HDTenEightyP/NetNews huggingface dataset:
From: jbulyk@telesciences.com (Jerry E. Bulyk)
Newsgroups: rec.music.bluenote
Subject: Re: Black Saint availability
Date: 15 Apr 92 12:31:45 GMT
Organization: TeleSciences CO Systems, Inc.

In article The Poto Mitan in the Houmfor (Damballah Wedo) writes:
>> hsu@sp24.csrd.uiuc.edu (William Tsun-Yuk Hsu):
>> Speaking of earlier Black Saints, does anyone know a reliable source
>> of the things? 
>
> [ good info on Sphere Distribution deleted ]
>
>They ship pretty quickly, but they are expensive: $14.99 per CD,
>$11.99 per LP. Make sure you ask them if their buy-10-get-4-free
>offer is still valid.
>

Actually, these prices are true for recent BS/SN releases, but for
older, still in-print material it is $7.99 per LP. Not _too_ bad.
I'm still waiting to see if my order comes through as cut outs. 

Turns out Sphere is being run by Bonandrini's son, so if anyone 
should be able to get the BS/SN catalog, he should. In a telephone 
discussion with him, I brought up the issue of trying to distribute 
the Base record catalog stateside. He was receptive to the idea
and promised to bring-out a significantly updated offered catalog in
two to three months. (June/July timeframe)

btw, the buy 10-get-4-free offer is history now :(
also, check with Cadence re: PSI cut-outs, they had a bunch at $5/LP


	- jerry



Jerry E. Bulyk
TeleSciences C.O. Systems, Inc

INTERNET:        jbulyk@telesciences.com
Newsgroups: rec.music.bluenote
From: booyacht@casbah.acns.nwu.edu (Ryan Lucas)
Subject: Monk GIFs wanted
Organization: Northwestern University, Evanston, Illinois
Date: Thu, 9 Apr 1992 21:32:37 GMT

Does anyone have, or know where I can get, any GIF images of Thelonious Monk? 
I'm writing a paper on him, and thought it would be cool to be able to put a
picture of him on the cover page.
I'm not who the header says I am, so please send you responses to:

jqp2001@andy.bgsu.edu

Thanks in advance.

Josh
Newsgroups: rec.music.bluenote,rec.music.makers
From: fscll@acad3.alaska.edu (Chris Lott)
Subject: Re: Chick-Round II and a listening question... 
Organization: University of Alaska Fairbanks
Date: Sun, 12 Apr 1992 05:41:47 GMT

In article <1992Apr12.030006.14984@dxcern.cern.ch>, leclaire@dxcern.cern.ch (Bruce Leclaire) writes:
> In article <1992Apr7.131902.23380@icd.ab.com> jaz@icd.ab.com (Jack A. Zucker) writes:
>> [...mucho stuff deleted...]
>>
>>BTW, I don't know if you play an instrument but I've noticed that the
>>most musically closed minded people I know are always the worst 
>  ^^^^
>>musicians. This is because when you can really *PLAY*, you gain an
>>appreciation for music. Forgive me if I misquote the source but I
>>believe Duke Ellington stated that there are only 2 kinds of music,
>>Good and Bad.
>>
> 
> [ I know that the statement above explicity says MOST. But let me spout
>   off for a minute, mostly to relate three little stories about Bird,
>   Getz, and Monk. ]
> 
>    Depends on how you define close-minded. Believe me, I know some musicians
> who are absolutely super players in their style, and who hate most other
> styles. It's true that most good musicians are very open minded, but there
> are many who are very narrow. I can't believe you don't know people like
> this, however. It also comes down to your definition of *PLAY*. I'm more than

A lot of relevant information and great anecdotes deleted...
> 
> 
> --Bruce
> 
>     (Who still remembers thinking that Bird's playing was shit
>      when he heard it for the very first time; and who later
>      loved that shit, even when all he could play was the theme
>      to "Peter Gunn".)

I am sure that it varies from person to person, but I have found that the more
I get into music, the better of a musician I become and vice versa. I think
even more fundamental is the general feeling among musicians I have met or
seen interviewed, etc, that shows that even more musicians RESPECT other forms
of music than most people, even if they don't necessarily like them...

