For a franchise that hasn’t been fun to watch since the six-week Linsanity stretch in early 2012, I find it difficult to explain why I continue to be so absorbed with the daily doings of the New York Knicks.

They haven’t made the playoffs the last four seasons. They play no defense.

When the Knicks have the ball, Melo plants himself motionless far from the hoop. His teammates (including the hustling, lanky star of the future Kristaps Porzingis) dart to spots on the floor that reflect pre-planned plays that include screens and quick passes. Carmelo inevitably torpedoes the connected set of actions by forcing a clank early in the shot clock.

It’s losing basketball. It’s aesthetically unpleasing. Yet because they play at the Garden I guess, you can’t even get a cheap ticket for home games.

Phil came on board in March 2014 and made it one of his first orders of business to hand Melo a five-year deal ($124 million) despite knowing full well that #7 was a me-first guy who had zero interest in strapping on the heavy pack of rebuild mode, not to mention learning or doing the triangle.

Worse, Phil allowed the Melo deal to include a no-trade clause which further cemented the blunder.

All blame on Phil for the Melo decision and the impossible head wind he created for himself in New York. I think basketball fans attach a big footnote to Phil’s legacy now – not just for the Melo deal but for the cranky hermit-like behavior and out-of-left-field Twitter bizarreness he occasionally spewed during his three seasons here.

Taunting Porzingis in the week before the 2017 draft (and reportedly the issuance of an internal threat to outright cut Melo) forced the Knick owner to get rid of Phil with two years, 24 mil left on his deal.

So, out with the Zen and in with Scott Perry who seems like a sound, dues-paid hoops mind, although he lacks the full organizational control that’s almost impossible to get from Dolan and the Garden.

One of Phil’s last moves before Perry replaced him was the selection of French point guard Frank Ntilikina (pronounced nee-lee-kee-nuh) at eight overall in the most recent draft. The Knicks need a point guard and got a potentially great one in Ntilikina. He’s not a big scorer but he’ll pass and play D. He has a freakish seven-foot wingspan and comes off as a really thoughtful guy.

And now, because Melo outlasted Phil at MSG, Carmelo apparently feels more inclined to waive the no-trade and move on. I don’t care where he goes. I just want him out. And if there’s no deal to be made, I’d hope Perry would convince Dolan to agree to buy a Melo walk-away for nothing in return.

On top of the Melo drama, news of Kyrie Irving’s unhappiness in Cleveland includes the tantalizing tidbit he’d like to play for the Knicks among others. Pundits have created scenarios that attempt to square both trade value and cap hit equations between the Cavs and Knicks but it’s hard to believe Perry could land a top five point in the League in exchange for an over-the-hill motionless ball hog. And please, don’t trade future first rounders. In the last eight drafts, the Knicks have only had first round picks in four of them. As the Nets will tell you, that’s a sure-fire recipe to bankrupt the talent of an organization.

I want a patient rebuild. I want a rivalry with the up-and-coming Sixers and soon-to-be great Celtics. And I want the Knicks to someday be a team that passes and plays defense. The Knicks own all their first round picks going forward. I’d part with one of them if it meant two years of Kyrie but otherwise, hold onto them.

Speaking of the Knicks, Greta Kline wore Knickerbocker logo socks during the Frankie Cosmos performance at Pitchfork Fest in Chicago the weekend before last. Performing before a huge audience at Union Park, Kline and her bandmates seemed in awe of scope of it all. Said Kline near the end of the set: “This is really a big show for us. A little spooky. A little too big, I would say. Probably the biggest we’ll ever play.” I caught the webcast replay on You Tube. The Frankie set was excellent. It sounded great.

Back from a layoff.

My schedule runs uphill these days. I suppose I’m also feeling somewhat greater urgency to live life rather than write about it.

I’m on the night shift at the airport going on fourteen months now with Sunday, Monday and Tuesday off. It kinda sucks.

Other than a fun run out to Chicago for my niece’s first communion in late May, I hadn’t been on a jet this year until last weekend when I went back to the Windy City for a couple of Woods gigs.

Woods sprung a full-length surprise on us May 12th with the release of Love is Love, the band’s tenth record.

I saw Woods a week ago Sunday at West Fest, a street fair on Chicago Avenue near Damen. And then the next night I saw the band with my brother Tim for a proper club show at the Empty Bottle.

The band’s four core members have remained unchanged since April 2014. That continuity has produced some pretty amazing chemistry and stage professionalism. Most live shows now also feature the inclusion of John Andrews on either the organ or drums. He also contributes wonderful backing vocals. His mike was turned way up high for both of the Chicago shows.

Depending on the locale, Woods tries to recruit a local horn player to join them on stage. For the Chicago gigs, Jerome Croswell came on for the horn parts. He played the soaring, heart-tugging trumpet line on Bleeding Blue from the new record with great aplomb.

Before the West Fest show, Woods guitarist Jarvis Taveniere appeared to offer Croswell brief guidance. He referenced what appeared to be sheet music on an e-tablet propped up on a music stand.

Since some of the best numbers on each of the last two Woods records are horn heavy, it must be a challenge to decide how and when to deploy those songs live when the cost/practicality of employing a full-time touring horn player is a consideration.

Croswell’s effectiveness with so little (or none perhaps) advanced rehearsal time with the band was deeply impressive – even emotional.

After each of the two Chicago gigs, Woods frontman Jeremy Earl embraced Croswell, administering a long hug – surely a sign of his deep appreciation for the effort.

The third show I caught in the sequence was here on home turf. Woods played Bowery Ballroom Saturday night. As he has for other NYC shows, Andrews sat behind a second drum kit next to primary drummer Aaron Neveu. The band used local musician Kyle Forester on keys and sax and Cole Kamen-Green on trumpet.

Opening with four songs from four different records, Earl (pictured above) and Woods ended up playing numbers from seven different releases. The highlight was an extended jam on The Take. I timed the song’s duration at about 15 and a half minutes. The reason I kept track was because my brother stood next to a guy at the Empty Bottle show who was taping the gig with his phone. He claimed the running time on The Take that night was 23 minutes!

Woods went on the big Bowery stage at about 1015 PM. The crowd was thin despite the fact the band had logged sellouts at the same venue and at MHOW in recent years. I’d chalk up the poor gate for Saturday’s show to timing.  Several performances competing for music fan dollars during the same time slot included Waxahatchee and My Morning Jacket – and to a lesser extent Bellows and Pill.

Here’s the set list:

Woods – Bowery Ballroom – 7-15-17 – running time: 91 minutes

Cali in a Cup

Be All Be Easy

Leaves Like Glass

Politics of Free

Sun City Creeps (Rachel Neveu of the Yawns came on and played flute)

The Take (Forester engages in pre-tune chattiness, unusual for a Woods performance)

Love is Love

Rain On (much different sounding than from the green bullet days)

Lost in a Crowd

Bleeding Blue (a couple monitor squeals mid-tune but Jeremy’s “oohs” incredible and a great expanded ending)

Love is Love – Sun on Time (the Jarvis guitar line makes this one)

With Light and With Love
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Suffering Season

New Light

Moving to the Left (serious dancing up front)