblo, now has the 2010 though...).

Around here, Sottimano seems to arrive via Giuliana Imports of Boulder, Colorado; Sottimano's website lists their other US importers by region.

Finally, there's the 2010 Rocca dell'Olmo Barbera d'Asti. Barbera makes fairly full-bodied, lusty wines with elements of leafiness, often fairly chewy tannins, and a bit of dark complexity.  Matt Kramer has said it's rubber-like.  Barbera from Asti (southeast of Turin---Barbaresco separates it from the Alba region and the Barolo appelation) is usually less expensive, and a bit more acidic, even sharper, than Barbera d'Alba. This wine has a bit of that sharpness, but also the full body, chewy tannins, and tasty autumn-leafy flavors that are usually evident in Barbera d'Alba. An excellent buy at $6. From TJ's again, of course; I'm guessing Rocca dell'Olmo is a label put together for them by some Piedmontese négociant with whom they have a big contract.  Perhaps this négociant has the local connections to buy up lots of wine from producers in the high-end appelations, that end up being not quite up to the standards of the super-expensive producers, perhaps because they are lighter than desired, slightly unbalanced, or just didn't fit into the final blend.  It seems to me that that may be one of TJ's major modus operandi in both Europe and California (though in the latter case, many of the wines get sold under TJ's own name).   The somewhat lower standards and much lower prices, though, probably apply mainly to the high end appelations (Barbaresco and Barolo in this case).  This Barbera d'Asti is in no way an inferior example: it is just what a Barbera d'Asti should be, not super-complex or elegant, but a good full-bodied wine tasting fully of the Barbera grape, with just the right hint of the Asti tartness and acidity, an excellent wine to have with strongly flavored foods, and priced, I think, at about what such a bottle would cost in Italy.

Jazz at Lincoln Center Orchestra with Wynton Marsalis

Two nights ago, I heard the Jazz at Lincoln Center Orchestra with Wynton Marsalis, at the Lensic Performance Center in Santa Fe. Excellent concert. Trying to reconstruct the setlist will be tricky. It started with John Lewis' 1940s composition Two Bass Hit. Nice reminder that bop developed almost as much, if not more, in big bands of the era as in uptown NY jam sessions like those at Minton's. A punchy arrangement, with a good solo by Marsalis. His tone is great, and perhaps best heard live, very large, very flexible, burnished but capable of being bright, but not usually brittle. Very loose, flexible phrasing too, occasionally seeming almost a little too loose. A big, big sound, the Armstrong influence on his trumpet sound very evident, somewhat rare since bebop days, and good to hear. This was followed by another Lewis song, from later in his career, I think, and with more of the classical chamber-jazz influence that Lewis pioneered; also excellent. A highlight of the program, which I think was next in the concert, was a movement, "Insatiable Hunger", from a suite based on Dante's Inferno, by one of the orchestra's saxophonists, Sherman Irby. I realize this sounds potentially pretentious and ill-conceived, but nope, this was not the case. Although the opening theme played by a sax made me a little uncomfortable because it it sounded like it was a quote of another famous jazz tune (which, however, I didn't manage to put my finger on), but then veered away from it, overall the piece really worked. Very bluesy, with lots of lines and phrases some of which are almost blues clichés worked together antiphonally and contrapuntally, really getting up a head of steam. Not sure if this was intricate through-composed work (probably) or wild collective improvisation by a seasoned team working together (my guess is there was only a bit of improvising going on, if any), but it worked well. I'd just been reading Amiri Baraka's "Digging", and thought to myself at this point that I could see why, besides any possible sociopolitical reasons, he digs this group.

A Gerry Mulligan chart, originally for the Woody Herman orchestra, was played with verve and underlined the fact that Mulligan was probably as important as an arranger as he was as a saxophonist---his work was as important a component as anyone's of the seminal Miles Davis Birth of the Cool sessions, for example.  Excellent solo from Paul Nedzela on baritone sax (Mulligan's instrument).