I know that has been a realization on my part, that even if I don't care to
listen to this or that, I can still respect the music and sometimes grow to
like it. and sometimes I like a particular musician for purely technical
rather than aesthetic reasons... does anyone else out there find that
happening to them?

One of the things I have a hard time with is people that want to smash you
because your tastes differ, or that feel they can somehow dictate who is good
or not... 
-- 
 __________________________________________________________
|  Christopher L. Lott  --- Poet and Pauper                |
|__________________________________________________________|___
|  fscll@alaska                | "And now what shall become of |
|  fscll@acad3.alaska.edu      |  us without any barbarians?   |
 ------------------------------|  Those people were a kind of  |
                               |          solution."           |
                                -------------------------------
From: smg+@cs.cmu.edu (Stephen Guattery)
Newsgroups: rec.music.bluenote
Subject: Re: Night in Tunesia / Interlude
Date: 10 Apr 92 15:29:00 GMT
Organization: School of Computer Science, Carnegie Mellon

In article <sjones.702782989@cunews> sjones@alfred.carleton.ca (Stan Jones) writes:
>In <92099.145324KXN2@psuvm.psu.edu> KXN2@psuvm.psu.edu (Karl Nordstrom) writes:
>
>>When was Dizzy Gilespie's Interlude, (Night in Tunesia) first recorded?
>
>The compilation tape I have has a version recorded February 22, 1946
>with mtx number PD6VB-1683. 

I've read that the first recording of "Night in Tunisia" was done by Boyd
Raeburn's band in early 1945.  I've never heard that recording, nor do I
know which title ("Interlude" or "Night...") the record was given.

By the way, who made the 2/22/46 recording?  As Sol Douglas noted in another
post, the Parker recordings were made 3/28/46, so either this is a different
recording or the dates we have are inconsistent.

					Steve Guattery
From: bt231@cleveland.Freenet.Edu (Andrew B. Park)
Newsgroups: rec.music.bluenote
Subject: Blues Stuff via FTP
Date: 13 Apr 92 03:35:36 GMT
Article-I.D.: usenet.1992Apr13.033536.15901
Organization: Case Western Reserve University, Cleveland, Ohio, (USA)


Does anyone know where I can get documentation on blues muscians and
styles via FTP?
From: samuels@remus.rutgers.edu (Robin Samuels)
Newsgroups: rec.music.bluenote
Subject: Re: Rahsaan Roland Kirk
Keywords: Audio Dream
Date: 16 Apr 92 22:30:22 GMT
Organization: Rutgers Univ., New Brunswick, N.J.

John Cage has a piece named Four Minutes Twenty-Two Seconds [ i
think...B) ]  where the pianist comes out on stage with a stopwatch,
turns it on, and leaves the stage 4:22 later, not one note having been
played.

Robin Samuels
Rutgers University
From: gwl%wave3_1@MCNC.ORG (Glenn Lea)
Newsgroups: rec.music.bluenote
Subject: Jazz Hero's Data File
Date: 6 Apr 92 12:29:38 GMT
Reply-To: gwl%wave3_1@mcnc.org

I found a wonderful book for jazz obsessives at Tower the other night:
"Jazz Hero's Data Bank", published in Japan by JICC.  Basically, it's
a complete album-ography for 40 jazz "heroes" (listed below).  For
each artist, they present (in order of recording date) the cover and
data for every album on which he appears (even if it's only on one
cut).  The data: label and number, personnel and recording dates _by
track_.  Often, there is more detail than the liner notes -- for
example, the dates are presented for each of cut on Trane's "Other
Village Vanguard Tapes".  Many "unofficial" albums are listed as well.
CD "bonus tracks" are indicated.  Some text is in Japanese, but the
good stuff is all in English.  It's a trade paperback, at a
rather-steep-but-worth-it $25.

Here are the 40 "jazz heroes": Cannonball Adderley, Chet Baker, Art
Blakey, Clifford Brown, Ray Bryant Donald Byrd, Sonny Clark, John
Coltrane (170 albums!), Sonny Criss, Miles Davis, Eric Dolphy, Paul
Desmond, Lou Donaldson, Kenny Dorham, Kenny Drew, Bill Evans, Tommy
Flanagan, Stan Getz, Dexter Gordon, Red Garland, Grant Green, Johnny
Griffin, Hampton Hawes, Duke Jordan, Wynton Kelly, Jackie McLean, MJQ,
Hank Mobley, Thelonious Monk, Wes Montgomery, Lee Morgan, Charlie
Parker, Art Pepper, Bud Powell, Sonny Rollins, Horace Silver, Wayne
Shorter, Mal Waldron, Sadao Watanabe, Lester Young.

