HDTenEightyP/NetNews huggingface dataset:
From: gwl@wavetracer.com (Glenn Lea)
Newsgroups: rec.music.bluenote
Subject: Cutouts and record company economics
Date: 1 Oct 92 12:26:52 GMT

>>>>> On Wed, 30 Sep 1992 18:46:33 GMT, wave3_3!cbnewsl.cb.att.com!wjh (william.j.hery) said:

  Bill> While I would also like to see every good jazz album in print for ever
  Bill> (and at one time both Blue Note and OJC said they intended to keep
  Bill> the reissues in print indefinitely), but hte economic facts of life
  Bill> make it difficult...

Thanks for the information, Bill.  I don't know if I buy it though,
since it means I have to feel some sort of sympathy for the
very-well-off record industry for having to pay taxes like everybody
else.  Manufacturing and inventory costs are part of doing business --
any business.  I think this is more of an excuse than a valid reason.

I don't understand why they can't do a modest production run, let it
run out, and then do another smaller or larger production run based
upon the rate at which the first one sold.  If it sold out, then it
must have some audience, right?  I can understand cutting out if the
thing is returned unsold in droves.  Fine.  Nobody wants it.  But in
the specific case of "UNITY", based on the number of references on rmb
in the last year, the thing should be a relative best seller for jazz
:)  Jazz cutouts seem to be done almost viciously, as indicated by the
recent posting about the imminent demise of the whole Novus Threadgill
catalog.  (run to the stores, folks :))

  Bill> ...it is also expensive to have a number of small
  Bill> production runs rather than one larger one, so either way they lose.

According to the most recent Mosaic catalog, this is how they do
business.  They don't do a big production run and maintain a full
inventory of each of their releases, but rather do small ones when
needed.  Until very recently, they were literally a 2-man operation;
and were somehow able to thrive anyway. 

  Bill> So, it is unfortunate, but I think that Blue Note and OJC have been doing
  Bill> a much better job than expected in keeping things in print. All the more
  Bill> reason to pick something up today until waiting till next year :-).

Just what I need -- more pressure to buy today! :-)

How is that OJC can keep its catalog in print if Blue Note can't or
won't?  Blue Note's back catalog isn't as big as the OJC catalog.  And
OJC even keeps the _LPs_ in print!!!!  OJC is, loosly defined, an
"indie" label.  Blue Note is part of a Big Conglomerate (Capitol).
Could that be part of the answer?

  Bill> [BTW, OJC actually selects some reissues that they don't expect to sell
  Bill> well enough to keep in print and package them with an indicaiton that
  Bill> they will not stay in print, so they give you fair warning.]

Agreed.  But they also label them "Limited Edition" and use this as an
excuse to charge a couple of bucks more for them.  :-(

--------------------------------------------------
Glenn Lea - reply to gwl@wavetracer.com
Wavetracer, Inc.
Newsgroups: rec.music.bluenote
From: wjh@cbnewsl.cb.att.com (william.j.hery)
Subject: Threadgill's Very Very Circus in NY
Organization: AT&T Bell Laboratories
Distribution: usa
Date: Sun, 27 Sep 1992 16:45:11 GMT

Last week there was a request for inofrmaiton on gigs in NY this week
(Sept 30 & Oct 1 in particular). In addition to the groups I already
mentioned in email to the original poster, I have just read that
Threadgill and Very Very Circus will be in NY at Condon's (15th St,
1 blosck east of Union Square).

Bill Hery
AT&T Bell Labs
201-386-2362
hery@att.COM
From: nvats@ac.dal.ca
Newsgroups: rec.music.bluenote
Subject: learning improvisation...
Date: 28 Sep 92 19:32:13 -0300
Organization: Dalhousie University, Halifax, Nova Scotia, Canada

Hi there,

I am an amateur guitar player who is looking to "study" improvisational 
playing more seriously after I complete my degree this year.  This may
be a rather vague request, but I was wondering if anyone out there had
some feelings on the best way to do so, and where.  If I were around
in the fifties, I guess I would have headed to N.Y. and taken my chances,
but much of the teaching of the music is now institutionalized - is this
a good thing?  If it is, what are some of the institutions to look at
in Canada or the Northeastern U.S. (addresses would be nice, but I guess I
would be pushing it :)).

