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This essay proposes trumpeter/multi-instrumentalist Don Cherry as a pedagogical coordinate for approaching globally expansive jazz studies and social justice perspectives. Central are Cherry's philosophies on universality—at once musical, spiritual, and ethical—and the ways jazz functions as “glue” within his broad musical/geographic scope. While explicitly cosmopolitan, jazz here is anchored in its particular lineages of Black radical aesthetics (the blues, the necessity for improvisation and syncretism, etc.) and as such offers nuanced frames around Black universalities; those prefiguring and emerging through the capaciousness of jazz's wide trajectories yet firmly situated in race, history, power, and that seemingly impossible ideal of a more loving, equitable, compassionate world. The totality of Cherry's breadth—musical and otherwise—both troubles the “universalism” of inherited philosophical (Western) consensus and provides compelling directions for how practitioners and educators alike can think and support a growing jazz globality that still centers ethical imperatives of the music's histories and embedded potentials.

Rogers Hometown Hockey emotionally regulates and expresses sports fandom through colonial logics. The program's pre- and post-NHL game segments tell stories of a nation where \"small\" towns build the right character to create elite hockey players (and assumes that this is the peak of Canadian accomplishment) and is \"proof\" they also create the ideal citizen. Using Sara Ahmed's (2004) concept of affective economies and data collected from a season of Hometown Hockey broadcast, I argue that it invests hockey, traditionally a warm affect for many Canadians, with the colonial myth of the white settlers' struggle to make a life for themselves in the untamed wilderness. Rare episodes which deal with racism (almost always in the past) are linked to a current or recent NHL player's appearance on the show. Anyone can play hockey, but the very act of playing hockey is presented on Hometown Hockey as proof that the white settler state is heartwarmingly \"good\" at its core. The emotional investment in this mythic past creates negative emotional reactions in many settlers to ideas of decolonization. By presenting hockey in this way on TV, it politicizes the sport to make imagining a better nation difficult.

Let's Face the Music and Dance/I'm All Smiles/You Stepped Out Of A Dream/ I'm Glad There Is You/Get Out of Town/By Strauss/When Your Lover Has Gone / Gloria/Sweet and Lovely/ High School Cadets (TT 36:53) www.mpsmusic. com * Trombonist Joseph Bowie and Oliver Lake, adept on alto saxophone and flute, drew on their earlier association in St. Louis when they appeared in a duo setting in Toronto, issued as LIVE AT 'A SPACE' 1976 (Sackville SK 2010). Hobby Lobby Horse/ Sedimental You/ Trumpinputinstoopin/ Will Well (for Roswell Rudd)/I Can Smell You Listening (for Alexandra Montano)/Newtown Char/Two Handfuls 0f Peace (for Daniel Jackson) (TT 67:20) www.cleanfeed-records.com * THE VAMPiRES MEET LiONEL LOUEKE (Earshift EAR017) is a treat as the Australian quintet open-heartedly welcomes the Beninborn guitarist for a spirited session of music that combines elements of reggae, Afro-pop, jazz, funk and who knows what else. Particular favorites include the tense funk of \"Rose's Hard Love,\" the happy reggae groove of \"Freedom Song,\" also by Rose, and Garbett's \"Green Green Green,\" melding Loueke's expressive acoustic guitar, a laid-back salsa beat, and solos by Rose and drummer Danny Fischer. Louverture Op. 1 (Château De Joux)/ Yambú/Cuban Cubism/Passages/ Monochrome (Yubá)/Density (Golden Circle)/Dominant Force/Intervals (Closer To The Edge)/Sacred Chronology/Coralaia (TT 51:58) www.intakt .ch * The fascinating thing about COUNTDOWN (Motéma MTACD-202 ), a trio outing led by pianist Joey Alexander, is the attempt to reconcile in your mind how an Indonesian youth of 12 could sound so mature.