Matthew T Grant

I listened to this episode of the Diane Rehm Show last night and became increasingly depressed about China’s human rights record.

While already long aware of China’s ongoing crackdown on Falun Gong adherents and artists like Ai Weiwei (where is he?), and, frankly, not having very high hopes for the defense of human or civil rights in authoritarian states in any case, I was nevertheless especially disheartened to learn of the supposedly communist state’s brutality directed at labor activists. As one of the guests pointed out, workers do not have the right to strike or even organize independent unions in China and any attempt to organize such are dealt with harshly (with punitive measures that include torture, she insisted).

Communism’s seemingly paradoxical opposition to organized labor, which resulted in the fall of a communist regime in the case of Poland’s Solidarity movement twenty or so years ago, highlights more than anything else that unions are not first and foremost about worker’s rights but, rather, about addressing an imbalance of power.

Let’s face it, when you work for someone, they have power over you. When many work for a few, the few have power over the many. When the many organize for the purposes of collective bargaining, for example, they are attempting to establish a balance of power; the business owner can fire one person without experiencing a business consequence—it’s harder to escape the consequences if you fire everyone (though owner’s are often willing to accept such consequences when they play the “lock out” card).

In other words, organizing a union can be a logical, defensive move on the part of individuals who have little power as individuals but, at times, significant power as a group.

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Das Ganze ist das Unwahre. – Theodor Adorno

It was some months ago now that I saw Joe Lovano and the Us Five band (pianist James Weidman, bassist Peter Slavov, who was filling in for the suddenly famous Esperanza Spalding, and drummers Otis Brown III and Francisco Mela) at the Regattabar. At the time I thought they were the best jazz band I’d ever seen. Why?

First of all, they had the most beautifully organic sound with a wild spaciousness to it. It was also like being in a bohemian atelier or beat workshop with the music bouncing and reflecting off paintings and posters, bottles and tables, windows and alleys. Or, at times, like being on a pirate ship or a fishing boat. Wood. Space. Heat. Earth. Light. Etc.

Second of all, they were playing, with real mastery and joy, also, in an early sixties/late fifties style that was disciplined and structured (in like a Mingus way) and, at the same time, casually intense and free (i.e., played with a kind of abandon verging on the wanton).

Third, there was Lovano himself. With his hat and his sunglasses and his soul patch he was the textbook jazz cat—really archetypical, man. He’s got a warm, sculpted tone, has a concept that’s dense, mellow, focused, and figured, and sometimes goes for the raggedy, fraying-into-madness sound of 1961-ish Trane (remaining, for all that, on the homage side of mimicry).

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