HDTenEightyP/NetNews huggingface dataset:
From: milliken@scofield.Corp.Sun.COM (Gary Milliken)
Newsgroups: rec.music.bluenote
Subject: Re: JAZZ TROMBONE
Date: 9 Oct 92 22:32:36 GMT
Organization: Sun Microsystems, Mt. View, Ca.
NNTP-Posting-Host: scofield.corp.sun.com

In article <2AD5BBFB.3692@news.service.uci.edu> manderse@orion.oac.uci.edu (Mark Andersen) writes:
>In article <BvtCrJ.E6E@fc.hp.com> marc@hpmonk.fc.hp.com writes:
>
>>And Curtis Fuller, another bopper.  And what's-his-name, the guy with the
>>Kenton (?) band with the Italian-sounding name (yeah, I'm sure that helps...)
>>
>
>Conte Candoli? (Or his brother, whose name escapes me. One of them is
>a 'bone player, the other a trumpeter, I think.)
>

Don't think so.  The Candoli brothers (Conte and Pete) both played trumpet,
and occasionally recorded together.  Conte still gets around - I think he
still shows up on Supersax records - but I haven't heard anything about
Pete in years, so I'm not sure he's still "with us."

Marc may be thinking of Frank Rosolino.
Newsgroups: rec.music.bluenote,alt.guitar
From: templon@paramount.nikhefk.nikhef.nl (Jeffrey Templon)
Subject: BLUES: New Stevie Ray Vaughan CD
Keywords: blues SRV guitar
Organization: NIKHEFK
Date: Mon, 12 Oct 1992 08:47:33 GMT


I'll add my log to the fire - the new one is a really
excellent recording, and the band seems to be really into
the whole scene.  I found "All Your Lovin'" to be really
interesting - here you can see Stevie's development in
a sense, as he changes from a minor to major feel in
the middle part.  Don't think he would've done that
in later years, it sounds kind of funny.  But on the
other numbers, I really didn't notice any "rookieness".

It was recorded live in Austin in 1980.  Stevie was not
yet Stevie RAY, and he sure dressed alot different.
Jackie Newhouse was on bass instead of Tommy Shannon.

Faves: the opening tune, "In The Open"; a SLIDE NUMBER!!;
cool versions of "I'm Cryin'", "Tell Me", "Love Struck
Baby".  Also something called "They Call Me Guitar Hurricane".

NOTE FOR GUITAR PLAYERS: for some mysterious reason, Stevie
is NOT tuned down to E-flat on this disc - he is in standard
tuning!  Very nice for trying to learn some licks without
having to retune your Stratocaster.

Wail on, Stevie!

					JT
From: errol@hpgnd153.grenoble.hp.com (Errol Inan)
Newsgroups: rec.music.bluenote
Subject: Re: What Are Cutouts? (was Re: Cutouts and record company economics)
Date: 9 Oct 92 09:26:42 GMT
Organization: Hewlett-Packard, GND

I've bought a lot of jazz records from a store called Leopold's in Berkeley,
California.  They always had a good selection of cutouts, while most other
record stores I visited had little or none.

I don't think there is any standard, merchandising rule for what gets put in
the cutout bins.  At Leopolds, most of the cutout records were sealed and
apparently never used.  I recall another record store where the cutouts
where in pretty bad shape.

From a consumer point of few, a cutout is usually a deeply discounted record
with one of the top corners either cut off or a whole punched out of it.
The store does this because the general policy is that a cutout record cannot
be returned to the store for any reason.  With the cutout mark, they can
identify these records if clients trys to return them.

The store wants to dump the records it puts in the cutout bins so it drops
the price on them to attract buyers but because the prices are so low, they
can't afford to take back defects afterwards.

At Leopold's, as recently as 1 year ago, I saw records that normally sell for
$6 to $12 put in the cutout bins at prices ranging from as low as $0.99 to
about $4.99, with the average being around $2.99.
From: mjs@fc.hp.com (Marc Sabatella)
Newsgroups: rec.music.bluenote
Subject: Re: braxton & lewis (was: Re: JAZZ TROMBONE)
Date: 14 Oct 92 19:55:43 GMT
Article-I.D.: fc.Bw4nCv.1yM
Reply-To: marc@hpmonk.fc.hp.com
Organization: Hewlett-Packard Fort Collins Site
X-Newsreader: TIN [version 1.1.2 PL6]

: >The disc in question is "Five Compositions
: >(Quartet) 1986".

