HDTenEightyP/NetNews huggingface dataset:
From: rstump@itchy.geog.albany.edu (Roger Stump)
Subject: Re: Keith Jarrett in Sun (8/16) NYT
Organization: Syracuse University
Date: Mon, 17 Aug 92 14:26:26 GMT

In article <1992Aug16.203853.28786@pasteur.Berkeley.EDU> charless@cory.Berkeley.EDU (Charles R. Sullivan) writes:
>An article by Keith Jarret appears in today (Sunday)'s New York
>Times Arts and Leisure section (8/16/92).  Since it will probably be
   [...]
>One strange thing is that he hold up Miles Davis as an example of a true
>artist, untainted by commercialism.  To me, Miles seems to be an strange
>contradictory example of both true artistry and commercialism, in various
>mixes on different projects at different times.  Jarret could have
>found a better example.

I think that Miles is a very good example of what Jarrett was talking about
here:  not an artist untainted by commercialism, but an artist who explored
and developed his own voice.  Even in his most "commercial" projects (which
I don't think were really all that "commercial" -- whatever that means),
Miles always projected his own voice.  Although he played in many different
musical contexts, he never changed the way *he* played simply to sell more
albums or to make his music more palatable to others.  Jarrett also cites
Ornette as an example of a musician who always pursued his own voice -- an
equally good example.
-- 
Roger W. Stump                |  "Sometimes I let greed talk me into things.
University at Albany          |   Next time I will not listen."
rstump@itchy.geog.albany.edu  |               M. S. Murdock, _Prime Squared_
From: gwl%wave3_1@CONCERT.NET (Glenn Lea)
Newsgroups: rec.music.bluenote
Subject: DIWs
Date: 17 Aug 92 16:17:56 GMT
Reply-To: gwl%wave3_1@concert.net

A few copies of fairly recent Japan-release-only DIWs arrived last
week in Boston.  I managed to snatch up 3 before they sold out:

David Murray Quintet (Hugh Ragin tp, Dave Burrell p, Wilber Morris b,
Tani Tabbal d) "Remembrances".  Ragin and Murray at times remind me of
Don and Albert Ayler in their unison heads.  The program is varied and
interesting (Murray of late has been repeating compositions a bit too
often, IMO.  Dexter's Dues is the only "oldie" here).  Ragin has
several trademark "special effects" that he uses well overall.
There's a fine version of a Dave Burrell rag from his "Jelly Roll
Joys" album.  Overall, this is a fresh look at Murray and and is well
worth getting.

Art Ensemble of Chicago, "Dreaming of the Masters Suite: Music
Inspired by and Dedicated to John Coltrane".  This, the 3rd of their
"Tribute to the Masters" albums, opens and closes with a brief reprise
of the "Dreaming" theme.  They cover three Trane tunes: "Impressions"
(a bit too ragged, IMO), "Naima" (respectful and sounding quite a bit
like "Nefertiti"!), and "Spiritual" (a beautiful flute version with
synthesized rain, bells and birdsong accompaniment).  There are two
quiet impressionistic pieces, a couple of their trademark blowouts and
a township-jive "Song for Atala".  Another winner from them, their
best on DIW since "Alternative Express".

Geri Allen, Paul Motian and Charlie Haden, "Live at the Village
Vanguard".  This is a subtle and solemn program.  It demands close
listening, but given its overall tone, I haven't been in the mood to
listen to it much yet.  If you're a fan, like me, you'll grab it when
it shows up.  If not, try any of the three studio releases to get a
more balanced view of this excellent trio.

Also, I saw an ad in the Voice which indicated that new Columbia/DIWs
are due next week (8/25).  I'm looking forward to the Andrew Cyrille
release with Oliver Lake, Joshua Redman and Reggie Workman.