Any input would be greatly appreciated.  Unless there is much interest in this
question, perhaps e-mailing me would be best.


Thanks in advance,

Nipun Vats

NVATS@AC.DAL.CA
From: acp@owlnet.rice.edu (Adrian C Penisson)
Newsgroups: rec.music.bluenote
Subject: Re: rec.music.creative_music
Date: 7 Oct 92 00:02:28 GMT
Organization: Rice University

In article <1aqla3INN56h@agate.berkeley.edu>, dan plonsey writes:
|> ....................If there's going to be a split in r.m.bluenote,
|> I'd like to see a group evolve in which I can read about Braxton,
|> Sun Ra, Duke Ellington, Howling Wolf, Elmore James, Pere Ubu, Fred Frith, 
|> Alvin Curran, The Molecules and debris.  I'd like to have the group 
|> called rec.music.creative_music, from which title I would hope
|> people would know not to post often on W, B, or D Marsalis.  Seems to
|> me lots easier to separate "creative" from "imitative" music than
|> it is to separate jazz from blues..............................

Would discussion of Papa (E)llis, little brother (J)ason, and the poor misfit
brother who is a computer programmer (?) be allowed?

It's good thing that we have rec.music.bluenote.gods like Dan so that the
uneducated (like me) can know what's creative and what's not! :-/

|> ....................
|> I think the name "bluenote" is much more
|> poetic than "jazz" or "blues," in that it conjures up a very specific
|> image of a period in recorded music, and also it refers to the 
|> process by which music is made "blue."  I can relate to the 
|> emotion/sound/color "blue" a lot better than to the word "jazz,"
|> as jazz no longer has a monopoly on the world of improvised and/or
|> creative music, or whatever you want to call it......................

Maybe there's hope for me yet.  I agree with this one.  

-- 
Adrian C. Penisson
Newsgroups: rec.music.bluenote
From: aaiken@bronze.ucs.indiana.edu (Andrew C. Aiken)
Subject: Tom Waits, _The Bone Machine_
Organization: Indiana University
Date: Tue, 29 Sep 1992 14:01:39 GMT


	Any opinions about Tom Waits' latest?  I like it,
but in too many songs he sings in that screechy bellow that made me
dislike _Frank's Wild Years_.  I've heard the Night on Earth soundtrack
several times, so I suppose that I was expecting something along the same
lines.
	I think that he takes off in a new direction with songs such as
"Black Wings."  "I Don't Want to Grow Up" sounds as if it is performed by
The Clash.  I miss the heavy jazz inflections of his earlier albums - a
style he explored beginning with his nightclub performances (as recorded on
_Nighthawks at the Diner_)  in the early 70s, which culminated in 
more complex arrangements like "Potter's Field." 
	The electronic enhancements to his voice on several pieces just
do not work.  He has a singular voice, and noone else could perform 
such songs as "Blind Love" or "Town With No Cheer" without losing
the forceful honesty.  I consider it worth buying if you are a Tom
Waits fan, but if you haven't heard much by him then I suggest (in this
order)

	1. Heart of Saturday Night    and    Rain Dogs
	2. Closing Time
	3. SwordfishTrombones
	4. Nighthawks at the Diner


Just my opinions.

Andrew Aiken
From: bt979@cleveland.Freenet.Edu (Jeff Preston)
Newsgroups: rec.music.bluenote
Subject: Re: r.m.bluenote --> r.m.jazz + r.m.blues (was: rec.music.jazz)
Date: 26 Sep 1992 07:32:02 GMT
Organization: Case Western Reserve University, Cleveland, OH (USA)
Reply-To: bt979@cleveland.Freenet.Edu (Jeff Preston)
NNTP-Posting-Host: hela.ins.cwru.edu


In a previous article, system@grafex.Cupertino.CA.US (SYSTEM 0PERATOR) says:

>> >jazz/rock/industrial/western-art-music/world-music crossover category.

