HDTenEightyP/NetNews huggingface dataset:
From: jb@buddha.ncc.umn.edu (James Barnett)
Subject: re: Rivers; NYC gigs
Organization: Nutrition Coordinating Center, University of Minnesota
Date: Fri, 20 Nov 1992 20:07:00 GMT

> smehta@kwela.nynexst.com (Sandeep Mehta) writes:

>> jb@buddha.ncc.umn.edu (James Barnett) writes:
>> .....
>> Also, I'll be out east (Boston and NYC) Nov. 26-Dec. 3. Any
>> performance info.  would be greatly appreciated (I'm already
>> planning to attend the Douglas Ewart show w/Roscoe, Threadgill,
>> Wilkerson, etc on Dec. 2: Merkin Hall).

>I'm not so sure about this concert. I've seen Roscoe Mitchell's New
>Chamber Ensemble and Threadgill's WindString Ensemble. It was really
>obtuse stuff and Marcel and I really struggled through it.

I've heard Roscoe's New Chamber Ensemble and felt similarly but I've found
Ewart and his "Inventions" and his "Clarinet Choir" to be much more accessible.

I've found his work to incorporate a flavor of "performance arts" where a number
of the players will be carrying on a nonsequitur conversation while others will
be improvising.  The Ewart compositions, as opposed to Roscoe's Chamber Ensemble
are much more open and contain room for group improvisation.  Ewart is 
also eclectic in his use of imstrumentation (didjiridoos, bamboo flutes,
shakuhachi, he even designed a bamboo saxophone, plus the full range of
clarinets.)  I'd highly reccomend two recordings Ewart has put out on his 
own label.  One is called: "The Clarinet Choir" w/Mwata Bowden, J.D. Parran,
and Edward Wilkerson. The pieces defiantely incorporate ensemble work but then
bamn, you'll hear one of the players soar off into an energetic solo.

The other recording is called: Bamboo Forest w/"Light" Henry Huff, Wilkerson,
and the master drummer, Hamid Drake.  These pieces are more varied than the
Clarinet Choir pieces.

>Hamiett Bluiett & Okyerem Asante - 	     Thu, Dec 3 	KnitFact
>17 African Drums and a World Sax

I'll definately be checking this one.  Hamiet's got a relatively new release
on Tutu I believe with this and other percussionists.

Thanks again Sandeep for the info.  Hope to see you there.

-- James Barnett.
From: sac@asdi.saic.com (Steve A. Conroy x6172)
Newsgroups: rec.music.bluenote
Subject: Re: Marsalis & New Orleans style?
Date: 18 Nov 92 00:02:56 GMT
Article-I.D.: ast.1992Nov18.000256.11098
Reply-To: sac@asdi.saic.com
Organization: Science Application Int'l Co. (San Diego)

In article <1e950iINNj5q@osiris.kbfi.ee>, ylo@osiris.kbfi.ee (Ylo Mets) writes:
|> 
|> Hi.
|> 
|> Can anybody tell, if Wynton has played New Orleans' style
|> with a small group on a record. I heared once on radio
|> and liked very much. I think they mentioned Wynton was
|> playing there too. 
|> Thanks.
|> 
|> Ylo Mets.
|> 
|> Tallinn,
|> Estonia

Well, I know that his "Majesty of the Blues" record has a piece called
"Oh But on the Third Day (Happy Feet Blues)" which is very much in the
New Orleans tradition.  There are, I think, 8 band members, so this isn't
really a "small group", but maybe it's what you heard.


Steve
-------------------------------------------------------------------------
sac@asdi.saic.com		|  "Trust in advertising was made up by
                                |   some guy in advertising."
				|		- Lilly Tomlin
-------------------------------------------------------------------------
Newsgroups: rec.music.bluenote
From: rardin@binah.cc.brandeis.edu (R. Lynn Rardin)
Subject: Re: Sun Ra Evidence Reissues
Reply-To: rardin@binah.cc.brandeis.edu
Organization: Brandeis University
Date: Fri, 20 Nov 1992 17:36:54 GMT

In article <Nov.20.11.17.41.1992.19895@ruhets.rutgers.edu>, bweiner@ruhets.rutgers.edu (Benjamin Weiner) writes:
>R. Lynn Rardin rites:
>>Something else I noticed while looking around was the newly reissued Ornette 
>>Coleman live at Town Hall, 1962, recording on ESP...
>
>What form was this in?  I just got a CD with what I believe is the
>Town Hall concert yet nowhere is it identified as an ESP reissue or
>anything like that.  (I feel like I ought to write Ornette a check
>given that he probably isn't getting any money for it, or for the
>original for that matter.)  It's the Izenson-Moffett trio with the
>string quartet, and the CD title is "Dedication to Poets and Writers."
>Bergain price, too.
>
>-Ben

We're speaking of the same recording.  But the CD I picked up last night 
carries the ESP DISK label--it's entitled TOWN HALL, 1962, I believe.  ZYX 
Music (of Germany?) seems to be the company doing the reissuing of the ESP 
catalog.

