HDTenEightyP/NetNews huggingface dataset:
From: jay@unlv.edu (Jay Nietling)
Subject: Re: Blues: Albert King
Organization: unlv cs
Distribution: usa
Date: Sun, 3 Jan 93 10:01:42 GMT

In article <4524@cvbnetPrime.COM> 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

yes.

>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

albert played upside down.  otis rush plays upside down. little  jimmy
king, a youngster  who spent some time  in albert's  band and took his
name, plays the  same way.  don't  know if they tune their instruments
the  same  way.   there  must be others (someone  said koko  montoya).
almost  forgot,  i think magic sam  played left handed. not sure about
the strings...

the  albert cds are all missing from the office  for  some  reason  so
recommendations  later.   _little  jimmy  king  and  the memphis  soul
survivors_ is on bullseye blues/rounder cd bb 9509.

-jay
jay@cs.unlv.edu
Newsgroups: rec.music.bluenote
From: corman@Ingres.COM (Anthony Corman)
Subject: Re: On Drugs, Bebop and The Wire
Reply-To: corman@Ingres.COM (Anthony Corman)
Organization: Ask Computer Systems Inc., Ingres Division, Alameda CA 94501
Date: 30 Dec 92 21:54:15 GMT

In response to Sandeep's response:

I'm anti-drug in principle, and was not trying to reinforce
any heroin myths. The fact is that a very accomplished musician
reported to me that he felt he heard better behind heroin. Maybe
drugs open some doors for some people at some times; never did
anything for my playing, so I don't mess with it. However, there
was a connection, and it's interesting and instructive to read
reports from guys like Dexter and Gerry Mulligan and Miles,
who were there. Strong peer disapproval is probably the best 
weapon: get Mike Brecker on some anti-drug poster and stand back.

Newsgroups: rec.music.bluenote
From: kopti@seas.gwu.edu (Juzer T. Kopti)
Subject: LOCKED HORNS QUERY
Organization: George Washington University
Date: Tue, 29 Dec 1992 20:17:33 GMT

  Hi, I wanted some information.I have a record (not listed in
 none of the jazz books that I've read) called "LOCKED HORNS"
 by GERRY MULLIGAN & JOHNNY HODGES.Could anyone give me the
 complete history of this recording if possible?
				Thanks in advance
			
						JUZER KOPTI

Newsgroups: rec.music.bluenote
From: wjh@cbnewsl.cb.att.com (william.j.hery)
Subject: Re: Monk "book"
Organization: AT&T
Distribution: na
Date: Sun, 3 Jan 1993 21:42:02 GMT

smehta@nynexst.com writes:
>In John Swenson's liners to Steve Lacy's RAPS (Adelphi) it says that
>at one time Lacy and his group were playing the *entire* Monk "book"
>of 53 compositions and nothing else.
> 
>I've always wondered how many compositions Monk wrote. Somehow, 53
>seems like a small...

I thought a band' (or musicians's) "book" was the collection of music that
they might play on a gig, not all the compositions, but I'm not sure how
well defined the term is.

But Monk was not that prolific a composer; he tended to play and record
many of his early compositions over and over. His genius was not only in
the compostions, but the way he could keep reworking them for decades and
always make them sound fresh. Just look at what he played on his first 2
Blue Note sessions in 1947: Ruby My Dear, Well You Needn't, Off Minor,
In Walked Bud, Monk's Mood, Round Midnight--all of which remained in 
his "book" and were recorded mainy times over the year--plus Introspection 
and a few standards.

A quick look at the Monk discography included in the Mosaic Monk box
lists a little over 70 Monk compositions that he recorded; 53 were
recorded by some time in the mid-late 50s, which was when Lacy was
most seriously into Monk, so at the time Lacy learned the "book" that
might have been all than Monk had composed.