Ted Nash's arrangement of Clifford Brown's Ceora was a bit heavy on flutes and a maybe a bit fussily arranged for my taste, but still very enjoyable, as was the other Nash arrangement on the program, Chick Corea's 3/4 tune Windows,

Generally a high standard of soloing. Wish I could be certain of who played which solo, and remember more clearly to credit some excellent players. More detail, perhaps, after I look back at the program.

A fast, punchy arrangement of a tune I think they attributed to Charlie Parker (but was it Donna Lee? I thought that was actually written by Miles Davis...) was top-notch. A good solo on alto from Sherman Irby.

A piece by a youngish trombonist with the band, titled "God's Trombones". I'm embarassed I don't remember this well enough to really give a critical appraisal; I remember enjoying it.

The concert finished with "Braggin' in Brass", the sole Ellington piece of the night, with Marsalis' in his prefatory monologue drawing attention to the fact that this is a showpiece for a difficult trombone part. In fact, the opening muted trumpets were pretty impressive too, but the three trombones' unison on the superfast, syncopated trombone chorus was unbelievable---they sounded like one instrument.  (Hard to be certain without an audio record, but it seems like the unison was tighter than in the 2010 video from a Havana concert that is linked above.) This was the evening's other piece featuring a Marsalis solo, and it was a good one, pretty long and getting into long, fast boppish lines although--- very minor cavil, but one I think I've noticed in some other Marsalis performances --- the next to-last-phrase seemed to be winding up for a concluding exclamation point, but the last phrase didn't quite provide it, ending a tad abruptly.

Sound was good for the Lensic, where I've occasionally endured serious problems (a fabulous concert by pianist Kenny Werner a few years back was marred by extremly distorted and loud amplification of the piano). The LCJO brings their own sound-man with them (he could be heard encouraging the band and reacting to solos on occasion, a nice touch that helped to get the crowd into it too), and this is a very good thing. The mix, if perhaps a tad bright, was very clear. My only complaint is that it was overall too loud, hurting my ears on occasion and perhaps paradoxically, probably diminishing the impact a bit --- the incredible dynamic range of a live big band being an essential part of the experience. But that's a minor point---kudos to the LCJO for recognizing the importance of sound enough to bring their own sound man and equipment to provide clarity and the right balance.

I would have liked to hear just a little more classic swing. Say, one number by Basie or one of the other southwestern territory bands that had that powerful bluesy riffing thing.

Definitely go hear these guys if they come your way. The traveling version of the band is fifteen pieces---but that's a heck of a big sound when everyone is as together as this crew is. A taste of the real thing the way it used to be, plus evidence of people continuing to do vital work for big band, like the movement from Mr. Irby's suite.

Nagel's Mind and Cosmos, Objective Value, Delong and Blackburn

I have trouble understanding why critics of Thomas Nagel's Mind and Cosmos are coming down so hard on his belief that value statements---particularly ethical ones, can (some of them, at any rate) be objectively true or false.  I'll consider two examples here.  Brad DeLong's objection seems to me based primarily on his continued mistaken view that Nagel views his reason as infallible.  It's therefore not specific to the case of moral or other value judgments.  Simon Blackburn's objections are more interesting because they are more specific to value judgments, and better address Nagel's actual position.

Brad DeLong seems to think that Nagel's juxtaposition of reasoning in the form modification of a belief about the direction one is driving in, because of its inconsistency with newly acquired evidence, with reasoning like Nagel's "I oppose the abolition of the inheritance tax... because I recognize that the design of property rights should be sensitive not only to autonomy but also to fairness..." is self-evidently ridiculous.  Says Brad:

"I do wonder: Does Gene Callahan have any idea what he has committed himself to when he endorses Thomas Nagel's claim that Nagel has transcendent direct access to truths of objective reality? I think not:

Thomas Nagel: [...my (HB's) ellipsis here, in place of a typo by Brad that repeated part of his own introduction, quoted above, to this quote...] I decide, when the sun rises on my right, that I must be driving north instead of south... because I recognize that my belief that I am driving south is inconsistent with that observation, together with what I know about the direction of rotation of the earth. I abandon the belief because I recognize that it could not be true.... I oppose the abolition of the inheritance tax... because I recognize that the design of property rights should be sensitive not only to autonomy but also to fairness...