-Lynn  (rardin@auriga.rose.brandeis.edu)
Newsgroups: rec.music.bluenote
From: torsten@daimi.aau.dk (Torsten B. Hagemann)
Subject: James Brown and jazz standards.
Organization: DAIMI: Computer Science Department, Aarhus University, Denmark
Date: Wed, 18 Nov 92 16:23:00 GMT

I have heard rumors about a record with James Brown singing jazz standards, and
would very much appriciate if anyone on the net could provide me with any info
on this. 

Thank you very much for your help.

Torsten

-- 
_______________________________________________________________________________
Torsten B. Hagemann                                            Arhus University
Computer Science Dept.					       Denmark, Europe.
_______________________________________________________________________________
From: lell@dec2.wu-wien.ac.at (Christoph Lell )
Newsgroups: rec.music.bluenote
Subject: Re: George Adams passes
Date: 21 Nov 1992 15:34:42 GMT
Organization: Wirtschaftsuniversitaet Wien
Distribution: world
NNTP-Posting-Host: dec2.wu-wien.ac.at

|> >Sorry to be the bearer of bad news - I heard today that George
|> >Adams has just died.  He was 52.  No details.
|> 


Unbelievable, but apparently true. 

The George Adams - Don Pullen quartet was the first jazz group I saw in concert.

I had just turned 17 and I was hooked. Today jazz as taken a backstep in my
music listening priorities. But I do remember the occasions I saw George Adams
rip it up and he never dissapointed.

One of the best concerts was one with "Blood". It was so loud that my hearing
was impaired for the following 2 days.   

Christoph
-- 
Christoph Lell                         lell@wu-wien.ac.at, lell@awiwuw11.bitnet
Wirtschaftsuniversitaet Wien         |   
Augasse 2-6, A-1090 Wien, Austria    |     
Tel. (43) (222) 31 336 x4449 or x4443|             

Newsgroups: rec.music.bluenote
From: stuartz@sco.COM (Stuart Zimny)
Subject: Re: Sos Fenger on Holliday
Organization: The Santa Cruz Operation, Inc.
Date: Wed, 18 Nov 1992 22:45:02 GMT


In article <1du5viINN8hl@mailgzrz.TU-Berlin.DE> andrew@marie.physik.tu-berlin.de (Andrew Shields) writes:
>In <JUL.92Nov12161208@delta.iesd.auc.dk> jul@iesd.auc.dk (Thomas Jul Jensen) writes:
>>I'm a great fan of Billie Holiday's, and I do not think Soes Fenger
>>has violated the rules of redoing other people's stuff. The album is
>>truly a tribute to the memory of Billie Holiday.
>
>Are there really rules for that?  If I break them, am I legally liable?
>How do I get a copy of the rules to make sure I won't be sued?

"You can't join the throng till you sing your own song"

---Lester Young
-- 
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Stuart Zimny
Internet: stuartz@sco.COM                             SCO Technical Staff 
UUCP    : ...!{uunet}!sco!stuartz            

"The Lord gives me grace and the Devil gives me style"
                                   -Gambel Rogers

Newsgroups: rec.music.bluenote
From: gretsky@sonia.math.ucla.edu (Neil Edward Gretsky)
Subject: Re: Jazz/Bach fusion?
Organization: UCLA Mathematics Department
Date: Fri, 20 Nov 92 02:42:02 GMT

About Free Flight:
Walker in the original Free Flight was a flautist with the 
LA Philharmonic and was classically trained. Leviev
left the band after the first couple of albums.

About jazz/bach fusion: 
check out Bachianis Brazilieris (the spelling
needs to be corrected) by Villa-Lobos.

Also, a previous poster correctly pointed to the MJQ.

