HDTenEightyP/NetNews huggingface dataset:
From: maysee@ss1.af.mil (Eric E. Mays)
Subject: Miles Davis Imports
Reply-To: maysee@ss2.sews.wpafb.af.mil
Organization: U.S. Air Force
Date: Tue, 29 Dec 1992 15:38:53 GMT

Does anybody know when Columbia is gonna release the next set of
recordings on CD?  The last set was 1) Tribute to Jack Johnson,
2) Miles Smiles, 3) Seven Steps to Heaven, I believe.  Is Columbia
planning on releasing all Miles Davis Recordings?  I'm really
looking forward to new re-releases.  Isn't there supposed to be
a new live album released soon?  

Thanks,

Eric 
Newsgroups: rec.music.bluenote
From: jan@cci632.cci.com (John Nicowski)
Subject: Re: B.B. King
Organization: Northern Telecom, NASG
Date: Tue, 22 Dec 1992 15:32:49 GMT

In article <1h51a8INNkkf@transfer.stratus.com> bad@pismo.sw.stratus.com (Bruce Dumes) writes:
>>>In article <1992Dec18.183051.12427@olaf.wellesley.edu> kwolters@fred.wellesley.edu (Keith Wolters) writes:
>>Hi.  I'm looking for reccommendations on the first BB King CD I should
>>get.  I've seen many "Best of" CDs but figured there must be some
>>which are better than others.  Thanks.
>
>I don't know if it's out on CD, but my absolute favorite BB King album is
>"Indianola Mississippi Seeds".  If it is out on CD, I don't know if the
>digitized version could live up to the album, but as far as the music
>goes, it's really fantastic.
>
>Bruce 
>
My favorite BB is Live at Cook County Jail.  Live at the Regal is
considered by many a classic blues album.  You can't go wrong with
either of those.

Whatever.  John.
From: mingus@cbnewsl.cb.att.com (Damballah Wedo)
Newsgroups: rec.music.bluenote
Subject: Re: Request for comments; selections from Cadence
Date: 31 Dec 92 05:45:53 GMT
Distribution: na
Organization: The Poto Mitan in the Houmfor

> hellers@cs.wisc.edu (Joe Hellerstein):
> Jay Clayton w. J. Ira Bloom/Karush/Swartz  "All Out"  Anima 1J35
> I confess to recognizing only Jane Ira Bloom's name here, and I've
> never seen this.

Clayton is a singer, and not much to my taste. Don't know this specific
one, though.

> Cecil Taylor "Jumpin' Punkins" w/Rudd,Lacy,Shepp,etc. '61  Candid 9013

Go for the Mosaic box, you get *all* the music, a better mix and much
better liner notes. This one has killer version of Ellington's "Things
Aint' What They Used To Be"; the title tune is also nice. It's really
fun to hear Cecil playing this kind of music, both straight (as on
"Punkins" and subversively (as on "Things.") There's also an early take
of "O.P.", the tune that as been characterized as Cecil Taylor
"chainwhipping the 12-bar blues." It's actually much weaker than the
more famous take that's on NEW YORK CITY R'N'B (and on the Mosaic box,
get the hint?), but I think it's better to hear it first, as Cecil
stay more overtly closer to the blues form. All in all, an excellent
way to get into Cecil for the first time, but somewhat weak if you already
know and dig the man's music.

> Betty Carter & Ray Charles "Together"  (ABC) Dunhill 39
> 	I used to see this in the record stores, but haven't for quite
> a while.  Should it be around?

It this RAY CHARLES AND BETTY CARTER? If so BUY IT!!

> Mal Waldron/Steve Lacy "Snake Out & Herbe De..."  Hat Art  2015
> 	Mmmmm... I have HOT HOUSE and like it a lot.
> 
> Steve Lacy & Mal Waldron  "Herbe De L'Ouble"  8/81  HatMusics 3513
> 	Half of the above??

Yes, they combined the two albums, dropping one tune.

> David Murray 4tet "Live at Ocean Club" Col.1&2 w/ L. Bowie (!!) India
> Navigation 1032

Superb!! Quite probably the best early David Murray albums out there.

