Walker Percy was one of the most influential American writers and philosophers of the 20th century. He is best known for his first novel, “The Moviegoer,” which won the National Book Award in 1962.
Oakeshott: Two New Noël O’Sullivan Articles
The very excellent Noël has kindly made available two new articles that he has written for non-English language journals. Noël is also a contributor to the Companion.
The Gumbo Variations
Released on the 1970 LP Hot Rats, “The Gumbo Variations” is a studio jam session. A basic drum beat, a wobbling bass line, a simple melodic frame, and the stage was set for the three main soloists of the day. First, Ian Underwood delivers one of the best saxophone solos he recorded for Zappa: crossing over to free jazz, he steals the spotlight for seven whole minutes. Violinist Sugar Cane Harris comes in next, followed by Zappa himself. There you have it: a straightforward rock jam featuring gifted improvisers. Of course, “The Gumbo Variations” is far from the usual material the man put out, but then Hot Rats is not your typical Zappa record. This piece is one of the reasons why so many people who usually hate the guitarist agree on the qualities of the album. The original LP version of the piece was edited, but when Ryko reissued the album on CD in 1987, it was restored to its 17 minutes. Zappa’s love of studio tweaking being legendary, this is most probably the only complete take of a jam session available on his records. — allmusic’s François Couture
Also from allmusic Steve Huey’s review of Hot Rats, one of the earliest albums I ever bought (my mum might have even brought it home). I still think Captain Beefheart is at his seediest best on Willie the Pimp and I absolutely also love “Sugarcane” Harris’ violin on this track.
Aside from the experimental side project Lumpy Gravy, Hot Rats was the first album Frank Zappa recorded as a solo artist sans the Mothers, though he continued to employ previous musical collaborators, most notably multi-instrumentalist Ian Underwood. Other than another side project — the doo wop tribute Cruising With Ruben and the Jets — Hot Rats was also the first time Zappa focused his efforts in one general area, namely jazz-rock. The result is a classic of the genre. Hot Rats’ genius lies in the way it fuses the compositional sophistication of jazz with rock’s down-and-dirty attitude — there’s a real looseness and grit to the three lengthy jams, and a surprising, wry elegance to the three shorter, tightly arranged numbers (particularly the sumptuous “Peaches en Regalia”). Perhaps the biggest revelation isn’t the straightforward presentation, or the intricately shifting instrumental voices in Zappa’s arrangements — it’s his own virtuosity on the electric guitar, recorded during extended improvisational workouts for the first time here. His wonderfully scuzzy, distorted tone is an especially good fit on “Willie the Pimp,” with its greasy blues riffs and guest vocalist Captain Beefheart’s Howlin’ Wolf theatrics. Elsewhere, his skill as a melodist was in full flower, whether dominating an entire piece or providing a memorable theme as a jumping-off point. In addition to Underwood, the backing band featured contributions from Jean-Luc Ponty, Lowell George, and Don “Sugarcane” Harris, among others; still, Zappa is unquestionably the star of the show. Hot Rats still sizzles; few albums originating on the rock side of jazz-rock fusion flowed so freely between both sides of the equation, or achieved such unwavering excitement and energy.
The original gumbo variations version followed by Zappa on Zappa’s version, the latter very good indeed as it all his stuff: unusual for making a career of one’s father’s legacy. Dweezil is in a league of his own (if one must insist that he is running a tribute band): unlike the usual tribute kitsch he has taste and class and is highly talented in his own right. One would have to be to be able to interpret Zappa’s challenging body of work.
Satchmo, The Philosopher
A nice piece (an analogy) by Matt Glaser that’s been around for a while.
If all of Western philosophy is merely commentary on Plato, then all of jazz is, in some sense, commentary on Louis. Armstrong’s achievement is amply evident in two solos on “Basin Street Blues.”
Krewe du Vieux
A report on the opening of the Mardi Gras parade season: Krewe du Vieux’s bawdy theme: “Krewe du Vieux Comes early!”
Oakeshott and Hobbes
Here are more extracts from Noel Malcolm’s essay for the Oakeshott Companion: Malcolm’s recent work has been listed as one of The Economist books of the year.
Oakeshott’s essay on “Rationalism in Politics” does make some attempt to locate the birth of rationalism historically. He observes that “the moment when it shows itself unmistakably” is in the early seventeenth century, and he identifies both Bacon and Descartes as foundational figures in the rationalist tradition (RP, 18, 19–22). In this account, Hobbes, whose philosophical formation took place in the early seventeenth century, and who enjoyed personal relations with both Bacon and Descartes (friendly with the former, rivalrous with the latter), is passed over without even a mention. In Oakeshott’s introduction to Leviathan, on the other hand, Hobbes is briefly identified as an exemplar of “rationalism,” but only in order to emphasize the gulf that separated his kind of rationalism from that of a thinker such as Descartes: “The lineage of Hobbes’s rationalism lies, not (like that of Spinoza or even Descartes) in the great Platonic-Christian tradition, but in the sceptical, late scholastic tradition. He does not normally speak of Reason, the divine illumination of the mind that unites man with God; he speaks of reasoning. And he is not less persuaded of its fallibility and limitations than Montaigne himself.” There is some tension between this discussion and the account given subsequently in “Rationalism in Politics”: in the later essay, Descartes is himself characterized as an exponent of “scepticism,” whose role as a founding father of rationalism was to a large extent foisted on him by later generations of vulgarizing Cartesians (RP, 21–22). More puzzlingly, that account also portrays the “reason” of the rationalists as something very different from “Reason, the divine illumination of the mind that unites man with God”: an important footnote in “Rationalism in Politics” declares that “The ‘reason’ to which the Rationalist appeals is not, for example, the Reason of Hooker, which belongs still to the tradition of Stoicism and of Aquinas. It is a faculty of calculation by which men conclude one thing from another and discover fit means of attaining given ends not themselves subject to the criticism of reason” (RP, 22–23)—a description which, while no doubt formulated with twentieth-century social engineers in mind, seems to match quite closely the Hobbesian notion of “reasoning.”