Game, set, match, and tournament!"

That last sentence, which is Brad's, seems revealing of a mindset that sometimes creeps into his writing in his blog, less aimed at truth than at victory in some argumentative competition. I like a lot of what he does on his blog, but that attitude, and the related one that reads like an attempt to exhibit his hip and with-it-ness by using internet jargon that the unhip like me have to google ("self-pwnage", which Callahan is said to have committed), are not so appealing. The "transcendent direct access" I have already argued is mostly a straw-man of Brad's own creation, Nagel's point being primarily that (as says immediately following what Brad has quoted) "As the saying goes, I operate in the space of reasons." One aspect of operating in the space of reasons is trying to preserve some consistency between ones various beliefs; that seems to be the nub of the driving example (but we should not forget the important point that there is more than just deductive logic going on here... we have to decide which of the contradictory beliefs to give up). And we are also to some extent doing so (preserving consistency) in the case of the inheritance tax, though the full argument in this case is likely to be much more involved and less clear than in the case of the driving example. Nagel is arguing that we try to square our beliefs about the particular case of the inheritance tax with general beliefs that we (may) hold about how social institutions like property rights should be designed. Focusing on this consistency issue, though, can --- in both factual and ethical situations --- obscure the essential role of factors other than mere consistency in the process of reasoning about what beliefs to hold. As I mentioned in earlier posts, Nagel gives this somewhat short shrift, notably by not discussing inductive reasoning much, though he's clear about the fact that it's needed. But it's remarkable that DeLong---who I would guess shares Nagel's views on the inheritance tax, and possibly even his reasons (although he may also find some strength in arguments involving "social welfare functions) should think that this passage grounds an immediate declaration of victory. I guess it's because he wrongly thinks the issue is about "direct transcendent access".

Even more remarkable is philosopher Simon Blackburn's very similar reaction---if, as I am guessing, his example of "why income distribution in the US is unjust" is prompted in part by Nagel's reference to the inheritance tax. There are points I agree with in Blackburn's article, but then there is this:

According to Nagel, Darwinians can explain, say, why we dislike pain and seek to minimize bringing it about for ourselves and for others we love. But, Nagel thinks, for the Darwinian, its “real badness” can be no part of the explanation of why we are averse to it. So it is another mystery how real badness and other real normative properties enter our minds. Nagel here manifests his founding membership of a peculiar and fortunately local philosophical subculture that thrives by resolutely dismissing the resources of the alternative, Humean picture, which sees our judgement that pain is a bad thing as a useful expression of our natural aversion to it. All he says about this is that it “denies that value judgements can be true in their own right”, which he finds implausible. He is silent about why he thinks this, perhaps wisely, if only because nobody thinks that value judgements are true in their own right. The judgement that income distribution in the US is unjust, for instance, is not true in its own right. It is true in virtue of that fact that after decades of lobbying, chief executives of major companies earn several hundred times the income of their rank-and-file workers. It is true because of natural facts.

Parenthetically, but importantly: I agree with Blackburn's characterization of Nagel as believing that the "real badness"
of pain cannot be a main part of a Darwinian explanation of our aversion to pain. And I disagree with this belief of Nagel's.

