Joe

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.

Jared -- Davis is London-based, "extended techniques" trumpet player. Lots of aspiration sounds, working with brass resonance (as opposed to notes). But I've been consistently impressed with the force and weight of his playing. Even when it is very fragile. The compilation of complimentary reviews for the Davis / Durrant / Wastell OPEN disc that Jon Abbey has available from the Erstwhile site is as good a place to start as any: http://www.erstwhilerecords.com/catalog/re.../032_review.asp Davis recent collaboration with Joel Stern -- SMALL INDUSTRY on the l'innomable label -- is also very, very good. http://www.linnomable.com/RELEASES/releases.htm If you're really a glutton for punishment, there is a review of this last at the Bagatellen site.

Wow. That brings back memories.

I'll see if I can find images, but some cases that come to mind: Blind Faith Mom's Apple Pie The Simon and Garfunkel box set; on the cover, Paul Simon's burning cigarette was airbrushed out MEET THE RESIDENTS

Re: Dorner / Drumm. This is still probably my least favorite of the Erstwhile releases I have heard. I just don't find the musicians' sonic choices all that interesting here. As much as I like Dorner's work in the "lowercase" idiom -- hear him on Xavier Charles' THE CONTEST OF PLEASURES -- I think he excels the more his playing edges toward conventional timbres and phrases. Cf. Johansson's SIX LITTLE PIECES FOR QUINTET, the Territory Band stuff, or The Electrics' CHAIN OF ACCIDENTS. Me, I'm really digging what Matt Davis is doing on his instrument.

Jeez. Warrant or the Starland Vocal Band... talk about your tough choices...

That is so reasonable a proposal you just know it won't fly. However, Nonesuch did something similar with their EXPLORER SERIES reissues. Although original artwork and, in some cases, album titles have not been retained, the original liner notes have, and most of them carry the following disclaimer: "In order to provide a historical context for this recording, the liner notes that accompanied its original release have been reprinted in full below. The text has not been edited to reflect changes in general cultural perceptions or specific factual information that may have occurred since then."

Though I don't know these early Verves, I do own one Nimmons release, SANDS OF TIME (2000), on Sackville. A quartet date with pianist Gary Williamson, bassist Steve Wallace, and drummer Barry Elmes. Fine playing -- Nimmons has a "chesty" tone -- as well as pleasant and often distinctive compositions by the leader. In terms of showing off his virtuosity, he strikes me a bit more Tony Scott-like than Buddy DeFranco-esque, if that makes any sense. More info: http://www.thecanadianencyclopedia.com/ind...s=U1ARTU0002580