Bill Hery
AT&T Bell Labs
201-386-2362
hery@att.COM
Newsgroups: rec.music.bluenote
From: simpson@cactus.org (Randall L. Simpson)
Subject: Re: Ellington suggestions
Organization: Capital Area Central Texas UNIX Society, Austin, Tx
Date: Tue, 29 Dec 1992 04:43:29 GMT

In article <1992Dec28.174652.7731@news.columbia.edu> jte@beefheart.cc.columbia.edu writes:
>No one's collection should be lacking the following:
>
>Money Jungle -- Duke Ellington, Charles Mingus, and Max Roach
>
>This would probably be my single desert island disk, if I had to pick one.  
>
>This recording really gives you a chance to hear Duke play some heavy shit  
>on the piano.  And you can guess how Mingus and Roach are.  The  
>combination works beautifully.  All Ellington compositions.    
>
I agree wholeheartedly.  I had no idea Duke could play so much piano.
My impetus to purchase the album was hearing Mingus and Roach in a trio.
Ellington's piano blew me away.  All three play their asses off.


-- 
*-----------------------------------------------------------------------------*
Newsgroups: rec.music.bluenote
From: smehta@kwela.nynexst.com (Sandeep Mehta)
Subject: Re: Those Cadence CD sleeves
Reply-To: smehta@nynexst.com
Organization: Speech Technology, AI Lab, NYNEX S&T Inc, White Plains, NY
Distribution: rec
Date: 21 Dec 92 10:25:40


> mcgonig@eeserv.ee.umanitoba.ca (Gordon McGonigal) writes:

> I hate them so much I don't think I'll buy any more of Cadence's
> own productions except on the condition that they send it with a
> jewel box.

Well instead of depriving yourself of much good music you could pick
up empty jewel cases at almost any record stores. Tower asks for
$0.80 each. Useful to have some spares around.

/sandeep
--
smehta@nynexst.com
--
        "This space of time is organized. We need not fear these
	 silences, -- we may love them." -- John Cage, Silences, 1961.
Xref: sparky rec.music.bluenote:9576 rec.music.makers:11600
From: burdick@frostbite.crd.ge.com (William E. Burdick KWC-1623 5585)
Newsgroups: rec.music.bluenote,rec.music.makers
Subject: HELP! - Considering Selmer VI purchase ... need opinions
Keywords: Saxophone Selmer VI
Date: 23 Dec 92 18:13:52 GMT
Distribution: usa
Organization: GE Corp. Research & Development, Schenectady, NY

December 23, 1992

I know its the holidays and there aren't many net readers at this
time of year but I need help, quickly ...

I am a beginner tenor player (been playing for about a year); I
own a 1926 Pan American - its a student model made by Conn back
during the "roaring twenties"; its a great sax for a beginner, like
me, but I knew the day would come when I'd get the upgrade fever.

I have a chance to buy a Selmer Mark VI and although I realize that
(i) a Selmer Mark VI in my hands is kind of like feeding stawberries
to pigs and (ii) better equipment doesn't make better players; I
also know that (a) I'll probably be a sax player for the rest of my
life [I LOVE it!] and (b) when opportunity knocks, one better answer.
If I'm right about (i), (ii), (a), and (b) then now is just as good
a time as any (maybe better?) to grab a good tenor.

I'd like opinions about the sax and my playing and purchase philosophy.

SAX SPECS (this is all I know ... haven't had a chance to see/play it)
----------------------------------------------------------------------
- Selmer Mark VI
- $2650 (that seems somewhat high ... what's the range on these things?)
- vintage 1969 or 1970 (not sure, yet)
- Serial #: S190850
- Original laquer, new pads (with tone boosters?)
- few dings, some pitting, no obvious dents
- history: hand picked for current owner by J.R. Monterose
           (a player of some national prominence ... hails
            from Utica, NY).  Current owner recently upgraded
            to ?  Also, current owner uses same repair shop as me
            and took lessons with my instructor about fifteen years
            ago i.e. the current owner is a straight shooter, so to
            speak.
- comes with case (case will hold sax, clarinet, and flute)


I intend to try the sax and because of my limited abilities, let
my instructor and repair guys give it a test drive of their own.

