Non-partisan example of why SOPA is bad for politicians

Dear Congressman, Senator or staffer.

Thanks for taking the time to read. Here's why SOPA and PIPA are bad for YOU.

I'm sure you are enough of a political junkie to remember the 1984 Democratic debate, when Walter Mondale famously said "Where's the Beef?" to Gary Hart. Mr. Mondale even acknowledged it was from an ad, but didn't say what company. Now I know, and you know, he wasn't trying to sell hamburgers, but SOPA isn't smart enough to know that. SOPA allows copyright infringement to be defined by the plaintiff.

Let's say something similar happens today. That video clip would certainly be on a campaign website. Being a funny story, it'd circulate and get several thousand views. Along comes the Attorney General. Now, I realize in our great democracy the AG never prosecutes certain crimes for political gain. That's why AG's are always partisan appointments, right? So the AG decides your using a burger chain slogan, and posting a clip on your website is copyright infringment. Poof- you are now off the web. Do you use the web for soliciting campaign donations? Of course. Well that revenue stream is now gone too. No trail, no hearing, no due process. Just gone.

Take it a step further. The burger chain decided you've damaged their brand. Let's say they decide for every web view, they've lost a dollar, and you've had 2000 web views. You are now charged with Felony Copyright Infrigement. You can fight it, but hey, you are guilty the way SOPA is written. Ask Dan Rostenkowski what happened to his political career after his felony conviction. Since he's passed on, I'll answer for him. It was over.

This bill is fatally flawed. Do not pass it.

Final 4, Top CDs of 2011

In no particular order, other than alphabetical

Best small group jazz, with vocals and two bass players at once:

Tierney Sutton Band-American Road

There is just so much to love about this record. First, Tierney is one of the most inventive singers working today. The band functions like a band, it is not Tierney with a backing band, this group is the Tierney Sutton Band or TSB. They have been a functioning unit for a decade or so now, and you get the kind of rapport you just can't manufacture over a week in a studio. This entire recording is a textbook case on how to take a song and make it your own. The grammy-nominated cover of "On Broadway" uses a shifting harmony to tell the story in a whole new way. The disjointed early harmony sets in sharp contrast the optimistic youthful dreams of Broadway stardom. I'm given a sense of the trepidation that goes along with moving to the city to pursue your dreams. Then the harmony shifts to a more "happy" vibe, so I guess there was a happy ending after all.

"Amazing grace" opens with a solo setting, and then really uses some inventive harmony, and even a change to the melodic phrasing to turn the song into something new. "The Eagle and Me" is an amazing example of what you can do with two bass players in one band. The roles switch back and forth so much and the interplay between them and Tierney's vocals is just amazing.

Best classical/americana fusion

Y0-Yo-Ma, Chris Thiele, Edgar Meyer, Stuart Duncan-The Goat Rodeo sessions.

I know some of you gangsta wannabes with your loud car radios think you have bass. You don't. Nobody alive or dead has the tone Edgar Meyer has when he hooks into a low sustained note. Which comes into play about a minute in to the opening track "Attaboy". At times it's tricky to tell the parts between Edgar and Yo-Y0. Yo-Yo has certainly made quite a career out of exploring music of other cutlures. While he may never have learned how to improvise (which I really don't understand), he plays his parts in such an expressive manner you'd think it was improv. So much modern classical is devoid of any real emotion. It's great there are players like Yo Yo who break that mold.

"Quarter Chicken Dark" is a very fun tune that grooves about as hard as anything else I've heard all year. The album isn't a huge chop-fest as you might expect, but if you're looking for that sort of thing, the track "13:8" delivers plenty. Aofie O'Donovan guests on vocals for a few tracks, and she and Chris Thiele provide some memorable moments on "Here and Heaven" and "No One But You"

Best R&B Duo performance with Wah-Wah Bass pedal

Kira Small and Bryan Beller-Live at the White house

This music, recorded in an intimate setting has so many personal moments, at first listening it was almost voyeurism. I felt like "should I be listening to this?" at times. But I got over it. Clearly these two love each other a lot, and don't mind letting us in on the fun. I have absolutely no idea why "Shouldn't we be in Love?" isn't a hit record. Shows what I know- and more to the point, what the rest of the world doesn't know. You all should find out. Bryan Beller plays a ton on this record. Most people would settle for one solid bass tone. There's countless tones used, and lots of toys. They all work great, and really help filling up the sound of just two people. Don't let his spoken intro to John Pattituci's "Backwoods" fool you. He can play plenty of Jazz. Kira's "I Will Raise My Voice" is another song that deserves a ton of airplay. It's just as solid of an R&B ballad-anthem as you could hope to hear. And there's a line from "Hootchie Mama" that's just stuck in my head. Kira's "24/7 365 Ho Patrol". Aren't we all?