>> You mean "fusion"? 

>Sounds like "new wave" to me....yuppie elevator music.

  Sounds like another person who spends more time labelling than 
listening to me. 

  Jeff

-- 
| Jeff Preston - owner and moderator of | "We don't  get  many requests |
| the  Allan Holdsworth discussion list |  for recent history."  -- Mr. |
| *** To subscribe, send e-mail to: *** |  Atoz, from the '69 Star Trek |
| <atavachron@morekypr.morehead-st.edu> |  episode _All Our Yesterdays_ |
Newsgroups: rec.music.bluenote
From: jeff@godzilla.quotron.com (Jeff Marder)
Subject: "Miles In The Sky" Due To Be Released On CD Next Week??
Organization: Quotron Systems, Inc.
Date: Fri, 2 Oct 1992 15:36:51 GMT

can anyone confirm this???

-- 
===========================================================
jeff@godzilla.quotron.com
Quotron Systems   310-302-4316
Newsgroups: rec.music.bluenote
Subject: Re: Copied Music Styles,Re: Where is Jazz?
From: hsu@walnut.sfsu.edu (William Hsu)
Date: 29 Sep 92 15:41:58 PDT
Reply-To: hsu@walnut.sfsu.edu
Distribution: na

In article <6282@blue.cis.pitt.edu.UUCP> pmmst8+@pitt.edu (Paul M Mweene)  
writes:
>
>I may be very naive and will probably  be flamed for it, 

Yes :-)

>but I am
>one of those who Africans who are uncomfortable with those musicians who
>play "African Reggea" , "African Jazz" etc. I feel that anytime you play 
>someone else' music you do not get as much or more acclaim than that
>person no matter how good you are. Further mo' you give credence to the  
>suppostion that you yourself are unable to create. 

Femi has already pointed out the African roots of reggae and jazz.
Other than that strange categorization of jazz and reggae as 
"non-African music" (or at least, "music that is not African enough
for Africans to play"), are you saying that people should for various
reasons only stick to the genres of music that have historically been
associated with their ethnic/cultural roots?

That problem aside, are you also making the assumption of the ethnic
purity of musical genres? (Never mind how the dividing lines between
genres are drawn, for now. That's for the thread on splitting 
rec.music.bluenote :-)). I think that's a pseudo-musicological notion
that sounds hopelessly outdated when applied to music that's produced
after, say, 1950. Try it for jazz. Blues. Salsa. Even the more popular
music that's coming out of Africa these days show the distinctive
influence of non-African musics (in harmony, for instance). 

You might want to ask yourself, is the African music that you know
and love *African* enough for Africans to play?

Bill





>
>This should not be the view that people have of us. The diaspora have 
>created and influenced many music styles where ever they have gone.
From: gwl@wavetracer.com (Glenn Lea)
Newsgroups: rec.music.bluenote
Subject: Re: Larry Young
Date: 30 Sep 92 12:00:11 GMT
Reply-To: gwl@wavetracer.com

>>>>> On Tue, 29 Sep 92 00:01:32 GMT, wave3_3!optimla.aimla.com!howard (Howard Soroka) said:

  Howard> Boy would I like to find a copy of UNITY by Larry Young on CD. It was on
  Howard> Blue Note on vinyl, roughly 1965

  Howard> Can anyone help? (Thanks in advance...)

It has been on CD for a few years but was recently cut out.  Lynn
Rardin has been searching far and wide for a month or two with no
success.  There is a new one-CD collection of Young material on Blue Note
but only one track from "UNITY", his widely acknowledged masterwork,
is included on it.  Nice job, Blue Note.

Good luck.