Please reply, at your earliest convenience (I don't know how many
people I'm competing with), to: burdick@frostbite.crd.ge.com

Thanks and Happy Holidays,
Bill Burdick

burdick@frostbite.crd.ge.com
Newsgroups: rec.music.bluenote
From: hampel@siemens.com. (Ken Hampel)
Subject: Re: Ellington suggestions
Organization: Siemens Corporate Research, Inc., Princeton, NJ
Date: Mon, 28 Dec 1992 21:41:11 GMT

In article <1992Dec28.174652.7731@news.columbia.edu> jte@beefheart.cc.columbia.edu writes:
>
>Miles Davis once panned a selection from this recording in a Blindfold  
>Test.  When they told him who it was, he responded "What's Duke doing  
>playing with Mingus?  This is terrible."  I have great respect for Miles  
>as a musician, composer, and curator of great bands.  However, I don't  
>take much stock in his abilities as a critic.

Regarding Miles' critic abilities:
When I read Miles' autobiography, I was really surprised to hear him
give so much praise and admiration towards Prince. I like some of Prince's
stuff but I don't think I could put him in a musical genious category
as I believe Miles does.

Newsgroups: rec.music.bluenote,alt.config,misc.misc
From: noring@netcom.com (Jon Noring)
Subject: CFD: Enough Interest Out There To Form a 1920's-30's Jazz/Dance/Big Band Newsgroup?
Summary: E-Mail me if you'd like to see it formed.
Organization: Netcom Online Communications Services (408-241-9760 login: guest)
Date: Mon, 21 Dec 1992 18:37:34 GMT

Hello,

The title says it all.  I'm seriously considering creating an alt.*
newsgroup whose purpose is to discuss all aspects of 1920's and 30's jazz,
dance and big band music.  Discussion would include discographical
information, CD sources, discussions about various jazz artists, modern
orchestras today who are recreating the 20's and 30's sound (and I'm not
referring to Dixieland which is not a true 20's and 30's sound), etc., etc.

Though the official intent of rec.music.bluenote is to be all-inclusive (and
it is a good newsgroup), it is obviously oriented towards post-War jazz and
blues, effectively stifling discussion of the pre-War era by sheer volume of
posts.  I don't even read (and rarely post) to rec.music.bluenote for this
reason.  Thus I see a potential need for a separate newsgroup (find a need
and fill it, right :^) ).

If you have an avid interest in the 20's-30's jazz/dance/big band music,
and you'd like to see this newsgroup created, let me know.  If I get 20 or
more people interested, then I will create the newsgroup.  If not, then it
is not worth creating it since a critical number of people is needed to keep
any newsgroup "alive".


What should we name it should there be enough interest?  Some ideas:

alt.music.early-jazz
alt.music.1920-40
alt.music.20's-30's  (kind of hard to type out)
alt.jazz.early
alt.jazz.1920-40

etc.


--->Other newsgroup names are also possible, I'd like to hear your ideas.


I look forward to the discussion and newsgroup name suggestions.


Jon Noring


(p.s. Why an alt.* group and not a rec.music.* group?  Because I don't believe
that it would be possible - the Herculean requirements for creating a rec.*
group would be too difficult, in my opinion, to fulfill.  If somebody else
would like to try, they are free to do so, but I'm not going to even attempt
it, so don't even ask me  "Well, why don't you make it a rec.* instead...?".
Sorry for sounding so rude, but those are the facts as I see's them.)

-- 

Charter Member of the INFJ Club.

Now, if you're just dying to know what INFJ stands for, be brave, e-mail me,
and I'll send you some information.  It WILL be worth the inquiry, I think.

