HDTenEightyP/NetNews huggingface dataset:
From: rob@xyzoom.info.com (Rob Lingelbach)
Subject: Re: Pat Metheny and game shows
Reply-To: rob@xyzoom.info.com (Rob Lingelbach)
Organization: Altruistic Intentions, Hollywood CA
Date: Wed, 26 Aug 1992 01:09:02 GMT

In article <183199@pyramid.pyramid.com> craigs@pyrtech.pyramid.com (Craig Shipley) writes:

>According to a blurb I read in TIME magazine, "Secret Story" is
>supposed to be the story of his failed love affair with an [unknown
>ethnic origin, South American, I think] woman.

That rings a bell--I believe she is Brazilian, and he met her while
doing a festival in Rio some years back.  Coincidentally he was
influenced by Brazilian music.  There are fewer Brazilian motifs in
Secret Story than in many albums--maybe he wants to get away from that
in order to purge himself of the relationship?

> It is one of those
>"concept" efforts where the artist wishes to bare his soul to the
>world, and we would have all been better off if he had not bothered,

I mulled this over while listening to SS again, and there is
definitely a progression in the cuts from major to minor, or happy to
sad.  --"Finding and Believing" is #4, and "Not to be Forgotten (Our
Final Hour)" is last.  

Some comments:

--Cut #5, "The Longest Summer", features PM on acoustic piano.  Until
I just took a closer look at the credits, I had thought it was Lyle
Mays...Pat has certainly found a way to sound like Lyle, and become a
pianist of some ability.  There are a few more grace notes than Lyle
would play.  This cut is one of the better tunes.

--Cut #6, "Sunlight", seems promising at first with a pretty acoustic
guitar/pizzicato string bit, but then is over-orchestrated into a
game-show filler.

--Cut #7, "Rain River", is mildly interesting, better for its middle
ES175 solo than for anything else.

--Cut #9, "See the World", is one of the good songs for me.  A
difficult chord progression has Pat in step on the ES175 solo.  Pat's
brother on brass.

--Cut #10, "As a Flower Blossoms", is pretty, short, and feels
unfinished.

--Cut #11, "Antonia"--was this *her* name?  Has its moments, somewhat
melodramatic.  In fact this is my main complaint with a most of this
album: symphonically melodramatic, like the "Falcon and the Snowman"
album.  Good guitar solo, especially the beginning.

--Cut #12, "The Truth will Always Be", sounds almost like it could be
from the album "As Falls Wichita..." (dark sound, sleigh bells, etc.),
but sort of minimalist and boring for me.

--Cut #13, "Tell Her You Saw Me" is simple and beautiful, and would
make a good  movie theme--better than "Falcon and the Snowman"'s
theme, in my opinion.  I'd have liked to see Clint Eastwood use this
for "Unforgiven" instead of the bad score that was used.  

--Cut #14 seems to reprise #13.





-- 
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: bhoughto@sedona.intel.com (Blair P. Houghton)
Subject: Re: Jazz Album Sales (was: World Saxophone Qtt album sales)
Organization: Intel Corp., Chandler, Arizona
Date: Wed, 26 Aug 1992 16:19:53 GMT

In article <1992Aug26.124149.29400@ryn.mro4.dec.com> rost@rgb.dec.com (My name is Brian Rost) writes:
>So most jazz albums probably sell in the tens of thousands at best.  Some
>steady sellers like "Kind of Blue" have probably racked up lots of sales over
>the years (I'd be *really* curious to know about that one!).

I think the difference is in quantity of music vs. quantity
of records.  All the jazzophiles I know buy recordings
regularly and copiously, while most of the rock-and-roll
types just buy a few a year.

It kind of helps that there's 50-80 years of really good
stuff still in release or rerelease or revival.

				--Blair
				  "DCC or Bust!"
Newsgroups: rec.music.bluenote
From: rodseth@apple.com (Richard Rodseth)
Newsgroups: rec.music.bluenote,rec.music.classical,rec.music.marketplace,rec.music.synth
Subject: Grand Piano Advice Wanted
Date: 25 Aug 92 19:42:49 GMT
Distribution: us
Organization: Apple Computer, Inc.