> Mal Waldron 5tet:  "Git Go"  live w/Woody Shaw/Rouse/Blackwell SoulNote 1118
>                    "Seagulls of Kristiansund" w/Shaw/Rouse  SN121148

Both from the same gig, both good (but somehow not as good as my memories
of that gig -- they must have taped on a different night.) I prefer SEAGULLS.

-- 
Marcel-Franck Simon             	mingus@usl.com, usl!mingus

	" Papa Loko, ou se' van, ou-a pouse'-n ale'
	  Nou se' papiyon, n'a pote' nouvel bay Agwe' "
Newsgroups: rec.music.bluenote
From: ALI00MHS@UNCCVM.UNCC.EDU (Mark Sullivan)
Subject: Re: Those Cadence CD sleeves
Organization: UNC Charlotte
Date: Mon, 21 Dec 1992 19:58:17 GMT

In article <1992Dec18.170231.3584@nic.csu.net>
hsu@walnut.sfsu.edu (William Hsu) writes:
 
>
>Joe Hellerstein, recent transplant to the frozen plains of Wisconsin:
>> Anyhow, has anybody bought those CD sleeves that they advertise for 15
>> cents?  Can you read the CD titles on the spine of the Cadence sleeves?
>
>I'm assuming these are the same sleeves that Cadence CDs come in.
>
>They're clear plastic sleeves about the size of a CD. The spine on
>the only one I own (Joe Gallivan Bigband, with Evan Parker and Elton
>Dean) is not very readable. But all you need to do is fold it and
>press it in the right places so the spine part will hold up better,
>and the spine should be readable. Right now the paper cover inside
>slides around too much.
>
>Bill
>
>
I haven't been able to work out a way to read the spines on mine,
but one thing I have noticed--with this packaging, compact discs truly
are "compact."  The plastic sleeve takes up about 1/3 the space of a jewel
box, with an even greater decrease in weight.  Plus, they probably won't
crack like the boxes do (especially during shipping).  Another label that
sometimes uses vinyl sleeves is New Albion.  I like their design better--
it's an envelope with two compartments, and the flap folds back for safe
disc removal.
 
If I get a lot of these, I figure a shoe box or a floppy disc case would
be a good way to keep them.  Having to flip through to read the booklet
fronts would be well worth the space savings to me.
 
Mark Sullivan
ali00mhs@unccvm.uncc.edu
From: rstern@col.hp.com (Richard Stern)
Newsgroups: rec.music.bluenote
Subject: Danny Gatton: album info wanted
Date: 30 Dec 1992 18:29:13 GMT
Organization: HP Colorado Springs Division
NNTP-Posting-Host: hpcslb1.col.hp.com

I've been searching for Danny Gatton's New York Stories, and none of the
local record stores have been able to find it.  I know it's on Blue Note,
but I don't know the #.  If you have the #, could you e-mail it to me.

One local store that does a lot of special ordering for me claims that
they checked with Capitol (who owns BlueNote?), and they claim that
the album doesn't exist.  The local clerk's theory is that they
released it and then pulled it for some strange legal reason.

If anybody knows of any store that has a copy, please e-mail me the
name/number of the store so that I can contact them.

Also, I've heard of 2 other Danny Gatton re-releases called Redneck Jazz
and Unfinished Business (on the NRG label).  Does anyone know anything
about these discs and if they are good and worth buying?

Thanks so much!

Richard Stern
rstern@col.hp.com
Newsgroups: rec.music.bluenote
From: crispops@world.std.com (Dale A Smoak)
Subject: Re: Request for comments; selections from Cadence
Organization: The World Public Access UNIX, Brookline, MA
Date: Wed, 30 Dec 1992 22:09:57 GMT

hellers@cs.wisc.edu (Joe Hellerstein) writes:

>Finished pass #3 through Cadence (this time with a pen.)  I'd
>appreciate comments/recommendations on the following.  Funds are

>Jay Clayton w. J. Ira Bloom/Karush/Swartz  "All Out"  Anima 1J35

Worth hearing.  Jay Clayton's strengths are well-displayed here.