Is this the one with Marilyn Crispell where one of the compositions consists
largely of a repeated major scale?  I've only heard that one once, but what I
recall of it is that I liked it more than just about anything else I had heard
of his.  I'm still kind of lukewarm on Braxton's playing in general - I
appreciate what he is trying to do, but, like Keith Jarrett solo, or some of
the Cecil Taylor Berlin concerts, I think it has a tendency to ramble at times.
I know, I probably will grow into it.

: 	Dortmund 1976 (Hat Fart)
                       ^^^^^^^^

I've heard heard of Hat Art and Hat Hut, but this one is new to me.

--
Marc Sabatella
marc@hpmonk.fc.hp.com
From: johnf@Auspex.COM (John Fereira)
Newsgroups: rec.music.bluenote
Subject: Re: Robben Ford fans
Date: 7 Oct 92 23:04:24 GMT
Organization: Auspex Systems, Inc.

In article <seale.718061396@bcserv> seale@bcserv.wustl.edu (Seale (Jeff)) writes:
|I don't think he was featured any other time except for commercial
|breaks. I was dozing. Anyway, I saw the new album in the store
|last week. I haven't heard him before but was curious because he
|had a song about brothers with a paranthetical title(for Jimmie and
|Stevie Ray). Anybody heard this album? Is it worth buying? Let me
|know.

I can't help with the particular album but I like some of his earlier work.
Are you sure that the song about brothers is about Jimmy and Stevie Ray Vaughn?
He has a brother (Mark) and used to play with him and his father (Charles)
in the Charles Ford band.  Mark used to play in a band locally called, you
guessed it, the Mark Ford Band.  Mark is a good harmonica player and vocalist.
I long time friend of mine (Brett Jackson) played drums with the group and
the last time I saw them they had an excellent bass player and sax player. 
Mark's biggest attribute was his stage presence.  He had this really 
endearing smile and *always* looked like he was having a good smile.  He
can be heard on at least on cut on Robben's "The Inside Story" album.  Robbens
style most closely resembles earlier Larry Carlton, perhaps with a bit more
touch of the blues.

-- 
+==========================================================================+
| John Fereira     | Auspex Systems | "Auspex does not share my opinions.  |
| johnf@auspex.com | Santa Clara CA |  So Why am I still working here?"    |
+==========================================================================+
From: rsk@gynko.circ.upenn.edu (Rich Kulawiec)
Newsgroups: rec.music.bluenote
Subject: Re: r.m.bluenote --> r.m.jazz + r.m.blues (was: rec.music.jazz)
Date: 15 Oct 92 11:37:51 GMT
Followup-To: news.groups
Organization: Cardiothoracic Imaging Research Center

In article <12720005@hpgnd153.grenoble.hp.com> errol@hpgnd153.grenoble.hp.com (Errol Inan) writes:
> So again, I'd like to suggest that a vote be taken.  However that gets done
> in notes land.

The problem (well, one of the problems) is that the Usenet rules for
conducting votes require that a concrete proposal be put on the table and
discussed in news.groups before a vote may be taken.  So far, there has not
been such a proposal, so a vote would be highly premature.

For details on the newsgroup creation process, see "How to Create a
New Newsgroup" in news.announce.newusers.  Followups to this article
have been redirected to news.groups.

---Rsk
From: rshapiro@bbn.com (Richard Shapiro)
Newsgroups: rec.music.bluenote
Subject: Re: Sunny Murray's first album as a leader
Date: 8 Oct 92 12:50:55
Organization: BBN, Cambridge MA
Distribution: na
NNTP-Posting-Host: kariba.bbn.com
In-reply-to: wjh@cbnewsl.cb.att.com's message of Thu, 8 Oct 1992 13:46:33 GMT

In article <1992Oct8.134633.16939@cbnewsl.cb.att.com> wjh@cbnewsl.cb.att.com (william.j.hery) writes:
   The announcer also alluded to the album's title including a type that
   won't go away, and I assume they mean Sunny vs Sonny, but I'm not sure
   which is correct and which is the typo. I believe he goes by Sunny now
   (although I still see Sonny in some places), but he might have just
   liked it after the typo. I have seen the album, with "u" not "o," listed
   in discographies, so I assume the actual title was with Sunny.