However, I don't know what's so peculiar and local about resolutely dismissing (sometimes with plenty of discussion, though one virtue of Nagel's book is that it is short, so a point like this may not get extensive discussion) the Humean view here that this badness is just "natural aversion".  But in any case, Blackburn's discussion of his example is truly weird.  It seems reasonable to view a statement like "income distribution in the US is unjust" as true both because of the "natural facts" Blackburn cites, which explain how it has come to be what it is, and because of the component where the actual "values" come in, which give reasons for our belief that this high degree of inequality, is in fact unjust.  True, according to some theories of justice, e.g. a libertarian one, the genesis of a pattern of income and wealth distribution may be germane to whether or not it is just.  Blackburn might be adducing such an explanation, since he mentions "lobbying" as a cause (and not, say "hard work").  But if so, he still hasn't explained: what's wrong with lobbying?  Why does it cast doubt on the justice of the resulting outcome?  What Nagel means by value judgements being true "in their own right" is not likely that every statement with a value component, like Blackburn's about US income and wealth distribution, is true in and of itself and no reasons can be given for it.  What I think he means is that at some point, probably at many different points, there enters into our beliefs about matters of value an element of irreducible judgement that something is right or wrong, good or bad, and that this is objective, not just a matter of personal taste or "natural aversion".  What Blackburn's statement reads most like, due to his emphasis on "natural facts", is an attempt to substitute the causal factors leading to US income distribution being what it is, for the moral and political considerations---quite involved, perhaps subtle, and certainly contentious---that have led many to judge that it should not be what it is.  It's quite clear from Nagel's discussion of the inheritance tax what he thinks some of those considerations are: "autonomy and fairness". I just don't understand how someone could think that Blackburn's discussion of why US income distribution is unjust is better than an account in terms of concepts like autonomy and fairness---the sort of account that Nagel would obviously give. I've gotten some value from parts of Blackburn's work, even parts of this article, but this part---if this reading is correct---seems monumentally misguided.  Or does he think that the rest of the explanation is that human beings just have a "natural aversion" to income distribution that is as unequal, or perhaps as influenced by lobbying, as the US's currently is.  But you might think that a cursory look at a large part of the Republican party in the US would have disabused him of that notion.

Perhaps I'm being excessively snarky here...advocates, like Blackburn, of the natural aversion view would probably argue that it needs to be supplemented and modified by reasoning.... perhaps it is just that the "irreducibly moral", as opposed to the deductive/analogical reasoning component, of this process, is still just a matter of natural aversion.  I would think more Hobbesian considerations would come into play as well, but that is a matter for (you may be sorry to hear) another post.

Stream the Chris Potter quartet Live at the Village Vanguard

Haven't finished listening but Chris' Potter's jazz suite Sirens is starting out strong, with a modal vampy thing going, Trane and bop influences and some blues cries in Potter's soloing, but not too derivative.  Now at around 4'40, holy molé it's starting to smoke!

You can stream it at NPR.

 

If you're in NY, last set tonight in 20 min (I'd guess sold out), last night is tomorrow Feb. 10.

Now at 9 min, Iverson is doing a beautiful chordal thing, now putting a line over it in the treble, kind of McCoy influenced but with a bit more impressionist color and a mellower vibe.  This is the stuff, folks.

Thanks, NPR, for making it it little less painful for a jazz fan not to live in NYC.

Short listening notes: Janácek, Hindemith, Khaled, Steely Dan, Macy Gray, Handel

In lieu, for the moment at least, of longer reviews, I'll note a few things I've been listening to with great enjoyment recently:

Janácek's piano music.  Both the Sonata and the series of short pieces called "On an Overgrown Path" are major masterpieces.  Lyrical, evocative, often passionate.  Tonal, but with Janácek's sometimes unusual harmonic colors, which however are completely natural and expressive, not self-consciously displayed.  Both Rudolf Firkusný on Deutsch Grammophon and Alain Planès on Harmonia Mundi are excellent.  I give the slight edge to Planès for a softer-edged, more atmospheric piano sound, but you can't go wrong with either.  This music really should not be missed.

Paul Hindemith, When Lilacs Last in the Dooryard Bloom'd  and Requiem, "Für die, die wir lieben" ("For those we love").   Annelies Burmeister, mezzo-soprano, Günther Leib, baritone, Soloists and chorus of the Berliner Rundfunks, and Berliner Rundfunks Symphony Orchestra.  Deep feeling here; this is not what I'd think of as "gebrauchmusik" ("use-music", a term probably from an earlier phase of Hindemith's career).  These pieces are post-World War II.  I need to listen to this CD again, but recall my first listen, about a month back, as a wonderful discovery.

