HDTenEightyP/NetNews huggingface dataset:
From: ldl@berlioz.nsc.com (Larry Lewicki)
Subject: Suggestions for Magazine Subscriptions???
Organization: National Semiconductor Corporation, Santa Clara
Distribution: usa
Date: Fri, 22 Jan 1993 01:07:57 GMT

I'm a new subscriber to this news group and have been enjoying
reading many of the topics for the last week.  In order to keep
up with the "jazz" world, I want to get a subscription to a
magazine and am wondering what other subscribers to this 
newsgroup might recommend.  Currently, I subscribe to "Keyboard"
and "Musician" and the "Musician" subscription just isn't 
hacking it (has too many Led Zeppelin articles for my tastes 
and not enough "technical" information).  Regarding the "Keyboard"
subscription - I play piano and primarily enjoy the articles
that relate to topics like harmonization, synthetic scale
generation, voice leading etc. (like how to articles on    
creating tone rows).  I don't have a "formal" (i.e. college
level music theory) background and have learned what I know
primarily from reading and experimenting (I have a pretty good
understanding of chord construction and playing changes but 
would really like to learn how to play more freely sort of
like the expanded harmonizations that Herbie Hancock used 
while playing with Miles and on the V.S.O.P. albums). 

The only "jazz" magazine that I am aware of is "Downbeat".
I'm just wondering if there are others.

Thanks for any input.  Larry Lewicki

Newsgroups: rec.music.bluenote
From: gmayhew@sven.lerc.nasa.gov (George Mayhew)
Subject: Re: Death of Sonny Boy Williamson and The Band
Organization: NASA Lewis Research Center
Date: Thu, 21 Jan 1993 21:44:49 GMT

In article <C13Ipx.KBv@gabriel.keele.ac.uk> gerry@keele.ac.uk (G.D.Pratt) writes:
>I've just been reading "Deep Blues" by Robert Palmer about the death of
>Sonny Boy Williamson (Rice Miller) in 1965(?). Also about the "blood
>spitting" night he spent with The Hawks later The Band. I remember this
>from the film "The Last Waltz" where there is some talk about this but
>I've alos read somewhere (can't remember where) that Sonny Boy Williamson
>died that same night, ie was found dead the next morning and not some
>time later. Anyone know what the real story is on this?
>
>gerry
>
>Re Robert Palmer and the "Deep Blues" _film_ - is the soundtrack out on
>CD yet. I have a promo tape of it on Atlantic 82450-4 but want a CD version.
>--
A related question:  Is the movie "Deep Blues" available on video, yet?

George
From: jdc5@cs.uchicago.edu (Jonathan Cohen)
Newsgroups: rec.music.bluenote
Subject: postscript versions of transcriptions
Date: 22 Jan 93 19:03:37 GMT
Organization: Department of Computer Science, University of Chicago

I found a very nifty way to get transcriptions to postscript
(finally!).
Using the program concertware+, I have been able to enter music.
I save the file as macpaint, then from there to postscript.
Then I can ftp the files from my mac to unix, and bingo.

I recommend that people look into concertware+ as a cheap way to get
music notation capability into your life.

By the way, for the people who read my paper on algebraic jazz harmony
without any of the examples, due to this new development, examples are
soon forthcoming.
Details to follow.

Gotta go.
-- 
University of Chicago                             phone: (312) 702 4718
                                                  email: jdc5@cs.uchicago.edu
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Newsgroups: rec.music.bluenote
Subject: Re: Zorn's Grand Guignol
Date: 24 Jan 1993 14:55:02 -0600
Organization: Educational Computing Network
NNTP-Posting-Host: uxa.ecn.bgu.edu

In article <v33u95s@zola.esd.sgi.com> sik@grosz.esd.sgi.com (Seth Katz) writes:
>ok, but is this the entire Torture Garden EP?
>How long is the non-Torture Garden material on
>the CD?  Can someone who is familiar with the 
>Ives, Messiaen, etc comment on the renditions, etc?
>Thanks,

