HDTenEightyP/NetNews huggingface dataset:
From: clements@carson.u.washington.edu (Steve Clements)
Newsgroups: rec.music.bluenote
Subject: Re: Singers
Date: 22 Jan 1993 00:00:35 GMT
Organization: University of Washington, Seattle
NNTP-Posting-Host: carson.u.washington.edu

>: 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?

Newsgroups: rec.music.bluenote
From: rob@xyzoom.info.com.info.com (Rob Lingelbach)
Subject: Re: John Scofield's Blue Note Recordings
Reply-To: rob@xyzoom.info.com.info.com (Rob Lingelbach)
Organization: Altruistic Intentions, Hollywood, CA
Date: Thu, 21 Jan 1993 05:18:10 GMT

In article <1993Jan20.191746.11231@news.cs.brandeis.edu> rardin@binah.cc.brandeis.edu writes:

>So are these guys just clueless or did I actually miss a Sco album (HONEST I 
>DO)???!
>

Well, I am another who would definitely like to know.  I thought I had
knowledge of every album of his, and this one I haven't heard of.

--Rob

-- 
Rob Lingelbach KB6CUN | 2660 Hollyridge Dr LA CA 90068 213 464 6266 (voice) 
rob@xyzoom.info.com   | "I care not much for a man's religion whose dog or 
robl@netcom.com       |  cat are not the better for it."  --Abraham Lincoln
Newsgroups: rec.music.bluenote
From: tygar+@cs.cmu.edu (Doug Tygar)
Subject: Re: Zorn's Grand Guignol
Organization: School of Computer Science, Carnegie Mellon
Date: Thu, 21 Jan 1993 17:02:27 GMT

In article <1jgsh5INN3oi@specialist.genrad.com> gwl@specialist.genrad.com (Glenn W. Lea) writes:
>Contrary to THIS posting, the 34 (not 33) short tracks on Grand
>Guignol ARE from "Torture Garden".  The remaining 8 tracks from
>"Torture Garden" appeared on the first NC release.  Doug, how could
>you not recognize such titles as "Jazz Snob Eat Shit" and "Gob of
>Spit"?

I plead temporary insanity.  The cover was so disturbing that my ability
to recognize Torture Garden songs disappeared!

Thanks for the correction Glenn!
From: seale@bcserv.wustl.edu (Seale (Jeff))
Newsgroups: rec.music.bluenote
Subject: Kenny Burrell? HELP
Date: 27 Jan 93 17:51:32 GMT
Organization: Washington University in Saint Louis, MO USA
NNTP-Posting-Host: bcserv.wustl.edu

Can someone send me info on Kenny Burrell? My knowledge of him is
limited to the Stevie Ray Vaughan cover of Chitlins Con Carne. How
close is SRV's interpretation to the original? It says in the liner
notes to The Sky Is Crying that Burrell was the inspiration for the
SRV instrumentals (which are faves of mine). I don't know if he was
mentioned in the discussion of jazzy blues a few weeks ago. I seemed to
get in on the end of it. Sorry if any of this is repeated.
Thanks for the help,
  Jeff  
         jeff@grserv.wustl.edu
From: milliken@scofield.Corp.Sun.COM (Gary Milliken)
Newsgroups: rec.music.bluenote
Subject: Re: Singers
Date: 22 Jan 1993 21:12:41 GMT
Organization: Sun Microsystems, Mt. View, Ca.
NNTP-Posting-Host: scofield.corp.sun.com

In article <C18wEF.6rn@news.iastate.edu> s1mbm@isuvax.iastate.edu writes:
>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
>>

One of my FAVORITE recordings is Ella singing "Lady Be Good" in about 1951,
backed up by (I think) Bob Haggart's band.  The song is used almost entirely
as a vehicle for Ella's scatting, and I find it amazing.  There is one spot
where the rhythm section rides a particular figure closely with her, indicating
that it was a regular pre-arranged lick in the song, but the rest of it sounds
quite spontaneous -- incorporating quotes from "A-Tisket A-Tasket", "The Toy
Trumpet", "Dardanella", "Oop Bop Sh-Bam", and probably others.  A terrific
performance, which uses methods and devices that any contemporary instrument-
alist would use.

If you don't like scatting by a singer with both a great voice and great ears,
it's your serious loss.