--------------------------------------------------
Glenn Lea - reply to gwl@wavetracer.com
Wavetracer, Inc.
Newsgroups: rec.music.bluenote
From: labiche@crchh561.BNR.CA (Maurice LaBiche)
Subject: Re: BLUES: Howlin' Wolf vs. Son House
Reply-To: labiche@crchh561.BNR.CA (Maurice LaBiche)
Organization: Bell-Northern Research Ltd.
Date: Wed, 19 Aug 1992 17:08:31 GMT

Chester Arthur Burnett, aka Howlin' Wolf, was from Mississippi.  Some of
his early recordings were done in Memphis.  He, like many other blacks, 
moved to Chicago where blacks owned businesses and had their own community
which was freer from repression than the South.  He played Harmonica, piano,
guitar and sang.  His style, as many from that era in Chicago, was influenced
by Willie Dixon's period at Chess records.  And in fact several of his hits
were penned by Willie Dixon.  There was a Howlin' Wolf box set which was 
released this year.  It has a lot of great Howlin' Wolf tunes and a nice
biography included with it.

------------------------------------------------------------------------
Maurice LaBiche (Mo.L.)         |   labiche@bnr.ca
Bell Northern Research          |   Part of Northern Telecom 
Richardson, Texas               |   i'm really in Texas
------------------------------------------------------------------------
No opinions herein expressed have anything to do with the opinions 
of Bell Northern Research or Northern Telecom or CIA or NSA ...
These statements are mine and mine alone, well i guess my wife 
agrees with some of them?
From: elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New)
Newsgroups: rec.music.bluenote
Subject: Re: Tina Gonzalez
Date: 12 Aug 92 12:43:59 GMT
Organization: NCR E&M Columbia SC.

I believe his first name is Tino... not Tina.  I've heard of the guy... (heard
some live tapes), but I don't think he has any records out.

Elliott New
From: rabin@CS.Yale.Edu (Dan Rabin)
Subject: Re: Ohnedaruth
Reply-To: rabin-dan@cs.yale.edu
Organization: Computer Science, Yale University, New Haven, CT 06520-2158
	<1992Aug17.225800.24716@vestek.com>
Date: Mon, 17 Aug 1992 23:01:16 GMT

In article <1992Aug17.225800.24716@vestek.com> tim@vestek.com (Tim McGinnis) writes:

   anybody remember the "church of john coltrane" thread from a few weeks ago?
   well, the house band is loosely made up of members of the local sf jazz
   band Ohnedaruth.  I was wondering where the name Ohnedaruth came from
   thanks....

Funny, I was just listening to the album `Infinity' by John Coltrane,
which has string arrangements by Alice Coltrane recorded in 1972.  The
inside jacket's picture of Coltrane is captioned `Ohnedaruth, John
Coltrane'.  I have the impression that it's a name referring to
Coltrane himself.

I don't, by the way, recommend the album.  In my opinion, the very
lush overdubs obscure some of the group interaction that is evident on
those of the cuts that I've heard released in their original form.

  -- Dan Rabin
     rabin-dan@cs.yale.edu
Newsgroups: rec.music.bluenote
From: chip@chinacat.unicom.com (Chip Rosenthal)
Subject: bb king is giving me the blues
Organization: Unicom Systems Development, Austin, TX
Date: Fri, 21 Aug 1992 08:05:34 GMT

I'm somewhat disheartened to hear the part B.B. King has played in
the recent festivities in Houston.  He was featured at an event honoring
the late Lee Atwater.

I understand that Atwater might have been a fan of the blues (and a
student of the blues), and I suppose I wouldn't begrudge it if that
was what was being honored.  But it wasn't.  It was a tribute to things
I view as vile and hateful, the so-called contributions Atwater has
made to political campaigning.

There is something horribly twisted about taking a musical form created
by Black Americans and using it as tribute to the man who conceived
Willie Horton as a symbol to strike fear into the hearts of middle
America.

I suppose B.B. King would allow me the expression I desire.  I probably
should grant him the same.  But I'm bothered, and I'm not sure I can
ever listen to the music he creates with the same joy I once did.

-- 
Chip Rosenthal  512-482-8260 | The secret to a long life is
Unicom Systems Development   | knowing when it's time to go.
<chip@chinacat.Unicom.COM>   |  - Michelle Shocked
Newsgroups: rec.music.bluenote
From: rwd4f@poe.acc.Virginia.EDU (Rob Dobson)
Subject: Re: Library of Congress Blues
Organization: University of Virginia
Date: Wed, 12 Aug 1992 12:26:41 GMT

In article <1992Aug11.163139.10684@ultb.isc.rit.edu> whc2993@ritvax.isc.rit.edu writes:
>	Reading through books on the blues I have discovered the fact that the
>Library of Congress did a lot of recording of country blues artists in the
>thirties and forties I believe.  They recorded people like Muddy Waters to have
>a record of the music I suppose.  My question is, is this music available?