--------------------------------------------------
Glenn Lea - reply to gwl@wavetracer.com
Wavetracer, Inc.
Newsgroups: rec.music.bluenote
From: wjh@cbnewsl.cb.att.com (william.j.hery)
Subject: Jazz Room Series at William Patterson College
Organization: AT&T Bell Laboratories
Distribution: usa
Date: Tue, 29 Sep 1992 02:46:53 GMT
Keywords: Not about splitting up r.m.bluenote

For anyone who will be in the NY area on Sunday afternoons this fall,
William Patterson College in Wayne NJ is once again going to have
the Jazz Room series:

10/11  Harlem Blues and Jazz Band [how appropriate :-)]
10/18  String Trio of NY
10/25  Rashid Ali Quartet
11/ 1  Cecil Bridgewater with the WPC Jazz Ensemble
11/ 8  Hilton Ruiz Duo
11/15  Harold Mabern Trio

As in the past, performances are all at 4 PM on Sunday afternoon at the
Shea Center for the Performing Arts, a spacious (but still intimate),
modern theater. In the past, a student group (alway excellent) has
played a short set, followed by a one hour + set by the featured artist.
Admission is $7; senior citizans and students $5.

Bill Hery
AT&T Bell Labs
201-386-2362
hery@att.COM
From: gwl@wavetracer.com (Glenn Lea)
Newsgroups: rec.music.bluenote
Subject: Alabama
Date: 30 Sep 92 14:49:50 GMT
Reply-To: gwl@wavetracer.com

I believe the first appearance was on "Live at Birdland" on Impulse,
though it has shown up on subsequent live releases and various
compilations.  An exquisitely beautiful tune.

--------------------------------------------------
Glenn Lea - reply to gwl@wavetracer.com
Wavetracer, Inc.
Newsgroups: rec.music.bluenote
From: ochikubo@mamacass.etdesg.trw.com (Craig F. Ochikubo)
Subject: Re: Robben's New Album (was Re: Robben Ford fans)
Organization: TRW Inc., Redondo Beach, CA
Date: Tue, 6 Oct 92 19:12:43 GMT

In article <1992Oct6.125625.1366@paramount.nikhefk.nikhef.nl> templon@paramount.nikhefk.nikhef.nl (Jeffrey Templon) writes:
>templon@paramount.nikhefk.nikhef.nl (Jeffrey Templon) writes:
>
>
>>I picked up the album this weekend.  It's called "Robben Ford and
>>The Blue Line".  I found it to be quite good!  It has a
>>sort of "sophisticated blues feel" to it; it sticks mainly
>>to blues-based progressions but you can tell the man has
>>listened to and played lots of fusion.  I'd certainly
>
>I forgot to mention that although Robben (and band member Roscoe
>Beck) were the producers, Chick Corea was the "executive
>producer".  So maybe this explains some of the fusion feel
>that sort of wafts in and out of the disc.
>
is it on the label that Chick Corea was suppose to be starting?

ochikubo@desperado.etdesg.trw.com
.


Organization: Doctoral student, English, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.bluenote
Date: Tue, 6 Oct 1992 03:17:02 -0400 
From: Ken Zuroski <kz08+@andrew.cmu.edu>
Subject: recommendations:Brubeck

Hi:

1. I don't know much about jazz, but want to listen more.

2. I have Brubeck's "Time Out," which I enjoy very much.

3. Could you please recommend other works similar to that which you think
   I would also enjoy. Other Brubeck? Other artists?