Thus far, it may seem that Oakeshott’s admiration for Hobbes can be rendered compatible with his hostility to rationalism in politics only on the basis of a misunderstanding: apparently, Oakeshott was prepared to overlook the many obvious similarities between Hobbes and the rationalists because he believed, wrongly, that on one fundamental issue—that of certainty—Hobbes represented a contrary point of view. But to leave the matter there would be to fail to acknowledge the most important way in which Oakeshott regarded political philosophy Hobbes as a representative of the non-rationalist or anti-rationalist position. The essential nature of his interest in Hobbes was summed up in the title he chose for the collection of his writings about him: Hobbes on Civil Association. More than anything else, what attracted him to the earlier philosopher was Hobbes’s account of the nature of a political community as something constituted by a web of mutual understandings and mutual commitments of a peculiarly open-ended and unconditional kind. In Oakeshott’s eyes, Hobbes was an archetypal non-rationalist in politics because he had a rich understanding of the non-instrumentality of the state.
What appealed to Oakeshott about Hobbes’s vision of the state was, above all, its non-instrumentality. In Hobbes’s story (or “myth”) of the covenant that founded the state, there was a transfer of rights that was entirely open-ended, political philosophy without specific conditions or purposes attached to it. The artifice that created the state consisted of non-substantive intentions; the only intention at work there was the intention that there be a sovereign authority. In Oakeshott’s view, an enterprise association was also a product of artifice, but one based on substantive intentions. Using the distinction outlined earlier, we might say that a grand rationalist state—a totalitarian one—was one in which the substantive intentions were structured in such a way that all intentions were subsumed under one highest intention, whereas a petty rationalist state—a mechanistic-liberal one, in which politics was the art of piecemeal social engineering— was one in which the role of the state was to adjudicate between particular substantive intentions, bundle some of them together, and find ways of fulfilling them.
Shackelton’s Scotch
H/T to my chum and fellow scotch aficionado Peter Brooks for pointing to this article.
Talk about whisky on ice: Three bottles of rare, 19th century Scotch found beneath the floor boards of Antarctic explorer Ernest Shackelton’s abandoned expedition base were returned to the polar continent Saturday after a distiller flew them to Scotland to recreate the long-lost recipe.
And just in case you were curious, here is an enthusiast’s review of the replica scotch. And this from the NYT:
Shackleton would have loved the idea of a replica whisky. An improvident man, always in debt, he was partial to get-rich-quick schemes, including a Hungarian gold mine. By today’s standards, he was an unlikely explorer, with little scientific training or interest. He wasn’t even particularly enthralled by snow and ice. What motivated him was the lure of fame and wealth, and exploration was the best way he knew to get them. Shackleton’s great gift was his personality. He was irresistibly charming, especially to women, and for his time — he was born in 1874 — was a highly advanced adulterer, who liked sharing his girlfriends with their husbands. Men adored him, too, in part because he ignored social hierarchy and treated everyone the same. He was an instinctive, natural leader who somehow inspired others to share impossible hardships with him.
Neural Correlates of Lyrical Improvisation: An fMRI Study of Freestyle Rap
Here’s a study that would seem to be a companion to the earlier Neural Substrates of Spontaneous Musical Performance: An fMRI Study of Jazz Improvisation, Allen R. Braun the shared investigator.
Neuroporn/Neuromania?
H/T to David Livingstone-Smith for pointing to this article.
Exploring the trend of neuro-rejectionism.
Neuroscience is in vogue. In the mainstream news and on pop-science bestseller lists, in academic departments and in deli refrigerators, interest in all things brain-related continues to grow, to be sold, and to be consumed. But the growth in public interest in the brain— and the hope that research into its vastly complex workings will unveil deep truths relevant to our daily lives— is still somewhat unspecific in its ends, for most present-day insights into the workings of the brain, gained from very specific research (and usually on mouse, rat, or fruit fly brains), examine quite basic and elementary features, ask more new questions than they answer, open more doors onto future lines of research than they solve or complete, and continually remind us of how much there is left to explore, especially when it comes to the human brain.
Louis Prima Fest
Louis Prima honored with his own New Orleans music and food festival. Louis is one of those people who along with Pops and Fats just put me in a good mood immediately.