Some of it is. I know that they just released a Leadbelly set which contains
LC material, but I dont know who did it. DOes anyone out there have this set?


>It's a shame they aren't still doing this and recording the
>very old bluesmen, other than John Lee Hooker.
>
I have to disagree on this one. What made the old LC recordings of folk and
blues music so valuable was that they were recorded in places record companies
wouldnt go then, like the Texas penal system, the hollows of appalachia, etc.
Nowadays there are plenty of private labels willing to record the blues,
and theres no real reason for the government to continue doing so.

-rob
From: jmh@morgana.pubserv.com (Jeff Helgesen)
Newsgroups: rec.music.bluenote
Subject: Re: trumpets
Date: 13 Aug 92 19:46:45 GMT
Article-I.D.: morgana.9208131946.AA08280

<1992Aug13.094845.1156@aisb.ed.ac.uk>, John Elliott writes

> Below this a whole octave of "false pedals" can be played with the same
> fingerings as the same notes in the octave above.  These make excellent
> practice for embrochure and intonation development since the notes
> don't actually "exist" on the instrument.

Yeah, I omitted those for the sake of brevity in my posting; I use what
I consider to be an excellent warm-up published by Jimmy Stamp which
works like this:

(Sorry this looks so convoluted, but I couldn't come up with a better way
to notate the pitch/rhythm together.)

Part I:

Initial rhythm is q-h-q-q-h-q-w, where q=quarter note, h=half note,
w=whole note; initial melodic fragment uses pitches C2-D-C2-G-A-G-C1,
where C2 is middle C (on the staff) and C1 is low C (below the staff).
Pattern progresses downward chromatically until player begins on C1 and
ends on pedal C (C0).  End of first part of warmup, rest a few
minutes.

Part II:

Starting on low C,

q--h--q-q-h-q-h--q-q-h-q-q-q--q-q-q-q--q-q-q-h--q-q--q-q--q-q-q-q--q-q-q-w
C1-D-C1-G-A-G-C0-E-G-A-G-E-C0-E-G-A-C1-E-G-A-C2-A-C2-A-C2-A-G-E-C1-A-G-E-C0

Which effectively runs you through two octaves. Repeat for Db, D, and
Eb.  Rest. When ready to continue, start on low C again (you've now
come to the point in the harmonic series where you can progress higher
in key of C), repeat the pattern above, but add a major third at the
end (E above middle C). Repeat for Db and D. Rest. When ready to
continue, begin again on low C, repeat same pattern, but add minor
third (G). Repeat for Db, D, Eb, and E.  Rest again. When ready to
continue, start again on low C, play previous pattern, but add high A
and C. You're now running through three octaves.

The exercize may be continued logically extended in this fashion, though
it's not much good up above G above high C. (If you can past play that, you
probably don't need advice on a warmup!)

Keep in mind that these exercises, like Caruso's "Calisthenics For
Brass" and others, are designed to get the player to use one set for a
variety of different range areas, thus they should be balanced out with
flexibility exercises (Colin et. al.) as part of a regular warmup
routine, or even periodically omitted in favor of other exercises.


						Jeff
______________________________________________________________________________

   \_  \_    \_         Jeff Helgesen           email: jmh@morgana.pubserv.com
    \_  \_    \_        Publication Services    Champaign, IL
     \_  \_\_\_\_
      \_  \_    \_      "I think I'll just go home and shake myself to sleep."
 \_\_\_    \_    \_                              		-B. Wilke
______________________________________________________________________________
Newsgroups: rec.music.bluenote
From: vek@spacsun.rice.edu (Vincent E. Kargatis)
Subject: Re: Rumour about a jazz death
Organization: Rice University
Date: Fri, 14 Aug 1992 16:08:05 GMT

jgthomas@crchh420.NoSubdomain.NoDomain (John Thomas) writes:
> I heard from a friend who owns a record shop that just recently
> opened up who was a friend of John Cage that we lost Steve Lacy
> a few weeks ago.  Can someone in France substantiate this?

