HDTenEightyP/NetNews huggingface dataset:
From: srcd@faraday.physics.utoronto.ca (Solomon Douglas)
Subject: Re: Hip Chord Voicings
Organization: Dept. of Physics, Univ. of Toronto
Date: Fri, 10 Apr 1992 02:16:15 GMT

In article <17570269@hpfcso.FC.HP.COM> mjs@hpfcso.FC.HP.COM (Marc Sabatella) writes:
>In the context of altered dominants in jazz, this translates to:
>
>mixolydian - G7
>lydian dominant - G7#11
>whole tone - G7#5
>blues - G7#9
>altered scale (diminished whole tone) - G7#9#5
>HW diminished - G7b9
>
>Now, of course, I rarely stick to this, and in fact almost always list the
>last chord as G7b9b5 and make no distinction between the second to last two.
>Stnadardization of chord symbols would be nice, but if anyone is to do it, I
>would like the goal to be simplicity and human parsability.

I agree with most of that but be careful with G7(#9) because in some books
that's meant to convey the altered scale, i.e. G7(#9#5).  If you really
want that chord I would say G7(#9n5) (Where "n" is the natural sign...
anyone know a good ASCII approximation to it?  "h" maybe?)  (As you said
though, you make no distinction between the two chords anyway...)

Also I would interpret G7(b9b5) as being an altered chord because I don't
consider the HW diminished scale to contain a b5 -- it has a natural five!
How bout G7(#11b9)?

Sol
-- 
 Solomon <|>   srcd@faraday.physics.utoronto.ca
 Douglas /|\   srcd@sq.sq.com
Newsgroups: rec.music.bluenote
From: herbsman@dew.Princeton.EDU (Tal Herbsman)
Subject: Japan and Jazz (was Re: Naked City at the Marquee (NYC) 4/9/92
Originator: news@ernie.Princeton.EDU
Organization: Princeton University
Date: Sat, 11 Apr 1992 04:45:52 GMT

In article <1992Apr10.215111.14333@cbnewsm.cb.att.com> hhs@cbnewsm.cb.att.com (Sweetleaf) writes:
>the entire show was filmed for broadcast on Japanese television.

this has intrigued me for some time. it seems as though jazz is quite 
the thing in japan. why do the japanese get access to such things as DIW,
the complete cbs/sony miles catalog, zorn and other such items
that we here in the birthplace of jazz have to go through hell and back to
find? is there an actual audience for the music in japan?

tal.

ps. i am reminded of this because after about a year of looking and placing 
orders, i finally found the 2 of the 4 fabled david murray 4tets on DIW.
all this i found in the Ann Arbor MI Tower recs, which was by far the best
supplied record store i have ever encountered (including the NYC Tower).
They had every BS/SN, Hat ART, IAI, CBS miles, and miscellaneous that i've
ever heard or dreamed about. under miscellaneous i also found the fabled
DM low class conspiracy compilation.

the #1 disc i am now in search of is p. bley's _tears_ on OWL. has anyone 
seen this one around?
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Newsgroups: rec.music.bluenote
Subject: Re: Blues Record Stores in Chicago?
Date: 15 Apr 92 16:49:21 GMT
Article-I.D.: uxa.1992Apr15.164921.16985
Distribution: usa
Organization: Educational Computing Network

In article <1992Apr15.160322.25177@csrd.uiuc.edu> hsu@sp24.csrd.uiuc.edu (William Tsun-Yuk Hsu) writes:
>elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New) writes:
>>Go to The Jazz Record Mart (JRM)... The JRM is downtown on Ohio St, or 
>>something like that.  
>
>No, no. Jeff Beer gave the right address, it's on Grand close to State St,
>just north of the financial district.

you mean WET district ;)

jeff
From: gwl%wave3_1@MCNC.ORG (Glenn Lea)
Newsgroups: rec.music.bluenote
Subject: Re: Eugene Braxton
Date: 10 Apr 92 15:49:18 GMT
Reply-To: gwl%wave3_1@mcnc.org

posted for Kenny Likis:

>Path: csrd.uiuc.edu!ux1.cso.uiuc.edu!uwm.edu!linac!att!rutgers!rudy.rutgers.edu!ruhets.rutgers.edu!bweiner
>From: ruhets.rutgers.edu!bweiner (Benjamin Weiner)
>Newsgroups: rec.music.bluenote
>Subject: Eugene Braxton
>
>Seriously, has anyone out there listened to the Braxton /
>Northwest Creative Orchestra "Eugene" record?  Could I
>hear some opinions/prejudices?
>

I've listened to the Eugene record a couple of times.  I wasn't bowled
over, but intrigued.  It differs considerably from Braxton's first
creative orchestra record.  That one had much variety, and each piece
was clearly a distinct piece.  On Eugene, the compositions flow into one
another.  Braxton apparently also uses his quartet method of getting
different members to play from different compositions at the same time.
Though there are some lively sections, I remember mostly classically
informed lines and structures, and a spaciousness, even if most of the
pieces aren't of the abstract, fragmented variety.  (Talk about
abstract, this note's arrived there!)

I hear an unevenness in the playing, but every now and then someone
surprises me with a nice solo or interaction. You don't hear Braxton all
that much -- much more of an ensemble piece with him directing.

The music does have a nice meditative feeling.  Hope that helps.

-- K.  
Newsgroups: rec.music.bluenote
From: scott@sklib.usask.ca
Subject: ""Saturday Night Blues"" album wins Juno award
Organization: University of Saskatchewan
Date: Sun, 12 Apr 1992 13:46:57 GMT

"Saturday Night Blues: the great Canadian blues project, volume 1" was
recently awarded a Juno for the best Roots and Traditional album of
1991. For those of you who don't know what a Juno is, think of it as a
Canadian Grammy.

The album, on CD only, was published jointly by CBC Variety and Stony
Plain in Edmonton. Catalog numbers are VRCD 1014 and SPCD 1171. It
features 20 different bands including Colin James, Dutch Mason, Amos
Garrett, Downchild, Big Dave McLean, Paul James, and many more.

Yours truly wrote one of the songs, "TV Preacher", which was recorded by
Big Dave McLean.

The producer of the album, Holger Petersen, hosts "Saturday Night
Blues", a radio show aired each week at 11:08 pm on CBC AM.

If your local store does not carry the CD, here are some useful addresses:

CBC Variety, Box 500, Stn A, Toronto, ONT, M5W 1E6 (416) 975-2234.
Stony Plain, Box 861, Edmonton, AL, T5J 2L8 (403) 468-6423

I would be interested in reading comments from anyone who has heard the
CD.

Peter Scott, host "TRUE BLUES", Saskatoon Community Radio
scott@sklib.usask.ca
From: rholmes@athena.cs.uga.edu (Robb Holmes)
Newsgroups: rec.music.bluenote
Subject: Re: Martin Williams passes
Date: 15 Apr 92 00:56:21 GMT
Organization: University of Georgia, Athens

In article <Apr.14.17.41.14.1992.613@ruhets.rutgers.edu> bweiner@ruhets.rutgers.edu (Benjamin Weiner) writes:
>Martin Williams, one of jazz's most respected critics, died this
>weekend at the age of 67. ....

I was fortunate to meet Mr. Williams about seven years ago when he
spoke on our campus.  He was an enthusiast who spoke passionately 
about music, and was willing to speak freely with all whose interests
touched on the same topics.  His writing was cogent, and he managed 
to speak effectively to different levels of musical sophistication.
His voice will be missed. 

-------
Robb Holmes  WUGA-FM  Ga. Center for Continuing Ed.  Univ. of Georgia
rholmes@athena.cs.uga.edu  rholmes@uga.cc.uga.edu  bitnet:rholmes@uga
From: sjones@alfred.carleton.ca (Stan Jones)
Newsgroups: rec.music.bluenote
Subject: Re: Night in Tunesia / Interlude
Date: 10 Apr 92 20:06:10 GMT
Article-I.D.: cunews.sjones.702936370
Organization: Carleton University

In <1992Apr10.152900.216972@cs.cmu.edu> smg+@cs.cmu.edu (Stephen Guattery) writes:

>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.