Obviously, the book is limited to artists who made their names in the
1940's to mid-60's.  From this period, the most notably absent (to me)
is Charles Mingus.  I would love to see similar books for prewar and
post-Coleman jazz.  But, even with its limitations of scope, this is a
valuable compilation of facts.

--------------------------------------------------
Glenn Lea - reply to gwl@wavetracer.com
Wavetracer, Inc.
Newsgroups: rec.music.bluenote
From: anton@HQ.Ileaf.COM (Steve Norton)
Subject: Re: three more Incus items
Reply-To: anton@HQ.Ileaf.COM (Steve Norton)
Organization: Interleaf, Inc.
Date: Wed, 8 Apr 92 12:07:29 GMT

In some article, rshapiro@arris.com (Richard Shapiro) writes:

> Incus has released another pair of cds and also reissued Derek
> Bailey's book on improvisation:
> 
> I've never seen the book, but pieces of it have been read aloud on
> some previous Bailey recordings. Sounds like a low-key, thoughtful,
> and drily amusing text -- kind of like the way Bailey plays the guitar
> :) I plan to buy all three of these items.
> 

i got a copy of this shortly after it came out.  i remember finding it
enormously influential--i went out and bought copies for everyone i
was playing with at the time!  that was quite a while ago, so i can't
say anything more specific, but i do remember finding it quite thought
provoking and inspiring.  recommended.  good to see that it's
available again.

/steve


-- 
-------------------------------------------------------------------
. steve norton		interleaf, inc., waltham, ma		  .
. email:		anton@braxton.HQ.ileaf.COM		  .
-------------------------------------------------------------------
Newsgroups: rec.music.bluenote
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: Dave Holland
Organization: Educational Computing Network
Date: Fri, 10 Apr 1992 21:43:49 GMT

In article <1992Apr10.185910.11841@nic.unh.edu> tcw@kepler.unh.edu (Timothy C Webb) writes:
>   Can anybody recommend some good albums with Dave Holland on bass (excluding
>anything recorded under his own name)? Being a bass player myself, I've
>developed a great respect for his playing, and would greatly appreciate any
>suggestions of recordings featuring his incredible work. 
>-- 

He is a very consistant player, so most everything he does under his
name is solid.  But two that are even more special are Conference of The
Birds, which is the same personnel as Circle except Sam Rivers is on
tenor intead of Corea.  Another one from the 80s is a trio with Steve
Coleman and Jack Dejohnette, called Triplicate.
That is some of the most intense interactive playing I have ever heard.
Jack DeJohnette and Dave Holland are a very good match, from their days
with Miles, they have always been a special bass-drums combination .
Don't miss.

I am trying to think of some of the recordings where he is a sideman.
Most recently is the Oracle with Hank Jones, that is very beautiful.
One interesting side is with Bennie Wallace, because it has Elvin Jones
on drums.  Dave can get this nice circular groove in his walking, but
light like an Enlish racer....  that is a super combination with Elvin.
(With Jack it is more an in-your-face approach to the time and the
phrasing) They do a very swinging version of My Heart Belongs To 
Daddy on the Wallace recording.   Dave has a nice thing with Karl Berger
and Eddie Blackwell.

But there are hundreds of records with Dave as a sidemen that I could
remember, I think I will stop here for now.

Jeff
From: milliken@scofield.Corp.Sun.COM (Gary Milliken)
Newsgroups: rec.music.bluenote
Subject: Re: Martin Williams
Date: 15 Apr 92 14:52:45 GMT
Organization: Sun Microsystems, Mt. View, Ca.
NNTP-Posting-Host: 129.145.134.77


Martin Williams will be sorely missed.  I think he was not only the
most intelligent and perceptive of jazz critics, but also the most
able to *analyze* what was played and relate it to the evolutionary
flow of the art.  While other critics talked about the emotional
impact the music had on their sensibilities, or about the professional
history of the artist, or other relatively surface issues -- Williams
talked about the structure and technique of the music itself, and
made his observations interesting even to (I hope) non-musicians.
He deserves at least an honorary position in jazz's all-time Hall
of Fame.