Newsgroups: rec.music.bluenote
From: mcmahon@owlnet.rice.edu (Michael G. McMahon)
Subject: Re: Jazz Flutists (was Re: Rampal ...)
Organization: Rice University
Date: Thu, 19 Nov 1992 15:33:14 GMT

Don't forget Kent Jordan.  (Brother Marlon plays some trumpet ...)

-mike

-- 
There is a level of cowardice lower than that of the conformist:
  the fashionable non-conformist.   -ayn rand
Newsgroups: rec.music.bluenote
From: anton@HQ.Ileaf.COM (steve norton)
Subject: Leo Records news
Reply-To: anton@HQ.Ileaf.COM (steve norton)
Organization: interleaf, inc., waltham, ma, usa
Date: Mon, 23 Nov 92 23:09:42 GMT

just got a release notice from Leo Records.  firstoff, they have a new
address & phone:

Leo Records
The Cottage, 6 Anerley Hill
London SE19 2AA

Tel: (081) 778 3853
FAX: (081) 659 6422


November Releases:

CD LR 206/207 Marilyn Crispell & George Graewe: PIANO DUETS (tuned and
	      detuned pianos).

"Disc 1 was recroded live at Ruhr Jazz Festival Bochum," October 1991,
duration 56 min. Disc 2 was recorded at IBACH Piano Factory on 2
pianos with a special DIAGONAL TUNING developed by Thomas Henke,
December 1991. Duration 56 min. Not exactly in the style of Chick
Corea/Herbie Hancock collaboration, this duets are a MUST for every
follower of this instrument."   (heh, gotta love Leo's copy...)

CD LR 208/209 The Ganelin Trio and The ROVA Saxophone Quartet: SAN
	      FRANSISCO HOLIDAYS

"Two sets of phenomenal performance of one of the finest trios in the
history of new music. At the end of each set, the Ganelin Trio is
joined by the ROVA Saxophone Quartet for a long encore to the ecstatic
reception of the crowd. The Trio performs one of their seminal suites
Ritardando to be recorded for the first time ever. Recorded June 1986.
Duration of the sets: 58'35 and 60'58.


In preparation for December:

CD LR 204/205 Anthony Braxton: QUARTET (COVENTRY) 1985  [!!]

CD LR 183 The Reggie Workman Ensemble (with M Crispell, J Lee, G
Hemingway, D Byron, J Hwang). Provisional title SUITE POUR LE COURAGE.

CD LR 184 Giancarlo Nicolai & Regula Neuhaus.  [? anyone ever hear of
						either of them?]


yeah, West Wind is going to finally get their comeuppance for the
botched, hacked and mis-documented ripoff of Braxton's Coventry
concert.  i just wish Leo was together enough to get the music out on
time!  (beside the braxton, the Ganelin/ROVA is from '86.)
-- 

/steve
Newsgroups: rec.music.bluenote
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: Standards from today (was Re: "Shakil's Warrior", standards)
Organization: Educational Computing Network
Distribution: usa
Date: Tue, 17 Nov 1992 21:54:27 GMT

In article <BxvI26.5zJ@fc.sde.hp.com> marc@hpmonk.fc.hp.com writes:
>BTW, Bill Hsu - "Law Years" is more well known than your average Ornette tune
>these days because Pat Metheny covered it a few years ago.  And you're right
>about "Blues Connotation", too - I almost mentioned that.  So even modern
>composers have some chance of hitting the right buttons.

Another Ornette tune that I have heard covered is Ramblin', by Sanborn.  In
general, the trouble with Ornette tunes at jam sessions is that they are
properly played without fixed meter.  Law Years, for instance, is a
series of phrases which have a definite time, and it is fairly obvious
how you would fit them into a 2 and 4 backbeat, but the duration between
each phrases is not fixed, and it is not fixed in performance.
Most Ornette tunes that have a call and response with the drums are like
that.

There was a series of books put out by Gunther Schuller containing
Ornette tunes.  In the second book, when they have the tunes from
Ornette on Tenor and Ornette, you find all these odd meters written in.
What Gunther did was transcribe how they did it _one_ time, and what is
written often isn't valid when they play the head out.  ( In fact,
sometimes what Gunther wrote wasn't too accurate in the first place )
That is unfortunate, because it makes the heads more difficult then they
are.  When transcribing Ornette tunes, you should follow the model that
Charlie Haden had on those A&M duet albums.  You put in bar lines only
as a guide to phrasing.   No meters.  