The notes that I have with the Dizzy compilation leave a lot to be
desired, such as where and form whom.  The compilation is issued on
Bluebird (RCA) with the title Dizziest.  Catalogue number 5785-4-RB.
Bird is not on the Night in Tunisia track not on any other which
include tracks said to have been recorded in 46, 47, 48, and 49.  The
specific lineup for the 2/2/46 recording is:

  Dizzy: trumpet
  Don Byas: tenor
  Milt Jackson: vibes
  Al Haig: piano
  Bill de Arango: guitar
  Ray Brown: bass
  J. C. Heard: drums

And as I was copying that I found buried in the notes that it was
recorded in New York City.  And <sorry for the edited as I go and so
sloppy post>, it is of course an RCA catalogue number.

Stan Jones (sjones@carleton.ca)
From: jwhiting@igc.org (Jerry Whiting)
Newsgroups: rec.music.bluenote
Subject: Re: Sun Ra
Date: 14 Apr 92 03:47:00 GMT
Nf-ID: #R:DOOM.92Apr13012343@elaine5.stanf:1436356625:cdp:1455400002:000:146
Nf-From: cdp.UUCP!jwhiting    Apr 13 20:47:00 1992


Sounds like we sign another one up who's ready to give up his death.

Got my eyes peeled lookin' for that Great Mother Ship in the sky,

jwhiting
From: burdick@hditest1.crd.ge.com (William E. Burdick KWC-1604 5585)
Newsgroups: rec.music.bluenote
Subject: Roomful of Blues on NPR and Anson Funderburgh in Albany, NY
Date: 7 Apr 92 13:38:21 GMT
Distribution: usa
Organization: GE Corp. Research & Development, Schenectady, NY

Just a reminder ...

Tune into "Bluestage" on National Public Radio (NPR) to hear Roomful
of Blues with Sugar Ray Norcia recorded live at Johnathan Swift's in
Cambridge Massachusetts.

Locally, Bluestage can be heard on WAMC (90.3FM) on Tuesday, April
14th, at 12:00am (thats midnight Monday the 13th/Tuesday the 14th).
Also, appearing on the same show with Roomful is Luther Guitar
Johnson.  Check your local listings for your NPR affiliate, dates,
times, etc.

On another note ...

Anson Funderburgh and the Rockets will be appearing at Bogie's
in Albany, New York ... I'm not sure if its June 28th or 29th.
Check your club calendars for upcoming appearances by Funderburgh;
if he's in the Northeast maybe he'll swing through your town.
I saw him, once, in 1990; it was great!!!

I'm in the process of arranging a live telephone interview
with Mr. Funderburgh on my blues radio show, to coincide with
his appearance here in the Albany area.  Anything you'd like
to ask him?  Keep it reasonable and I'll try to work your
questions in.

Bill Burdick
burdick@zeppo.crd.ge.com
Newsgroups: rec.music.bluenote
From: gidi@Hilbert.Stanford.EDU (Gidi Avrahami)
Subject: Re: Nat defends herself
Organization: Brotherhood Of Breath
Date: Tue, 7 Apr 1992 17:00:45 GMT

ebaddour@kean.ucs.mun.ca (Nat) writes:
>GUYS!!!!!Sheesh.....I make one passing reference to the chick man 
>doin' the drugs and everyone tears me shreds....

I don't think that it was the drugs comment that got people angry.  It
was the attitude (see below).

>"outside" generally characterizes Chick Corea's everything....

Nope.  In common terminology, "outside" requires less melodical and
rhythmic structure, more "freedom", etc.  It's a little subjective,
but I think very few people will call the K bands or RTF "outside".

>(Am I getting too defensive here??)

Yes.

I'm sorry if it looked like you were being attacked personally -- I
certainly tried to be polite.  I don't think anyone has a problem with
a statement like ``I prefer the Elektrik band to CIRCLE.''  But if you
are going to say stuff like ``CIRCLE is so much shit, he must have
been on drugs,'' it shows an arrogant attitude that has no place on
this group.

I hope you see the difference between the two types of comments.