His books, which are largely collections of articles from journals
and periodicals, are well worth seeking out.
Newsgroups: rec.music.bluenote
From: gidi@Hilbert.Stanford.EDU (Gidi Avrahami)
Subject: Re: Joni & Vincent
Organization: Brotherhood Of Breath
Date: Sat, 11 Apr 1992 17:14:36 GMT


mjs@hpfcso.FC.HP.COM (Marc Sabatella) writes:
>Interesting; I've never *heard* the comment to get her inflection

Too bad.

>So are you saying you felt she was being
>somewhat arrogant and/or condescending, 

No, no, no, no.  I'm saying that she was comparing the relative joys
of painting and writing songs, and commenting that sometimes, there
can be more personal satisfaction in writing a song than in painting a
picture.  No arrogance implied.

Now, for all of you who'd like to discuss this but are too lazy to
find out what she really said, here's exhibit A -- a transcription
of Joni Mitchell's introduction to The Circle Game, first track,
side 3, MILES OF AISLES:

----------------------------------------------------------------------
	<audience yells requests or something>
All right...
	<tunes her guitar>
There's one thing that's always like... been a major difference between
the, like, performing arts to me, and being a painter, you know...
Like, a painter does a painting, and --- he does a painting, that's it,
you know.  He's had the joy of creating it, it hangs on some wall,
somebody buys it, somebody buys it again, or maybe nobody buys it and it
sits up in a loft somewhere till he dies.  But he's never... nobody
ever says to him, you know... nobody ever said to Van Gogh: ``Paint
the Starry Night again, man!''
	<she laughs>
You know, he painted it and that was it.
	<audience reaction>
Let's sing this song together, okay...
	<the rest is about how everybody should sing The Circle Game
	together, even or especially if they're out of tune.>
----------------------------------------------------------------------

Make up your own minds.

--Gidi
From: jgthomas@crchh420.BNR.CA (John Thomas)
Newsgroups: rec.music.bluenote
Subject: Monk and Lacy
Date: 14 Apr 92 19:46:38 GMT
Reply-To: jgthomas@crchh420.BNR.CA (John Thomas)
Organization: Bell-Northern Research Ltd.

I was reading the liner notes to Lacy's latest on Novus and
it mentions he played with Monk for 14 weeks.

Does anyone know if any of these sessions were recorded
and are AVAILABLE??!!!
Newsgroups: rec.music.bluenote
From: timk@meaddata.com (Tim Klein)
Subject: Raymond Scott recordings?
Organization: Mead Data Central, Dayton OH
Date: Mon, 6 Apr 1992 17:06:06 GMT
Distribution: na


Can Raymond Scott's "Powerhouse", recorded in 1938, be bought in any format?
(I've already got the Carl Stalling Project versions.)


===========================================================================
Timothy Klein                 I wish TV had a knob so you could turn up
timk@meaddata.com             the intelligence.  The one marked Brightness
...!uunet!meaddata!timk       doesn't work.      -- Gallagher

Newsgroups: rec.music.bluenote
From: gmayhew@falcon.lerc.nasa.gov (George Mayhew)
Subject: Re: Levine's Jazz Piano Book
Organization: NASA Lewis Research Center
Distribution: rec.music.bluenote
Date: Fri, 17 Apr 1992 19:35:43 GMT

In article <1992Apr16.210645.23006@dxcern.cern.ch> leclaire@dxcern.cern.ch (Bruce Leclaire) writes:
>
>FYI (especially to those who can't access this book at their local
>     music store- the following gives a very good idea of what this
>     book is about).
>
>The Jazz Piano Book, by Mark Levine
>
I am not a piano player, but I use the piano when I practice music.  I'd
like to gain more proficiency.  Would this book be useful, as a reference
and instructional manual, to a beginner like me who reads music, has a
basic grasp of theory and jazz, and wants to improve his skills?