I'm interested in buying one of the smaller grand pianos (under 6ft), and would
appreciate any advice. If you've bought a piano recently, and could tell me what
you paid, that would be very helpful, as it's clear the list and even "sale"
prices are somewhat meaningless.

A friend of mine bought a Kawai KG1E (5'4") which he highly recommends. He
bought it new a few years ago for $5800, and sold it recently for $6000. He said
he thought the going rate for new ones is about $6500. My friend said the KG1E
has an action copied from Steinway, whose patent on it expired a few years ago.
The Kawai brochures only show a KG1. I assume this replaces the KG1E.

My local dealer says he doesn't sell KG1's because their price is within a few
hundred dollars of the KG2. But his "sale" price on the KG2 is $9850. I'm hoping
for a great "recession deal" but the dealers of course claim that the prices
they pay are still going up. What's a good price to pay for a KG2?

The Yamahas seem to cost more than the Kawais. I've also looked at a Schiedmayer
which is supposedly a German/Japanese collaboration built by Kawai.

Thanks in advance for any advice

Richard Rodseth
e-mail: rodseth@apple.com
From: bweiner@ruhets.rutgers.edu (Benjamin Weiner)
Newsgroups: rec.music.bluenote
Subject: Re: history of blues music
Date: 26 Aug 92 16:45:31 GMT
Organization: Rutgers Univ., New Brunswick, N.J.

Recommendation:

Otis Rush's album on Flyright (reissue of Cobra sides)
_Groaning the Blues_.  With the exception of some more pedestrian
songs authored by Willie Dixon this album contains startlingly
original electric-guitar blues: whammy-bar work way before its
time, etc.
Newsgroups: rec.music.bluenote
From: lorenzo@ucsu.Colorado.EDU (Eric J. Lorenzo)
Subject: Looking for good saxaphone supplier
Followup-To: poster
Organization: University of Colorado, Boulder
Date: Wed, 2 Sep 1992 16:37:47 GMT

Does anyone know of any good mail order companies that carry saxophone supplies
like reeds, neckstraps, mouthpieces etc?  Boulder, to my surprise, has no 
dependable stores that carry band instrument supplies and driving over an hour
into Denver for a reed is not enjoyable.  I always thought mail order is 
usually cheaper.

Anyway, any help would be appreciated.  Thanks in advance also.
-Eric

-- 
'You can fly high as a kite if you want to.              /  Eric J. Lorenzo \
     Faster then light if you want to.                   \AKA: Rico and Spam/
     Speeding through the universe...               /lorenzo@ucsu.Colorado.EDU\
   Thinking is the best way to travel' -Moody Blues \ also: @Spot and @Tramp  /
Newsgroups: rec.music.bluenote
From: malcolm@wrs.com (Malcolm Humes)
Subject: Re: NEW BRAND X
Organization: Wind River Systems, Inc.
Date: Mon, 31 Aug 1992 20:07:22 GMT

lorne.murphy@rose.com (lorne murphy) writes:

>    Does anyone have the latest Brand X CD, XCommunication? How is it?
>Does it compare to older Brand X releases, for example UNORTHODOX
>BEHAVIOUR or MOROCCAN ROLL? I have all the old ones, but am hesitant to
>get one without Phil Collins, although I have MASQUES, which is
>Excellent!

I was browsing in a music store the other day (Reckless Records in SF)
and I heard something that sounded interesting - it sounded a bit like Brand
X to me so I asked what was playing. It was of course the new Brand X. After
I confirmed that I realized that it sounded very much like the Brand X I
love, and if I hadn't been broke I would have bought it on the spot. I'll
probably pick it up soon. What I heard was very good and sounded like
something from one of their older lps - not the horrid stuff with vocals
from their later years.