--Gidi
From: dat91msu@ludat.lth.se (Martin Sunnerdahl)
Newsgroups: rec.music.bluenote
Subject: Re: Naked City at the Marquee (NYC) 4/9/92
Date: 14 Apr 92 17:35:48 GMT
Organization: Lund Institute of Technology, Sweden

hhs@cbnewsm.cb.att.com (Sweetleaf) writes:

> There were at least three cameras going.  Eye was there for vocal
> duties, as well as another person on a few pieces - anyone know who
> this was?  He was American, with long brown hair.
> 

Well, it _could_ be Mike Patton, singer w/ Faith No More.
When Naked City played in Scandinavia last year, he sang instead of Eye...

Martin

---
From: cwalker@canopus.tmc.edu (carleton walker `93)
Newsgroups: rec.music.bluenote
Subject: Re: RTF
Date: 10 Apr 92 17:28:00 GMT
Organization: Bucknell University, Lewisburg, Pa.

In article <35069@uflorida.cis.ufl.EDU> cthulhu@raybans.cis.ufl.edu (Mark Kupper) writes:
>
>  Has RTF's Where Have I Known You Before been released on CD ever? I've had
>a hell of a time trying to find it. Thanks for any info.

	Yeah, I saw it in two record stores in CT (not that that helps
you). These stores weren't big chains, but fairly large independents.
It's out there, so keep looking.
	A tip to all those looking forRTF albums:
	Sometimes the stores file Return to Forver under Chick Corea
(and Return to Forever).


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
From: gmayhew@falcon.lerc.nasa.gov (George Mayhew)
Subject: Chicago Blues Festival dates?
Organization: NASA Lewis Research Center
Distribution: usa
Date: Mon, 6 Apr 1992 14:17:31 GMT

I posted this once before, with no response.  I'll try again.

What are the dates of the Chicago Blues Festival this year?

george

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

Newsgroups: rec.music.bluenote
From: hsu@sp24.csrd.uiuc.edu (William Tsun-Yuk Hsu)
Subject: Re: Karen Mantler
Organization: UIUC Center for Supercomputing Research and Development
Date: Tue, 14 Apr 92 03:54:39 GMT

rost@rgb.dec.com (My name is Brian Rost) writes:

>I was in a used CD store last night and saw two ECM/Watt releases by Karen
>Mantler, daughter of Carla Bley and Michael Mantler.  

For some reason this comes up every two months or so. Should be in
the FAQ :-)

The CDs are, as you might have guessed, fairly similar. The music
is an eclectic mix of jazz and blues and funk, lots of hip licks
(think of crunchy organ chords, drowning in blues-y minor riffs with b5s 
and #6s). The arrangements are a bit slick in parts, but there are
usually some odd twists. And lots of funny, absurd lyrics, delivered
deadpan. About buying a stove. Or catching the flu.

It all sounds horribly cutesy and more than a bit silly for me. But
I love it :-). Recommended.

Bill
Newsgroups: rec.music.bluenote
From: jaz@icd.ab.com (Jack A. Zucker)
Subject: Re: Hip Chord Voicings
Organization: Allen-Bradley Company, Inc.
Date: Fri, 10 Apr 1992 13:01:57 GMT

Regarding b9 and natural 9 in the same chord....
I don't play voicings like this but one of my favorite sounds over a
C9sus chord is an Bbmin super-imposed over it. Try it, in this
application, the 3rd of the Bbmin (the b9) sounds great ! Just the
right amount of tension...

-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 |
From: thorn@phoenix.radonc.unc.edu (Jesse Thorn)
Newsgroups: rec.music.bluenote
Subject: Blues Record Stores in Chicago?
Date: 14 Apr 92 14:30:49 GMT
Distribution: usa
Organization: Radiation Oncology, NCMH/UNC, Chapel Hill, NC


I am going to be in the Chicago area next week and was wondering where
to go to get Blues lps, cds, etc. ANy recommendations on stores?