What's your opinion?

george


--
George Mayhew                     gmayhew@falcon.lerc.nasa.gov
Sverdrup Technology, Inc.         (216) 891-2943

Newsgroups: rec.music.bluenote
From: smehta@kwela.nynexst.Com (Sandeep Mehta)
Subject: Re: Zorn and Burrell
Reply-To: smehta@nynexst.com
Organization: Speech Technology, AI Lab, NYNEX S&T Inc, White Plains, NY
Date: 16 Apr 92 23:18:30


> hsu@sp24.csrd.uiuc.edu (William Tsun-Yuk Hsu) writes:

> ... I'd like to see a solo alto record from
> him sometime, but I'm not holding my breath. 

Heh, heh I think I know what we might see a solo record as: an EP
with all of 7 minutes of music per side :-) But seriously though, I'd
not only like to see a solo project but possibly his trying other
instruments too (I don't mean mouthpiece in a cup of water or duck
whistles and other such "small instruments" :-)). Or maybe an album
of duo duels :-)

/sandeep
--
smehta@nynexst.com
--
"An artist is never ahead of his time but most people are far behind theirs."
	-- Edgard Varese
Newsgroups: rec.music.bluenote
From: aschwart@acs.ucalgary.ca (Arthur Schwartz)
Subject: Montreal Jazz Festival
Date: Tue, 07 Apr 1992 23:56:43 GMT
Organization: The University of Calgary, Alberta

Does anyone out there have any information on the program for the
July '92 Festival Internationale de Jazz de Montreal?? 


-- 
      ____________________________________________________________
     |Art Schwartz			   artsch@educ.ucalgary.ca|
     |Department of Educational Policy	        (403) 220-5697    |
     |  & Administrative Studies	   FAX: (403) 282-3005    |
Newsgroups: rec.music.bluenote
From: january@polari.com
Subject: Re: sweet home chicago lyrics
Organization: Seattle Online Public Access Unix (206) 328-4944
Date: Tue, 7 Apr 1992 22:59:09 GMT


-- 
-----------------------------------------------------------------
--Jamie Pehling (january@polari.uucp -or- uunet!polari!january)--
-----------------------------------------------------------------
From: jf5e+@andrew.cmu.edu (John G. Fetkovich)
Newsgroups: rec.music.bluenote
Subject: INFO NEEDED: F.Redd,Miles,Monk box sets
Date: 11 Apr 92 21:04:48 GMT
Organization: Physics, Carnegie Mellon, Pittsburgh, PA

I Have Discs 1 and 2 of ??? from the Mosaic Freddie Redd complete
Blue Note box, but I bought them used with no notes included.  Does
anyone have the dates and personnel for these?

I also have the Monk complete riverside box, and the Miles Davis
complete prestige box, but linking personnel/title/dates/original
album title involves a lot of cross-referencing.  I was thinking
of entering this into a database, but does already have this info
in a file already?

Also, my Miles box is missing disc 8.  Here's a longshot--does anyone have
or know where I could by one disc in the set?  Do any of the individual
issue cd's duplicate this disc?

Thanks,
John
From: jaz@icd.ab.com (Jack A. Zucker)
Newsgroups: rec.music.bluenote
Subject: Coltrane, Benson and other ramblings
Date: 7 Apr 92 15:47:31 GMT
Article-I.D.: icd.1992Apr7.154731.27995
Organization: Allen-Bradley Company, Inc.

In article <1992Apr7.131142.20069@ryn.mro4.dec.com>, rost@rgb.dec.com (My name is Brian Rost) writes:
|> 
|> In article <10219@cernvax.cern.ch>, leclaire@cernvax.cern.ch (bruce leclaire) writes...
|> > 
|> >I don't really think the "blues walk" is referring to the practice of
|> >"walking the bar", but while we're on the subject...
|> > 
|> >From "Chasin' the Trane"
|> >      The Music and Mystique of John Coltrane
|> > 
|> >      by J.C. Thomas
|> > 
|> >From pages 55-57.
|> > 
|> >   John Coltrane walked the bar.
|> >   To him, as to any other sensitive and creative musician, it was like
|> >walking the plank, and the sharks were the club owners, their teeth
|> >chomping down on the musicians' dignity and the customers' pocketbooks
|> >with one sharp slash.
|> 
|> Ha ha ha ha, I love jazz purists.  
|> 
|> I love jazz and I love the blues and the idea that walking the bar is demeaning
|> is missing the point.  It's entertainment. It can also be a lot of fun for the
|> player if he likes to show off.  I play with a couple of saxophonists who
|> really enjoy walking the bar.  Two of them front their own mainstream jazz
|> combos when they aren't working with my band.  
|> 
|> Dignity?  Well, one you step into a bar to play, you are already compromising
|> art for commerce, aren't you?  But that's another rathole...
|> 

