HDTenEightyP/NetNews huggingface dataset:
From: gidi@Hilbert.Stanford.EDU (Gidi Avrahami)
Subject: Re: The Tonight Show
Organization: Brotherhood Of Breath
Date: Sat, 9 Jan 1993 16:24:48 GMT

ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:
>Duhhh.

Exactly.

>Oprah doesn't set out to have anything with art.  Leno does, by
>selecting Branford, and did, by making it a point of mentioning Diz.

Leno sets out to have something with art?  And the proof is that
he has Branford on the show?

Geez, the concept of art has really changed in the last year, and I
missed the revolution..  I guess I should stop reading books and watch
more TV.

And Mr. Beer -- I'm sorry if you think I have implied that you don't
have a right to criticize Leno and the Tonight Show.  But what you did
was suggest that aliens should blow up this whole planet because of
Leno's shortcomings as a commentator on jazz.  And I don't see why I
and my loved ones should die a horrible death just because you have
unrealistic expectations from the medium of late night television.

Have a nice week.


--Gidi
From: oien@teledec3.NoSubdomain.NoDomain (Geir Oien-dr.ing student)
Newsgroups: rec.music.bluenote
Subject: Re: William Clarke
Date: 12 Jan 93 15:29:28 GMT
Organization: Norwegian Institute of Technology

William Clarke's newest Alligator CD is called "Serious Intentions". Besides
"Blowin' like hell" that's his only one on that label.

	-Geir "Blues Boy" Oien.
From: moorera@HYDRA.ROSE-HULMAN.EDU (Ryan A Moore)
Newsgroups: rec.music.bluenote
Subject: Re: YellowJackets former Sax player. Where is he now ?
Date: 12 Jan 93 00:20:58 GMT
Reply-To: moorera@HYDRA.ROSE-HULMAN.EDU
Organization: Rose-Hulman Institute of Technology
NNTP-Posting-Host: hydra.rose-hulman.edu

In article <16B539C87.US30139@VM.CC.LATECH.EDU>, US30139@VM.CC.LATECH.EDU writes:
> 
>OK, so who is playing sax with the YellowJackets now?  I own 2 YJ albums--
>Four Corners and Samurai Samba--and love them and Russo's playing on them.

Currently, the groups consists of Russell Ferrante (keyb), Jimmy Haslip (bass),
William Kennedy (drums), Bob Mintzer (ten/sop sax, Bass clarinet, EWI).  This
is the group that appears on the LIVE WIRES album.  There are usually an
asssortment of guest musicians that appear on their albums as well...

>Is their other stuff as good as these 2 albums?

Well, LIVE WIRES is a retrospective album... they play many of there older
hits, just with more energy and a new woodwind type guy.  No doubt, Mintzer is
NOT Russo.  Not even close.  But I don't mean this in a bad sense.  He just has
a different style.  I personally love it when Mintzer solos on Bass Clarient. 
He's able to make it scream like a tenor sax.  It's very unique.  There newest
album (which I've heard is supposed to be released in another couple of weeks)
I've heard is sort of like their Greenhouse album.  The style is different than
Four Corners of Samurai Samba, but as long of Ferrante is still writing as well
as he always has...  I love it!
 
>mikejames (US30139@VM.CC.LATECH.EDU)
> 


-Ryan
-------------------------------------------------------------------------------
|  Ryan A. Moore			|	  Rose-Hulman Institute       |
|  moorera@rosevc.rose-hulman.edu       |             of Technology           |
|  Assistant VAX/VMS Manager...         |            Terre Haute, IN          |
------------------May use a VAX, but I still love my Apple IIgs!!--------------
Newsgroups: rec.music.bluenote
From: will@ogre.cica.indiana.edu (William Sadler)
Subject: Re: Benny G.; racist?
Organization: Indiana University
Date: Tue, 12 Jan 1993 17:06:39 GMT

In <1it5ncINN323@hpfcbig.sde.hp.com> mjs@fc.hp.com (Marc Sabatella) writes:

>On the other hand, I have to wonder what Elvis could have done differently.
>With theivery, there is usually the conscious effort to take something you know
>doesn't belong to you, and incidentally deprive someone else of it.  It is not
>clear to me that Elvis did anything wrong by playing rock&roll, and it is also
>not clear to me that it is his fault a lot of people idolized him.

