HDTenEightyP/NetNews huggingface dataset:
From: exubma@exu.ericsson.se (Bassam Madi)
Newsgroups: rec.music.bluenote
Subject: Boston: Help w/ gigs/jazz stores
Date: 17 Dec 92 05:18:12 GMT
Reply-To: exubma@exu.ericsson.se (Bassam Madi)
Organization: Ericsson Network Systems
X-Disclaimer: This article was posted by a user at Ericsson.
              Any opinions expressed are strictly those of the
              user and not necessarily those of Ericsson.

Hi,

I`ll be leaving to Boston this Friday to spend a couple of
weeks there. Can someone please suggest some gigs that will
be in the area. As far as stores carrying good Jazz, I know
of both Tower locations (even though I`ve never been to Cambridge's).
Can someone recommend any other stores (maybe ones carrying used CDs :-)
Thanx,
Bassam
--
Bassam Madi              |    
Ericsson Network Systems |   How can U soar like an eagle,
exubma@exu.ericsson.se   |   when U are dealing with turkeys??
Ph. (214) 733-4339       |
From: ee152fcy@sdcc15.ucsd.edu (Paolo Valladolid)
Newsgroups: rec.music.bluenote
Subject: Re: Hat Art shafted George Lewis? (was Re: Mingus tribute)
Date: 11 Dec 92 19:54:26 GMT
Organization: University of California, San Diego

>Hey, why do you think George Lewis is a professor (Aside from his
>intrinsic professorial qualities) - because it pays him (Not to
>mention the health insurance, etc)

I *know* George Lewis is a professor  because I took a class with
him here at UCSD! He teaches several music courses here (including
trombone lessons :-))

Paolo
From: gary@gdfwc3 (Gary Bud Melton)
Newsgroups: rec.music.bluenote
Subject: Re: Weird Nightmare (Giddins review)
Date: 15 Dec 92 16:03:44 GMT
Reply-To: gdfwc3!gary@uunet.uu.net
Organization: General Dynamics, Fort Worth Division


   In article <Bz6Htt.G2@world.std.com
   >, gwl@world.std.com (Glenn W Lea) writes:
   > BLACK SAINT AND DOWNTOWN SINNERS
   > Gary Giddins, Village Voice, 10/27/92,
   > reprinted with no permission.
   > 
   > 
   > The general lack of saxophones -- Mingus's music was a territory haunted
   > by the biggest, brashest saxophonists around: Eric Dolphy, Booker Ervin,
   > Roland Kirk, Jackie McLean, John Handy, for starters -- is
   > disconcerting.  Willner was probably quite right to eschew strict

   [ the rest deleted ]

Have any of the Booker Ervin "books" been released on CD?

Thanks,

Bud
Organization: University Libraries - Administration, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.bluenote
Date: Sat, 19 Dec 1992 14:04:40 -0500 
From: Ignatios Alexander <ia0n+@andrew.cmu.edu>
Subject: Booker Little/Ervin on tcb1003


The following details on tcb1003 were furnished to me by an
anonymous caller to WRTI Philadelphia in the mid-80s after
I played the record and solicited more information.

    Metronome Presents Jazz in the Garden at
    the Museum of Modern Art
    by the Teddy Charles New Directions Quartet
    with guest stars Booker Little and Booker Ervin.

    Teddy Charles, vibes;  Mal Waldron, piano;
    Addison Farmer, bass;  Ed Shaughnessy, drums;
    and Booker Little, trumpet;  Booker Ervin, tenor sax

    Recorded for Warwick Records on August 25, 1960.

    Oh yeah, a previous poster mentioned added latin persussion--
    I think it's only on the last track--Witch Fire.

    The tunes THE CONFINED FEW and WITCH FIRE could be Booker Little
    compositions--they show his individualized writing, similar to his
    recordings with Max Roach on Candid, and his Bethlehem and Time
    records as a leader.

---Ignatios Alexander
From: mcnamara@vixvax.mgi.com
Newsgroups: rec.music.bluenote
Subject: Re: Weird Nightmare (Giddins review)
Date: 14 Dec 92 13:07:47 CDT
Organization: Management Graphics, Inc.