Jeff
Newsgroups: rec.music.bluenote
From: derrigfj@craft.camp.clarkson.edu (Frank J. Derrigo)
Subject: Eva/Wave and Avant record labels?
Organization: Clarkson University
Date: Mon, 16 Nov 1992 21:33:03 GMT

Could someone please post any info they have about the
Japanese labels Eva/Wave or Avant?  What available out there?
I only know of Naked City's Heretic on Avant and John Zorn's
Elegy on Eva/Wave.  

Thank you...
	

	Frank Derrigo
	derrigfj@craft.camp.clarkson.edu

Newsgroups: rec.music.bluenote
From: rad2r@uvacs.cs.Virginia.EDU (Robert DeLine)
Subject: Betty Carter discography?
Organization: University of Virginia Computer Science Department
Date: Thu, 19 Nov 1992 02:07:33 GMT


Hi all.

Can anyone supply me with a list of all the recordings Better
Carter has made?  (Either an "official" list or as many
recordings as you can remember :)

Thanks.

Rob DeLine
Computer Science, University of Virginia
deline@Virginia.EDU
From: diogenes@eve.usc.edu (Diogenes C da Silva Jr.)
Newsgroups: rec.music.bluenote
Subject: Re: Jean-Pierre Rampal and Jazz flute
Date: 18 Nov 1992 13:01:58 -0800
Organization: University of Southern California, Los Angeles, CA
Distribution: usa
NNTP-Posting-Host: eve.usc.edu

In article <1992Nov18.193035.14241@eos.arc.nasa.gov> dencisco@eos.arc.nasa.gov (David Paul Encisco) writes:
>I remember awhile back...awhile back...hearing on the
>radio Rampal playing Jazz. Can someone tell me what
>Jazz album(s) or CD(s) Rampal recorded?
>
>
>Thanks,
>Dave

Rampal recorded some jazz tunes with Pierre Bolling, a french
jazz pianist. In fact they recorded two albums, the first one,
if I'm not wrong is called "Jazz suite for piano and flute".

  Diogenes

--
Newsgroups: rec.music.bluenote
Subject: Re: Jazz Flutists (was Re: Rampal ...)
From: hsu@walnut.sfsu.edu (William Hsu)
Date: 19 Nov 92 16:15:05 PST
Reply-To: hsu@walnut.sfsu.edu
Distribution: world

In article <1992Nov19.065619.5082@seada.com>  writes:
> 
> James Newton.  Check out "African Flower" and "Romance and Revolution"
> and "If Love".

I haven't heard these but I'm a big fan of the James Newton/Anthony
Davis quartet, and Newton's work with Davis in general. No Seth, he
doesn't overblow like Dolphy, but he still has amazing chops and
turns in some intelligent performances :-)

> Hubert Laws.  "Flute by Laws" and "In the Beginning" show good jazz
> work.

His early work with Chick Corea's pre-Circle sextet is also very
fine. Check out Is and Sundance.

Bill
Newsgroups: rec.music.bluenote
From: mcgonig@eeserv.ee.umanitoba.ca (Gordon McGonigal)
Subject: Re: Jazz/Bach fusion?
Organization: Dept. of Elect. & Comp. Engineering, U of Manitoba
Date: Thu, 19 Nov 1992 19:47:17 GMT

S954818@UMSLVMA.UMSL.EDU (Mark Pedigo) writes:
>Most notably, I heard an NPR broadcast of a concert by a group known as "Free
>Flight".  They started the concert with a jazzed Beethoven piece that was still
>more or less the original thing.  Then they moved into a Bach (Prelude??) in
>E flat, only they performed it in g minor. As the night progressed, they
>delved into progressively more fusion oriented material, doing a very
>interesting funk version of Take 5, which, believe it or don't, actually
>worked out well.  To wrap up the night, a version of Stravinsky's something-or-
>other was performed.