Newsgroups: rec.music.bluenote
From: stewarte@sco.COM (nicest of the damned)
Subject: Good Bait, Tricotism
Organization: Captain Napalm's Thermonuclear League of Liberty
Date: Thu, 28 Jan 1993 23:26:47 GMT


I was listening to "In The Light" by Max Roach recently, and was
struck by these two tunes.  "Good Bait" is credited to Tadd Dameron,
although I saw a book co-crediting Count Basie, so I'm guessing it
was originally recorded by the Count -- any recommendations for a
recording by Basie, or other interesting versions?  Max & co. do it
in three, but I think the book had it in 4/4...I'm curious to hear
how it sounds in four.

"Tricotism" caught my attention on the Roach disc, but then I picked
up a Rufus Reid LP, "Perpetual Stroll", on which he does an excellent
solo bass rendition of it.  This was written by Oscar Pettiford, did
he record it as a bass solo?  Again, any recommendations for interesting
versions?

Thanks,

-- Stewart

-- 
"Well, then, you that is well now then."
			-- Timothy Bowden (tcbowden@clovis.felton.ca.us)
/*  uunet!sco!stewarte  -or-  stewarte@sco.COM  -or-  Stewart Evans  */
From: avi@Warren.MENTORG.COM (Avi Ziv)
Newsgroups: rec.music.bluenote
Subject: Steps Ahead - need info
Date: 22 Jan 1993 12:33:36 -0500
Organization: Mentor Graphics -- IC Group, Warren, NJ, USA
NNTP-Posting-Host: galapagos.warren.mentorg.com

I am desperately searching for a Steps live album which I heard on tape.
I think it is called something like "Smokin' in the Pit".
I know for a fact that the band included Michael Brecker and Steve Gadd.
Tower Records doe not list it in their catalog. Can it be a foreign issue?
Is it available in the US? Any info will be appreciated.


Avi Ziv
From: zmatthew@aludra.usc.edu (Zachary Philip Matthews)
Newsgroups: rec.music.bluenote
Subject: Re: postscript versions of transcriptions
Date: 24 Jan 1993 18:30:39 -0800
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: aludra.usc.edu

In article <1993Jan22.190337.19756@midway.uchicago.edu> jdc5@cs.uchicago.edu (Jonathan Cohen) writes:
>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.
>
>  etc. etc.

For those who have been using Finale all along it comes as no surprise 
that one can get postscript examples. 
However with Finale you can have it directly generate a postscript description
without the inevitable loss of resolution by the conversion to Macpaint 
(or worse yet, through the dreaded screen dump). 
So for those of you who care about the resolution or your output - go with 
a program that can generate its own postscript files (as Finale and probably 
several others can).

Zac

zmatthew@scf.usc.edu
From: sik@grosz.esd.sgi.com (Seth Katz)
Newsgroups: rec.music.bluenote
Subject: Re: Zorn: Spillane and the recent Japanese releases
Date: 25 Jan 93 18:05:56 GMT
Organization: Silicon Graphics, Inc.  Mountain View, CA


In article <HELLERS.93Jan24125534@cleo.cs.wisc.edu>, hellers@cs.wisc.edu writes:
> Sender: news@cs.wisc.edu (The News)
> Organization: Univ. of Wisconsin @ Madison, CS Dept.
> Lines: 25
> In-Reply-To: sik@grosz.esd.sgi.com's message of Thu, 21 Jan 93 17:40:45 GMT
> 
> In article <v5kqf2o@zola.esd.sgi.com> sik@grosz.esd.sgi.com (Seth Katz) writes:
> >
> >   Yeah, I heard this band called "Prime Time" that has this 
> >   American drummer and this Indian drummer and all these loud
> >   guitars.  Man, you shoulda heard them try to play Ornette.
> 
> Well, touche, there are two drummers in Prime Time (all I've got is
> VIRGIN BEAUTY, which does indeed have Denardo and Calvin Weston).  But
> you're not seriously suggesting that you don't hear the distinction
> between the Prime Time sound and the sound of SPY VS SPY?  I mean,
> Prime Time is not "loud" the way that SPY VS SPY is.  Am I being silly
> here? 

I'm only suggesting that the number of drummers 
has nothing to do with it.  Prime Time is mighty loud, though,
compared to, say, Kind of Blue or Giuffre 3 or even Cecil Taylor.  

> 
> >   I think Spy Vs Spy does a fine job of what it's trying to do-
> >   bring Ornette to a generation with hardcore sensibilities and
> >   regain some of the shock that Ornette caused when he started.
> 
> Was Ornette really about shocking people, mostly?  I don't think so, I
> think he presented the music as music, not as shock value.  And while
> Zorn's clearly after shock value, I think he's got more going on there
> too.

No, Ornette wasn't about "shocking people mostly", but it 
was shocking to some.  Yesterday's avante garde is today's 
easy listening.  Zorn was making a historical point.   Again, 
though, that wasn't Zorn's only point in making Spy vs Spy.