 - malcolm@wrs.com 
 
Newsgroups: rec.music.bluenote
From: rwd4f@poe.acc.Virginia.EDU (Rob Dobson)
Subject: Re: John Coltrane 16 cd set prices ?
Organization: University of Virginia
Date: Thu, 27 Aug 1992 14:17:30 GMT

> perttula@lut.fi (Mika Perttula) writes:
> Hey!
>
>	I wonder, how much Trane`s 16 cd set costs in
>	U-NINE-TED-STATES or in the rest of the world.
>	As you probably know it`s goddam expensive
>	in Finland.If there`s anybody out there willing
>	to sell it to me,please contact me with E-mail.
>

Well, we have this set here at the UVA Music Library, and it only cost us
$190. Of course, that is cheaper than a human being would be able to get
it.

Anyway, the real point of this post is: save your money. Dont buy it. Its
16 discs that only cover a 2 1/2 yr period of Tranes works, so all 16 of
em kinda sound the same. Not flaming Coltrane (heaven forbid), but for 
listening purposes, this set is a loser. Even the discs liner notes admit
that the collection only covers a small portion of trane's art. A boxed
set that covered the complete range of trane's career would have been much
more buyer-friendly, but I guess this is unlikely due to the number of
different lables he recorded on. My advice would be to spend you $200+ on
a bunch of different Coltrane discs.....

-rob


Newsgroups: rec.music.bluenote
From: karish@pangea.Stanford.EDU (Chuck Karish)
Subject: Re: Best of Elmore James / Live Muddy Waters CDs sought
Organization: Mindcraft, Inc.
Distribution: usa
Date: Thu, 3 Sep 1992 19:11:31 GMT

In article <1992Sep02.125306.28445@ncrcae.ColumbiaSC.NCR.COM>
elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New) writes:
>In article <5696@npg-sd.SanDiegoCA.NCR.COM> ewing@npg-sd.SanDiegoCA.NCR.COM
(David Ewing) writes:
>>Also, I am looking for a live Muddy Waters CD.  How are "At Newport"
>>and "Mississippi Waters"?  Any others that are essential?
>
>Newport is earlier stuff.  The other is toward the end, w/Johnny Winter.
>Both are good.  Hell, I'm not sure there is bad Muddy.

The Newport album isn't *bad*, but it's awfully tame in
comparison to what I heard this band do on stage.
It's also quite short; you don't get a lot of music
for your money.

I'm not familiar with "Mississippi Waters", but I'd
want to hear it before buying it.  I don't trust
Johnny Winter's ear as a producer, after hearing
how harsh the sound is on "Hard Again".
--

    Chuck Karish          karish@mindcraft.com
    (415) 323-9000 x117   karish@forel.stanford.edu
Newsgroups: rec.music.bluenote
From: sik@grosz.esd.sgi.com (Seth Katz)
Subject: Re: Butch Morris
Reply-To: sik@grosz.esd.sgi.com (Seth Katz)
Organization: Silicon Graphics, Inc., Mountain View, CA, USA
Date: Mon, 31 Aug 1992 17:53:43 GMT

In article <cecVjOq00iUyI1nYQW@andrew.cmu.edu>, "Roy D. McKelvey" 
<rm0n+@andrew.cmu.edu> writes:
Butch's name pops up here and again on this bboard, but 
always in relation to his work being recorded on someone
else's album. I've got several recordings with him as
part of a group or with his work on it, but have never 
heard one under his name. I've run into them in the Cadence 
listings, and once in a long while in local stores, but 
I've never decided to bite.

Anyone care to comment on the quality of these recordings?

=-=-=-=-=-=-=-

Sure.  Go buy the two live recordings on SoundAspects now.

I'd say Butch Morris' "Homeing" spent as much time on
my CD player in the last year as any album.  It's fantastic.
I can't give you a complete list of personnel 'cause I don't have
it here at the office, but the musicians on the album are great.
More importantly, his strong compositions are weaved together
to create  a beautiful long piece.  In the midst of the piece you can
recognize favorites like "The Long Goodbye" (compare it to the
version on David Murray's "Recorded in NYC 1986" on DIW) and
the pieces are indexed.  

My second favorite is "Current Trends in Racism in America", also 
on SoundAspects.  It's fine, but the music isn't quite as strong and 
the players don't interact quite as nicely.  Until Bill Hsu gets back 
on the net, I feel I should point out that "Current Trends" is less soothing,
more outside material, with wild Zorn sax.