>Miles Davis & John Colrane live in NY w/Bill Evans c. '58&'59 Bandstand 1501  

If you like this group you'll like this.  Some performances were available
on a Jazz Bird LP.  Fairly good, mono, broadcast sound.

>Marilyn Crispell w/ Billy Bang/Betsch  "Spirit Music"  CadenceJazz

There are more satisfying Crispell albums but this one is good.  It's not
as good as "Concert In Berlin," for Black Saint, with Bang, so if you have
that already or can't get it, this is a good choice.  Sparks fly when
Crispell and Bang play together.  A terrific partnership; I wish they'd
play together again.

>Cecil Taylor "Jumpin' Punkins" w/Rudd,Lacy,Shepp,etc. '61  Candid 9013

I don't remember if this is the particular Candid CD reissue I heard, but
one I did hear had an annoying mix where the piano went mostly in one
channel instead of in the middle.  It was hellaciously distracting, and
Mosaic did a much better job.  Of course the Mosaic is a BOX...
You want to hear the music somehow, though.

>Lester Bowie "No. 1 & 2" w/ Rosco M/Jarman/Favors 8/67.  Nessa 1

Essentially, the early Art Ensemble, before Don Moye.  The music projects
a spirit and fire that has rarely been captured in Art Ensemble recordings
over the last twenty years.

>Fred Houn Afro-Asian Ensemble "Tomorrow is Now"  SoulNote 1117

Ouch.  What do people see and hear in this guy? Mediocre playing and
programmatic concepts.

>Multitudinous thanks!

Hope it helps.  Hey, I get off on this kind of thing!

Dale :-)
Newsgroups: rec.music.bluenote
From: smehta@kwela.nynexst.com (Sandeep Mehta)
Subject: Re: Johnny Hartman
Reply-To: smehta@nynexst.com
Organization: Speech Technology, AI Lab, NYNEX S&T Inc, White Plains, NY
Date: 30 Dec 92 12:06:11


> silk@ocean.ENET.dec.com (Nina Silk) writes:

> A few years ago I first heard Johnny Hartman on the 
> John Coltrane & Johnny Hartman recording. It's so terrific
> and I've wanted to follow up and hear more of him but 
> I don't know what titles to look for.  Any suggestions?

I have just one other album under Hartman's name. Not in the same
league as the one w/ Coltrane but it has its enjoyable moments:

Hartman, Johnny                                           Bee Hive BH 7012 (LP)
Title: Once In Every Life
Recorded: 8/11/1980 at Master Sound Productions, Franklin Square, NY.
Released: 1981
With: Johnny Hartman (leader), vocals
      Frank Wess, tenor sax, flute
      Joe Wilder, trumpet, fluegelhorn
      Al Gafa, guitar
      Billy Taylor, piano
      Victor Gaskin, bass
      Keith Copeland, drums
Contents: 1) Easy Living                                               ( 05:55)
          2) It Was Almost Like A Song                                 ( 02:34)
          3) Wave                                                      ( 07:21)
          4) By Myself                                                 ( 04:31)
          5) For All We Know                                           ( 05:05)
          6) Will You Still Be Mine                                    ( 03:34)
          7) Nobody Home                                               ( 03:31)
          8) I Could Write A Book                                      ( 03:30)
          9) I See Your Face Before Me                                 ( 04:39)
          Total:                                                       ( 40:40)
Purchased: No Date

I'm not sure if the label is around anymore. Cadence might be able to
help.

BTW, has anyone heard the new release by Joe Wilder just out?? I
heard quite a bit of it on KCR a couple of weeks ago and it sounded
very good. Apparently, Wilder has been away from active
recording/playing for a decade or two!!

/sandeep
--
smehta@nynexst.com
--
        "This space of time is organized. We need not fear these
	 silences, -- we may love them." -- John Cage, Silences, 1961.
Newsgroups: rec.music.bluenote
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: Chick Corea -- Circling In
Organization: Educational Computing Network
Date: Wed, 23 Dec 1992 01:39:14 GMT

In article <1992Dec22.201529.9409@HQ.Ileaf.COM> anton@HQ.Ileaf.COM (steve norton) writes:
>the album was released in 1975 as part of Bluenote's reissue twofer
>series, and was produced for release by Michael "reissue" Cuscuna.
>AND lengthy liners by Stanley Crouch.  there was another bluenote

And they are very good liner notes.  but things ain't what they used to
be.