Elvis did indeed "steal" a lot of the stylistic elements of r&b on his
first few recordings. A friend of mine named Susan Richardson did a comparison
of Elvis's first covers with those of both blacks and whites and found that
he did do a blending of the two styles (hillbilly music with r&b).  I
think that this blending may have been the result of the producer and not
necessarily Elvis's "artistic" decision though.

Whether Elvis, or Benny Goodman, or Leonard Bernstein "stole" anything is
not important.  All composers are thieves at some level because of the
importance of borrowing to the development of musical styles.  What I find
more interesting is how the culture of America and the world perceived the
music differently when it came from a white performer than from  black 
performer.  Like you say, it isn't really Elvis's fault that a lot of
people idolized him.  To try and lay blame on Gershwin or Goodman or
Paul Whiteman at this point is silly.  They were only participating in
the _business_ of music as they saw it.

Will 
--
***************************************************************************
*   _______________\|/_      Will Sadler     will@cica.indiana.edu        * 
*   Laser 44888    /|\                       sadler@iubacs.bitnet         *     
***************************************************************************
From: mjs@fc.hp.com (Marc Sabatella)
Newsgroups: rec.music.bluenote
Subject: Re: Benny G.; racist?
Date: 12 Jan 1993 17:57:02 GMT
Organization: Hewlett-Packard Company
Reply-To: marc@hpmonk.fc.hp.com
NNTP-Posting-Host: hptrane.fc.hp.com
X-Newsreader: TIN [version 1.1.4 PL6]

William Sadler (will@ogre.cica.indiana.edu) wrote:
: 
: Elvis did indeed "steal" a lot of the stylistic elements of r&b on his
: first few recordings.

Undoubtedly.  But in what he sense did he deprive someone else of it?  By that
token, every jazz musician has "stolen" from Pops, Duke, Bird, Miles, and
Trane, but no one really complains.  The difference is that the guys I just
mentioned still get credit for their "inventions", while the true "inventors"
of rock&roll might not have.  Put another way: I couldn't care less if Elvis
played unoriginal music, as long as he doesn't take credit for it.  It seems
Elvis has received a lot of undeserved creidt, but it is not clear to me that
Elvis did anything (other than be white and play the music) to deliberately
"steal" any such credit.

--
Marc Sabatella
marc@hpmonk.fc.hp.com
--
Amendment 2 Is Legalized Discrimination - Shame On You, Colorado
--
"Neither the State of Colorado ... nor any of its municipalities ... shall ...
 enforce any ... ordinance ... whereby homosexual, lesbian, or bisexual
 orientation ... shall ... be the basis of ... any ... claim of discrimination"
--
All opinions expressed herein are my personal ones
and do not necessarily reflect those of HP or anyone else.
From: gwl@specialist.genrad.com (Glenn W. Lea)
Newsgroups: rec.music.bluenote
Subject: Sun Ra
Date: 6 Jan 1993 08:02:22 -0500
Organization: GenRad, Inc.
NNTP-Posting-Host: specialist.genrad.com

Sun Ra Alert!

New issue of Goldmine (Jan 22, 1983, Steely Dan cover) has a major
article about Sun Ra -- 11+ tabloid-sized pages counting the jumps, a
discography, etc written by Robert Campbell, (who did the discography
that was on the net recently, right?).  Lotsa nice pics, too.
From: gwl@specialist.genrad.com (Glenn W. Lea)
Newsgroups: rec.music.bluenote
Subject: Re: Hello!,NEW TO News Group
Date: 11 Jan 1993 14:29:24 -0500
Organization: GenRad, Inc.
Distribution: na
NNTP-Posting-Host: specialist.genrad.com
Summary: Criss


On 11 Jan 93 18:15:00 GMT,
mingus@cbnewsl.cb.att.com (Damballah Wedo) said:

M-FS> Welcome to rec.music.bluenote. Given your particular expertise, what
M-FS> can you tell us (well, me :-)) about Sonny Criss, Harold Land and
M-FS> other so-called "black California" jazz musicians?