Was that a recent concert?   I have a Free Flight album called SOARING
on Palo Alto (apparently their second for that label).  At that time (1983),
Free Flight was:
  Milcho Leviev (keyboards)
  Ralph Humphrey (drums)
  Jim Walker (flutes)
  Jim Lacefield (basses)
The first two are of Don Ellis Orchestra fame (and the source of my initial
interest).  The latter two musicians do not ring any bells with me.   A very
nice album I think -- if you're  into that bag (which is similar to the
concert described above).   SOARING includes the Sonata in Eb, and a
Concierto de Aranjuez.  They generally avoid the stiffness that can be a
problem in this genre.  Ralph gets plenty of room to show his stuff.
--
                                   * * *
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
Subject: Re: Jazz/Bach fusion?
From: S954818@UMSLVMA.UMSL.EDU (Mark Pedigo)
Date: Mon, 16 Nov 1992 17:00:52 GMT
Organization: UM ST. LOUIS

In article <40718@sdcc12.ucsd.edu>
ee152fcy@sdcc15.ucsd.edu (Paolo Valladolid) writes:
 
>
>I heard the strangest thing on the local jazz station the other day.
>It was a jazz group with a trumpet quoting the opening theme from Bach's Chorale
>Prelude "Wachet auf". The rest of the band then proceeded to
>improvise over a more traditional jazz groove. The song ended with a
>restatement of the Bach theme.
>
>Could anyone out there identify the artist and song?
>
>Paolo
 
I'm not familiar with this particular song, but using classical compositions
as vehicles for jazz interpretation has been done several times.
 
Most notably, I heard an NPR broadcast of a concert by a group known as "Free
Flight".  They started the concert with a jazzed Beethoven piece that was still
more or less the original thing.  Then they moved into a Bach (Prelude??) in
E flat, only they performed it in g minor. As the night progressed, they
delved into progressively more fusion oriented material, doing a very
interesting funk version of Take 5, which, believe it or don't, actually
worked out well.  To wrap up the night, a version of Stravinsky's something-or-
other was performed.
 
A recent recording of Jethro Tull (gasp!!) incorporates this type of idea also.
Again, the vehicle used is Bach.  Since this has even enjoyed airplay on a
local rock station, it hopefully will increase the awareness of this type of
music. (Then again, this might just be wishful thinking).
 
At any rate, good luck with your search.
 
-mp
Newsgroups: rec.music.bluenote
From: kamine@is.rice.edu (Jorge Hershel Kamine)
Subject: Re: Coltrane / OM / Voodoo?
Organization: Rice University
Date: Fri, 20 Nov 1992 15:34:35 GMT

In article <52110005@hpscit.sc.hp.com> miller@hpscit.sc.hp.com (Phil Miller) writes:
>     outgrowth of modern Jazz (i.e., Coltrane and his contemporaies 
>     didn't evolve the style), but that it was borrowed from the
>     "voodoo culture". Perhaps such a culture operated for years
>     in New Orleans' "underground"-- influencing musicians throughout
>     the century.
Although I have not listened to the particular recording you
mention, your wife's description would lead me to believe the
rhythms might be an outgrowth of African rhythms that evolved in
the Caribbean and Brazil.  If you are interested in these
rhythms, you might post to rec.music.afro-latin and ask for
recommendations on recordings of Yoruba and Congo music.

-- 
*******************************************************************************
*       Jorge Kamine Arreola      * "An eye for an eye leaves two men blind."  
*       email: kamine@is.rice.edu *  -Edward James Olmos   
*******************************************************************************
Newsgroups: rec.music.bluenote
From: gerald.b.ross@um.cc.umich.edu (Gerald Ross)
Subject: Re: Joe Pass?, Oscar Petersen? Ray Brown? What Record is this???
News-Software: IBM OS/2 PM RN (NR/2) v0.14 by O. Vishnepolsky and R. Rogers
Reply-To: gerald.b.ross@um.cc.umich.edu (Gerald Ross)
Organization: University of Michigan Math Dept
Date: Mon, 16 Nov 1992 14:13:03 GMT

This album also contains:
        Rockin Chair
        Cottontail
        Blueberry Hill
--
_______________________________________________________________

Gerald Ross

     ...It's 1992.  So where's my jetpack?
_______________________________________________________________

Newsgroups: rec.music.bluenote
From: anton@HQ.Ileaf.COM (steve norton)
Subject: Re: Favorite Fusion Album of All......
Reply-To: anton@HQ.Ileaf.COM (steve norton)
Organization: interleaf, inc., waltham, ma, usa
Date: Mon, 16 Nov 92 15:16:36 GMT

In some article,gidi@Hilbert.Stanford.EDU (Gidi Avrahami) writes:

> had their roots in various Robert Wyatt lineups, and we all know that
> Wyatt could whistle complete Charlie Parker solos while standing up
> drunk and riding in a jeep on the beach in Spain.