=============================================================================
| Jon Noring          | noring@netcom.com        | I VOTED FOR PEROT IN '92 |
| JKN International   | IP    : 192.100.81.100   | Support UNITED WE STAND! |
| 1312 Carlton Place  | Phone : (510) 294-8153   | "The dogs bark, but the  |
| Livermore, CA 94550 | V-Mail: (510) 417-4101   |  caravan moves on."      |
=============================================================================
Who are you?  Read alt.psychology.personality!  That's where the action is.
From: jajo@e.kth.se (Jan Johannesson)
Newsgroups: rec.music.bluenote
Subject: GIFs & XBMs
Date: 1 Jan 93 02:12:44 GMT
Reply-To: jajo@e.kth.se (Jan Johannesson)
Organization: KTH, Royal Institute of Technology, School of Electrical Engineering

I remember that someone informed about an archive with Jazz-pics.
Can anyone tell me where to get these pictures. Please...

And of course.....a Happy New Year

Jan Johannesson			|	"Man kan har roligt utan sprit,
jajo@e.kth.se			|	 bara man har en korv av skit"	
The Royal Institute		|	 
of Technology			|	 	Tycho Brahe, 1546-1601
Newsgroups: rec.music.bluenote
From: sbyrd@athena.mit.edu (Samuel D Byrd)
Subject: Ellington suggestions
Keywords: Ellington
Organization: Massachusetts Institute of Technology
Date: Wed, 23 Dec 1992 18:53:05 GMT

For Nik Subotic, who asks where to go from 50s and 60s Ellington:

To get a different perspective on the career and music of Duke
Ellington, I recommend that you start at the beginning with the 20s
and early 30s: (everything listed here is available on CD)

Early Ellington (1927-1934)  --Bluebird
Jungle Nights in Harlem  --Bluebird
Jubilee Stomp  --Bluebird

The Brunswick Era Volume 1  --MCA
The Jungle Band--Brunswick Era Volume 2  --MCA

The Okeh Ellington  --Columbia

Then move on solidly into the 30s with:

Reminiscing in Tempo  --Columbia (includes the 1932 masterpiece
"Reminiscing in Tempo")
The Duke's Men--Small Groups Volume 1 --Columbia
The Swing Years (not sure of this exact title--the second volume of
Robert Parker's BBC Ellington discs--good luck finding this one!)
Braggin' in Brass  --Columbia Portrait

Then culminate your studies with the ultimate Ellington, featuring Ben
Webster on tenor sax, Jimmy Blanton on bass, the great trombone trio
of Brown, Tizol, and Nanton, Barney Bigard on clarinet, Harry Carney
(as always) and Cootie Williams and Ray Nance on trumpet, not to
mention all the other greats:

The Blanton-Webster Years (1940-1942): a MUST for any Ellington fan.

All of this, just for starters.
Also, here's some recommended supplemental reading on Ellington:

Gunther Schuller, _Early Jazz_ and _The Swing Years_.

Hope this helps!----------Sam Byrd  (sbyrd@athena.mit.edu)
From: errol@hpgnd153.grenoble.hp.com (Errol Inan)
Date: Tue, 29 Dec 1992 09:32:55 GMT
Subject: Re: Jazz Pianists, My Funny Valentine ...
Organization: Hewlett-Packard, GND
Newsgroups: rec.music.bluenote


Recently, there was a request for written information on jazz pianist,
specifically their internal state of mind while performing.

While I doubt there exists a book that goes into exactly what was requested by
the original poster, there is one book I can recommend that might be of
interest.

  title: "The Great Jazz Pianists"
  author: Len Lyons

The complete title is "The great jazz pianists: speaking of their lives and
                       music"

Part 2 of the book consists of about 250 pages of interviews with jazz
pianists.  Most of the interviews were taken from Keyboard magazine, Down Beat,
and Musician magazine.

The format of discussion tends to be about 50% technical, 30 historical - gig -
evolution of playing related, and about 10% on moods feeling, etc.