The title on the Jihad album jacket is "SONNY'S TIME NOW". Everywhere
else I've ever seen, Mr Murray's first name is spelled "Sunny", which
I presume is the way he likes it (unlike Mr Rollins, Mr Stitt, Mr
Sims, etc). This must be "the typo that won't go away".


   Unfortunately, I didn't get to hear any of the music

It's excellent free blowing, similar to NEW YORK EYE & EAR, but not
quite as chaotic. Baraka/Jones reads a somewhat inflammatory poem
which may offend some ears; otherwise, definitely a record worth
hearing for anyone interested in that mid-60s avant-garde jazz sound
(the area ESP covered so well).
From: alan@sierra.unr.edu (Alan McKay)
Newsgroups: rec.music.bluenote
Subject: Re: JULIAN PRIESTER AS LEADER?
Date: 13 Oct 92 22:14:46 GMT
Reply-To: alan@sierra.unr.edu (Alan McKay)
Organization: Desert Research Institute, University of Nevada

In article <9210081942.AA06367@morgana.pubserv.com> jmh@morgana.pubserv.com (Jeff Helgesen) writes:
>
>In <1992Oct8.060627.9007@leland.Stanford.EDU>, ghosal%navier@csrd.uiuc.edu
>(Sarbajit Ghosal) writes:
>
>> Is any netter aware of any recording by the trombonist Julian Priester
>> leading his own group? I am acquainted with his work only thru Sun Ra
>> and Dave Holland.
>
>I don't know about him as a leader, but I think I recall him
>appearing on the Philly Joe Jones album "Drums Around The World".
>He also appears on Freddie Hubbard's "Hub Cap".

I think he's also on Max Roach's _Freedom Now! Suite_, with Abbey Lincoln
and Coleman Hawkins.


....al
w.a. mckay
desert research institute
reno, nevada
From: preston@helena.cs.rice.edu (Preston Briggs)
Newsgroups: rec.music.bluenote
Subject: Re: JAZZ TROMBONE
Keywords: JAZZ TROMBONE
Date: 8 Oct 92 14:11:21 GMT
Organization: Rice University, Houston

In article <1992Oct7.223455.5689@gw.wmich.edu> X92GWINNELL writes:

>JAZZ TROMBONIST RECORDINGS THAT I MIGHT BE ABLE TO LISTEN TO

A range of people to look for include

	Kid Orey -- an oldie
	Kai Winding -- contemporary of JJ
	Bill Watrous
	Urbie Green -- has anyone ever seen him on record?
	Ray Anderson
	Roswell Rudd -- see recent posts
	Glenn Ferris -- used to be with Don Ellis

I've always enjoyed Rudd and Ferris for their obscene solos.
Of course, your tastes may differ.

Preston Briggs
From: gel@sys.uea.ac.uk (Gareth Lee)
Newsgroups: rec.music.bluenote
Subject: Marc Cohen Info Wanted
Summary: Information requested on Marc Cohen releases.
Keywords: marc cohen piano
Date: 16 Oct 92 12:45:10 GMT
Organization: UEA School of Information Systems, Norwich, UK.

I recently heard the pianist Marc Cohen on a Bill Stewart record
called something like, "Think before you Think"??  The LP features
Dave Holland/Joe Lovano and other big names but I have not previously
encountered Cohen.  I was very impressed with his harmonic sense,
particularly on "Faces" and "Rain".  Can anyone tell me more about Mr C?
Are there any records led by him?  Any recommendations for records
featuring him?  Information would be much appreciated.

Thanks in advance.

Gareth Lee.
Newsgroups: rec.music.bluenote
From: mcgonig@eeserv.ee.umanitoba.ca (Gordon McGonigal)
Subject: Re: Re: recommendations: Brubeck
Organization: Dept. of Elect. & Comp. Engineering, U of Manitoba
Date: Tue, 13 Oct 1992 21:12:19 GMT

steed@hpcc01.corp.hp.com (Gary Steed) writes:
>I have the CD of "Time Out" and have been meaning to ask about it here.
>It's was part of the Columbia Jazz Masterpieces, which is supposed to be
>"Digitally Remastered Directly from the Original Analog Tapes". I noticed
>that during the drum solo on "Take Five" that the bass sounds overdriven. 
>So much so that it is very distracting. Even when I turn it lower the sound
>quality of the bass bothers me. It seems like a really bad engineering job
>to me. Has anyone else noticed this? I hear it on some of the other cuts too, 
>but not nearly as bad. 