M-FS> I know next to nothing about Criss except that he plays on an
M-FS> anthology called BLACK CALIFORNIA that gary Giddins raved about 
M-FS> once and which I've never seen in stores.

Sonny Criss' "Sonny's Dream - Birth of the New Cool" is an amazing set
of music written and arranged by Californian Horace Tapscott.  It was
reissued as an OJC about a year ago and I recommend it highly.  Criss
plays some searing soprano and alto against a fairly large ensemble.
Not at ALL Cool Jazz in the normal sense.

BTW, there's a fairly new UK jazz magazine called, I think, "Jazz
Magazine".  I believe it's a product of disgruntled ex-Wire
contributors.  Anyway, they just ran a two-parter on West Coast Jazz
written by Braxton biographer Graham Lock.  One part dealt with Criss,
Tapscott and Bobby Bradford.

Glenn
From: bweiner@ruhets.rutgers.edu (Benjamin Weiner)
Newsgroups: rec.music.bluenote
Subject: Re: On Drugs, Bebop and The Wire
Date: 8 Jan 93 18:21:24 GMT
Organization: Rutgers Univ., New Brunswick, N.J.

Jeff Beer writes:
>I hereby move that we should rename this newsgroup:

>	rec.music.bluenote.inquirer

Well I was away for most of this discussion, but I gotta agree with what I 
think Jeff is saying: I feel pretty uncomfortable gossiping about living 
musicians as users/ex-users, because most of this is based on rumor and the
possibility of smearing someone is great.  There are already enough links
between jazz and drugs in most people's minds, some false; for example, I
(and others I know) used to think that Coltrane died of OD'ing, but his death
was only indirectly due to drug use.  And so on.

That said, I hate our current climate of Demon Drug (except alcohol and 
tobacky) hysteria, which is guaranteed to make drug use seem cool and a 
way to set yourself apart from a society whose values you don't share and 
which doesn't value you.  And society never does seem to value its artists -
then, drug use is a way of both escaping and saying "fuck you!" to that.
Not to mention the drunken genius artist stereotype (William Faulkner,
Jackson Pollock, etc.)  And the ever-loving Mafia.  And it's not like the
Mr. Suits care.  From a Nixon or Reagan's point of view, I bet they'd
rather deal with an addict than a Black Panther.

BUT drug addiction has fucked up a lot of great people, and killed many of 
them, and that's why it's so disappointing to hear that heroin is making
a comeback, on the jazz scene *and* in the underground rock scene.  I bet
one of the reasons is that heroin used to have The Killer Drug rep but crack
has supplanted it, as if H were innocent by comparison.  I leave you with
a quote:

 (Professor) Archie Shepp: "Scag ain't dope it's death!"

(from New Thing at Newport)

-Ben
From: bt979@cleveland.Freenet.Edu (Jeff Preston)
Newsgroups: rec.music.bluenote
Subject: Re: The Tonight Show
Date: 9 Jan 1993 17:46:39 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, gidi@Hilbert.Stanford.EDU (Gidi Avrahami) says:

>And Mr. Beer -- I'm sorry if you think I have implied that you don't
>have a right to criticize Leno and the Tonight Show.  But what you did
>was suggest that aliens should blow up this whole planet because of
>Leno's shortcomings as a commentator on jazz.  And I don't see why I
>and my loved ones should die a horrible death just because you have
>unrealistic expectations from the medium of late night television.

  Yeah, I can think of dozens of better reasons for which aliens should
toast the earth.  Leno dissin' Diz (whether intentionally or not) falls way
short on my list. At least Beer made a relevant point: If you're gonna do
something, don't skimp -- his heart was in the right place, even if his
words were not.

  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: gidi@Hilbert.Stanford.EDU (Gidi Avrahami)
Subject: Re: hep cats and their music (was: On Drugs, Bebop and The Wire)
Organization: Brotherhood Of Breath
Distribution: na
Date: Mon, 4 Jan 1993 23:38:53 GMT


>The music is wonderful, but the lifestyle had its costs.

Bix Beiderbecke: the music is wonderful, but the lifestyle had its costs.

