Another gosh-darn write-in competition! Sorry! They're like peanuts (or Campari and tonics). It's almost impossible to stop at just one.

The Recording Industry Association of America's (RIAA) aggressive campaign against its customers has most recently relied heavily upon the "making available" argument. The RIAA has argued that the act of making a recording available on a peer-to-peer (P2P) network was a crime, even if nobody actually linked to or downloaded the files. In October 2007, judge <A HREF="http://stereophile.com/news/100807jammie/">Michael J. Davis ruled</A> in <I>Capitol Records v. Thomas</I> that the labels did <I>not</I> need to establish that the songs Ms. Thomas loaded to her KaZaa account were downloaded by others. Ms, Thomas was held liable for $220,000 in penalties.

I spent some time last night listening to Joanna Newsom's <i>Ys</i>. Tangent CDP-50, Tangent AMP-50, Totem Arro loudspeakers. I know and love the Totem speakers, but the Tangents are new to me and, with Joanna Newsom's help and harp perhaps, they sounded better&#151more capable&#151than ever before in my small living room. The sound was fleshy and fast and detailed, whereas (earlier on and with other material) it had been thin and mechanical and uninvolving. I don't know if this has to do with the electronics breaking-in&#151they've now been in the system for about 200 hours&#151or if I was just in a good mood or if Joanna Newsom was responsible. And, right now, I don't care. I'll try to figure it out later.

<I>Disaspora Suite</I> is the 4th in a series of albums recorded by trumpeter-composer Steven Bernstein for John Zorn’s Tzadik label (the others were <I>Diaspora Soul</I>, <I>Diaspora Blues</I>, and <I>Diaspora Hollywood</I>). It’s also the most ambitious, far-flung, and satisfying. The band is a nonet that includes the versatile Nels Cline on electric guitar (strumming, plucking, and occasionally wailing), Peter Apfelbaum on saxes, and Ben Goldberg on clarinet. This is by no means simply “Jewish music.” The sounds and influences drift in from everywhere. The first track starts with an electric guitar riff and bongos back-up that’s straight out of Marvin Gaye. Horns enter, blowing slightly dissonant intervals. Two minutes in, the clarinet rolls in with those punchy klezmer chords, but it doesn’t overwhelm the other spices; they all mix and meld, play in and out and around one another. It’s dark, bluesy, danceable (in your head and on the floor). It careens off in unexpected directions, all of them worth following.