In article <Bz6Htt.G2@world.std.com
>, gwl@world.std.com (Glenn W Lea) writes:
> BLACK SAINT AND DOWNTOWN SINNERS
> Gary Giddins, Village Voice, 10/27/92,
> reprinted with no permission.
> 

	First, thank you, thank you, thank you for typing this in.  I had
anxiously awaited this disks arrival because I loved Willner's Monk disk.  
When I saw it in the store, I was struck by its energy.  It looked like
death, not like life.  This review (and other's comments) have confirmed
what my glance told me.

> 
> The general lack of saxophones -- Mingus's music was a territory haunted
> by the biggest, brashest saxophonists around: Eric Dolphy, Booker Ervin,
> Roland Kirk, Jackie McLean, John Handy, for starters -- is
> disconcerting.  Willner was probably quite right to eschew strict
> instrumental authenticity, but to extract from the music its very sinew
> and bone in favor of fashionable references trivializes Mingus's
> achievement.  By choosing musicians or bands that reflect the impact of
> Mingus's work as a composer and bandleader (David Murray's octet and
> Henry Threadgill's Very Very Circus are obvious examples), he might
> have restored some of the bite and extravagance of his sound.  He might
> at least have kept this album from becoming the one thing a Mingus
> homage has no business being -- dull. 
> 

	The inclusion of *one* person of this stature in the project
would certainly have helped.

> 
> Charles Mingus and his music gave the impression of howling assurance
> and terrifying emotions.  His bass echoed like thunder, his exhortations
> had musicians quaking on the bandstand.  One quality that distingushed
> him from the other jazz composers of his generation was a willingness to
> confront his own fears and to force his musicians to confront theirs.  He
> was authoritative and demagogic, irreverent and funny, tender and zealous
> -- a far cry from the cool and collected brainy music on Weird
> Nightmare.  Whatever you think of those meditations, you might crave the
> remedy of Mingus at full strength.  Much of his best work is readily
> available.  Among more than two dozen exceptional works, here are a few
> benchmarks that seem especially relevant with respect to Weird
> Nightmare: Tijuana Moods (1957, Bluebird), Charles Mingus Presents
> Charles Mingus (1960, Candid), Mingus at Antibes (1960, Atlantic),
> Mingus Revisited (originally Pre-Bird Mingus, 1960, EmArcy), Black Saint
> and the Sinner Layd (1963, Impulse!), and Let My Children Hear Music
> (1972, Columbia). 
> 

	In addition, Epitaph should be mentioned.  I avoided buying
this because I was concerned that the posthumous arrangements would
have destroyed the life in his composition.  The concert broadcast
on Bravo showed the opposite.  It may not swing like his small groups,
but this recording genuinely shows his hand and is an outstanding
tribute.

					Curt
Organization: Sophomore, English, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.bluenote
Date: Fri, 18 Dec 1992 13:02:58 -0500 
From: Eugene Kuo <ek1i+@andrew.cmu.edu>
Subject: Miles Davis and John Coltrane Discogs

Hello!

    I hope that this hasn't already been covered recently, but is there
a place from which I can get complete discographies of Miles Davis and
John Coltrane?  Thanks in advance!

                            eugene

Newsgroups: rec.music.bluenote
From: kfreundlich@lucy.wellesley.edu (Kenny Freundlich)
Subject: Chick Corea -- Circling In
Followup-To: rec.music.bluenote
Organization: Wellesley College
Date: Thu, 17 Dec 1992 18:21:49 GMT

I'm looking for Chick's recording of the Monk tune "Pannonica", which, I've
been told, is on a recording called "Circling In."

Anybody know this record?  Who are the sidemen? When was it recorded?  For
what label?  Has it been reissued on CD?

Thanks

K
Newsgroups: rec.music.bluenote
From: adam@research.nj.nec.com (Adam Porter)
Subject: Jazz clubs in NJ
Originator: adam@acapella
Reply-To: adam@research.nj.nec.com
Organization: NEC Research Institute
Date: Thu, 17 Dec 92 22:01:15 GMT


Hi everyone!  I'm looking for some good jazz clubs in Central to North
New Jersey.  I especially like to hear singers and pianists, but I'd
also like to see bands/ensembles.  Any reviews or recommendations
would be great.  Thanks!!!