James Dean: the acting is wonderful, but the lifestyle had its costs.

Robert Maplethorpe: the photography is wonderful, but the lifestyle
had its costs.

Evariste Galois: the algebra is wonderful, but the lifestyle had its
costs.

Marcel, Sandeep and Nancy Reagan: the lifestyle is wonderful, but...


--Gidi
From: aalpern@hamp.hampshire.edu
Newsgroups: rec.music.bluenote
Subject: ALbert King Reccomendations
Date: 6 Jan 93 16:08:25 EDT
Organization: Hampshire College
NNTP-Posting-Host: hamp.hampshire.edu


Sorry I don't have my albums nearby, so I don't have the catalog #'s,
but some of the best Albert King (also some of the best blues ever recorded-
and it's funky two) are Albert's albums on the Stax and Stax/Volt labels.

Names to look for are "Lovejoy" - Superb! Includes a cover of the Rolling
	Stones "Honky Tonk Woman" - I think it surpasses the original.
	Check out "Going Back to Iuka" on that album for pure groovin'
	booty-movin' funky blues.
	-"I Wanna Get Funky" How can you resist an album with a title like
	that. The title track is a beautiful mid-tempo minor blues. This
	album's got horns on it. If memory serves me correctly, "Lovejoy"
	doesn't. Booker T and the MGs are the backup band for most of
	Albert's work on Stax I believe.
	-"Jammed Together" This is not an Albert King album per se, but a
	collaboration between Steve Cropper, Pop Staples, and Albert. I'm
	pretty sure this one is NOT available on CD, but it's worth getting
	on album or cassette, because it is one SWEET album. There are three
	vocal tunes (each one of them did one vocal), and seven instrumentals.

Albert was a master, and he will be sorely missed...
-Adam
aalpern@hamp.hampshire.edu
Newsgroups: rec.music.bluenote
From: elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott.New)
Subject: Re: Red Devils : Automatic
Organization: NCR E&M Columbia SC.
Date: Thu, 07 Jan 93 18:35:51 GMT

In article <93006.181054MURPH@MAINE.MAINE.EDU> MURPH@MAINE.MAINE.EDU (M.A. Murphy) writes:
>In article <6834@tuegate.tue.nl>, marcor@blade.stack.urc.tue.nl (Marco Rentier) says:
>>
>>I recently bought the album by the Red Devils (their music is like the
>>Fabulous
>>Thunderbirds) with the song "Automatic" on it. Due to the singers great , but
>
>Hmm...  I'm sorry, but I don't think of the Fab. T-Birds when I listen to
>_King King_.  To me, that's like saying Mick Jagger and Enya sound alike.
>The Red Devils have an extremely raw sound and feel.  The T-Birds are
>(on record) overly polished by comparison.  Apples and Oranges, I say.
>

I'd agree with that.  Especially considering the current T-Birds directions.
The very early T-Birds stuff is a little closer... esp. the 1st album
_Girls_Go_Wild_.  

I think the Red Devils stuff kicks butt!  That is some RAW blues.

Now Kim Wilson has cut some really raw stuff w/Ronnie Earl.

>On another note, Kim Wilson of the aforementioned T-Birds has cut a solo
> album for Antone's which will be released this spring (March or so).

Can't wait to see what that is all about.  The Jimmy Rogers record that
Kim Wilson played on (__Ludella__) is awesome!  Great traditional BLUES
playing.

Just my 2 cents,
Elliott New
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Newsgroups: rec.music.bluenote
Subject: Re: The Tonight Show
Date: 8 Jan 1993 17:10:54 -0600
Organization: Educational Computing Network
NNTP-Posting-Host: uxa.ecn.bgu.edu

In article <1993Jan8.174815.21429@CSD-NewsHost.Stanford.EDU> gidi@Hilbert.Stanford.EDU (Gidi Avrahami) writes:
>ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:
>>If this planet got nuked tommorow by jazz loving extra-terrestials, 
>>I wouldn't be sad.
>
>What slays me is that, instead of playing your own Dizzy records
>and doing your own tribute, you sat there watching The Tonight Show like 
>a vegetable and expected *them* to run a tribute *for you*.
>
>Bitching about the lack of high quality jazz programming on the
>Tonight Show is pretty stupid, don't you think?  Might as well
>complain about Oprah not featuring enough discussions on Pre-Raphaelite
>painting.