Strangely, I just heard from ericl here that Ornette and Prime 
Time will be playing next month in the Bay Area.  The catch?
They open for the Grateful Dead at the Oakland Coliseum.  sigh.
=-s
From: gel@sys.uea.ac.uk (Gareth Lee)
Newsgroups: rec.music.bluenote
Subject: Re: who is tony coe?
Date: 26 Jan 93 11:41:56 GMT
Organization: UEA School of Information Systems, Norwich, UK.

cczanj@vax.nott.ac.uk (Andy Jack) writes:
>In article <gel.727965049@zen.sys.uea.ac.uk>, gel@sys.uea.ac.uk (Gareth Lee)
>writes:
>[... stuff about Tony Coe deleted ...]
>>
>>The Crompton Suite, Stan Tracey, on STEAM. . my favourate Tracey LP.
>>
>>STEAM records may not be internationally distributed since it is Stan
>>Tracey's own label.
>>
>I don't think Steam records are even distributed in the UK any more. Most of
>the work of running the label was done by Stan's wife and I understood she'd
>given it up. I bought a job lot of LP's a year or two back at a knock down
>price and felt ashamed that I hadn't bought them when Stan was trying to sell
>them at full price. Has anybody heard/seen the new Blue Note Tracey album yet?

I read recently (althought I can't remember where) that part of the deal
between Stan and Blue Note included the re-release of some of his old
recordings.  I think they mentioned "Under Milk Wood" and "Captain Adventure".
I hope (probably naively) that the reissues extend to the Salisbury/Crompton
suites since my copies are getting rather rough now!

If anyone out there has a half decent copy of the Salisbury Suite that they
can bear to part with then let me know - I'll make you an offer!!

Gareth Lee.
From: smehta@kwela.nynexst.com (Sandeep Mehta)
Newsgroups: rec.music.bluenote
Subject: Re: Penguin Guide: Short Review & 5 Star Recordings
Date: 26 Jan 93 19:27:28 GMT
Article-I.D.: kwela.SMEHTA.93Jan26112728
	<1993Jan25.161600.2188@msus1.msus.edu>
Reply-To: smehta@nynexst.com
Organization: Speech Technology, AI Lab, NYNEX S&T Inc, White Plains, NY


In article <1993Jan25.161600.2188@msus1.msus.edu> kenz@local.host writes:

> Have you any impressions of the LP?  I'm assuming you own it.  Just curious,
> since if I ever see it, I'll buy it!

Sigh, no :-( I almost got it: Cadence said that they might be able to
dig out a copy; alas they didn't. But, Bill is making me a tape copy! :-)

/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: marvo@cbnewsk.cb.att.com (ronald.f.roberts)
Subject: Sun Ra
Organization: AT&T
Distribution: na
Date: Fri, 22 Jan 1993 17:08:07 GMT

Can anyone please tell me the current CD(s) on which the following two Sun Ra
tunes appear?

	"Pictures of Infinity" (recorded 1968)

	"Fate In a Pleasant Mood" (recorded 1959)

I have examined a number of the late Sun Ra reissues on the Evidence label
and other labels but have been unable to locate these two tunes that I heard
earlier this week on WRTI out of Philly.  BTW the Evidence reissues don't
have record date info such that it can be read without opening the CD package.

I recall subtantial discussion about Sun Ra here recently. Thanks in advance.
-- 

Ron Roberts
AT&T Bell Laboratories, P.O. Box 900, Princeton, New Jersey 08542-0900
rfr@pruxp.att.com, phone: 609-639-2242, fax: 609-639-3121
Organization: University Libraries - E&S Library, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.bluenote
Date: Fri, 22 Jan 1993 11:17:22 -0500 
From: Robert Angelo Pleshar <rp16+@andrew.cmu.edu>
Subject: Re: Zorn: Spillane and the recent Japanese releases
	<C162Lx.4xI@news.iastate.edu>

regarding "Spy vs. Spy:"

I actually like this record. I think their version of "Feet Music" is
the best thing on the record. The melodies are all there, they're just
sped up and mutated slightly. One problem is with the recording - the
bass player is nearly inaudible, other than that it sounds good. I have
no conceptual problems with this record - Zorn made it because he loves
Ornette's music, he also loves Husker Du and Die Kreuzen and as a sort
of fusion of elements of the two (Ornette's melody and hardcore's speed)
it makes perfect sense. I do agree that it just didn't come out too well
on some songs ("Lonely Woman" for instance), but overall good.