-- 
--								-Adam
==========================================================================
Adam Porter, Assistant System Administrator       adam@research.nj.nec.com  
NEC Research Institute:609/951-2568  4 Independence Way,Princeton,NJ,08540
Newsgroups: rec.music.bluenote
From: jbulyk@telesciences.com (Jerry E. Bulyk)
Subject: Konitz on Company
Organization: TeleSciences CO Systems, Inc.
Date: Mon, 14 Dec 1992 15:24:14 GMT

In preparation of a Lee Konitz date in the City of Brotherly Love, 
the Philadelphia Inquirer ran an interview conducted by Francis Davis
with Lee Konitz. The following excerpt contains some interesting 
comments made by Konitz wrt Company:

[used w/o permission from Philadelphia Inquirer Wed. Dec. 2 1992]

    Five years ago, Konitz accepted an invitation to tour Europe with Company,
an ensemble as much influenced by John Cage as by Ornette Coleman in its 
determination to leave everything to chance.
    "The free improvisations with Lennie [Tristano] felt like an extension of
our jazz playing, an extension of what we were used to doing on standards. With
Company, it was like we were playing a different kind of music altogether, only
vaguely similar to jazz" Konitz says.
    "Barre Phillips, the bass player, was also on that tour, and I ... 
remembered playing with him in New York in the 1960s, when he was a good, 
solid straight-ahead bass player. In Europe, I didn't hear any vestige of that 
...  and I remember asking him why that nice sound he had and that nice sense 
of time would be something he would leave behind completely."
    So the experience of playing with musicians who consider themselves his
and Tristano's children wasn't completely pleasurable?
    "Oh, it was something new for me and I had a lot of fun," Konitz says.
"I've never tap-danced with a cello player before. for example."
    Tap-danced literally?
    "Sure. He and I were playing a duet and I had my eyes closed and suddenly
heard this rhythmic tapping noise. I opened my one eye and saw him dancing
around the stage, so I danced along with him, just a little bit, as I continued
to play."


[end excerpt]


	thought I'd pass these comments along..
    - jerry



Jerry E. Bulyk
TeleSciences C.O. Systems, Inc

INTERNET:        jbulyk@telesciences.com
From: mcnamara@vixvax.mgi.com
Newsgroups: rec.music.bluenote
Subject: Re: Weird Nightmare (Giddins review)
Date: 16 Dec 92 13:27:24 CDT
Organization: Management Graphics, Inc.

In article <HELLERS.92Dec14190418@cleo.cs.wisc.edu
>, hellers@cs.wisc.edu (Joe Hellerstein) writes:
> In article <1992Dec14.130747.2442@vixvax.mgi.com
> mcnamara@vixvax.mgi.com writes:
>>   > [... quote from Gary Giddins' review ...]
>>   > By choosing musicians or bands that reflect the impact of
>>   > Mingus's work as a composer and bandleader (David Murray's octet and
>>   > Henry Threadgill's Very Very Circus are obvious examples), he might
>>   > have restored some of the bite and extravagance of his sound.  He might
>>   > at least have kept this album from becoming the one thing a Mingus
>>   > homage has no business being -- dull. 
>>
>>	   The inclusion of *one* person of this stature in the project
>>   would certainly have helped.
> 
> Well the *stature* isn't the issue here, it's Giddins' perception of
> the musicians' empathy for Mingus' art.  I haven't heard the album,
> and was actually a little surprised that Don Byron's presence doesn't
> alleviate some of the things that upset Giddins.  Frisell's texture
> usually does lend a vague, pensive air to most things, although this
> doesn't have to rob the music of its fire or of the blues (c.f. MONK
> IN MOTIAN or NEWS FOR LULU...)