Thanks,
Jesse
Newsgroups: rec.music.bluenote
From: hsu@sp24.csrd.uiuc.edu (William Tsun-Yuk Hsu)
Subject: Re: Blues Record Stores in Chicago?
Organization: UIUC Center for Supercomputing Research and Development
Distribution: usa
Date: Wed, 15 Apr 92 16:03:22 GMT

elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New) writes:
>Go to The Jazz Record Mart (JRM)... The JRM is downtown on Ohio St, or 
>something like that.  

No, no. Jeff Beer gave the right address, it's on Grand close to State St,
just north of the financial district.

>Another good place is Wax'n'Trax on North Lincoln.  

It's Wax Trax, as in the record label.

>They are an alternative rock store (very alternative...), 

Not really. Their bread-and-butter is college rock and industrial disco.
They try to carry some of the more obscure rock.

>BUT they have a great Blues section... 

Actually I'm not sure that's true anymore. You'll probably be disappointed
in Wax Trax after seeing Jazz Record Mart.

Another place to try (again, nowhere near the size and quality of Jazz Mart's
blues section) is Reckless on Broadway just south of Belmont, for one of
the nicest used sections in town. Other reasonable tries are used records
stores on Clark between Fullerton and Diversey, such as Dr. Wax and Second
Hand Tunes. The Tower on Clark and Beldon should have an ok selection,
but I've never checked it out.

Bill
Newsgroups: rec.music.bluenote
Nf-ID: #R:<1992Apr1:25216:inmet:14500158:000:92
Nf-From: inmet.camb.inmet.com!wayne    Apr  5 17:55:00 1992


Steely Dan was the name of a Dildo in a Burroughs novel....Naked Lunch I think.

Not Wayne
From: morteng@loke.dhhalden.no (MORTEN GRAESBY)
Newsgroups: rec.music.bluenote
Subject: New CD from Ronnie Earl..?
Date: 6 Apr 92 09:47:15 GMT
Organization: Ostfold College

I've heard that Ronnie Earl has released a new album.
Could anyone confirm this?
The rumuors also says that vocalist/harp Sugar Ray is 
joining Earl again..
R.Earl is one of my favourites when it comes to white- man's blues.Saw him
live in Oslo along with Lonnie Mack last year.
What a performance by mr. Earl...

Greetings from ...
+=========================================================================+
|     Morten Gresby                           /\/\                        |
|     Ostfold DH-college, Halden, Norway      o o )  -Cheers              |
|     E-mail: morteng@loke.dhhalden.no        -- /                        |
+===========================================  """  =======================+
Newsgroups: rec.music.bluenote,rec.music.makers
From: william sadler <wsadler@copper.ucs.indiana.edu>
Subject: Re: Hip Chord Voicings
Organization: Indiana University
Date: Wed, 8 Apr 1992 12:26:39 -0500

In <1992Apr4.014453.1722@helios.physics.utoronto.ca> srcd@faraday.physics.utoronto.ca (Solomon Douglas) writes:

>I agree that the parentheses help but I completely disagree that listing
>all the alterations associated with an "alt" chord is easier to see on a
>chart that just calling it an "alt" chord.

>	 G7(alt)      G7(b5b9#9)

>... to me they mean the same thing but the first one is fewer tokens to
>scan... :)
The logic behind this is that the person spelling out the chord has
complete control (usually over the piano player :-))  Instead
of the pianist playing a #9 and a #13 and the saxophone player
playing a b9 and a b13 before they both realize they are not
altering the same notes they both know which scales to use.  Of
course, ideally the piano player should listen and then play, but
it doesn't always happen that way...
>  I agree with your entire system with these exceptions: for
>half-diminished chords I think a circle with a slash through it is easier
>to read than "mi7(b5)" (though in ASCII I would use the latter), and the
>"alt" I already mentioned.  I also prefer "maj" to "MA" but only
>slightly... :)
I like the circle with the slash too.  It was pointed out to me that
it is not as clear as mi7(b5) because it can be confused with just the
circle fairly easily.  The abbreviation dim. works well for diminished,
but a lot of people still use the circle.

Does anyone know where the triangle for major and the circle and circle
w / come from originally?  I have often wondered.

