The Cellar Door � Washington DC � December 1970 � Keith Jarrett, Michael Henderson (A Franklin�s former bass player) , John McLaughlin and Miles � track 4 on Live Evil � happens to be on this second � the Jarrett and McLaughlin contributions are very dense and compelling� over a monochordal frame to playing fast and chromatically drawing from a range of different styles. It�s a double album and mostly live from 1970 � which I have just bought under the influence of Szwed ( a professor of Anthropology and Music at Yale, apparently � Yale art theory has been pretty influential I think).

He points that after Jack Johnson � recorded in the middle of 1970 - Miles didn�t go into the studio for two years and when he did it was with Paul Buckmaster from the Third Ear Band who had brought with him a recording of Gruppen and other works by Stockhausen. Miles said that he was impressed by how this was �music as a continuous process�. Gil Evans told Miles that he thought that he (MD) already sounded like Stockhausen. These recordings haven�t come out in anything like the right order so its hard to get any idea of cause and effect.

Now back to late 1969 and a very textural piece with bass clarinet and sitar droning, Miles doing a languid theme in reverb and John Mc with a wah wah and Hancock and Chick Corea back in the mix on electric pianos. Somehow all this music makes much more sense now than it did thirty years ago � its not just me that says this, honest � much younger listeners do to. It�s a fact that some jazz musicians now get an audience by playing along with beats loops and textures but not letting on that they are playing jazz.

I have brought more and more books here to Leantown � as part of the reorganisation of the bedroom at the front of the house. The more I look at them the less I see any case for throwing them out � but I still reasons yo add to their number. The only answer is to get more bookshelves in the flat I suppose. In the general churn the Glassworks CD floated to the surface which I am listening through to now and quite like � more than I imagined I would. Apparently some think this is the point (1982) where he abandoned Min � others say that it was earlier with Einstein on the Beach.

I am thinking that I must get on top of the Tascam US428 � the more I read about the more I find people who are enthusiastic about how much it can do. I have reinstalled it � and I think I can get WAVs to play quite well at in 16 bit format.

Gilbert mailed to say that he is happy with the version of latest version of Shortstories � except he has a click between two tracks which I don�t seem able to reproduce � oh the joys of digital audio. Into the night I added three versions of Fifths � Mark�s Robin�s and Isbin/Cameron one to the mastering software file. This made 13 tracks and so I needed one more. I rooted through an old MD and found a flute version that needed a clean � and so this was the first real test for the Clean software. On first hearing this seems to have worked � it seems that when you are running the sodtware to set up the balance of cleaning operations is going to be it doesn�t really give you back the outcome. You have to go through the quite heavy processing phase.

Anyway I have burned the first fourteen track version and I will try it out in the car.

Posting from the Situationists:

The University of Magdeburg recently returned Ulrike Meinhof's brain to her daughters, Bettina and Regine Roehl. Ordered by the public prosecutor for the city of Stuttgart, Meinhof's brain was removed after her 1976 suicide so that it could be compared to the brain of a multiple murderer. In 1997, her brain was requested for further study by a professor at the University of Magdeburg. Late last year, Meinhof's brain was buried in the family plot in Berlin with the rest of the body.