Best Large-Ensemble Jazz/World fusion happening

Vince Mendoza-Nights on Earth"

From the opening Brazilian rhythms of "Otono", south american rhythms loom large on this side. Luciana Souza sings beautifully on "Ao Mar". There is a reason all the hip kids have her sing vocals on their projects. "Lullaby" is a Cello/Bandeon duet that is as beautiful as anything you might ever hear. I had to look up what a Bandeon is, it's like an accordion, and that's what I thought I was hearing at first. I always like a record that has instruments on it I've never heard of.

So that's it at last. I certainly took every opportunity to pickup sides this year due to the unfortunate Borders bankruptcy. I still really miss them. But I got a lot of great music this year. Oddly enough, none of the top 4 bought from them, and all of the top 4 bought online. But cutting inventory of records to carry posters and knick-knacks certainly dried up the amount of money I could spend there. I guess they figured nobody would illegally download a knick-knack.

Top CD's of 2011, down to 4

I had seven left in contention for top CD of the year. Now dropping 3 to work down to 4

Darcy James Argue's Secret Society-Infernal Machines.

Phobos and Transit are the top tracks. Much of this album is very inspiring, including "Redeye". There are two tracks that just lack when compared to the rest of the album. Hey-I'm down to the last few, it's definitely nit-pick time.

Bela Fleck and the Flecktones-Rocket Science.

Same kind of issue. Very strong album, but not outstanding. Beginning tracks are great, end tracks are great. Sags a bit in the middle. It's great to hear Howard Levy back with the band.

John Scofield and the Metropole Orkest-54

Very inspiring record, like Infernal Machines. But with the same featured voice, it can get a bit redundant on repeated listening. But again, a minor complaint. All 3 sides are highly recommended.

Top CD's of 2011 Round 3

So working my way down to a Top 7. These are the discs that just didn't make the cut.

Boston-Boston. Still are record I just can't get tired of. If I'm ever in a rock band, this is how it should sound. But let's be honest, this record is from 76, and it's not like I never heard it until this year. If you have to buy a major label re-release this year, buy Boston.

Geoff Keezer-Falling Up. Really strong material, great players. The song "Featherfall" is just beautiful on so many levels. This record has everything from Lord of the Rings music by Howard Shore, to Bach and just about everything in between. Since it's still head to head, it just lost out to Goat Rodeo Sessions by Yo Yo Ma. This is one to search out and play for people who "Don't Like Jazz". Or BAM as the case may be.

We weed out the remaining Smithsonian Jazz Anthology discs in this round, in favor of fresher releases. The collection is outstanding though, and the liner notes got absolutely freaking ROBBED by the Grammy voters.

John Coltrane-My Favorite Things. Another excellent album hits the curb based on it not being exactly new, or new to me. Though a long Coltrane solo is something I need to be in the mood for, and I guess I wasn't on the re-listening for round three. Great stuff, but I could have done with the tracks being slightly shorter. Opinions are like...

Tedeschi Trucks Band-Revelator. Just an incredible record, but going up against another great current record. I would like to have heard more from the horns on this (may have mentioned that before). "Until You Remember" is just a powerful track. "Learn How To Love" gets honorable mention for "S. Q." Stank Quotient. Go buy this and play it for people who think R&B is the same thing as Urban Contemporary drum-machine no-low-end baloney.

Howard Levy-Tonight and Tomorrow. Fantastic straight ahead contemporary jazz playing. Trio takes or trio plus harmonica. I'm still not sure if Howard played piano first or the harmonica first. While Howard will always be known for his harp playing, the piano playing on this side is just great. "Chorino" is just a beautiful Brazilian jazz piece. All the writing on this side is just first rate.

That brings me down to 7 sides...