I don't have G.G. but that is now on my list.  I am familiar with the
Ives piece.  I analysized it when I was in college  It is not surprising
a jazz musician would try to do something with it because of the
harmonies in parallel perfect 4ths.  Originally Ives wrote it as a song
in 1906, but he wrote it for chamber orchestra later on, and it is the
first movement of Set For Theatre Orchestra.  I recommend you checking
out The Orchestral Music Of Charles Ives, Koch 2-7025-2 for a good
version.  The piano accompanement to the song is orchestrated, and
another piano part is added (with chords played on what in jazz would be
called the backbeat), and a drummer beats out a ritual beat.  ( Ives
states that the drum is supposed to represent the leopard's feet going
pro and con.  The theme of the song is a little boy watching a leopard
in a cage at the Central Park Zoo in New York) You will
definitely think of John Coltrane's dirge ballads, or even Kulu Se Mama.
Of course, The Cage isn't that African, but its ritual sense still makes you
wonder how Ives came up with that idea when he did.  If he did in fact
orchestrate this in 1906 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!, then he
wasn't copping Le Sacre.

I have always thought that it would be great doing The Unanswered
Question for a medium size jazz group.  The piece has a four part string
section, an off-stage trumpet soloist, and a woodwind ensemble.  Each is
playing in an independent tempo.  I would envision four Charlie Haden or
Dave Holland closes droning on the string parts with an up tempo bashing
drummer.  Play the themes, but also open it up for solos on the form of
the strings.

I could see a jazz thing being done with The Cage.  The parts are not as
independent, but it still has much in common with what Ornette would do
on ballads such as Lonely Woman.  The thing is, Ives' treatment of it is
already so close to how jazz musicians would play it.

Jeff
From: US30139@VM.CC.LATECH.EDU
Newsgroups: rec.music.bluenote
Subject: Re: Branford Marsalis
Date: Thu, 21 Jan 93 11:53:00 CST
Organization: Louisiana Tech University
NNTP-Posting-Host: vm.cc.latech.edu

>They were featuring music from Branford's latest CD. The opened with the
>quartet playing straight ahead stuff (eg Mr. Steepee from the Crazy People
>Music CD) and then moved into the R&B stuff. Everybody was in fine
>form -- especially Branford. He sure gets a nice sound on soprano.
>
>jeffr@copper.cchem.berkeley.edu
 
 
 
 
 
 
Refresh me.  Is Branford's latest album R&B music?  Is it worth purchase?
If it is R&B, what songs are on it?  Thanks in advance.
 
mikejames (US30139@VM.CC.LATECH.EDU)
From: rshapiro@bbn.com (Richard Shapiro)
Newsgroups: rec.music.bluenote
Subject: Zorn: recent Japanese releases (another try)
Date: 21 Jan 93 18:52:43 GMT
	<RSHAPIRO.93Jan19125647@kariba.bbn.com>
	<1jhgcsINN433@specialist.genrad.com>
	<SMEHTA.93Jan20114818@kwela.nynexst.com>
Organization: BBN, Cambridge MA
NNTP-Posting-Host: kariba.bbn.com
In-reply-to: smehta@kwela.nynexst.com's message of 20 Jan 93 11:48:18

Concerning the Japanese Zorn discs that have appeared in the last year
or so - can someone post a complete list? Here are the ones I know of:
LOCUS SOLUS, TORTURE GARDEN, HERETIC, and GRAND GUIGNOL. What else is
there?
Newsgroups: rec.music.bluenote
From: tygar+@cs.cmu.edu (Doug Tygar)
Subject: Euro bias in Penguin Guide
Organization: School of Computer Science, Carnegie Mellon
Date: Thu, 28 Jan 1993 14:59:46 GMT

I've been reading the Penguin Guide for four days.  I have certainly noticed
a very strong European bias in the guide; the reviewers seem much more 
attuned to European art music than the African-American roots of jazz.
I was most shocked by the four star rating and breathless prose (``breakthrough
record'') given to Franz Koglmann's openly racist work ``A White Line''.
For those who are not familiar with ``A White Line'', here are some of
Koglmann's own words from the liner notes of that work:

>Koglmann:  ``Do Best White Bands Copy Negroes'' is a the headline of a
>Koglmann:  Downbeat title from the '30s.
>Koglmann:  
>Koglmann:  The specific something that fascinates most jazz lovers has to do
>Koglmann:  with swing, soul, and heated expressivity.  Since all pertinent
>Koglmann:  standards were set by black musicians, white musicians accepting
>Koglmann:  these categories as supreme criteria naturally have to look for
>Koglmann:  guidance to their black colleagues.
>Koglmann:
>Koglmann:  My categories are different, however....  I prefer a
>Koglmann:  rational/geometric lucidity to emotional lucidity to emotional
>Koglmann:  immediacy.  I have a greater affinity for the expressions of a
>Koglmann:  melancholy decadence than the spontaneous joy of improvising.
>Koglmann:  I cannot see swing as the one and only saving criterion.
>Koglmann:
>Koglmann:  Throughout its history, jazz has found room for these and other
>Koglmann:  ``modern'' qualities -- considered design, lucid coolness,
>Koglmann:  detached lyricism, a swing that opts for a cautious and artistic
>Koglmann:  approach.  Apart from the great Miles Davis of the '50s, these
>Koglmann:  qualities are superbly represented by a ``white line'' of jazz
>Koglmann:  practitioners, i.e. Bix Beiderbecke, Lennie Tristano, Paul Desmond,
>Koglmann:  Gerry Mulligan, Chet Baker.

(Koglmann's notes go on in this vein, praising ``white rationality'' over
``black emotionalism'' for several more paragraphs.)
Newsgroups: rec.music.bluenote
From: jgthomas@crchh420.NoSubdomain.NoDomain (John Thomas)
Subject: Re: Penguin Guide: Short Review & 5 Star Recordings
Date: Sat, 23 Jan 1993 22:26:44 GMT
Reply-To: John Thomas <jgthomas@bnr.ca>              
Organization: BNR, Inc.

In article <1993Jan23.031114.14929@cbnewsl.cb.att.com>, wjh@cbnewsl.cb.att.com (william.j.hery) writes:

[stuff deleted]

|> Here's the list of Penguin 5 Star recordings. Keep in mind that only
|> recordings currently in print in England are reviewed in the book.
|> 
|> Armstrong, Hot 5s and 7s Vol I, II, and III
|> Basie, Original Decca Recordings
|> Blakey, Jazz Messengers with Thelonious Monk
|> Peter Brotzmann, Machine Gun
|> Coltrane, Love Supreme
|> Coltrane, Major Works (Impulse 3 CD set with both Ascencions, Om,
|>      Selflessness, and Kulu Se Mama)
|> Davis, Kind of Blue
|> Dolphy, Out To Lunch
|> Ellington, Blanton-Webster Years
|> Ellington, Afro Eurasian Eclipse
|> Bill Evans, Sunday at the Village Vanguard
|> Bill Evans, Waltz For Debbie
|> Art Farmer, Blame it on My Youth
|> Ganelin Trio, Catalogue: Live in East Germany
|> Andrew Hill, Point of Departure
|> Bobby Hutcherson, Dialog
|> JJ Johnson, Eminent JJ Johnson, Vol I
|> Geroge Lewis, Homage to Charlie Parker
|> Shelly Manne, At the Blackhawk
|> John McLaughlin, Extrapolation (1969, with John Surman)
|> Mingus, The Black Saint and the Sinner Lady
|> Monk, Genius Vol I
|> Monk, Complete Riverside Recordings
|> Jelly Roll Morton, Volume I (on JSP records)
|> Fats Navaro, The Fabulous Fats Navaro, Vol I
|> King Oliver, Volume I 1923-29
|> Parker, Charlie Parker Story (Savoy)
|> Parker, Complet on Dial Vol 1, 4, 5 (Spotlight LPs)
|> Parker, Legendary Dial Masters (Stash CD)
|> Rollins, Saxophone Colossus
|> Alexander von Schlippenbach, Pakistani Pomade

I am on a von Schlipp kick right now.  However, I have no idea what this is
or who is playing on it.  Bill Hery, could you elaborate on this one?

|> Sun Ra, Jazz in Silhouette
|> Art Tatum, Complete Pablo Solo Masterpieced
|> Edward Vesala, Lumi
|> Vienna Art Orchestra, The Minimalism of Erik Satie
|> Larry Young, Unity
|> Zorn, The Big Gundown
|> 
|> Bill Hery
|> AT&T Bell Labs
|> 201-386-2362
|> hery@att.COM

How can they leave off Sun Ra's ESP titles? Mingus' band with Dolpy?
This really is a ridiculous list.

No AEC, Braxton, Lacy, Ayler (!)...

What about Dexter's 60s Blue Notes?

No small group Lester Young?

Roy Eldridge? TURNING POINT by Paul Bley...

