EASILY SLIP INTO ANOTHER WORLD: A LIFE IN MUSIC by Henry Threadgill {Brent Hayes Edwards, co-author}

Finished Th 10/22/26 

I got this on Kindle and was shocked at the depth of this man's knowledge of music.

Also, has some of the best coverage of what it was like to be a soldier in Vietnam during the war.

The Draft: 4 years if you wait to get drafted; 2 years if you volunteer; 3 years if you enter as a 'professional' and Threadgill entered as a 'musician'. He wrote a composition that insulted a high ranking official and he was sent to the battlefront. 

From freejazzblog.org:

"The most important reason for this is that Threadgill (with Edwards) is an amazingly good storyteller—the type of storyteller who could tell a story about anything and have you in the palm of their hand. Every music bio has that section at the beginning about ancestors and childhood. I suppose it’s necessary, but it almost always leaves me impatient. (“Okay, okay, Bach’s dad was a bagpiper. Can we get to the Cantatas?”) Threadgill, from the first sentence, draws you in with stories of Peyton Robinson, his great-grandfather. Each story has that urgency of “So there I was …” (even if Threadgill wasn’t actually there). It’s a superpower, this kind of storytelling, to use words to leave you desperate to know, “What happens next? How’s it going to end?”

Incidents of neighborhood racism in Threadgill’s late ‘50s/early ‘60s Chicago leave us angry and uneasy. Brief encounters with Sun Ra and his band leave us envious. The section on his time in Vietnam is genuinely harrowing, edge-of-your-seat stuff. I can imagine the movie made from just that chapter. When he returns to Chicago afterwards, Threadgill pursues different relationships, educational opportunities, friendships, and musical experiments.

He is of the AACM (Association for the Advancement of Creative Musicians), but, because of his time away, not enmeshed in it. He takes us through the formation and story of Air, the Sextett, Zooid, etc. Certain relationships stuck out to me, I’m not always sure why—such as that with guitarist Brandon Ross. It’s not prominent in terms of the word count given to it, but it feels meaningful.

As we watch him assemble and disassemble different ensembles over time, looking for his sound (not THE ONE sound, but the sound he needs at that moment), you can see his fascination with the mixture of timbres (something I heard Threadgill comment on in the ‘90s). Whether it’s a phalanx of basses, or the stringreedbrass mixture of the Sextet, or the accordion on Song Out of My Trees, you can see his fascination with the sounds of instruments and their players, and their place in his writing. For example, he’s had a bunch of cellists and a bunch of tuba players over the years, but I can always tell when it’s a Threadgill cello or a Threadgill tuba.

In the way of great storytellers, the language here is nonviolent, never engaging in the gossip of so much music-oriented writing. It also never seems to gloss over things that someone like Ellington would in his autobiography. He talks about the drugs, racism, and divorces because they happened. They were part of the context. But I never feel as if I’m a voyeur. It’s an extraordinary balance he achieves.

Easily Slip Into Another World doesn’t bring us up to the minute, but it gets pretty darn close. He talks of his relationship with Pi Recordings and its blessings. It wasn’t his Pulitzer that made Threadgill into an elder statesman of “this kind of music,” but it helped. The story of his relationship with the Indian state of Goa—first missing a chance to play there, then playing there, then getting lost in the jungle and … nevermind, I won’t spoil it—is one of the most beautiful and endearing of the book.

I suppose Threadgill is right, and the book doesn’t provide transparency in the sense of answers about his music—although his explanation of the Zooid approach to harmony is wonderful “inside baseball”—but it does help you approach the music with good questions. My experience of this book (as important as my evaluation or analysis) was one of rapt enjoyment, and also fascination. I know it’s the second time I’ve used that word, but it’s genuinely true that one quality of great music to me is that it is fascinating. Among all its other qualities, Henry Threadgill’s music is fascinating to me. This book is fascinating. The two fascinations amplify each other."

OIL! by Upton Sinclair

 I bought this on Kindle ($9.00) after watching the film 'THERE WILL BE BLOOD' by Paul Thomas Anderson. Guardian voted this film The Best Film of The 21st Century. It's a brilliant film, but only the very basic themes of the book.

The book is actually a semi-fictional account of the Teapot Dome Scandal of the early 1920's under the Harding administration. 

Link to a site about the novel:

https://www.lrb.co.uk/the-paper/v46/n01/edmund-gordon/how-to-hate-oil

It was a long novel and very engaging. I loved it and the novel had a sly, almost humorous tone.

If the choice is between Predatory Capitalism and Socialism, then Socialism is the way to go. The corruption that is inherent in Capitalism will cause social and economic damage and the poor will suffer.

It is remarkable that the Warren Harding administration and the Trump Years are so very similar. Privatize everything in sight and then drain off profits to you and your friends. "Free Market" means that the government has no oversight and you are motivated only by what delivers the most profit. If you want to sell cigarettes to seven year olds that's just fine...A.H. Dory. Although the novel highlights the excesses of Evangelicals in the radio era, the message is the same as today.... "I love Jesus, and Jesus loves me, and fuck you".

The relationship between the father and son is completely different from the movie. 

The novel is a look at the differences between Capitalism and Socialism, but the movie highlights Evangelical Christianity and Free Market Capitalism. 

Paul Thomas Anderson's film is a completely different slant than Sinclair's novel. I loved both works and it's kind of eye opening to realize that one hundred years ago these economic theories (Capitalism vs. Socialism) were butting heads, just like they still are today...and Free Market Capitalism is only getting stronger. 

DO WITH ME WHAT YOU WILL Joyce Carol Oates

 Finished Mo 9/28/26

This was one of my ancient harbacks that I had never read. It doesn't even have a 'date purchased', however it was on the lamp bookcase in the living room and turned out to be one of my favorite reads in a long time.

It's a profile of a young woman who struggles to become more than a bit player in other peoples' lives. The book has many unforgettable characters and probably one of the vilest examples of 'motherhood' ever written. 

Many storylines that weave in and out of the novel. Although, the ending was a little weak. It's really only a few words telling us that the couple 'are happy ever after'. Did Elena really find her assertiveness and would Love last?

From 'themodernovel.org':

"Aah, the parents! As in her previous novels, Oates has the two main characters carry the burden of their parents. Elena Ross is kidnapped from her mother by her divorced father when she is seven. She withdraws into herself and, when she is finally rescued, can barely speak. While growing up, her mother does, indeed, do with her what she wills, finally marrying her off, when she is seventeen, to a successful criminal lawyer, Marvin Howe. At the end of the first section, about Elena’s growing up, she is in some sort of trance, staring at a statue. Everything has come to rest, in perfection it comes to rest, permanent. Then a hand touches her.

The second part is about Jack Morrissey. He too has parental issues, as his father murders a rich man but he is defended by Marvin Howe and gets off on temporary insanity. This inspires Jack to become a lawyer himself, though he does not become a successful criminal lawyer like Howe but rather works to help the poor and weak, working for the American Civil Liberties Union. He meets and marries Rachel but, at the end we realise that his is the hand that has touched Elena.

The third part is, of course, the love affair between Jack and Elena. She is awakened out of her twenty year trance but is scared by the feelings she now has. She flees from him and returns to Howe. The final part, however, has Jack and Elena getting back together, leaving their respective spouses, and gaining one of Oates’ little victories as they now have the life they want. It sounds mawkish but, in the hands of such an accomplished writer as Oates, it works, both as regards the legal background (which plays a bigger part than I have mentioned here) and the relationship issues. It may be less violent and less harrowing for the reader than some of its predecessors but it is just as readable."