Joe

Well, screw pedantry (would that be pederastry?). Besides, I've seen BELONGING co-billed to Garbarek. And, yeah, Jim's onto something with NUDE ANTS. I just have a silly sentimental attachment to BELONGING and "The Windup".

STAR is a fine choice. I myself would vote for WICHTI-TAI-TO. Garbarek may not be represented here as a composer, but it does feature some of Garbarek's finest playing. Which is to say that it also features some of the most inspired post-Coltrane tenor saxophone playing you are likely to hear anywhere. Honorable mention for Keith Jarrett's BELONGING.

Well, at least Robby is still single.

I know its early yet, but that HAS to be Line of The Week.

Yeppers.

Well, I guess with that set-up he's bound to hit something.

No need to be coy...

I'll never tire of hearing this one.

Indeed. I know him primarily for his associations with Mingus and Tony Fruscella (is he the source / one of the sources of that treasure-trove of Fruscella club material?). Would welcome more recommendations of his work. I do know he brings a lot to this recording:

"Produced by George Russell / Recorded at Henie-Onstad Kunstsenter, Bærum, October 1969" With Terje Rypdal, Arild Andersen and Jon Christensen. As Jim said, much more heat here than on, say, OFFICIUM. Garbarek is also one of the primary soloists on the 1968 recording of Russell's ELECTRONIC SONATA FOR SOULS LOVED BY NATURE (with Red Mitchell on bass). IMO, one of Russell's most fascinating -- and least discussed -- works.

Moving on, then... No winners yet on this.

I can't check it right now, but I seem to recall that there are real jazz musicians name-checked alongside the "fictionalized" ones -- Edgar Poole [Prez], Walden Blue [Wardell Gray], Geordie Dickson [bille Holiday], Junius Priest [Monk] -- in John Clellon Holmes' THE HORN -- which, FWIW, the somewhat goofy roman a clef names aside, is still my favorite "jazz novel".

Another one to write-on, LIVE AT MONTREUX.

Moving on, then...

There are lies, there are damned lies, and then there are statistics. (Apologies to all the number jockeys who post regularly here.)

Also, Frank Lowe.

I'd just like to say one prayer for Max's immortal soul, one for Miss Lincoln's, and let it go at that.

Alexander -- well put. Extremely well put. Long live the persona!

He's up in heaven now, bugging the shit out of Grantland Rice.

Jerome Charyn! Wonderful! Thanks for this note.

PATTERNS.

Meltzer was also one of the masterminds behind the Blue Oyster Cult. GULCHER remains a really good sampler of his critical work.

Re: Gilbert Sorrentino. STEELWORK is indeed an fine novel, as is ABERRATION OF STARLIGHT. SPLENDIDE-HOTEL, too, though it is escape genre; not fiction, not poetry, not essay, not abecedary (though formally it resembles one). Also, his son Christopher Sorrentino has written a fascinating if at-times overly schematic novel about a fictional rock band, circa 1982, entitled SOUND ON SOUND. And isn't it Barthelme who in, THE DEAD FATHER, likens listening to Stockhausen to whipping down a water slide lined with razor baldes and landing in a pool of rubbing alcohol? Finally, members of the AEC -- Lester Bowie and Roscoe Mitchell, IIRC -- appear as "actors" in Rafi Zabor's otherwise entirely fictional THE BEAR COMES HOME.

There's a reference to Jimmy Giuffre in Joseph McElroy's A SMUGGLER'S BIBLE, a reference to Albert Ayler in his HIND'S KIDNAP, and Han Bennink makes a cameo in his latest, ACTRESS IN THE HOUSE. If you're digging Mathews especially -- he has written what is maybe the finest essay on McElroy's work -- you might want to check out McElroy. Presuming you have not.