You are right, I am into the veggie thing all the way.
I want to thank Gidi for pointing that out.  It is amazing how much I
have been able to fool people over the years.
It never entered my mind when I see something in the media concerning jazz that
I had the right to evaluate it or criticize it or make fun of it. 
Or that I just hoped to see someone in the media give a nice tribute to 
one of the artists that I have respected so much over the years.
I was just too clueless to go to my stereo system and find a CD to put
on.  Or else, the reason I was looking to Leno for the definitive Dizzy
tribute was that all my Diz records are scratched.

Duhhh.

Oprah doesn't set out to have anything with art.  Leno does, by
selecting Branford, and did, by making it a point of mentioning Diz.
He has had some decent jazz things on, within the limited format of his
show.  The Diz thing sucked.

Jeff
Newsgroups: rec.music.bluenote
Subject: Re: Blues: Albert King
From: raa@wndrsvr.la.ca.us (Ramon Lopez)
Date: Tue, 5 Jan 1993 07:05:17 GMT
Organization: Wonder Server - Public Access for SoCal

jsulliva@amstel.prime.com (Jeff Sullivan) writes:
 
> I was not reading this group when this news hit, so pardon me if I'm
> being redundant....
> 
> I was sorry to read in the paper (a week or two ago) that blues guitar
> legend Albert King died. I do not own any of his recordings, but I do
> know that he was a great influence on Stevie Ray Vaughan, Eric Clapton
> and others. In the article, they described his sound and his playing
> technique. I was surprized to see that he played left-handed, but even
> more surprized to read that the guitar was not restrung! If this was
> true (it appeared to be in the picture), then he truly played it
> upside-down!
> 
> I know that other famous left-handers (Jimi Hendrix, most notably) have
> played right-handed guitars, but they appear to be restrung. That is,
> the thickest string is always on top.
> 
> Is anyone else (lefty or righty) using this technique?
> Any recommendations for Albert King recordings (on CD)?
> 
> Thanks,
> 
> Jeff Sullivan | Computervision Corp. | jsulliva@cvbnet.Prime.COM
> CADDS R&D     | Bedford, MA    01730 | sun!cvbnet!jsulliva

I play lefty ... but I do know how to play with the strings upside down,
like Albert King does ... Mainly because Albert King was one of My
favorite blues guitarists, and I pretended to be him. Jimi Hendrix could
also play with the strings upside down ... I have a pic of him doing it
... and yeah ... I always thought it was a bit odd ... but I also liked
the uniqueness of it ...

    __ ___ ________/\_____  ___ ___ ___ ___ ___
    \//___\\__  ___/\____/\/__//__//__//__//__/\
 ____//__//\\/ /\__\/\___\/\__\\__\\__\\__\\__\/ raa@wndrsvr.la.ca.us
/________/ //_/ / DigiT.W.I.T. Ink. UnLtd. '93! Wheeze Bee JPL!!!
\________\/ \_\/  Pffffttt!!!...Pop!!!...Bang!!!.....Etc.!!!?


[*> Management may or may not agree with the above comments.
[*> Wonder Server; Just Waffling around... Call 1-310-370-3069
Newsgroups: rec.music.bluenote
From: jeff@digicomp.com (Jeff Carroll)
Subject: Re: Johnny Hartman
Organization: DIGICOMP RESEARCH CORPORATION
Date: Wed, 6 Jan 93 18:37:10 GMT

Nina Silk writes

  A few years ago I first heard Johnny Hartman on the 
  John Coltrane & Johnny Hartman recording. It's so terrific
  and I've wanted to follow up and hear more of him but 
  I don't know what titles to look for.  Any suggestions?

Since I haven't seen any responses, Ill chime in..