Circle had two albums out on CBS/Sony.  On one of them, they did Greater
Love and Toy Room-Q & A.  I am not sure if it was a German or New York
concert, but it is very good stuff.  I have a Reel To Reel copy of it,
but no Reel To Real player.  My cassette copy was made before I could
afford a good cassette deck.  Greater Love is happening, I think Braxton
wasn't so miffed at having to play it.  Sometimes they would feud about
playing those tunes, especially when Chick wanted them to do a boogaloo.

They also have an album called Gathering, which I believe was a studio
recording in New York.  It is a long suite like tune by Chick Corea with
Holland playing a little guitar, and some burning playing by all.  

Jeff

Newsgroups: rec.music.bluenote
From: bill@bilver.uucp (Bill Vermillion)
Subject: Re: Date of Johnny Winter "Live"?
Organization: W. J. Vermillion - Winter Park, FL
Distribution: usa
Date: Sat, 2 Jan 1993 18:25:10 GMT

In article <4507@cvbnetPrime.COM> jsulliva@amstel.prime.com (Jeff Sullivan) writes:

>Anyway, I could not find ANYWHERE on my copy of Johnny Winter's
>"Live" what year it was released in. This was the only one out of
>150+ CDs that I could find NO copyright date.

>So, if anyone knows the copyright date of this recording, please
>let me know. It's the one with Rick Derringer on 2nd guitar and
>contains Johnny B. Goode (I think).

Woo - goes way back.  But, a question or two.   Does this disk
show that it was cut "live" at Pirates World in Dania, Florida,
and does this have Bobby Caldwell on drums.

If so that puts it about 1968 or so.   Bobby and I were good
friends after my attempts at producing his group "Noah's Ark".
The group broke up and Bobby went with Winter, before White
Witch and Armageddon.

If it's not that disk, then it probably is later.  If you think
that might be it, let me know, and I'll try to get more
details.

Might not hurt to cc me mail, in case I miss it here.

-- 
Bill Vermillion - bill@bilver.oau.org  bill@bilver.uucp
                - ..!{peora|tous|tarpit}!bilver!bill
From: bob@werple.apana.org.au (Bob Blanchett)
Newsgroups: rec.music.bluenote
Subject: Maynard Ferguson discography wanted
Date: 3 Jan 1993 00:08:45 +1100
Organization: Werple, Public Access *NIX, Oz
Distribution: world
NNTP-Posting-Host: werple.apana.org.au

I'm looking to expand my meagre Maynard Ferguson collection and I'd
be grateful if somebody could suggest their favourites or point me towards a
discography, preferably with catalogue numbers.

Thanks,

Bob (bob@werple.apana.org.au)
From: jsulliva@amstel.prime.com (Jeff Sullivan)
Newsgroups: rec.music.bluenote
Subject: Date of Johnny Winter "Live"?
Date: 28 Dec 92 23:09:51 GMT
Distribution: usa
Organization: Prime Computervision, Bedford MA

I recently went thru and added the copyright date of all my CDs to
my on-line CD list. My list is sorted alphabetically by artist and
then chronologically if there are more than one per artist. Simple
enough, but a pain to enter for the first time.

Anyway, I could not find ANYWHERE on my copy of Johnny Winter's
"Live" what year it was released in. This was the only one out of
150+ CDs that I could find NO copyright date.

So, if anyone knows the copyright date of this recording, please
let me know. It's the one with Rick Derringer on 2nd guitar and
contains Johnny B. Goode (I think).