I have the same reaction to the bass sound on the LP version I
bought about 15 years ago.


Gord.
--
                                   * * *
Gord McGonigal                                  mcgonig@eeserv.ee.UManitoba.ca
Dept. of Electrical & Computer Engineering
University of Manitoba, Winnipeg, CANADA (R3T 2N2)       phone: (204) 474-6295
Newsgroups: rec.music.bluenote
From: hmikola@polaris.utu.fi (Hannu Tapio Mikola)
Subject: Urbaniak
Organization: University of Turku, Finland
Date: Fri, 9 Oct 92 19:50:56 GMT

Michael Urbaniak + Urzula Dudzniak (spelling OK?). I'm looking for CD's
especially from the early 70's. At that time they had a band with an
exceptionally talented black bassist.

Please post *any* information to hmikola@utu.fi
Newsgroups: rec.music.bluenote
From: jte@beefheart.cc.columbia.edu (Jeff Eldredge)
Subject: Re: David Torn DISCOGRAPHY 
Reply-To: jte@beefheart.cc.columbia.edu
Organization: Columbia University
Date: Wed, 14 Oct 1992 20:17:10 GMT

In article <malcolm.718928221@wrs.com> malcolm@wrs.com (Malcolm Humes)  
writes:
> 

> As of a few months ago, there was news that 
> David Torn was pretty seriously ill and recovering from an operation. I
> haven't heard any more news since that was confirmed by Bill Bruford and 
> seom other friends of his. 

Friends of mine have visited him and reported that he is in good spirits,  
despite his difficulties.  As far as I know, his recovery is solidly  
progressing.  

> 
> 
>  David Torn releases and guest appearances:
>  
> Independently released EPs/albums (All late 1970s, details unknown):
>  The Zobo Funn Band

Zobo was a really fun cult rock group based in Ithaca in the 70's.  I was  
fortunate to catch 8 or 9 of their last few appearances.  At the time,  
Robbie Aceto (an extremely talented musician in his own right) was sitting  
in for Torn while he was in Europe with Everyman/Cherry.  I remember the  
excitement when Torn made his triumphant return and they played their  
first gig reunited with him in the student union at Cornell.

Zobo allegedly came close to signing a deal with Elektra records, but was  
passed over instead for Spiro Gyra.  I'm not sure how much of that is lore  
(the competitive part, that is), but the comparison between the two bands  
is perverse, Zobo being a progressive rock and fusion band that could jam  
and Spiro Gyra being.....well, you know what they're like.  

Jeff Eldredge
From: bweiner@ruhets.rutgers.edu (Benjamin Weiner)
Newsgroups: rec.music.bluenote
Subject: Re: JAZZ IS DYING:HELP!!
Date: 14 Oct 92 20:12:27 GMT
Organization: Rutgers Univ., New Brunswick, N.J.

I don't think jazz is really dying.

I don't think that viewing rock, or any other element "that has
invaded the sacred area of jazz" as a contaminant is very productive.
I have little patience for fusion but believing that jazz is sacred
will lead to its isolation and eventual withering.

I don't think that just condemning the more commercial musicians, and
by implication their fans, or saying "fuck you" to anybody, will help
"good" jazz as you and I might see it.  I'd prefer to try to get those
fans to listen to the music I like through subtle persuasion, not by 
saying "Mine is better."

Let's communicate by all means but let's not start by defining 
people out.
Newsgroups: rec.music.bluenote
Subject: Re: braxton & lewis (was: Re: JAZZ TROMBONE)
From: hsu@walnut.sfsu.edu (William Hsu)
Date: 14 Oct 92 14:35:43 PDT
Reply-To: hsu@walnut.sfsu.edu
Distribution: world

In article <1992Oct14.170159.9730@cbfsb.cb.att.com>  writes:

> I personally find the 1980's Black Saint recording
> (of which this is one) among my least favorite quartet recordings, but
> I'll take any of these over _most_ of his orchestral work 

I agree with Curt. (Funny, I was just listening to the Curt Newton/
Ken Vandermark duets again this morning. Review later.) While I like
the mid-'80s Black Saint Braxton 4-tets (I've had too many other things
to spend money on to pick up the recent Hat Art sets), I think a
better starting point would be the mid '70s 4-tet material. Other
than the sets Curt mentioned, the Arista dates are a little 
inconsistent but more accessible than the '80s dates. There's Fall '74,
another '74 record, and at least one other '75 record. I don't remember
my favorite, but it's one of the '74s...