yeah, wasn't some such escapade that wound him up in a wheelchair?  :-)
-- 

/steve
From: jwhiting@igc.apc.org (Jerry Whiting)
Newsgroups: rec.music.bluenote
Subject: Re: Greg Osby info Wanted
Date: 23 Nov 92 09:33:00 GMT
Nf-ID: #R:00964047.0C881920@e.kth.se:-1112571951:cdp:1455400010:000:50
Nf-From: cdp.UUCP!jwhiting    Nov 23 01:33:00 1992



Try  Man-Talk for Moderns Vol. X  on Blue Note.
Newsgroups: rec.music.bluenote
From: anton@HQ.Ileaf.COM (steve norton)
Subject: New York City: Debris & Mohawk at Spiral, November 21st
Reply-To: anton@HQ.Ileaf.COM (steve norton)
Organization: interleaf, inc., waltham, ma, usa
Date: Mon, 16 Nov 92 19:13:45 GMT

just incase anyone's interested:

Debris at Spiral, 244 E Houston St. (near the corner of Avenue A) this
Saturday evening, November 21., 10:30 show.

Apparently, Spiral has primarily been a rock venue, but their booker
says they are trying to get into "weird jazz; the weirder the
better... "  i don't know what this means for us, but i hope it's good
news.  if anyone's hung out there before, i'd love to hear about it.
(i'm from boston; what do i know?)

Debris is:

Steve Norton & Randy McKean: saxophones & clarinets
Jason Rogers: trombone
Arthor Weinstein: guitar, hoses, stuff, things
Bob Ross: basses, noises
Curt Newton: percussion

we'll be doing 2 sets, beginning around 11:30.  (hey, wait!  that's
past my bedtime.)

opening for us will be Mohawk (name & much inspiration taken from a
New York Art Quintet album, which was in turn taken from a Bird
tune...)

Mohawk is:

Chris Jonas: soprano sax
Steve Swell: trombone  (of _Pace Yourself_ fame)
Richard Thomson: guitar  (no, not *that* Richard Thompson.)
Thomas Abbs: bass
Whit Dickey: drums

hmmm, sounds like _School Days_ plus guitar to me...  (just kidding--i
haven't heard 'em yet, but i've played in a sax quartet with chris,
and he's excellent.)

if anyone from rmb stops in, please say hello!  i'm the saxophonist
with the beard.
-- 

/steve
Newsgroups: rec.music.bluenote
From: gidi@Hilbert.Stanford.EDU (Gidi Avrahami)
Subject: Re: Marsalis & New Orleans style?
Organization: Brotherhood Of Breath
Date: Wed, 18 Nov 1992 06:25:06 GMT

vek@spacsun.rice.edu (Vincent E. Kargatis) writes:
>I think that you're thinking of Dr. Michael White. He has a couple albums
>(LIVE AT THE VILLAGE VANGUARD maybe), one with Wynton guesting. 

The name is "New Year's At The Village Vanguard", and Wynton guests on
3 tracks.

But like we've already said, there is at least MAJESTY OF THE BLUES
that is New Orleans enough and probably what the man meant.  

By the way, Dr. Michael White and his trombone player, Freddie Lonzo
are among the guests on MAJESTY.


--Gidi

Newsgroups: rec.music.bluenote
From: jb@buddha.ncc.umn.edu (James Barnett)
Subject: re: Jazz Flutist and "any east coast music....."
Organization: Nutrition Coordinating Center, University of Minnesota
Date: Fri, 20 Nov 1992 03:00:31 GMT

Let's not forget Sam Rivers - espeically his trio work (and duets with Dave
Holland). A very quick (and brief) discography:

Rivers, Sam		Sizzle				Impulse 9316
			Hues				Impulse 9302
			The Tuba Trio Vol. I		Circle 2976
			Live At The Montreux Jazz Festival	Impulse 9251
			Involution			Blue Note LA453
			The Live Trio Sessions		Impulse 2-4149
			Waves				Tomato 8002
			Crystals			Impulse 9286
w/Holland, Dave	Duets Vol. I		Improvising Artists 37.38.43
w/Holland, Dave	Duets Vol. II		Improvising Artists 37.38.48

Also, I'll be out east (Boston and NYC) Nov. 26-Dec. 3. Any performance info.
would be greatly appreciated (I'm already planning to attend the Douglas Ewart 
show w/Roscoe, Threadgill, Wilkerson, etc on Dec. 2: Merkin Hall).

Much appreciated -- James Barnett.
Newsgroups: rec.music.bluenote