Thanks,
-Jeff




Jeff Sullivan | Computervision Corp. | jsulliva@cvbnet.Prime.COM
CADDS R&D     | Bedford, MA    01730 | sun!cvbnet!jsulliva
Newsgroups: rec.music.bluenote
From: crispops@world.std.com (Dale A Smoak)
Subject: Re: Ellington suggestions
Organization: The World Public Access UNIX, Brookline, MA
Date: Wed, 30 Dec 1992 22:34:17 GMT

subotic@osl440a.erim.org (Nik Subotic) writes:

>I've recently been listening to Ellington with renewed fervor and was
>wondering where to go from here.  Most of the things I have are the

It is to be hoped you have a turntable and can seek out the Smithsonian
two record sets *Duke Ellington 1938*, *Duke Ellington 1939* and *Duke
Ellington 1940*.  These albums can also be found as a six-record set.

Smithsonian was able to include recordings owned by both CBS and RCA,
whereas most reissues are limited to the music owned by one company
(obviously this doesn't apply to bootlegs).

The Smithsonian sets are also beautifully annotated.

The RCA/Bluebird sets, such as *The Blanton/Webster Band*, are better than
not having the music at all, but the trouble with them is that they
botched the sound.  An earlier version of this set actually had an "A
Train" with the beginning cut off.  I don't know how you tell that you're
getting the "corrected" version, re-reissued later.

Anyway, there's hundreds more choices. :-)

Dale
Newsgroups: rec.music.bluenote
From: smehta@kwela.nynexst.com (Sandeep Mehta)
Subject: Re: On Drugs, Bebop and The Wire
Reply-To: smehta@nynexst.com
Organization: Speech Technology, AI Lab, NYNEX S&T Inc, White Plains, NY
	<RSHAPIRO.92Dec29154328@kariba.bbn.com>
	<1992Dec29.211926.11248@pony.Ingres.COM>
Date: 30 Dec 92 11:59:21


> corman@Ingres.COM (Anthony Corman) writes:

> Some years back I studied with a fairly well-known musician who had
> dabbled while on the road with Chet Baker; he backed off when he
> sensed he was getting hooked, but felt that above all the drug
> helped him to hear very clearly. I'm sure that at some point it
> must feel quite wonderful. He said he wanted to fell what Bird
> felt; we all know that one, of course, and I agree that the heroin
> renaissance is scary and very disappointing.

No matter how unrealistic and silly the pseudo-puritanical American
attitude towards narcotics in the 80-90's may seem, I believe the
myth that narcotics (not including marijuana etc.) helped cats "hear
and think clearly" needs to be debunked! Nobody really knew and will
know what Bird felt because he was too busy hustling or shooting up
to really feel.

In his new book on Ornette Coleman, John Litweiler describes how
Ornette struggled with the drug problems with his "classic" quartet.
Apparently, at one time one of the members was flying back to NYC,
from an out of town engagement, *every* day to get the daily supply
for everyone. When he confronted Blackwell (I think), Ornette was
told that heroin help them "hear better" and weren't they playing
well high? Being the believing kind, Ornette began to wonder if there
was something to playing under the influence of heroin. So he tried
it once and had such a bad trip that he never touched the stuff
again. Often, Ornette would be forced to support his musician's
habits financially because as much as he hated it and what it was
doing to his musicians he liked all of them a lot.  Inevitably, the
group disintegrated. Haden struggled on and off for many years trying
to kick the habit and hadn't yet kicked it when he returned to play
with Ornette. Don Cherry too took a long time before he kicked his
habit.

It is one thing to understand and study the sociological phenomenon
that led to the inner-cities being flushed with narcotics; making it
easy for struggling black musicians to escape the invisible bars of
the cages they were trapped in. It is entirely another propostion to
propagate the myth that drugs made them hipper cats. Imitation may be
the best form of flattery, but the "trip" never did get the imitators
anywhere but in a hole and in some cases a cold grave.

/sandeep
--
smehta@nynexst.com
--
        "This space of time is organized. We need not fear these
	 silences, -- we may love them." -- John Cage, Silences, 1961.
Newsgroups: rec.music.bluenote
From: gidi@Hilbert.Stanford.EDU (Gideon Avrahami)
Subject: Re: clarinetist Perry Robinson
Organization: Brotherhood Of Breath
Date: Tue, 22 Dec 1992 20:12:03 GMT

cczanj@vax.nott.ac.uk (Andy Jack) writes:
>>Perry Robinson, a clarinetist 
>Am I right in thinking he was the clarinet player on the first Charlie Haden
>"Liberation Music Orchestra"? 