Ahhhhhhhhhh!  Is some of this stuff not in print in England?!
From: gwl@specialist.genrad.com (Glenn W. Lea)
Newsgroups: rec.music.bluenote
Subject: Sonic overload, was Re: Zorn: Spillane
Date: 21 Jan 1993 12:53:16 -0500
Organization: GenRad, Inc.
NNTP-Posting-Host: specialist.genrad.com

In article <HELLERS.93Jan21105139@cleo.cs.wisc.edu> hellers@cs.wisc.edu (Joe Hellerstein) writes:

>Actually, when I first got
>SPY vs. SPY I *fell asleep* listening to it.  Not because it was dull,
>but because it was sonic overload, my circuits couldn't cope and just
>shut down.
>

This often happens to me when I listen to Cecil Taylor or other
"difficult" music" in the evening.  I don't even have to be that
tired, but sometimes, I just get literally "knocked out".  Bugs me,
too.

Glenn
Organization: University Libraries - E&S Library, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.bluenote
Date: Tue, 26 Jan 1993 11:04:38 -0500 
From: Robert Angelo Pleshar <rp16+@andrew.cmu.edu>
Subject: Re: Sun Ra
Distribution: na

from Ron Roberts:
> 
>I'm still trying to determine whether "Pictures of Infinity"
>is an album title as opposed to a tune.

Pictures of Infinity is an album title. There is no song with that title
by Sun Ra. the album is a live 1968 recording released by Black Lion
records. It is currently out of print, but some Black Lion stuff is
being reissued on cd, so maybe it will be available again sometime soon.

Ralph
From: jfjr@mbunix.mitre.org (Freedman)
Newsgroups: rec.music.bluenote
Subject: Take 6
Date: 25 Jan 93 17:26:54 GMT
Organization: The MITRE Corporation, Bedford, MA


  I just heard some tracks off a CD by an *OUTSTANDING* a capella
group called "Take 6". Can anybody fill me in on who they are, whence
they came etc

                                  Jerry Freedman,Jr
Newsgroups: rec.music.bluenote
From: cczanj@vax.nott.ac.uk (Andy Jack)
Newsgroups: rec.music.bluenote
Subject: Re: Players on Miles' Albums (was Re: Robben Ford & Miles)
Date: 22 Jan 93 14:16:09 GMT
Reply-To: cczanj@vax.nott.ac.uk (Andy Jack)
Organization: University of Nottingham, UK

I wrote -
>A program on Miles, shown on British TV a few years ago (the day I bought a VHS
>recorder) shows Miles playing at a festival with a band which includes Robben
>Ford. 

I watched the video again last night. The video is dated 1986 and the concert
(New Orleans) was probably 1985. They play "Time After Time" and "Human
Nature", so Ford was with Miles about the same time as "You're Under Arrest".


------------------------------------------------------------------------
Cripps Computing Centre,     JANET:    cczanj@uk.ac.nott.vax
University of Nottingham,    BITNET:   cczanj%uk.ac.nott.vax@ukacrl.bitnet
Nottingham NG7 2RD, UK	     Internet: cczanj%vax.nott.ac.uk@nsfnet-relay.ac.uk
(Phone: +44 602 513328)  
Newsgroups: rec.music.bluenote
From: corman@Ingres.COM (Anthony Corman)
Subject: Woodwind breathing (attn brass players)
Reply-To: corman@Ingres.COM (Anthony Corman)
Organization: Ask Computer Systems Inc., Ingres Division, Alameda CA 94501
Date: 25 Jan 93 21:47:56 GMT

I've heard of a book by a famous Chicago Symphony tubaist (Arthur or
Arnold Jacob?) on the subject of breathing. Apparently the author
was renowned for his knowledge of the subject and taught all types
of wind players. Can anyone point me to the book? Is it still in
print?

Thanks,

Tony Corman
From: s1mbm@isuvax.iastate.edu (michael bruce mcdonald)
Subject: Re: Singers
Reply-To: s1mbm@isuvax.iastate.edu
Organization: Iowa State University, Ames, Iowa
Date: Fri, 22 Jan 1993 07:49:26 GMT

In article <1jndf3INNslo@shelley.u.washington.edu>, clements@carson.u.washington.edu (Steve Clements) writes:
>>: 1) Have you heard any singers who meet your criteria?  If so, who?
>
>I just heard a recording of Ella Fitzgerald singing "Black Coffee".
>Wonderful. Wonderful.
>
>I treasure those rare times when I hear Ella sing --- 
>and I turn the radio off or down or change the station or throw it
>out the window  when she does that scattin' thing. Maybe this doesn't 
>add to the current discussion but it is one of my pet peeves and I had to 
>say it.
>
>In fact, I'll go this far: Ella scatting has about as much 
>musical/emotional/artistic content, for me, as Kenny G soloing ---- 
>that is, little or none --- however brilliant each may be technically.
>I mean, who cares?