	I seem to have chosen the wrong word here .....  My comment was
intended to note that the Monk tribute was undoubtably changed by 
the presence of Steve Lacy.   Incorporating an artist with a similar
breadth and length of experience in the Mingus tribute would have helped
(IMHO).  This is not meant to slight any of the artists involved 
(notably those mentioned: Byron and Frisell).  
	Another way of expressing my dislike of the disk is that the 
Mingus tribute sounds more like a "concept album" than the Monk tribute 
(which sounds like a bunch of performers having fun).  A bit less 
Willner as driving force and a bit more the musicians themselves.  BTW,
why wasn't the Mingus Dynasty involved?  
	On another note, Seth Katz takes me to task for deciding against
a disk on the basis of the cover art.  I have no defense for my
statement.  Music is intensely personal, and the "spiritual" aspects
are key for me.  In the case of the Mingus disk, the spiritual aspect
was in the wrong direction for me.  For some reason I could tell from
the cover, and Giddins (and others) have confirmed my intuition.


						Curt
Newsgroups: rec.music.bluenote
From: kopti@seas.gwu.edu (Juzer T. Kopti)
Subject: MINGUS,BRUBECK QUESTION
Organization: George Washington University
Date: Sat, 12 Dec 1992 05:51:58 GMT

 
  Writing for the first time in this newsgroup.I had
  a question.
  I have a record by MINGUS that I picked up from a 
  second hand record dealer. the record is called
  'TONIGHT AT NOON'.It does not say on the sleeve
  when it was recorded. Could some one give a brief 
  history of this recording.I have gone through many
  jazz books but there is no mention about this album.

  Are there any BRUBECK fans out there.H as anyone heard
  an album by BRUBECK called 'JAZZ IMPRESSIONS OF EURASIA'
  
  This a really fabulous album [again not mentioned in many
  jazz books].Has anyone heard 'JAZZ IMPRESSIONS OF AMERICA'
  If albums like 'KIND OF BLUE,GIANT STEPS,BETTER GIT IN
  YOUR SOUL etc were given a rating of 10/10, how would
  jazz....america would be rated by you. This will help me
  decide to buy the cd
                                		JUZER
save
From: vek@spacsun.rice.edu (Vincent E. Kargatis)
Newsgroups: rec.music.bluenote
Subject: Re: Bozeman MT trio on Fresh Air
Date: 11 Dec 92 21:27:47 GMT
Distribution: usa
Organization: Rice University

cjn@cbnewsf.cb.att.com (curtis.j.newton) writes:
> A co-worker of mine heard an interesting piano trio on NPR's Fresh Air
> a few days ago.  They live in Bozeman Montana, manage to fly in lots of
> high profile guest artists for gigs with them, and have a recording
> out(?).  Did anyone catch the name of this group, or is anyone
> familiar with who this is?

Though I can't remember for sure if this is right, I think you're referring
to pianist Bob Nell, who has a recording out on New World/Countercurrents
called WHY I LIKE COFFEE. Very nice album. Nell is a fairly distinctive
player and composer. The album includes his trio plus Ray Anderson and Jack
Walrath. Recommended.
-- 
| Vincent Kargatis		     |	Dept. of Space Physics & Astronomy |
| vek@spacsun.rice.edu		     |	Rice University, Houston, TX       |
| "[Christ's] birthday mighta been the time to be on the beach at Galilee, |
|   watching him turn water into beer" - Brave Combo, "Christmas In July"  |
Newsgroups: rec.music.bluenote
From: gidi@Hilbert.Stanford.EDU (Gidi Avrahami)
Subject: Re: On liner notes (long)
Organization: Brotherhood Of Breath
Distribution: na
Date: Thu, 17 Dec 1992 17:36:08 GMT

>> Here's a few more liner note excerpts, copying a recent post of Sandeep's.
>
>Moi?? You're too kind :-) I think it was Gidi. Only a minor phonemic
>similarity in our first names.

Yeah.  Well if your name was Billy Joe and mine was Jimmy Bob then you
can bet that our American buddy here wouldn't be making these mistakes.

But these foreign names -- who can be bothered with them anyway?


--Gidi

Newsgroups: rec.music.bluenote
From: kauff@neit.cgd.ucar.edu (Brian Kauffman)
Subject: Re: BLUES: Eddie Campbell?
Keywords: BLUES
Organization: NCAR, Boulder CO
Date: Wed, 16 Dec 1992 18:51:22 GMT

> =  lho@scd.hp.com (Leland Ho) writes:
------------------------------------------------------------------------
>The first song on the CD "Blue Yule: Christmas Blues And R&B Classics"
>is a song called "Santa's Messin' With The Kid" done by Eddie Campbell.
>It says that it is from an album called "King Of The Jungle".
>Has anyone seen this recording on CD?  Is there any stuff at all
>on CD by Eddie Campbell?