It's funny how classical musicians don't have to "walk the bar".
There is a guitarist in the Washington DC area named O'Donel Levy who
is one of the best jazz guitar players around. He sounds very similar
to George Benson and in fact is a good friend of Benson's. (They get
together and jam at a local club whenever Benson is in the DC area but
that's another story). Anyway, the first time I saw him I was amazed 
at how he played smokin' jazz with the guitar behind his neck, between
his legs, and laying flat on his back ! (Wish I could do that)

-jaz

-- 

                       (Chasin' the Trane)

| Jack A Zucker                              {uunet}!jaz@icd.ab.com |
| Allen-Bradley Company, Inc.                    or  ICCGCC::ZUCKER |
| 747 Alpha Drive                                                   |
| Highland Hts., OH 44143 Phone(216) 646-4668   FAX: (216) 646-4484 | 
Newsgroups: rec.music.bluenote
From: acp@arcadien.owlnet.rice.edu (Adrian C Penisson)
Subject: St. James Infirmary
Organization: Rice University
Distribution: usa
Date: Thu, 16 Apr 1992 18:25:46 GMT

I read the other day that Clifton Chenier recorded a version of St. James Infirmary.  Does anyone know what CD this can be found on?

Thanks in advance,
Adrian Penisson

Newsgroups: rec.music.bluenote
From: judym@col.hp.com (Judy Miller)
Subject: Re: Earl Klugh Music
Date: Wed, 15 Apr 1992 14:47:24 GMT
Organization: HP Colorado Springs Division

johnf@Auspex.COM (John Fereira) writes:
> In article <1992Apr13.212230.2622@col.hp.com> judym@col.hp.com (Judy Miller) writes:
> |fscll@acad3.alaska.edu (Chris Lott) writes:
> |> I just bought the Earl Klugh Trio, vol. 1 and think it is great... 
> |> 
> |> can anyone point me to what they feel is Klugh's best work so that I can find
> |> it?
> 
> >Finger Paintings is a classic.  More mellow than jazz.  I love it.
> 
> Earl Klugh's self titled album released in 1976 is really good.  It's got
> a dark blue cover.  He also did an album with Bob James called "One on One"
> that is pretty good as well.

And there is Collaboration, Earl Klugh & George Benson together (in case
you are also George Benson fan).

Judy
From: cwalker@vega.tmc.edu (carleton walker `93)
Newsgroups: rec.music.bluenote
Subject: Re: Chick-Round II
Date: 8 Apr 92 02:57:57 GMT
Article-I.D.: hydra.1297
Organization: Bucknell University, Lewisburg, Pa.

In article <1992Apr7.011934.1@kean.ucs.mun.ca> ebaddour@kean.ucs.mun.ca writes:
>really good.  My only gripe with it is with the instrument(s) he uses, 
>primarily the fender rhodes.  As a keyboardist/pianist myself (sounds 
>important doesn't it?), I HATE that horrible thin sound.  Had he used 
>a concert grand for the album, it would probably rank as one of my 
>favourites, but alas I have to bear that BLEUGH sound of archaic 
>technology.  The other "old" album I have is the "song of singing".  

	I really like this older stuff. I really dig the RHODES sound,
but I can understand why you might not like it. However,I also feel
that his sysnthesizer work is far better on the older albums.
	It is more imaginative. These day's the synth work on his
album really sounds like a factory path demo (not the music, but the
sounds). Ever since he started using the Yamaha, he seems to really
over-use the "standard DX7 patch". (Especially on the new one Beneath
the Mask).

Carl Walker

--
Carl Walker				"Hectic days ahead of us,
Bucknell University			 Rotten ones behind,
Lewisburg, PA				 Keeping plastics in our pockets,
					 Children never mind." - K, S, & W
Newsgroups: rec.music.bluenote,rec.music.makers