This hurts.  To see Ella compared to the egregious Mr. G hurts me deeply.
You are wrong, above all, to compare them as individuals whose work can
be utterly singled out from the accompanying context.  Ella sings with
musicians who are busy playing jazz; G does not.  And that makes a world
of difference, as you might realize were you do not busy provoking your
fellow netters.

michael mcdonald
>
Newsgroups: rec.music.bluenote
From: wjh@cbnewsl.cb.att.com (william.j.hery)
Subject: Penguin on Ornette Coleman discs
Organization: AT&T
Date: Sat, 23 Jan 1993 02:16:53 GMT

The original question was the 2 or 3 indispensible Ornette recordings in
print now. Since the Penguin guide rates recordings on a 1 to 5 star
scale, another view on the indispensables might come from a list of
the highest rated in the Penguin guide. We can see if they know as much
as they do :-)

[I should add that I have already complained here about the
adequacy/usefulness of numeric ratings, but agree or disagree with the
ratings, they can still be fun to talk about.]

Shock number 1: Penguind does not rate any Ornette's with 5 stars!!!
[which casts even more doubt on the validity of this list :-)]

The 4 star releases in print (at least in England) are:

SHAPE OF JAZZ TO COME
CHANGE OF THE CENTURY
THIS IS OUR MUSIC
AT THE GOLDEN CIRCLE, VOL I
AT THE GOLDEN CIRCLE, VOL II

Bill Hery
AT&T Bell Labs
201-386-2362
hery@att.COM
From: burger@sphinx.ece.wisc.edu (Dick Burger)
Newsgroups: rec.music.bluenote
Subject: Re: Penguin Guide: Short Review & 5 Star Recordings
Date: 26 Jan 93 20:23:05 GMT
Organization: Univ. of Wisconsin-Madison; Electrical & Computer Engineering

>Marc Sabatella write:
>
>: Blakey, Jazz Messengers with Thelonious Monk
>
>Ick.  I was pretty excited when I first saw this recording, but having heard
>it, I have to say it is one of my least favorite Blakey albums, and one of my
>least favorite Monk albums.
>

Just wanted to mention that I agree completely.   It seems like every record
where Monk and Blakey play together, it's just magic.  The music just comes 
alive with blakey whacking away back there.  So how does this single Monk/Blakey
pairing manage to sound so flat?  Equally boggling, how does the Penguin
reviewer manage to pick out the one dud from 25+ years of Blakey/Monk 
recordings?  Must be more to that record than I can appreciate.

dick burger
Newsgroups: rec.music.bluenote
From: wjh@cbnewsl.cb.att.com (william.j.hery)
Subject: Re: Suggestions for Magazine Subscriptions???
Organization: AT&T
Distribution: usa
Date: Sat, 23 Jan 1993 02:24:46 GMT

marc@hpmonk.fc.hp.com writes:
>The differences are mainly in the type of music emphasized - "Jazziz" and
>"Jazz Times" more into the populist Kenny G / Grover Washington direction,

I'd agree that Jazziz is in that bag (very commercial jazz), but I think
Jazz Times is not so much commercial as conservative: strongest on
bop/neobop/pre-Trane jazz. Besides, Jazz Times has these great
trivia contests every month, focusing on one artist. If you are one of 
the first 25 to get 17 of the 20 questions right, you get a free CD
from a new release by that artist (obviously, the artist they focus on
is in the hands of the record companies that give them the CDs). So
far I've been 3 for 3 on the ones I was interested enough in to
have a lot of the trivia wasting my synapses (McCoy Tyner, Sonny Rollins,
and Elvin Jones). So I figure I'm making a profit on the subscription :-)

Bill Hery
AT&T Bell Labs
201-386-2362
hery@att.COM
From: milliken@scofield.Corp.Sun.COM (Gary Milliken)
Newsgroups: rec.music.bluenote
Subject: Re: Stan Getz, Best of Verve Years, Vol. I
Date: 28 Jan 1993 15:41:50 GMT
Organization: Sun Microsystems, Mt. View, Ca.
Distribution: na
NNTP-Posting-Host: scofield.corp.sun.com

I'll add my $0.02 worth...  The bossa albums with Byrd and Bonfa don't
satisfy me anywhere near the way the Getz/Gilberto album does.  The original
hit version of "Desafinado" with Byrd (from "Jazz Samba") always really
annoyed me, because they didn't seem to know the tune very well and
botched it.  But the same tune on the "Getz/Gilberto" album is beautiful,
and there are classic versions of Jobim standards and a couple of
lesser-known tunes by Dori Caymmi and Ary Barroso.  Jobim himself on
piano makes this one indispensable.