Probably yes, because he was in the ESCALATOR OVER THE HILL band,
and that's the same crowd.

>he deserves immortality for playing "Happy
>Days are Here Again" and one of those marching band tunes ("High Society"?) in
>the midst of a classic 1960's free jazz freak-out. It was just audible.

Not really surprising (he said smugly) because the liner notes refer
to that track as some kind of impressionistic commentary on the
Democratic Party convention of 1968.


--Gidi



Newsgroups: rec.music.bluenote
From: cczanj@vax.nott.ac.uk (Andy Jack)
Subject: Re: clarinetist Perry Robinson
Reply-To: cczanj@vax.nott.ac.uk (Andy Jack)
Organization: University of Nottingham, UK
Date: Tue, 22 Dec 1992 14:09:47 GMT

In article <Dec.21.21.22.59.1992.13511@ruhets.rutgers.edu>, bweiner@ruhets.rutgers.edu (Benjamin Weiner) writes:
...
>Perry Robinson, a clarinetist who worked with
>Archie Shepp and Henry Grimes, among others(?) in the early 60s.

Am I right in thinking he was the clarinet player on the first Charlie Haden
"Liberation Music Orchestra"? If so, he deserves immortality for playing "Happy
Days are Here Again" and one of those marching band tunes ("High Society"?) in
the midst of a classic 1960's free jazz freak-out. It was just audible.

	Merry Christmas.
	Andy
------------------------------------------------------------------------
Cripps Computing Centre,     JANET:    cczanj@uk.ac.nott.vax
University of Nottingham,    BITNET:   cczanj%uk.ac.nott.vax@ukacrl.bitnet
Nottingham NG7 2RD, UK	     Internet: cczanj%vax.nott.ac.uk@nsfnet-relay.ac.uk
(Phone: +44 602 513328)
From: gwl@specialist.genrad.com (Glenn W. Lea)
Newsgroups: rec.music.bluenote
Subject: Sun Ra coming?
Date: 23 Dec 1992 09:50:30 -0500
Organization: GenRad, Inc.
NNTP-Posting-Host: specialist.genrad.com

Someone just told me that he heard that Sun Ra was coming to the Iron
Horse in Northampton (western Mass) on Dec 28.  

Glenn
From: das@ccwf.cc.utexas.edu (Suman Das)
Newsgroups: rec.music.bluenote
Subject: Re: Niels-Henning Orsted-Pedersen (NHOP)
Date: 21 Dec 92 21:27:02 GMT
Reply-To: das@ccwf.cc.utexas.edu (Suman Das)

I believe he played on the Miles Davis album AURA too.


--Suman Das
From: lho@scd.hp.com (Leland Ho)
Newsgroups: rec.music.bluenote
Subject: Re: ALBERT KING
Date: 22 Dec 1992 21:21:33 GMT
Organization: Hewlett-Packard Santa Clara Division
NNTP-Posting-Host: leland.scd.hp.com

In article <Bznx61.22J@encore.com> mdifulvi@bilbo.encore.com (Michael Difulvio) writes:
>The *King of the Blues* Albert King, died yesterday of heart failure.
>He was 69 years old.

Very sad news indeed.  I will miss him.  I was fortunate enough to
see him play two weekends ago at Kimball's East in Emeryville,
California.  It was a real thrill to see him perform live--I've
become quite an admirer of his music.  He played two good sets,
each around and hour and a half.  He was relaxed while he
was playing and quite friendly with the audience.  At one point
there was a little girl in the audience who brought him a flower.
He accepted it graciously and then later dedicated a song to her.
I was impressed by his presence and what seemed like a genuine
enjoyment of performing.  He even introduced his wife, who was
in the audience that night.  I will remember the show fondly.

Goodbye Albert...

Leland Ho
Newsgroups: rec.music.bluenote