The Jazz Composer's Orchestra

Liner Notes

THE LISTENER

ANNE

EACH ASPECT OF ANNE lS ITS MUSCLE. SHE'S IN THE PARK NOW, AND IT IS TO THIS WONDERFUL AMERICAN AUDITORIUM THAT THE PARK CON FORMS. TO BE IN ANNE lS TO BE IN LOVE. "HOW DO YOU THINK YOU WILL LOOK DEAD?" "WARM." IT'S WHATEVER WE FIND THAT ANNE AND I WISH TO CONVEY, IF IT'S NOT PARTICULAR. ANNE SLEEPS WITH MY BELT UNDER PILLOW. IN THE MORNING, WHEN ANNE AWAKES ("THAT'S WON DERFUL.") OTHERS DO TOO. AND THAT'S WONDERFUL TOO, FOR THE SUN NEITHER GO NOR GOES DOWN. (AN EXHILARATION AROSE WITH PREVIEW. ANNE SAID, "I DON'T THINK THIS HAS HAPPENED IN THE LAST 20 YEARS.") FOR HER TO TAKE IF SHE NEEDED TO BEFORE HER WEDDING. PREVIEW IS TIMED TO START. THERE IS NOTHING SPURIOUS NOR MAN NERED NOR SEEMLY. WE ARE VERY FOND OF ITS LAUDATORY TISSUE OF TRUTH—AND PHAROAH SANDERS (PRESCRIBED BY ANNE HERSELF TO TIGHTEN THE PROMENADE IN YOUR IDLE PANTS.) "COURAGE, MY VELVET." "IT'S NOTHING." HEARD REPEATEDLY — FORGIVE MY COR RECTING YOU—BUT IN MANTLER'S ORCHESTRA THERE IS NO REDUC TION TO MONITOR — IS SUDDEN TRACTABILITY. NEVER ANY SIMPLE SUBSIDING BUT WHOLE SINKING. IT IS NOT FOR ANYTHING. ASKING AN INJURED MUSICIAN "HOW DID YOU CUT YOUR FINGER?" (HOW DO YOU CUT YOUR FINGER?) OR THE LUDICROUS MUSIC OF MADE-UP COM MUNISM, BASKING FOR TIME IN THE AFTERGLOW OF PRE-EXPOSURE (IF NO ONE SLEEPS, WHO WONDERS?) AND BIG BANANA FARTS, OR THE FALSE MODESTY OF ONE FOR SO LONG PRAISED FOR MEDIOCRITY THAT HE BECOMES CAPABLE ONLY IN CONSTRUING MODESTY ARROGANCE (FORCE IS SUFFICIENT AND SO'S MOST BLOOD, SYNCOPATION IT'S OWN HISTORY OF IRRITATION.) WHILE MODESTY, IF AUDACIOUS, MARKS THE MONITOR ABSENT, AS HERE IN STEPS ORGANIZED BY ROSWELL—BET TER TO MAKE HIS WAY THROUGH OUGANIZATION—OR THAT ORIGINAL DEGREASING SONORITY OF GATO, WITH ALL ITS DUPLICATIVE SHREWD NESS (EVEN TO GETTING CHERRY'S SOUND) OR ANNE, CURIOUS ENOUGH TO SUCK FOR NOTHING BUT TO HATE FOR SCALE. THIS MUSIC, UNLIKE ANNE (KNOWN EXCLUSIVELY BY HOW WELL SHE KNOWS YOU) POINTS TO RECOVERY. BESIDES, ALL THE OTHER NICE GIRLS ARE IN TURKEY. MANTLER'S COMMUNICATIONS NOW NUMBER 11 (SEVEN AVAILABLE ON RECORDINGS). THEY CONSTITUTE AN ACCUMULATIVE ACHIEVEMENT OF AN EXTRAORDINARY NATURE, ESPECIALLY CONSIDERING THAT IT IS WITHOUT A RELUCTANCE THOUGHT NECESSARY IN THE PAST THAT SOLOISTS OF THIS CALIBER ARE ENGAGED BY HIM. ROSWELL, A SLIDE OF SIGHT. CHERRY, THE ARTIST. LARRY CORYELL (LOVED BY ANNE FOR A SOLO ON CARLA BLEY'S FUNERAL) WHO BEGINS ASTRIDE, STOKED UP YET FREE OF ORDINARY GUITAR CAULKING, AND SWALLOW (NOTABLE FOR HIS INTRODUCTION ON COMMUNICATIONS 10) WHO PEELS OUT OF LEVEL A PHRASE AT FIRST THOUGHT CRITICAL. THE COMPOSITIONS OF MANTLER INCREASE CONSIDERABLY THE STRENGTH OF THE FREE WORLD. ANNE ASKS IF ONE SHOULD BE IN LOVE IF ONE IS. SHE'S ALREADY TOLD ME THAT NOTHING PASSES OVER YOUR HEAD THE WAY YOU DO. (SHE'S HINTED THAT IT'S SOMETHING YOU F'.UT IN THE BUTTER.) SO IT IS IN THIS TOUCHED AMERICAN AUDI.TORIUM, AMONG THE CUSPS AND THE PUFFERBELLIES, SO BOLD AND BALD AND HAIRY, THAT ANNE, WRAPPED INTERESTINGLY IN THE PRACTICAL WORKING OUT OF THINGS (LES DECORS DE LA VIOLENCE) REVEALS WHAT HAS PASSED. IT RAINED FOR SEVERAL WEEKS, FROM EARLY MAY INTO JUNE, AND HER FIRST HUS BAND (45 BOOKS WRITTEN IN LESS THAN THREE YEARS) BECAME IRRIT ABLE, AND IT WAS ONLY UNDER EXPENSIVE AUTOMOBILES THAT PLACES DRY ENOUGH FOR HIDING WERE TO BE FOUND. ANNE SAYS THAT EFFECT AFTER EFFECT PILED UPON SINGLE SEOUENCE FINALLY BECAME PROOI TO USUALLY BRIEFLY-NEUTRAL CIVILIANS.

Paul Haines (excerpt from liner notes)