I once asked the same question and got a reply that at least two
discs were available (although I haven't seen them):

> Sorry, can't help much with Eddie C. Campbell CD-discography.
> I own two of his discs: 
> 
> Baddest Cat In The Block (JSP Records #216)
> - import available from Roundup Records/Cambridge Mass.
> - recorded 1988
> - approx. 45 minutes of music
> * bare bones stuff ... guitar, bass, drums
> * good to very good music / very good recording
> 
> Mind Trouble (Double Trouble DTCD-3014)
> - import available from Roundup Records/Cambridge Mass.
> - recorded 1988
> - approx. 55 minutes of music
> * "full" sound stuff: guitar, bass, drums, harmonica (Johnny Mars -wow!)
>    horns, piano, etc.
> * excellent music / excellent recording

I'd definitely be interested in acquiring "King of the Jungle".

-Brian
Newsgroups: rec.music.bluenote
From: jgthomas@crchh420.NoSubdomain.NoDomain (John Thomas)
Subject: Re: Timeless/Steeplechase
Reply-To: John Thomas <jgthomas@bnr.ca>              
Organization: Bell-Northern Research, Richardson, Tx
Date: Fri, 18 Dec 1992 00:38:14 GMT

In article <5110@equinox.unr.edu>, alan@sierra.unr.edu (Alan McKay) writes:
|> In article <1992Dec17.064857.6899@exu.ericsson.se> exubma@exu.ericsson.se (Bassam Madi) writes:
|> 
|> >Can anybody recommend a good source for the Timeless and Steeplechase
|> >labels (in the US). A lot of fine musicians recorded some great music
|> >on thes labels (Kenny Drew, NHOP, Kenny Barron,...)
|> 
|> 
|> 
|> Cadence (Redwood, New York) carries ~both~ Timeless and Steeplechase.
|> 
|> ...al
|> w.a. mckay
|> desert research institute
|> reno, nevada

Yes, and also check out Rick Ballard whose address appears in the back
of jazz mags like JAZZ TIMES or DOWNBEAT.

I got most of my Steeplechase through him.
From: lho@scd.hp.com (Leland Ho)
Newsgroups: rec.music.bluenote
Subject: BLUES: Eddie Campbell?
Date: 16 Dec 1992 01:05:47 GMT
Organization: Hewlett-Packard Santa Clara Division
NNTP-Posting-Host: leland.scd.hp.com
Keywords: BLUES


The first song on the CD "Blue Yule: Christmas Blues And R&B Classics"
is a song called "Santa's Messin' With The Kid" done by Eddie Campbell.
It says that it is from an album called "King Of The Jungle".
Has anyone seen this recording on CD?  Is there any stuff at all
on CD by Eddie Campbell?


Leland Ho
Newsgroups: rec.music.bluenote
From: smehta@kwela.nynexst.com (Sandeep Mehta)
Subject: Re: Konitz on Company
Reply-To: smehta@nynexst.com
Organization: Speech Technology, AI Lab, NYNEX S&T Inc, White Plains, NY
	<SMEHTA.92Dec16112416@kwela.nynexst.com>
	<1gnn3hINN8s@specialist.genrad.com>
Date: 16 Dec 92 14:46:11


> gwl@specialist.genrad.com (Glenn W. Lea) writes:

> > smehta@nynexst.com writes:
> >Heh, heh ;-) If you think the Elsie-Jo's are theatrical...
> 
> 
> LCJO == Elsie Jo 
> 
> I just got it.  Now I understand the title of the Evan Parker
> et al disc.
> 
> Thanks, Sandeep.