I just called Cadence. They'd heard the rumor and had gone to some lengths
to substantiate it - he said people who were his close friends and friends
of the family knew nothing about it, and that it would be "amazing" if it
were true and they wouldn't know about it. So I'm breathing a bit
easier... 
-- 
| Vincent Kargatis                      |  "It was jump or die."              |
| Dept. of Space Physics and Astronomy  |                                     |
| Rice University, Houston, TX          |      Marilyn Crispell to Anthony    |
| [vek@spacsun.rice.edu]                |        Braxton on his Comp. 69C     |
Newsgroups: rec.music.bluenote
From: gwl%wave3_1@CONCERT.NET (Glenn Lea)
Newsgroups: rec.music.bluenote
Subject: Re: Coltrane/Vanguard
Date: 12 Aug 92 11:35:38 GMT
Reply-To: gwl%wave3_1@concert.net

>>>>> On 11 Aug 92 16:51:36 EST, "dale smoak" <wave3_3!channel1.com!dale.smoak> said:

  dale> Japanese GRP released the Village Vanguard sessions night-by-night, in
  dale> performance order, last year.  The 11-1-61 set is a single CD, the
  dale> 11-2-61 set is a double CD, and a double CD covers 11-3-61 and 11-5-61.

  dale> I don't understand why the Japanese are able to issue this, while Mosaic
  dale> can't, unless Mosaic feels it should compensate Alice Coltrane beyond
  dale> the legal requirements.

I read an article recently which indicated that Alice C very recently
came forward with a ton of unreleased recordings which she would like
to see released in some coherent fashion (unlike Impulse's typical
methods).  I believe the Japanese sets were already out by then.
Until Cuscuna et al wade it through all, the VV sessions have been put
on hold. 

Glenn
--------------------------------------------------
Glenn Lea - reply to gwl@wavetracer.com
Wavetracer, Inc.
From: arc113h@vaxc.cc.monash.edu.au (Chris Leong)
Newsgroups: rec.music.bluenote
Subject: Re:  Jeff Porcaro is dead:  Let's make a record list
Date: 19 Aug 92 12:59:54 +1000
Organization: Monash Uni. Accident Research Centre, Australia

In article <65801@hydra.gatech.EDU>, gt6990b@prism.gatech.EDU (MADDALA,VIVEK)
writes:
>
> He was never a member of Steely Dan; except for in the beginning,
> Steely Dan was never a group--just Donald Fagen and whatever studio
> musicians he hired.  He has played on quite a few records of
> Steely Dan, Al Jarreau, Madonna, B52's, Michael Jackson, Dire Straits,
> George Benson, Larry Carlton, Lee Ritenour, Don Henley, and a host of
> other jazz/pop/rock records.  It seems everywhere I'd turn around I'd
[stuff deleted]

I think he also played in Victor Feldman's "Fiesta" album (?).
He'll be sadly missed.  Please _do_ post a summary of his works if anyone
has the information.

Chris.
Newsgroups: rec.music.bluenote
From: jan@cci632.cci.com (John Nicowski)
Subject: Re: history of BLUES music
Keywords: Blues starter kit...
Organization: [Computer Consoles, Inc., Rochester, NY
Date: Thu, 20 Aug 1992 18:08:55 GMT