I also have a Morris CD on another label called something like
"Dust to Dust".  It's a studio recording, and sounds like it.  I just
couldn't get into it, despite fine personnel.
=-s
Newsgroups: rec.music.bluenote
From: dasherma@us.oracle.com (Douglas Asherman)
Subject: Re: Best of Elmore James / Live Muddy Waters CDs sought
Organization: Oracle Corporation, Redwood Shores CA
Distribution: usa
Date: Wed, 2 Sep 1992 16:50:37 GMT
X-Disclaimer: This message was written by an unauthenticated user
              at Oracle Corporation.  The opinions expressed are those
              of the user and not necessarily those of Oracle.

There is a boxed set of Elmore James' Capricorn sides.  I believe
it consists of two CDs and a booklet.  I don't have it (yet), so 
I can't give you precise information, but I did listen to it
and it certainly looks/sounds like the best of Elmore James.

- D. Asherman

===========

Oh, yeah.  Oracle doesn't share my opinions (although
-someone- was playing an Albert Collins tape in the
cafeteria this morning...)


Newsgroups: rec.music.bluenote
From: burdick@hditest1.crd.ge.com (William E. Burdick KWC-1623 5585)
Newsgroups: rec.music.bluenote
Subject: Re: Duke Robillard/Roomful of Blues
Date: 28 Aug 92 13:50:45 GMT
Organization: GE Corp. Research & Development, Schenectady, NY

If there is sufficient interest, I can post Roomful of Blues (and
related solo efforts e.g. Robillard, Earl, Piccolo, Copley) discographies
and related information.

BTW, Duke Robillard (founder of Roomful) was lead guitarist and lead
vocalist on Roomful's first two recordings:  "Roomful of Blues" and
"Lets Have A Party" and appeared on Greg Piccolo's (ROB's tenor) solo
effort (actually it was a ROB reunion recording) "Heavy Juice".
Additionally, Duke has a number of solo efforts (four LPs of Rock/Blues
and two jazz efforts) including "Swing" and "After Hours Swing Session".

Bill
Newsgroups: rec.music.bluenote
From: rwd4f@poe.acc.Virginia.EDU (Rob Dobson)
Subject: Re: bb king is giving me the blues
Organization: University of Virginia
Date: Tue, 25 Aug 1992 17:36:42 GMT

In article <1992Aug25.130024.15586@ncrcae.ColumbiaSC.NCR.COM> elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New) writes:
>In article <920824144901@joker.ftp.com> rodin@ftp.com writes:
>>I think you are misunderstanding what Chip means here.  Lee Atwater was the
>>GOP chairman and campaign strategist for Bush.  It was Lee Atwater that
>>used Willie Horton to scare white middle class America into voting for Bush.
>      ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>>Lee Atwater was a master of the racist divide and conquer strategy used by
>>the Republicans for the last 20+ years (the strategy was first defined by
>>Pat Buchanan when he worked for Nixon).
>>
>
>You RACIST PUKE!  You look at Willie Horton and see a black guy... right?
>*YOU* are the one that is so caught up in skin color.  Willie Horton
>was a murderer.  You *should* be scared of murderers!  It doesn't matter if
>they are black, white, orange, purple... whatever!  Murderers are bad
>people.  Kinda simple.  
>

If you think that the Willie Horton ads did not have racist overtones, man,
I HAVE A BRIDGE TO SELL YOU. If Willie Horton had been white, he never would
have been used in Bushs campaign ads, I garun-damn-tee you. I am not scared
of Willie Horton cause hes black, but the Bush campaign team in 1988 wanted
voters to be scared of Horton cause he was black.

And dont just call me a racist for saying this. It was Atwater who tried to
connect blackness and criminality, not me. I just call em as I see em, and
the Willie Horton ad campaign was racist and deceptive.

And sure, some black people voted for Bush, as is their right. BUT 99.9% of
republican campaign rhetoric is aimed at white suburban folks. Again, Im
not being racist here, just callin em like i see em.