I first heard Johnny Hartman when I picked up that Coltrane
record and of course it's his best. Afterwards, I bought a
few LPs (for the most part used) of Hartman's and the only
one that comes to mind as having the same sort of feel is
one that was also an Impulse recording called "I Just Dropped
By To Say Hello".  Illinois Jacquet fronted the band playing
with Hartman and, although I don't recall who else was on the
record, I'm pretty sure it was a small group -- the other Hartman
records seemed to be with larger bands.

In addition, I think that I saw the album in CD format some time
last year.

-- Jeff 
                                                          
-- 
 Jeffrey Carroll            | "...Murphy's Law... that brash Irish 
 Digicomp Research Corp.    |  proletarian restatement of Godel's Theorem."
 Ithaca NY                  |                           -- Thomas Pynchon
Newsgroups: rec.music.bluenote
From: tony@microware.com (Tony Hoffman)
Subject: Re: "Jazzy" blues followup
Organization: Microware Systems Corp., Des Moines, Iowa
Date: Mon, 4 Jan 1993 15:58:07 GMT

In article <C02wy6.91o@hfglobe.intel.com> dcovell@hfglobe.intel.com (David Covell) writes:
>
>In response to my query about guitar-driven blues with a jazz flavor, many
>of you recommended Robben Ford; I bought his "Talk to your Daughter" last
>week, and while it's a step in the right direction it's not what I'm looking
>for. 
>He has great tone and taste, but the closest he approaches to a jazz feel
>is on "Ain't Got Nothin' but the Blues", at least on this album.
>This is a good album, and it's refreshing to hear someone play blues with
>such a nice tone and unconventional licks, but it's lacks the jazz flavor
>I'm looking for.
>Any other recommendations?

You might try one of Clarence "Gatemouth" Brown's recent cd's.  He plays
guitar and fiddle, and his band has a couple of horn players.  He mostly
plays original material, but when I saw him live he threw in a number of
jazz standards.  I hope this helps.  Good luck.

Tony.
From: ray@unisql.UUCP (Ray Shea)
Newsgroups: rec.music.bluenote
Subject: Re: ALbert King Reccomendations
Keywords: Albert King recommendations
Date: 8 Jan 93 18:39:36 GMT
Distribution: world, rec, usa
Organization: UniSQL, Inc., Austin, Texas, USA

In article <1ik9e2INN89g@smaug.West.Sun.COM> jimh@pongo.Eng.Sun.COM (jim hori) writes:
>If you can find it (I made this recommendation the first time
>this discussion came up) perhaps the definitive showcase of
>Albert's guitar soloing is the 5 minutes plus version of
>"Cold Sweat", available on a Stax 7" single b-side: chorus
>after chorus after chorus of string bending fury.


Wouldn't that be on the Stax singles box set?  I was under the impression that
the set was complete, including b-sides.

Next paycheck I'll be able to afford it, I swear.


-- 
Ray Shea                                      
UniSQL, Inc.                             Sometimes I feel like a blue dog.
unisql!ray@cs.utexas.edu                                     -- The Blue Dog
DoD #0372 -- Team Twinkie -- '88 Hawk NT650
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Newsgroups: rec.music.bluenote
Subject: Re: Dizzy's Passing
Date: 12 Jan 1993 12:18:54 -0600
Organization: Educational Computing Network
Distribution: na
NNTP-Posting-Host: uxa.ecn.bgu.edu

In article <1993Jan12.173043.25076@CSD-NewsHost.Stanford.EDU> gidi@Hilbert.Stanford.EDU (Gidi Avrahami) writes:
>ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:
>>Speaking of Louis Armstrong and Diz, I have on video a clip of them
>>trading fours.
>
>There was a PBS show about the jazz trumpet a few years ago (narrated
>by who else, Wynton Marsalis) and they showed a very short clip of DG
>with LA, but it was very short and they scatted rather than blew. The
>song was "umbrellas", or whatever it's called.

I think it was a special on Louis Armstrong, they had Lester Bowie in
there.  But on this clip, they definitely were playing trumpet.

>two of them played together very rarely.

No doubt.  I understand Ornette knew Louis Armstrong and was at that
famous birthday party.  When Ornette wasn't invited to the funeral, he
called up and got himself invited. 

Jeff
Newsgroups: rec.music.bluenote