Sample question are (there are hundreds):

- What do you remember most about the pianists who were influences on you?
- What have you noticed about the evolution of the role of the jazz pianist?
- Are you drawn to modal, or tonality-based playing as an alternative to
  playing on the chord changes?
- It sounds as if you're using a lot of flat-ninth intervals for right-hand
  dissonaces.  Where does that come from?
- When did you start playing?
- Who were you influenced by?
- What was it like to play with so and so?
- etc.................

The title is slightly audacious as the pianists interviewed are not ALL the
great jazz pianists, as there are some serious omissions.  It appears that the
criteria for getting into the book was being a great player and having an
interview available from the 3 mags referred to above.  Beyond that, the
interviews are very interesting and I would strongly recommend this book,
particularily for jazz piano players.

Here's the pianists interviewed:

  Teddy Wilson, Mary Lou Williams, John Lewis, Sun Ra, George Shearing, Dave
  Brubeck, Ahmad Jamal, Horace Silver, Oscar Peterson, Red Garland, Jimmy
  Rowles, Paul Bley, Marian McPartland, Billy Taylor, Jaki Byard, Ran Blake,
  Ramsey Lewis, Randy Weston, Bill Evans, Steve Kuhn, McCoy Tyner, Toshiko
  Akiyoshi, Chick Corea, Herbie Hancock, Joe Zawinul, Keith Jarrett, Cecil
  Taylor
Newsgroups: rec.music.bluenote
From: smehta@kwela.nynexst.com (Sandeep Mehta)
Subject: Re: On Drugs, Bebop and The Wire
Reply-To: smehta@nynexst.com
Organization: Speech Technology, AI Lab, NYNEX S&T Inc, White Plains, NY
	<HELLERS.92Dec29140137@cleo.cs.wisc.edu>
Date: 30 Dec 92 11:11:02


> hellers@cs.wisc.edu (Joe Hellerstein) writes:

> According to her, *lots* of the young players in New York are doing
> heroin steadily, including a variety of the bigger names.  This
> came as a big unhappy surprise to me.

Not just the "young" players but even the established ones. Henry
Threadgill is alleged to have a (un)healthy appetite for cocaine.
George Adams was overdoing cocaine among other things. Cecil Taylor
has apparently pissed off quite a few people and he too is rumored to
be more than a casual "user". In these people's cases I find it even
more appalling that they keep shooting it up while their
contemporaries (and 1992 was a particularly bad year) are dying right
in front of them.

/sandeep
--
smehta@nynexst.com
--
        "This space of time is organized. We need not fear these
	 silences, -- we may love them." -- John Cage, Silences, 1961.
Newsgroups: rec.music.bluenote
From: kamine@is.rice.edu (Jorge Hershel Kamine)
Subject: Re: Monk "book"
Organization: Rice University
Date: Thu, 31 Dec 1992 21:38:36 GMT

In article <SMEHTA.92Dec31143345@kwela.nynexst.com> smehta@nynexst.com writes:
>and I refer you to Simpkins' bio again, the story goes that Coltrane
>almost stumbled upon the soprano. Apparently, they were returning to
>NYC from a gig and made a pit stop where one of the (unnamed) sidemen
>got left behind by mistake. Coltrane took his case for safekeeping
>but then decided to open it and found a soprano sax inside which he
>started fooling around with. The rest, I guess, is history :-)
I think this is in conflict with _Chasin' the Trane_.  I can't
remember with a great degree of clarity, but I thought he had
started on soprano in his attempt to play in the range he heard
in his head (i.e., higher than the tenor).  I'll have to go back
and check, but I don't think it was an accident of the type you
sopke of.  In fact, I seem to remember he was impressed with
Sidney Bechet's work on soprano, and that also motivated him.
-- 
*******************************************************************************
*       Jorge Kamine Arreola      * "An eye for an eye leaves two men blind."  
*       email: kamine@is.rice.edu *  -Edward James Olmos   
*******************************************************************************
From: alan@sierra.unr.edu (Alan McKay)
Newsgroups: rec.music.bluenote
Subject: Re: Weird Nightmare (Giddins review)
Date: 24 Dec 92 17:01:46 GMT
Reply-To: alan@wrc.unr.edu (Alan McKay)
Organization: Desert Research Institute, University of Nevada