Who do you think the "they" is that Dan Quayle contrasts with "our values,
our beliefs....."?

-rob
From: burdick@hditest1.crd.ge.com (William E. Burdick KWC-1623 5585)
Newsgroups: rec.music.bluenote
Subject: Atlantic City Blues Festival Info Needed/Given
Date: 31 Aug 92 19:41:59 GMT
Distribution: usa
Organization: GE Corp. Research & Development, Schenectady, NY

Does anyone have any information and/or knowledge of
The Atlantic City Blues Festival to be held this weekend,
September 5th and 6th at Historic Gardener's Basin in
Atlantic City, NJ?

All I know is that Roomful of Blues is scheduled to appear on
the 5th and Ronnie Earl and James Cotton along with some local
talent is scheduled to appear.

Please reply to r.m.b. or to me directly.

Thanks,
Bill
burdick@zeppo.crd.ge.com
Newsgroups: rec.music.bluenote
From: karish@pangea.Stanford.EDU (Chuck Karish)
Subject: Brand X and the Flecktones
Organization: Mindcraft, Inc.
Date: Mon, 31 Aug 1992 20:04:40 GMT

In article <1992Aug31.184157.28974@math.utexas.edu> mossingh@henri.ma.utexas.edu
(Mike Mossinghoff) writes:
>  Bela Fleck and the Flecktones

>Flecktone music is notoriously hard to categorize, but I'd call it jazz
>(admittedly a very general category); beyond that they're in a category
>of their own.

Some of the stuff on UFO TOFU sounds very much like
an acoustic Brand X, in terms of rhythms and
phrasing.

This doesn't help in finding a pigeonhole for Bela
Fleck; I never knew how to categorize Brand X,
either.

Does anyone here understand this music's roots
in Eastern European folk music?  The only hint
I've seen about this was in the liner notes for
a Don Ellis album.
--

    Chuck Karish          karish@mindcraft.com
    (415) 323-9000 x117   karish@forel.stanford.edu
Newsgroups: rec.music.bluenote,rec.music.makers
From: rost@rgb.dec.com (My name is Brian Rost)
Subject: Boston Area Bass Seeks Jamming Partners
Organization: Digital Equipment Corporation
Distribution: usa
Date: 26 AUG 92 08:41:22    


I'm a bassist located west of Boston, MA (Northboro to be exact) looking to
expand my playing horizons and start working on some jazz (my background is in
R&B, country and folk music).  I'm looking for one or more musicians who are
willing to jam with a novice, blues and real book tunes.  

					Brian Rost @rgb.enet.dec.com

					508-568-6115

	****************************************************
	*						   *
	*  The above does not reflect the opinions of	   *
	*  my employer.					   *
	*						   *
	*  If music is outlawed, only outlaws will be      *	   
	*  musicians.					   *
	*						   *
	****************************************************

Newsgroups: rec.music.bluenote
From: Boyd <BOYD@UNB.CA>
Subject: Sanborn
Organization: The University of New Brunswick
Date: Fri, 28 Aug 1992 03:07:28 GMT

In article <BtnvFr.Brw@rice.edu> vek@spacsun.rice.edu (Vincent E. Kargatis) writes:
>
>Then you were *extremely* unlucky. Night Music ...
>     [tantalizing details deled]
>                                                   ... was GREAT.

   I guess I was; and thanks to you folks, I'm now sorry that I never
got into the show.  I could have gone on my way in blissful ignorance.
Ach weel!  );
From: pvallado@sdcc13.ucsd.edu (Paolo Valladolid )
Newsgroups: rec.music.bluenote
Subject: Re: Miles with McLaughlin and Sharrock (Jack Johnson record)
Date: 2 Sep 92 17:10:26 GMT
Article-I.D.: sdcc12.37581
Organization: University of California, San Diego

>>>comping, though!  And his solo at the end of "Right Off" is wild.
>>
>>I'm sorry, but that wasn't McLaughlin soloing at the end. It was
>>Sonny Sharrock. He just didn't get the credit for it.
>>
>I've also read that Sonny Sharrock appears, uncredited, on this album, but
>I don't think that the solo at the end of "Right Off" is his.  It is wholly
>in McLaughlin's style at the time -- it has his rhythmic style, fast crazy
>runs and bent high notes.  Even the sound of the guitar seems very 
>McLaughlinesque.  I'm not sure where Sharrock does appear on JACK JOHNSON.