4. Much obliged.

kz

---
~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ken Zuroski
Department of English
Carnegie Mellon University
Pittsburgh, PA 15213 USA
kz08@cmu.edu
~~~~~~~~~~~~~~~~~~~~~~~~~~~
Newsgroups: rec.music.bluenote
From: rob@blacks.jpl.nasa.gov (Rob Fatland)
Subject: Re: recommendations:Brubeck
Organization: Image Analysis Systems Group, JPL
Date: Tue, 6 Oct 1992 16:04:38 GMT

Ken Zuroski <kz08+@andrew.cmu.edu> writes:

>1. I don't know much about jazz, but want to listen more.
>2. I have Brubeck's "Time Out," which I enjoy very much.
>3. Could you please recommend other works similar to that which you think
>   I would also enjoy. Other Brubeck? Other artists?

By Claude Bolling:
Suite for Flute and Jazz Piano (w/ JPR!)
Jazz a la Francaise
--

Gobern de shark!
From: matthewo@casbah.acns.nwu.edu (Matthew Olson)
Newsgroups: rec.music.bluenote
Subject: Re: Joy Spring by Clifford Brown
Date: 5 Oct 92 17:50:27 GMT
Article-I.D.: news.1992Oct5.175027.832
Organization: Northwestern University, Evanston Illinois.

In article <1992Oct5.152450.20368@PA.dec.com> austin@decisv.ucs.dec.com (Cathy Austin) writes:
>I'm in the process of learning "Joy Spring" on the piano.  Does anyone know 
>any artists that have recorded this tune?  I know he did it with Max Roach
>but I can't seem to find it in the record or CD bins.

Arturo Sandoval recently recorded an album called "I Remember Clifford" in
which he plays Joy Spring, and about 10 other of Clifford's standards.
From: bruns@dcs.ed.ac.uk (Glenn Bruns)
Newsgroups: rec.music.bluenote
Subject: Erroll Garner
Date: 30 Sep 92 09:17:09 GMT
Organization: Department of Computer Science, University of Edinburgh

I've been enjoying an Erroll Garner CD recently called 'Body and
Soul', part of the Columbia Masterpieces series.  Twenty shortish
tunes, mostly standards, with a hint of drums and bass in the
background.  The recordings, from about 1952, have been cleaned
up and sound good to my ears.

Could someone recommend other Erroll Garner albums, or other albums in 
a similar style.  Living in Edinburgh, I'll only be able to find
mainstream recordings.  Is the Garner disk in Verve's Compact Classics
series good?  The other Garner disks in the Columbia Masterpieces series?

-- 
Glenn Bruns
Laboratory for Foundations of Computer Science
University of Edinburgh
From: gwl@wavetracer.com (Glenn Lea)
Newsgroups: rec.music.bluenote
Subject: Re: rec.music.bluenote
Date: 28 Sep 92 12:19:53 GMT
Reply-To: gwl@wavetracer.com

Erik Madsen writes:
> 
  Eric> I've got four Scofield albums so far, and I wonder if someone can steer
  Eric> me in the right direction for my next purchase of his stuff, since there
  Eric> seems to be quite a few albums of his.  The one's I've got are:
  Eric> 
  Eric> Blue Matter, Loud Jazz, Flat Out and Still Warm (my favorite, actually).
  Eric> I'm not really looking to buy Pick Hits Live, however, since I've heard it
  Eric> but would like to check out more studio cuts.

How about his most recent three albums on Blue Note?  I recommned
"Time on my Hands", a great quartet album with Joe Lovano, Charlie
Haden and Jack DeJohnette; "Meant to Be" and "Grace Under Pressure"
(with Bill Frisell), though I haven't heard them, got good reviews in
the press.

--------------------------------------------------
Glenn Lea - reply to gwl@wavetracer.com
Wavetracer, Inc.
Organization: University Libraries - E&S Library, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.bluenote
Date: Fri,  2 Oct 1992 09:20:34 -0400 
From: Robert Angelo Pleshar <rp16+@andrew.cmu.edu>
Subject: Re: Ayler's musical shift
	<SMEHTA.92Oct1103607@kwela.nynexst.com>

>There is an album on Impulse! which is called THE LAST ALBUM and I'm
>not sure if it was ever officially released (mine is a "demo copy")
>but it display some of the electric+r&b influences on Ayler. There is
>a chilling blues on side 2 and some unusual vocals on side 1 plus
>liners that seem deeply religious/spiritual which I don't dig. Also
>note that most of the material is Parks'. Does anyone know what his
>last recorded musical output was?