In article <HELLERS.92Dec14190418@cleo.cs.wisc.edu> hellers@cs.wisc.edu (Joe Hellerstein) writes:

>Well the *stature* isn't the issue here, it's Giddins' perception of
>the musicians' empathy for Mingus' art.  I haven't heard the album,
>and was actually a little surprised that Don Byron's presence doesn't
>alleviate some of the things that upset Giddins.  

IMO, Byron's presence ~does~ alleviate some of those things; regrettably,
however, Byron's presence is somewhat limited. I played the album for the
first time last night, then again this morning before heading out the door;
Byron is featured on a seven minute version of "Work Song" that, on second 
listening, is wonderful.


.....al
w.a. mckay
desert research institute
reno, nevada
Newsgroups: rec.music.bluenote
From: jhale@mentorg.com (Jim Hale)
Subject: Re: ALBERT KING 
Date: Tue, 22 Dec 1992 21:31:57 GMT
Organization: Mentor Graphics Corporation
X-Newsreader: TIN [version 1.1 (scott) PL7]

Michael Difulvio (mdifulvi@bilbo.encore.com) wrote:
: The *King of the Blues* Albert King, died yesterday of heart failure.
: He was 69 years old.
: 
: -- 
:      +-------------------------------------------------------------------+
:      |  Michael P. Di Fulvio                Encore Computer Corporation  |
:      |  Principal Systems Analyst                                        |
:      |  TTACA - Customer Service               mdifulvi@encore.com       |
:      |  Fort Lauderdale, Florida  33313                                  |
:      |                                                                   |
:      |  (formerly Gould Electronics, Computer Systems Division and SEL)  |
:      +-------------------------------------------------------------------+
: 

Any opinions on which of Albert's recordings are the best? I've heard some
of his recordings were attempts at funk/disco crossover and I definately
want to avoid anything along these lines.

--

Thanks,
Jim Hale          jim_hale@mentorg.com          ...!uunet!mntgfx!jhale
From: jerry@hnrc.tufts.edu (Jerry Dallal)
Newsgroups: rec.music.bluenote
Subject: Re: CFD: Enough Interest Out There To...
Date: 23 Dec 92 20:01:19 GMT
Organization: USDA HNRC at Tufts University

In article <will.725124480@ogre>, will@ogre.cica.indiana.edu (William Sadler) writes:

> I think it is a mistake, however, to view the history of jazz in an organic
> sense, or in a sense of large stylistic periods separated by specific dates.
> Woody Hermann was still active after WWII as was Ellington, Basie, and others.
> Does that mean that they were playing a stylistically dead music? 
> 

No, nor does it mean they were playing the same style throughout their 
careers.  I lose interest in Ellington after the mid 30's.  The Duke 
Ellington Orchestra was nothing like the Jungle Band.  Similarly, the Count 
Basie Orchestra was nothing like the early Bennie Moten bands (if I am
permitted a bit of hyperbole).  Not only is jazz organic, but so is the 
playing style of individual performers.

There are trends and periods that can be separated by fuzzy temporal 
boundaries.  The big bands are a good example.  Before 1930 there weren't 
any, but you can start to hear the sound in Moten and Ellington among others
in the early 30's, until by 1940 the sweet sound had all but vanished.  
Much of this is due to the preferences of the audiences.
Taste changes, and large bands and orchestras didn't have much choice but
to accommodate it if they were to stay together.  And now, due to changing 
taste and the economics of it all, big bands are a thing of the past.

(To my ears "big bands:classic jazz::heavy metal:rock'n'roll".)