Khaled, Liberté.  Khaled, for those who don't know, has long been perhaps the greatest star of the North African (especially Algerian) popular music called Rai.  In the Arabic-speaking world, he's a superstar.  When I first put this on, I was not paying much attention, and thought it not as good as the earlier, essential N'Issi N'Issi and Sahra.  Played it again last night, and revised my opinion:  it's superb.  His voice is as good as ever, his command of swirling North African melisma as secure as ever, and the material, a substantial amount of which he writes himself, is mostly excellent.  Overall, though it features electric bass and some synths, the sound is "rootsier" than the other two albums I mentioned, with lots of instrumental interludes featuring traditional North African instruments and a string section recorded in Cairo.  Reminiscent of some of his stuff from even earlier than N'Issi and Sahra, when he was more of a rising regional star than an international superstar.

Steely Dan, Katy Lied.  I wasn't really familiar with this album, which apparently predates the essential classic Aja, but it's solid.  Great to discover another 10 mostly excellent songs from the Dan, in the same vein as Aja, if perhaps a bit more varied and not as consistently great.  If you like jazzy chords with your pop-rock, lots of possibly tongue-in-cheek 70's-beatnik/hipster lyrical attitudinizing, and the occasional sax solo, the Dan is for you.  But you already know that from Aja, and the hits (Rikki, Do it Again, etc...) that still make classic-rock radio.  Excellent listening.

I Try: The Macy Gray Collection This is some kind of Greatest Hits CD I picked up cheaply.  Solid neo-soul and R&B singing from Ms. Gray.  Her voice is nice, a bit lighter than those of the gutsiest, earthiest female soul singers (e.g. Aretha), but with a slightly smoky texture, too.  That's a description, not a criticism.  Mostly very good material, some written by Gray herself.  Highly recommended.

G. F. Handel, The Messiah (oratorio).  Elly Ameling, soprano; Anna Reynolds, alto; Philip Langridge, tenor; Gwynne Howell, bass.  Academy and Chorus of St. Martin-in-the-Fields, Neville Marriner, conductor.  (London 444 824-2).  Excellent soloists, very clear recording, with relatively light instrumental forces and a reasonably light-footed, baroque feel, but probably not original instruments or finicky attention to baroque stylistics.  With some of the sweetness (compared to many original-instruments treatments) that I tend to associate with Marriner/St.Martin's productions.  Beautiful.  The music is of course profound and essential listening.  Sir Colin Davis, leading the London Symphony Orchestra and Chorus, with Heather Harper, soprano, Helen Watts, contralto, John Wakefield, tenor, and John Shirley-Quirk, bass, is also excellent, with a fairly similar overall feel (perhaps a somewhat less lush and sweet, more severe feel overall).  Unfortunately it seems to be marred by some kind of constant scratchy background noise, not extremely loud, but annoying once heard.  I have no idea what this is; if it's the result of a poor digital transfer in the early days of CD, then a remaster from analogue tape is in order; otherwise, let's hope there's a better master tape around somewhere because this performance is good enough that it deserves a noise-free reissue if possible.

Russell Blackford on Thomas Nagel on "objective values"

Russell Blackford formulates what he thinks is Thomas Nagel's argument for "the existence of objective values".  I think I disagree with Blackford on this.  Blackford's point seems to be that although he doesn't want to die a premature death, or suffer horrible torture, it wouldn't really be bad if he did.  Or at least, that he is not logically committed to thinking it would be.  Perhaps the logical point is correct, I'm not sure.  I would have to figure out what the difference is between valuing something and thinking it is really valuable.  I'm kind of suspicious of this supposed difference, but I suppose it merits close thought.  (References, anyone?) How does it differ from the difference between thinking the cat is on the mat and thinking the cat is really on the mat?  True, there is the difference, in Blackford's formulation, between "valuing X" and "thinking X is valuable".  Is that the crucial bit of Blackford's argument?  Or, since we're concerned with practical reason here, is to state or think or that one values something just to state that or think that one will take action to bring it about, but not to make the "deontic" statement that it should come about?  (All subject to qualifications about other things being equal, or about how it should be traded off with other things valued, of course.)  But even if this distinction makes sense, which it may well do, I think Nagel would argue... and I would follow him... that most of us just DO not only value certain things, but think that those things really are valuable.