The new Naked City "Grand Guignol" is really excellent. Does anyone
remember, wasn't Diamanda Galas supposed to sing on one of these songs?
Maybe that got canned. Anyone know?
Avant is still supposed to release 2 Naked City releases called "Radio
vols 1 & 2" with a wide variety of cover tunes on them. I hope their
version of "A Night in Tunisia" is on one of them.

Anyone heard the new Henry Threadgill release on Axiom yet? any impressions?

Ralph
Newsgroups: rec.music.bluenote
Subject: Re: Penguin Guide: Short Review & 5 Star Recordings
From: kenz@local.host
Date: 25 Jan 93 08:59:28 -0600
Reply-To: kenz@local.host
Organization: Organization, City, State, etc.

In article <1993Jan24.133826.2175@msus1.msus.edu>, kenz@local.host writes:
>In article <C1BvoK.35o@news.rich.bnr.ca>, jgthomas@crchh420.NoSubdomain.NoDomain (John Thomas) writes:
>>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 )
>>|> 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? .....

>>   ================================================================
>       "Pakistani Pomade"  FMP 110, Evan Parker (ss,ts); AVS; Paul Lovens (d);
>from November, 1972.   Unfortunately, I don't have the LP, so can't say what
>the music is like.  
>
>This isn't listed in Cadence, has anyone an idea of where
>to purchase this by mail order?
>
>  Bill Kenz
>  Moorhead, MN  
>  kenz@mhd1.moorhead.msus.edu
>  ===============================================================>
>
        I forgot to mention that I do have, however, an excellent recording of
AVS, Parker, Lovens, and the late Alan Silva on FMP 1020, recorded about 10
years after "Pakistani Pomade."  Silva's presence perhaps makes this especially
good.  I checked my FMP catalog because I thought there were other
AVS/Parker/Lovens recordings, #410 "The Hidden Peak" (with Peter Kowald on
bass) looks promising also (1977).  FMP 1020 is called "Anticlockwise."  Has
anyone any impressions of "The Hidden Peak?"

A final note:  most of the Globe Unity Orchestra recordings are also worth
investigating.  "Evidence" (FMP 220) and "Into the Valley" (FMP 270) are
available as single LP's or as one CD (I don't have the CD, but assume it's
complete).  The music is from a live concert March 1975.  I originally bought
it for the Steve Lacy contributions, but have found the rest of the band just
as invigorating (Evan Parker, Albert Mangelsdorff, Peter Kowald , Kenny
Wheeler, and others.)

Bill Kenz
 Moorhead State University
Minnesota
1/25/93
From: bweiner@ruhets.rutgers.edu (Benjamin Weiner)
Newsgroups: rec.music.bluenote
Subject: Re: Zorn: Spillane and the recent Japanese releases
Date: 22 Jan 93 21:53:28 GMT
Organization: Rutgers Univ., New Brunswick, N.J.

dbidwa@sei.cmu.edu (Daniel Bidwa) writes:

>Well, as this group's token thrash fan (ahem :-), I think I can safely say
>that it has everything to do with texture, and very little to do with melody.
...
>thrash lives or dies by its texture. I like different thrash bands because of
>their overall sound, much the same way that I like different free ensembles
>because of their sound.

Once in this group, during one of those periodic trad vs. avant-garde
discussions combined with the "how to introduce novices to jazz" question,
I tried to argue that to a listener who grew up on rock - especially
noisy, obnoxious rock - John Coltrane is less far-out than Duke Ellington,
say.  Not to say that 'Trane has no melody, but that these textures are
not foreign to each other.

>  ... It's a problem I have
>with some of Zorn's thrash-infatuated jazz: it sounds like it's coming from
>his head, not his heart. (For instance, I think that Painkiller suffers from a
>near fatal case of this.)

There is somethig inescapably teenage (I mean this in a good way) about 
thrash/hardcore, and surf music before that, and so on, that Zorn,
despite his immaturities, can't capture, which makes Painkiller just
an exercise in ugliness without the gleeful head-banging that you need
to mak music like that listenable.

>dbidwa@sei.cmu.edu                                 you call this a hamburger?

Nice .sig .  I could make a better hamburger with my - oh, never mind.