For very late Getz, I love the Abbey Lincoln album "You Gotta Pay the Band"
with Getz, Hank Jones, Charlie Haden, and Mark Johnson.  Some originals
from Abbey, and off-the-beaten-path ballads including a very nice bossa
tune written (by someone you've never heard of) with Getz in mind.  Stan
sounds as good on this one as on "People Time", just in smaller measure.

Newsgroups: rec.music.bluenote
From: millerje@CS.ColoState.EDU (Jeff Miller)
Subject: Re: Clinton raises the dead at inaugural
Date: Wed, 27 Jan 1993 00:27:40 GMT
Organization: Colorado State University, Computer Science Department

In article <gel.728070687@zen.sys.uea.ac.uk> gel@sys.uea.ac.uk (Gareth Lee) writes:
>gordons@CS.ColoState.EDU (vahl scott gordon) writes:
>
>>Readers of the Denver Post were happy to read that President Clinton sat in
>>last night with an all-star band of Herbie Hancock and Thelonius Monk.

Even more classic is the quote in the new Newsweek, from some MTV veejay.
In an interview with Clinton, Bill mentioned that one of his dreams when he
was young was to play sax with Thelonious Monk.

Her Reply?  So, who is "The Loneliest Monk?"



-- 
 _____________________________________________________________________________
|                                                                             |
| "Nuke the unborn gay whales!" |  millerje@cs.colostate.edu  |  Jeff Miller  |
|_____________________________________________________________________________|
Newsgroups: rec.music.bluenote
Subject: Re: Cadence order is nigh - opinions please!
From: kenz@local.host
Date: 27 Jan 93 09:47:26 -0600
Reply-To: kenz@local.host
Organization: Organization, City, State, etc.

In article <C1I85s.CLy@rice.edu>, vek@spacsun.rice.edu (Vincent E. Kargatis) writes:
>mcmahon@owlnet.rice.edu (Michael G. McMahon) writes:
>> Well, as the title says, I'd like any opinions on the following CDs &
>> LPs.  I have to cut the list down somehow!
>> 
>> Yusef Lateef and Art Farmer: "Autophysiopsychic" CTI 7082
>>   Is this as "in touch with its inner self" as the title would suggest?
>
>Forget it. A standard cheesy mid-seventies CTI thing, if I remember right.
>I'm sure there's *some* decent playing, but not worth wasting Cadence order
>space.                   
                       ====JUNK, JUNK, JUNK=======
>
>> Maynard Ferguson - "High Voltage" and/or "Bip Bop Nouveau"  Intima 733**
>>   Haven't heard any of his squeals in a while.  At four bucks a pop, are
>> either of these LPs worth a Big Mac and a small coke?
>
>I'd apply the last phrase above here too.
============================================
   BORING, BORING, BORING, BORING
===========================================
> 
>> Cat Anderson and Ellington All-Stars: "Ellingtonia" ALA 611
>>   What year is this, and were was Duke?  By all-stars do they mean
>> whatever studio musicians could join Cat that day?
>
>I'd bet that you'd be served better by something definitely under Duke's
>charge. Cat's fun for the screaming high notes, but I've heard so-so
>things about albums under his leadership.
>--   ===========================================
>  I guess I sort of agree with Vincent Kargatis regarding Cat Anderson's
   recordings under his own name.  However, if you ever see the Mercury (or
Trip reissue) of Anderson's "Cat on a Hot Tin Horn", it's a well programmed
thing with other Ellington bandmates recorded in 1958.  I have a few more LP's
of his, and while they aren't spectacular, they all have their high points.  I
preferred Cat Anderson playing the high notes to MF's showboating.  Maybe
because Ellington's arrangements were more balanced than MF's bombastic things.
For another good "highnoter", listen to Michael Ray's trumpet on recent Sun Ra
recordings, he really is exciting without sounding hackneyed.   He's
particularly bouyant on live recordings.

Bill Kenz
===================================================