Joe

Yes, yes, it is a BN cover, but its a Miles design I'd not seen before, and -- typographical play aside -- so uncharacteristic of the work for which he's best known...

Webster Young, FOR LADY I believe this is the same location used for the cover photo of Joe Henderson's PAGE ONE -- anyone know where this is (more likely, "was")?

When did the Rollins WORKTIME design go from being magenta to light green?

Digging the conga. Annd the next day, as it turned out... it really was morning in America after all.

That's the Western canonical / concert music-as-ideal tradition: listening requires a certain kind of attention, is essentially intellectual in nature: listening as a gateway to being awed. But one of the things about jazz that made it vital was its offering an alternative to and commentary on -- and not even consciously -- to the dualism implied by Western art music (and, really, only a gradual and late-arriving development in the history of same). You can and do listen with your entire body; sensation and perception are not wholly brain activities; not every profound experience needs to be sublime and eternal and rational. The jazz I still enjoy, and listen to, is still in the spirit of these alternatives. As long as there is "true" improvising going on, I'm down. The great thing about the contemporary music scene, IMO, is that improvisation is so highly valued in it, and across a whole range of genres and practices. Jazz, then -- only not as Teachout understands it = victim of its own influence.

Apple seems to be working on adding this content to their digital music offerings... http://www.ft.com/cms/s/0/28129982-7a18-11...144feabdc0.html

How nasty was he?

And LOVE CRY WANT too, of course.

A couple of possibly oddball recommendations which I think will nevertheless have so appeal for those inclined (vocals are involved)... Burnt Sugar [Greg Tate's ensemble], MAKING LOVE TO THE DARK AGES Jandek, MANHATTAN TUESDAY The Corwood representative on Korg synths, set / tuned to evoke Miles' GET UP WITH IT organ (I think), plus Loren Connors on guitar, Matt Heyner on bass, and Chris Corsano on drums. A bit of a stretch, but, IMO, descended at least in mood and tone from Miles' darkest 70s work.

Jerry Gonzalez and his Fort Apache Band have recorded several fine sessions in this vein. Perhaps the best (IMO) is OBATALA on Enja. Great arrangement of Monk's "Evidence" on display. Also, Hilton Ruiz's Novus dates, especially SOMETHING GRAND, with Sam Rivers guesting and A MOMENT'S NOTICE, with Kenny Garret and George Coleman.

Nena? 1, not 99. One more: John Carter's SUITE OF EARLY AMERICAN FOLK PIECES (solo calrinet) on Moers

Solo bass? I'll toss in a recommendation for John Lindberg's tribute to David Izenon, LUMINOSITY.

Two solo reed sessions that are easily -- if unjustly -- overlooked: + Sonny Simmons, JEWELS (Boxholder) + Joe McPhee, TENOR (Hat)

What are you enjoying about VINELAND in particular? If its the "subject matter", I would recommend either CRYING OF LOT 49 or the new one, all situated in and in some sense about the same time and place. But if you just want to read more late-period Pynchonian excellence, I would recommend MASON AND DIXON.

Some supplementary reading: Robert Goolrick, “Pieces of Pynchon” In 1978 Robert Goolrick, author of the 2007 memoir The End of the World as We Know It and the new novel A Reliable Wife, attempted to locate Thomas Pynchon. He detailed his efforts in the article below, “Pieces of Pynchon,” which originally appeared in the October 16, 1978 issue of New Times magazine. http://americanfiction.wordpress.com/2009/...ces-of-pynchon/

Check out the track "Cecilitis" on MISTER MYSTERIOUS. Wonderful tribute to / gentle ribbing of Cecil Taylor.

Promising, isn't it?

http://www.ninetyninecentdreams.com/ Won't be to everyone's tastes, but I heard this duo's WINNING ON ALL FRONTS recently and found their mix of contemporary rhythms and Shepp-like "rhetoric" (the best word I can come up with to describe what I like best about Archie's mid- to late-60's work: fulminating, yes, but also very canny in his use of specific musical discourses) worth an audition. A little bit of Mwandishi here too in the more purely electronic tracks... Besides, you can stream their entire recorded output (so far) for free online. My pick: "Messenger Of Death".

My mother swears Malt-O-Meal works -- the ants eat it, it swells in the belly, ruptured digestive track, done. The efficacy of this remedy has not been confirmed, however. Also, if you'd rather avoid chemical pesticides... http://www.dirtdoctor.com/view_question.php?id=123

Found on Youtube. Produced by David L. Wolper, presumably for his old BIOGRAPHY series. No date given, but most probably from 1962 or 1963; the era of the Horn Quintet with Emil Richards, Paul Moer, Victor Gaskin and Milt Turner. Some nice performance footage (Shelly's Manne Hole) and, IMO, a surprising amount of candor (references to Horn's being separated from his wife; the "business" side of things, keeping a working band together, etc.)

Cool. And I think it works really well; just made it an unofficial bonus track for PANTHALASSA...

Me neither, but I'm very curious to learn how it happened.

A quickie experiment: Herbie Nichols' Quadruple Exposure

I'd like to hear some multiple alternate takes stacked up in this way... might have to give that a go myself (time permitting)...