Actually, Ayler began to credit all of his songs to Mary Parks rather
than himself for a few years before he died. The same occurs on "Music
is the Healing Force of the Universe" and, I think, "New Grass" as well.
I think that on the Last Album and MITHFOTU (recorded at the same time,
I think) he started to edge back into more heavy duty territory from his
R&B attempts (eg Untitled Duet, All Love, Toiling). 
Is it true that there was a jukebox tied around his waist when they
fished him out of the East river? It's a sad story either way.

Ralph

Newsgroups: rec.music.bluenote
From: mongeau@NMC.ED.RAY.COM (Michael Mongeau)
Subject: Charlie Musslewhite
Organization: Equipment Division, Raytheon Company
Date: Tue, 6 Oct 92 14:05:11 GMT

Any Charlie Musslewhite fans out there ?    He will be playing this
weekend (Sat 10/11) in Central Mass., at Gilrein's , 802 Main St.,
Worcester MA.  (Worcester's Home of the Blues).

There was a great story about Charlie in the local paper this past
weekend.  He talked about how he overcame his drinking problem
five years ago.  He had tried to cut down from 2 quarts of gin a day
by switching to wine, then to drinking only after 12:00 noon, then
to drinking only at the clubs where he played.  But he could never
overcome the fear of going onstage straight since he had never done
it before.  Then one night as he was driving to work he heard on
the news the story of Jessica McClure, the little girl who fell into
the well in Texas,  and how she sang nursery rhymes to herself to
keep her spirits up.  And he thought to himself, here's this little
girl with her whole life ahead of her, and being so brave by singing
to herself while stuck in a well, and here I am whining about not
being able to have a drink before going onstage.  So he made a vow
that he would not have another drink until Jessica was out of the
well.   He went on stage that night with shaky knees and hands but
didn't have a drink and hasn't had one since.  Two and a half days
later Jessica was rescued from the well, and Charlie says he was
rescued as well.

 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 "The Blues has been...the blues is...the blues will be, as long as time"
                                                        -Willie Dixon

   Mike Mongeau                           Raytheon Equipment Division
   mongeau@nmc.ed.ray.com                                Marlboro, MA
 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: brummer@dogwood.botany.uga.edu (Charlie Brummer)
Newsgroups: rec.music.bluenote
Subject: Mosaic recommendations
Date: 27 Sep 92 15:13:55 GMT
Article-I.D.: rigel.1992Sep27.151355.5581
Distribution: na
Organization: Botany Department - U of Georgia, Athens
Originator: brummer@dogwood

I am thinking of buying one or several of the following Mosaic sets and would
like anyone's feelings on them before I call in my order:

Sidney Bechet
Paul Desmond
Edmond Hall, JJ Johnson, et al.
Count Basie Roulette

Thanks for any info.

Charlie Brummer
Newsgroups: rec.music.bluenote
From: mjs@fc.hp.com (Marc Sabatella)
Subject: Re: MINGUS favs.
Date: Tue, 6 Oct 1992 19:57:00 GMT
Reply-To: marc@hpmonk.fc.hp.com
Organization: Hewlett-Packard Fort Collins Site
X-Newsreader: TIN [version 1.1.2 PL6]

: I am about to expand my Mingus CD collection (stands at 1 for the moment) and
: would like to know people's favourites (and one's to avoid). Any good CD box
: sets? Anythings about to be released? Please email.

It would help if you told us what the one that you had was, whether you liked
it, and what else in general you like.

For me, the definitive Mingus is "Charles Mingus Presents Charles Mingus", with
Eric Dolphy on saxophone/bass clarinet.  More than any other album in the
world, this one makes me want to put a working band together and go on tour,
doing this kind of semi-structured yet free yet bluesy music.  Next would be
anything else from that group, such as "Live At Antibbes", although the jam
session-ish recordings with Roy Eldridge are pretty weak, in my opinion.

--
Marc Sabatella
marc@hpmonk.fc.hp.com