-Ben
From: HF.PEC@forsythe.stanford.edu (Doug Peckler)
Newsgroups: rec.music.bluenote
Subject: Ornette in Oakland
Date: 25 Jan 93 19:24:22 GMT
Organization: Stanford University
NNTP-Posting-Host: morrow.stanford.edu

Ornette Coleman and Prime Time are opening for the Grateful Dead at
Oakland Coliseum on Feb 23.   (tickets through BASS outlets).  There
will most likely be a Mardi Gras parade as well.
Newsgroups: rec.music.bluenote
From: smehta@kwela.nynexst.com (Sandeep Mehta)
Subject: Re: Visas (has nothing to do with: Presidential Bash)
Reply-To: smehta@nynexst.com
Organization: Speech Technology, AI Lab, NYNEX S&T Inc, White Plains, NY
	<1993Jan21.201200.12310@CSD-NewsHost.Stanford.EDU>
Date: 22 Jan 93 12:00:15


> gidi@Hilbert.Stanford.EDU (Gidi Avrahami) writes:

> ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:
> >[...] he [Evan Parker] was denied a visa because he had played
> >at some British labor party function.
> 
> This sounds like the State Department denying entry to someone
> who they suspect of being a communist.  (Didn't you guys win the
> cold war already?  Get a life.)
> 
> >The current laws only allow so many visas [...]
> >I hope this will be relaxed under Clinton, but the labor unions
> >like to keep this number low.
> 
> If you're talking about the actors & musicians unions, then it's not
> about a visa but about a work permit.

Actually, I believe, the story is a bit more entangled than that. The
deal, apparently, has to do with mutual quotas on artist exchange as
well. And apparently, there are sublte differentiations in the
definition of "artist". Ornette was burnt by this during his famous
Great London Concert. In addition, there is some threshold of
artistic validity and the INS (DoJ not DoS, except for one office in
DC which probably meddle more than necessary) has a bizarre heuristic
in estimating it -- it's somehow tied to dollars and cents :-)

Add to that Parker's not-so-right leanings and you can figure out the
situation for yourself :-)

/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
Subject: Re: Parker/Lytton
From: hsu@walnut.sfsu.edu (William Hsu)
Date: 22 Jan 93 16:52:00 PST
Reply-To: hsu@walnut.sfsu.edu
Distribution: world

Bill Kenz:
> copy of the live Fingerpalace recording they'd be willing to give up?!
> I'd love to find a copy of that.  

So would the rest of us :-).

I have a tape of a scratchy copy of the Fingerpalace record. There's
another Metalanguage record with Parker and Greg Goodman that I would
love to find...

John Thomas:
> However, what do you mean by this electronics-style?  I am not familiar
> with the electronic stuff on FMP.

The Parker/Guy/Lytton trio worked a bit with electronics in their
earlier records (pre-Atlanta). Very subtly and effectively; Guy mostly
in combination with the soft sounds from his bass, massively amplified,
and Lytton with soft percussive sounds.

Bill
Newsgroups: rec.music.bluenote
From: stewarte@sco.COM (nicest of the damned)
Subject: Mickey Tucker
Organization: Captain Napalm's Thermonuclear League of Liberty
Date: Thu, 28 Jan 1993 23:19:52 GMT


Ran across a couple of Mickey Tucker LPs in the used bin the other
day, and noticed at least one of them had Marcus Belgrave on it.
Perhaps Tucker's name came up during the Belgrave discussion a while
ago, but if so I missed it.  Anyone familiar with his work?  I've never
heard of him before.

-- Stewart
-- 
"Well, then, you that is well now then."
			-- Timothy Bowden (tcbowden@clovis.felton.ca.us)
/*  uunet!sco!stewarte  -or-  stewarte@sco.COM  -or-  Stewart Evans  */
Newsgroups: rec.music.bluenote
Subject: <None>
From: mctkew@dct.ac.uk
Date: 25 Jan 93 11:48:11 GMT
Organization: Dundee Institute of Technology

Well this Ornette lover LOVES Song X, but first time I heard it (about 1986) I
put it away and decided to be kind to my ears !! 

I then slowly became familiar with it through the 3rd track on side 2 (sorry the
record is at home - and I cant remember the tune's name) After this I started
to really enjoy SONG X (about 2 years later) and can now listen to it anytime

It was my first Ornette record, but I think its different to the others (ie
Prime Time) because there does seem to be some question and answer improv, not
usually found in Prime Time

Spy Vs Spy I also like - but also cant listen to straight through - it
eventually wears down my Apolitically Correct ears - but I'm not sure if I've
heard anything quite so uncompromising.

Another band that Zorn played for is the Golden Palominos - I aquired their
first CD at the weekend - VERY GOOD esp Fred Frith and Bill Laswell

any comments on the Palominos !!!

Ken Whelan
MCTKEW@UK.AC.DCT
"Hungry Freaks Daddy"
Newsgroups: rec.music.bluenote