Bill
From: plummer@cs.swarthmore.edu (David Barker-Plummer)
Newsgroups: rec.music.bluenote
Subject: Re: braxton & lewis (was: Re: JAZZ TROMBONE)
Date: 13 Oct 92 23:41:26 GMT
	<1992Oct13.184204.1383@HQ.Ileaf.COM> <Bw2wBp.2pC@uxa.ecn.bgu.edu>
Organization: Swarthmore College, Swarthmore, PA

JB> In article <1992Oct13.184204.1383@HQ.Ileaf.COM> anton@HQ.Ileaf.COM (steve norton) writes:

JB> BTW:  I just purchased the Willisau box.  It is worth it, I think it is
JB> one of Braxton's best recordings.  Everything is so refined, 
JB> they are all very comfortable in the music they are playing.
JB> There is an angular freebop tune dedicated Warne Marsh, original
JB> Braxton recorded it with a Japanese group.  They do it twice!

JB> Willisau is a must for Braxton listeners.

I'm glad Braxton's name came up this week, because, after hearing his
name so often in this forum, I just bought my first disc of his.  I am
still persevering, but I find it tough going.  Somewhat too angular,
free for my ears.  Of course, I have only played it four times by now,
so it may yet grow.  The disc in question is "Five Compositions
(Quartet) 1986".  From my expedition to the store, I know that this
title is typical of his work, but is the music?

-- Dave
From: jimh@pongo.Eng.Sun.COM (jim hori)
Newsgroups: rec.music.bluenote
Subject: Re: Robben Ford fans
Date: 12 Oct 92 18:12:39 GMT
Distribution: world, rec, usa
Organization: Sun Microsystems, Mt. View, Ca.
NNTP-Posting-Host: pongo

In article <Bw0rr4.29n@fc.hp.com> marc@hpmonk.fc.hp.com writes:
>: He can be heard on the new album too!  Smitty Smith (right name?) plays
>: keyboards on the same cut.
>Perhaps right name, wrong instrument?  Marvin "Smitty" Smith is normally a
>drummer.  But I suppose if Jack can do it,  so can Smitty...

Perhaps right name, wrong person. There is a keyboard player,
William "Smitty" Smith, who's well known in LA session circles.




....
jimh@west.sun.com
Newsgroups: rec.music.bluenote
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: braxton & lewis (was: Re: JAZZ TROMBONE)
Organization: Educational Computing Network
Date: Wed, 14 Oct 1992 22:38:12 GMT

In article <1992Oct14.143544.2877@nic.csu.net> hsu@walnut.sfsu.edu writes:
>In article <1992Oct14.170159.9730@cbfsb.cb.att.com>  writes:
>I agree with Curt. (Funny, I was just listening to the Curt Newton/
>Ken Vandermark duets again this morning. Review later.) While I like

Hey, are they the ones I recorded?  From the Southend?

>than the sets Curt mentioned, the Arista dates are a little 
>inconsistent but more accessible than the '80s dates. There's Fall '74,
>another '74 record, and at least one other '75 record. I don't remember
>my favorite, but it's one of the '74s...

I like the 75, it has a duet with Dave Holland on You Stepped out of a
dream.  Then a long piece that starts with a drone.  Those drone pieces
with Dave and Barry are some of my favorites.

There is a duet record with Muhal, and under Tietelbaum's name, a duete
album.  There also is an album of two trios, with Roscoe and Jarmon, and
with Threadgill and Ewart.  Very interesting playing on that, I should
go hear it again tonight.

Speaking of duets, if you can find the Sackville record TRIOS AND DUETS,
get it.  Braxton does THIS SONG IS YOU, EMBRACEABLE YOU, YOU GO TO MY
HEAD with Dave, and they are stunning.  Very subtle and interactive, and
they keep the form!