In article <1992Aug19.174202.16070@ncar.ucar.edu> kauff@neit.cgd.ucar.edu (Brian Kauffman) writes:
>>  = 880139h@dragon.acadiau.ca (Rob Hutten) writes:
>>> = mece1xg@Elroy.UH.EDU (purna) writes:
>------------------------------------------------------------------------
>>>have a good compilation of blues artists and/or albums/CDs that would
>>>show the progression of the blues over time?
>
>>Man oh man, you have to get `Legends of the Blues.'  It's a perfect
>>primer on blues from 1925-1960.  It's got all the great old bluesmen
>
>My personal taste is to get whole CD's by one artist, because often
>one or two cuts by an artist is an insufficient sample.  Unfortunately
>------------------------------------------------------------------------
>historical/introductory SHORT list of artists that can be found on CD.
>
>Early: 20's & 30's, earliest recordings, solo acoustic, show band
>  o Ma Rainy
>  o Charlie Patton
>  o Bessie Smith
>  o Leadbelly
>  o Blind Lemon Jefferson
>  o Son House
>  o Robert Johnson
>  o Sonny Boy Williamson
   + Lonnie Johnson
>Mid: 40's & 50's, inventing electric blues
>  o Muddy Waters			 ############################
>  o Howlin' Wolf			 ## EDITORIAL:             ##
>  o Sonny Boy II (Rice Miller)		 ## I cut out Elvis, cuz   ##
>  o T-Bone Walker			 ## the aliens have him,   ##
>  o Prof. Longhair (?blues -> zydeco?)	 ## and he didn't play the ##
>  o Boozoo Chavis  (?blues -> zydeco?)	 ## blues before they got  ##
   + Willie Dixon			 ## him anyway.            ##
   + Sonny Terry / Brownie McGhee	 ############################
   
>Later: 60's & 70's, refining electric blues
>  o B.B. King
>  o Albert Collins
   + John Lee Hooker	Gotta have some - cut my blues teeth on him
   + Albert King	Essential electic guitar
   + Buddy Guy		More Essential electic guitar
   + Roosevelt Sykes/Otis Spann/Pinetop Perkings  Blues piano
   + Lightnin' Hopkins	Texas bluesman extraodinaire
   + James Cotton	My favorite blues harp
   + Hound Dog Taylor	Rough/raw/irreverent Chicago backroom blues
>Current: 80's -> 90's
   + Stevie Ray Vaughn	The best comtemporary blues guitarist IMHO
   + Johnny Winter	Nice Steel guitar stuff
   + Lonnie Brooks	Hard edged guitar blues
   + Bonnie Raitt	Smooth with a big S
   + Eddie "Cleanhead" Vinson/AC Reed Blues sax men
   + Hooker/Guy/King/Cotton are still kickin' too.

Hope this helps, although it's impossible to put together a "must have"
list.  After 400, I've almost gotten through my "must" haves, then I
go on to the "should haves", then the "wanna haves", the "like to haves"...

Whatever.  John.
From: Thomas.Sullivan@cs.cmu.edu
Newsgroups: rec.music.bluenote
Subject: Re: Gil, Jimi and Miles
Date: 17 Aug 92 14:37:16 GMT
	<2035@tfd.tfd.com>
Organization: Carnegie Mellon, Pittsburgh, PA

> Excerpts from netnews.rec.music.bluenote: 14-Aug-92 Re: Gil, Jimi and
> Miles Bret Weinraub@tfd.COM (1313)

> BTW, what is disco if not funk?  Disco is one of those meaningless
> musical
> terms that actually refers to a fashion style, like NEW WAVE or
> progressive.

> ~~~   =         bret d weinraub	        bret@tfd.com

I suppose this is true, but I guess my feeling is that disco is funk
without
the "soul".  Sure there's a beat (GOD, is there a beat!) but to me, it
just
doesn't "emote" like soul does.  Jimi had soul.  Listening to his
playing 
you'd get happy, sad, chills, fired-up, whatever.  This is (to me) what 
elevates players of all instruments (and in all genres) from their peers.

--Tom
From: millerje@CS.ColoState.EDU (Jeff Miller)
Newsgroups: rec.music.bluenote
Subject: Bela Fleck caught on TV!
Date: 13 Aug 92 16:05:45 GMT
Organization: Colorado State University, Computer Science Department

Yesterday I was flipping the cable box and caught the tail end of 
Bela Fleck & the Flecktones, on none other than a show called (ahem)
"Nashville Now!".  Bela played a couple of tunes off the new album,
then explained to the host what a synthaxe drumitar was (the host had
to repeat it about 10 times just to get it right).  Then, [just to show
the intelligence of a "Nashville Now!" audience, I suppose] the host
said to Bela something like, "Why don't you explain what a PALINDROME is?"
Bela had a look on his face like "Why???".  After explaining to the 
audience what one is, the host showed that Bela's new album "UFO TOFU" can
be read backwards and forwards!!! wow!

I really can't wait until Bela's back on the Tonight Show.  (the 26th?)