The other thing about using mi7(b5) is that it more accurately explains
the function of the chord than "half-diminished."  It is not really a
diminshed chord with a minor seventh-- it's a minor chord with a
flat five.  The end result is the same, but often how you think
about a chord determines how you approach it improvisationally.

Will
>Solomon
>-- 
> Solomon <|>   srcd@faraday.physics.utoronto.ca
> Douglas /|\   srcd@sq.sq.com
-- 
**********************************************************************
*Will Sadler		Indiana University Law School-Bloomington    *
*will@ogre.cica.indiana.edu	wsadler@copper.ucs.indiana.edu       *
**********************************************************************
From: groak@dent.uchicago.edu (Paul Gunnells)
Newsgroups: rec.music.bluenote
Subject: The mysterious triangle
Date: 13 Apr 92 17:28:22 GMT
Organization: Dept. of Mathematics, U. of Chicago

Forgive me if this has already been answered, but I can only read news through
telnet and it's pretty slow, so I can't page through all the postings.
The lore among musicians is that Coltrane invented the triangle notation.
Supposedly he was fascinated with them; the structure of _Giant Steps_ is
testimony to this.  Also, in the first few pages of Yusef Lateef's _Repository
of Melodic Scales and Patterns_ (probably not the correct title; a post-
Slonimsky book intended for jazz musicians.  Contains lots of unusual scales
formed through juxtaposition of tetrachords, diminished scales, etc.  Also
contains synthetic constructions by Dolphy given to Lateef.)  you can find
drawings of the circle of fifths by Coltrane given to Lateef.  Inside them
he's filled them up with triangles that I guess divulge the inner meaning
of the circle.  Ptolemy would have been proud.  Anyway, I don't have a legit
source to back this claim about the notation up, but it's what I've always
heard.
From: wayne@inmet.camb.inmet.com
Date: 05 Apr 1992 17:58 EDT
Newsgroups: rec.music.bluenote
Subject: Re: Weather Report CDs
Message-ID: <14500159@inmet>
Nf-ID: #R:gandalf.intel.com:2160:inmet:14500159:000:216
Nf-From: inmet.camb.inmet.com!wayne    Apr  5 17:58:00 1992


I've seen 8:30 at Tower in Boston as an import in the $40.00 price range.
Heavy Weather had been available on CD and was also just rereleased AGAIN
on CD as part of Columbias Contemporary Masters series.

Not Wayne
From: gwl%wave3_1@MCNC.ORG (Glenn Lea)
Newsgroups: rec.music.bluenote
Subject: Re: Zorn and Burrell
Date: 16 Apr 92 11:40:04 GMT
Reply-To: gwl%wave3_1@mcnc.org

>>>>> On Wed, 15 Apr 1992 17:51:32 GMT, wave3_3!binah.cc.brandeis.edu!rardin (R. Lynn Rardin) said:

  Lynn> In article <SMEHTA.92Apr14115450@kwela.nynexst.Com>, smehta@kwela.nynexst.Com (Sandeep Mehta) writes:

  Lynn> I would have to agree that this is great stuff.  After hearing NAKED 
  Lynn> CITY, I was afraid to venture into more Zorn.  But MORE NEWS is, obviously, 
  Lynn> nothing like NAKED CITY.  I'd have to say that I was struck more by the 
  Lynn> interaction of Lewis and Zorn than that of Zorn and Frisell--very tight.  I 
  Lynn> would second the opinion that Frisell somtimes gets lost in the mix.  As you
  Lynn> suspected, Sandeep, headphones help a bit.

Don't let Naked City scare you away from Zorn.  His earlier "Spillane"
and "Big Gundown" are complex, thoughtful, accessible and original
compositions and are nothing like NC OR the Lulus.  

Glenn


--------------------------------------------------
Glenn Lea - reply to gwl@wavetracer.com
Wavetracer, Inc.
From: mjs@hpfcso.FC.HP.COM (Marc Sabatella)
Date: Mon, 6 Apr 1992 17:00:24 GMT
Subject: Re: Hip Chord Voicings and: Quit being so anal-retentive !
Organization: Hewlett-Packard, Fort Collins, CO, USA