Jeff

Jeff
From: will@ogre.cica.indiana.edu (William Sadler)
Newsgroups: rec.music.bluenote
Subject: Re: Query: Ellington's "Solitude", lyrics
Date: 10 Oct 92 17:13:46 GMT
Organization: Indiana University

In <HELLERS.92Oct8121632@cleo.cs.wisc.edu> hellers@cs.wisc.edu (Joe Hellerstein) writes:

>Quick question:

>	When was the music to "Solitude" written, and when (and by
>whom) were the lyrics?  Somebody recently gave the "you can't play
>the tune if you don't know the lyrics" speech on "Solitude", and I was
>hoping it would be one of those tunes where the lyrics didn't appear
>until many years later.

>I find that whole business about knowing the lyrics to be a lot of
>nonsense, and I try to discourage it whenever I can.  It's one of my
>top 10 annoying master-class tips.  (That would be an entertaining
>thing to compile, by the way...)
I think Solitude was a Strayhorn tune, but that is just off the
top of my head.

Knowing lyrics may make some difference to certain players.  I think it
was Lester Young who boasted that he knew the lyrics to every tune
he ever played.  Or maybe that was Coleman Hawkins?

Will
--
***************************************************************************
*   _______________\|/_      Will Sadler     will@cica.indiana.edu        * 
*   Laser 44888    /|\                       sadler@iubacs.bitnet         *     
***************************************************************************
From: rholmes@athena.cs.uga.edu (Robb Holmes)
Newsgroups: rec.music.bluenote
Subject: Re: Query: Ellington's "Solitude", lyrics
Date: 9 Oct 92 02:24:42 GMT
Organization: University of Georgia, Athens

In article <HELLERS.92Oct8121632@cleo.cs.wisc.edu> hellers@cs.wisc.edu (Joe Hellerstein) writes:
>Quick question:
>
>	When was the music to "Solitude" written, and when (and by
>whom) were the lyrics?  Somebody recently gave the "you can't play
>the tune if you don't know the lyrics" speech on "Solitude", and I was
>hoping it would be one of those tunes where the lyrics didn't appear
>until many years later.

"We had arrived in a Chicago recording studio in September 1934... with
three numbers ready and a fourth needed.  The band ahead of us went into
overtime, which gave me an opportunity to do my fourth number.  So,
standing up, leaning against the studio's glass enclosure, I wrote the
score of 'Solitude' in twenty minutes."  
            from Duke Ellington, _Music is my Mistress_, 1973.

The song is credited to Duke Ellington, Eddie de Lange and Irving Mills.
De Lange was probably the lyricist.  If Ellington's memory was correct,
the lyrics were probably added after the number had been recorded, but in
time for its publication. 

-------
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
Newsgroups: rec.music.bluenote
From: rardin@binah.cc.brandeis.edu (R. Lynn Rardin)
Subject: Re: What Are Cutouts? (was Re: Cutouts and record company economics)
Reply-To: rardin@binah.cc.brandeis.edu
Organization: Brandeis University
Distribution: usa
Date: Wed, 14 Oct 1992 13:48:32 GMT

In article <1992Oct14.130818.188@cbnewsl.cb.att.com>, wjh@cbnewsl.cb.att.com (william.j.hery) writes:
>...As far as I know, cutouts are not sold "as-is"--
>if they are defective you should have a right to return them...
>
>Bill Hery

I've never had any trouble returning defective cutouts to Tower in Boston.

-Lynn

< R. Lynn Rardin (rardin@auriga.rose.brandeis.edu)  >
< Rosenstiel Basic Medical Sciences Research Center >
< Brandeis University, Waltham, MA 02254-9110       >
From: doucet@ripolin.laas.fr (Jean-Etienne Doucet)
Newsgroups: rec.music.bluenote
Subject: Re: Charlie Parker - looking for the DIAL material on CD
Date: 9 Oct 92 14:17:41 GMT
Reply-To: doucet@ripolin.laas.fr
Organization: LAAS-CNRS, Toulouse (France)

In article 92Oct4130125@kariba.bbn.com, rshapiro@bbn.com (Richard Shapiro) writes:
>In article <MATTI.92Oct4170451@marilyn.bion.kth.se> matti@bion.kth.se (Matti Rendahl) writes:
>
>   Anybody knows if this is available? Record company etc?
>
>The most thorough compilation of Bird's Dial recordings would be the 6
>lps on the Spotlite label. A smaller "master takes" collection is
>available on a couple of Stash cds.

The complete Bird's Dial recording is available on CD: 3 or 4 CDs in
a single jewel box. I can't remember the company's name, sorry...
But it exists.

			JED.
Newsgroups: rec.music.bluenote