-- 
 _____________________________________________________________________________
|                                                                             |
| "Nuke the unborn gay whales!" |  millerje@cs.colostate.edu  |  Jeff Miller  |
|_____________________________________________________________________________|
From: mjs@hpfcso.FC.HP.COM (Marc Sabatella)
Newsgroups: rec.music.bluenote
Subject: Re: Into the Hot (was: Gil Evans request)
Date: 17 Aug 92 17:29:23 GMT
Organization: Hewlett-Packard, Fort Collins, CO, USA

In rec.music.bluenote, rshapiro@bbn.com (Richard Shapiro) writes:

> The other half of the record
> consists of jazz orchestra compositions by John Carisi, somewhat in
> the Evans style. I don't know much about Carisi - he may have had
> something to do with the Birth Of The Cool sessions but I haven't
> heard his name in any other setting.

Carisi wrote the tune "Israel" for the original Birth Of The Cool settings.
Funny, on the liner notes for the re-issue of those recordings, someone - I
think Gerry Mulligan - is quoted as saying something like "Anyone who writes
a tune like Israel can't be all bad" - which is still about the only thing I've
ever heard about him.

Well, it is a *great* tune - especially to hear Bill Evans resurrect it in the
60's at a faster tempo.

-------------------------------------------------------------------------------
Marc Sabatella           Winner, 1992 First Annual Bill Evans Lookalike Contest
marc@fc.hp.com
Newsgroups: rec.music.bluenote
From: mece1xg@Elroy.UH.EDU (purna)
Subject: Re: BLUES: What's in a name?
Reply-To: mece1xg@Elroy.UH.EDU
Organization: University of Houston
Date: Wed, 19 Aug 1992 13:18:17 GMT

In article <deadhead.714204912@beyond>, deadhead@beyond.ugcs.caltech.edu (stephen thompson) writes:
>
>
>I'm sure that one of you out there can answer this question.
>How exactly did the blues get its name?  Did the concept of
>having the blues or feeling blue predate the music, or did
>it come from it?  Why is that bluesy feeling related to the
>color blue?  Just a-wonderin'...
>
>--stephen

hi!

i have always been under the impression that the blues(music) was
named from the blues(feeling) which is "psychologically" related
to the color blue.  that is, it is the opposite of "red" which
supposedly signifies "hot" and "excited".  don't know for sure, though.

peace,
-purna
From: ericl@miles.esd.sgi.com (Eric Linstadt)
Newsgroups: rec.music.bluenote
Subject: Charles Tyler (was Re: Rumour about a jazz death)
Date: 20 Aug 92 19:29:27 GMT
Reply-To: ericl@miles.esd.sgi.com (Eric Linstadt)
Organization: Silicon Graphics, Entry Systems Division


  Charles Tyler may be heard playing alto on the Albert Ayler
recording "Spirits Rejoice", ESP 1020.  The liner notes to the
CD reissue say he also was recorded on Ayler's "BELLS" (ESP 1010).
  Apparently, ZYX Music GmbH will also re-release ESP 1029, "Charles
Tyler Ensemble" (Jan 1966 w/Joel Friedman, cello; Charles Moffett,
orchestra vibes; Ronald Jackson, percussion; and Henry Grimes, bass),
and ESP 1059 "Eastern Man Alone" (Jan 1967, w/Dave Baaker, cello;
Brent Makeson and Kent Brinkley, bass).
  I'll second the recommendation for Steve Lacy's "One Fell Swoop".

-Eric
Newsgroups: rec.music.bluenote
From: deadhead@beyond.ugcs.caltech.edu (stephen thompson)
Subject: BLUES: What's in a name?
Organization: California Institute of Technology, Pasadena
Date: Wed, 19 Aug 1992 06:15:12 GMT



I'm sure that one of you out there can answer this question.
How exactly did the blues get its name?  Did the concept of
having the blues or feeling blue predate the music, or did
it come from it?  Why is that bluesy feeling related to the
color blue?  Just a-wonderin'...

--stephen


--
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% deadhead@through.ugcs.caltech.edu   | |   /USA/91126/170-25/stephenthompson %
%     " I'll let you be in my dreams if I can be in yours. " -- Bob Dylan     %
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