Sharrock discusses this in the "Tribute to Miles" feature in Guitar
Player. I'll look it up and read it again...

I have Sharrock's latest album, _Ask the Ages_, and the way he solos
there is virtually in the same style as that "Right Off" solo.
Sharrock also plays a Les Paul, hence the slight similarity in tone.

Cheers,
Paolo
From: denio@seismo.CSS.GOV (Dennis O'Neill)
Newsgroups: rec.music.bluenote
Subject: Re: bb king is giving me the blues
Date: 26 Aug 92 17:21:50 GMT
Organization: Institute for Obfuscatorial Dynamics

In article <1992Aug25.200358.23144@ncrcae.ColumbiaSC.NCR.COM> elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New) writes:
> Refresh my memory.  Did the ad say, "This is Willie Horton... he is
> BLACK." They show a criminal in the ad, and YOU call it racist.  They
> didn't say that he was evil because he was black.  They just called him
> a murderer.
> 
> ...
> 
> But Atwater didn't say *anything* about his skin color.  YOU DID!
> Atwater didn't make a connection of blackness and criminality.... YOU
> DID!

Exactly.  There is more to the ad than what it says.  (I don't have statistics
on hand but) I'm reasonably sure that there are numerically more white 
criminals who commit more crimes while on leave than there are black ones,
just because there are so many more whites in the US than blacks, and even
though the incarceration rate for blacks is higher.  That the ad's creators
chose to show a black man shows that they know that many whites fear
black men more than they fear white men, and chose to leverage on that
for added impact.  Part of the ad's message was in its visual component.
By using Horton, the Republican election machine added an element of
racial fear to the more explicit message that Dukakis ran a state in
which dangerous criminals were released for weekends, but that addition
was implicit.

What's this got to do with music?  The readers of this group tend to be
people who enjoy musics that were created by blacks.  As such, one would
hope that we would be more tolerant racially than the population in
general [though I don't really believe that to be true].  One must be
careful of and aware of subtle messages and positions.  How many
racially-integrated bands are there as a percentage of all bands?

Is is possible to be American and not be racist [I don't think so]?
-- 
Dennis O'Neill (denio@seismo.css.gov)
From: gwl%wave3_1@CONCERT.NET (Glenn Lea)
Newsgroups: rec.music.bluenote
Subject: Murray
Date: 28 Aug 92 16:10:57 GMT
Reply-To: gwl%wave3_1@concert.net


  Roger> From: rstump@itchy.geog.albany.edu (Roger Stump)
  Roger> Art Ensemble of Soweto, AMERICA / SOUTH AFRICA
  Roger> Andrew Cyrille Quintet, I REMEMBER LOUIS
  Roger> David Murray Special Quartet, ???? (with Fred Hopkins, McCoy & Elvin; has
  Roger>    versions of Hope/Scope and In a Sentimental Mood)
  Roger> Impressions, anyone?  Thanks.

You can never have too much David Murray, but "Special Quartet" is a
very good one.  Nice version of "Naima", too.

The AEC release is a continuation of the earlier collaboration with
the South African Amabutho Male Chorus, who are a bit gutsier version
of Ladysmith Black Mambazo.  I enjoyed the first one (titled simply
"Art Ensemble of Chicago Soweto" (with the word Chicago X'ed out) and
expect to pick this one up as well.  The only criticism I had about
the first is that the AEC seemed overly restrained as backup musicians
on the collaborations and that some of the lyrics are a bit weak.  But
if you like African music and the quieter side of the AEC, you'll like
this.  I'm hoping that this one might even "crossover" to the US
"world music" market -- the AEC deserves some reward, being
unrecognized pioneers of the genre.

--------------------------------------------------
Glenn Lea - reply to gwl@wavetracer.com
Wavetracer, Inc.
Newsgroups: rec.music.bluenote