Though I find it really funny, I cannot take credit for it. I got it
from Steve Lake's lengthy liner notes for Process & Reality. In
either event, Lake refers to the name Elsie Jo as "a dyslexical
reading of LCJO" :-) :-)

/sandeep
--
smehta@nynexst.com
--
        "This space of time is organized. We need not fear these
	 silences, -- we may love them." -- John Cage, Silences, 1961.
Organization: University Libraries - Administration, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.bluenote
Date: Tue, 15 Dec 1992 10:45:55 -0500 
From: Ignatios Alexander <ia0n+@andrew.cmu.edu>
Subject: Andy Kirk passes


From 12-15-92 NY Times obituary by Peter Watrous:

    Andy Kirk, one of the last surviving orchestra leader for the big-band
    era, died on Friday at his home in Harlem.  He was 94 years old.

    He died of complications from Alzheimer's disease, according to Phil
    Schaap,  the d.j. and jazz historian.

    (Plus a photo and about six paragraphs)
....................

Mary Lou Williams was a member of Andy Kirk's Cloud's of Joy, as well as
tenor man Dick Wilson.

Watrous says that Bird, Monk, Fats Navarro, Howard McGhee, Don Byas, Ben
Webster, and Lester Young played with Kirk.

Recordings:

    Try to find two on Decca-- INSTRUMENTALLY SPEAKING and THE LADY WHO
    SWINGS THE BAND--that's Mary Lou, of course.

    Along with Basie's Decca's these records have that Kansas City swing.


BTW, it's hard to believe that Duke died almost twenty years ago.


---Ignatios








Newsgroups: rec.music.bluenote
From: gidi@Hilbert.Stanford.EDU (Gidi Avrahami)
Subject: Re: last Dolphy sessions, confused
Organization: Brotherhood Of Breath
Date: Wed, 16 Dec 1992 16:15:49 GMT

rost@tecrus.dec.com (My name is Brian Rost) writes:
>>>	CONVERSATIONS
>I have this on LP as "The Eric Dolphy Memorial Album" on Exodus records

Not to be confused with the Prestige album, under the names of Eric
Dolphy & Booker Little, which is also called MEMORIAL ALBUM and is in
fact a third installment of the LIVE AT THE FIVE SPOT performances.
(With Mal Waldron, Richard Davis and Ed Blackwell.)


--Gidi
From: prich@monk (Paul Richardson)
Newsgroups: rec.music.bluenote
Subject: Roy Haynes info
Date: 17 Dec 92 22:04:04 GMT

I have a friend who is trying to do some research on Roy Haynes.
She is looking for any and all info available.

A Discography of dates, or a Biliography of interviews and the like,
or any other info on him would be appreciated

send email to me as she does not have a computer account

--

/pgr

She's got Jungle Fevah... - Stevie
email: Paul_Richardson@next.com
From: "dale smoak" <dale.smoak@channel1.com>
Newsgroups: rec.music.bluenote
Subject: tchicai in boston
Date: 17 Dec 92 05:13:37 EST
Reply-To: "dale smoak" <dale.smoak@channel1.com>
Distribution: rec
Organization: Channel 1 Communications

The great Danish tenor saxophonist John Tchicai will appear in concert
with the Either/Orchestra, on January 7, 1993 at 8:00pm.  The concert
will be held at the ICA Theatre, 955 Boyleston Street, Boston.

The Boston Creative Music Alliance, in collaboration with The Institute
of Contemporary Art, is presenting this concert.

Tchicai first made his reputation in the 1960s as an alto saxophonist.
He played on John Coltrane's *Ascension*, Albert Ayler's *New York Eye
and Ear Control*, and was a member of the New York Art Quartet and the
New York Contemporary 5.  More recently, he's worked with Pierre Dorge
and the New Jungle Orchestra and recorded with Cecil Taylor.  A decade
ago he changed his primary instrument to tenor saxophone.

The Either/Orchestra is a nine-piece band who've built their reputation
on the strength of numerous cross-country tours and four albums on the
Accurate label.

Tickets are $12 general admission, and $10 for students and ICA members.
Tickets are available after December 30.  Phone orders are not possible,
unfortunately.  Call 617-628-4342 for more information.

The concert is funded in part by a grant from The New England Foundation
for the Arts and Meet the Composer, Inc., with additional support from
the Lila Wallace-Reader's Digest National Jazz Network, The
Massachusetts Cultural Council, and The National Endowment for the Arts.

The Boston Creative Music Alliance will present three other concerts
this season.  The Alliance's purpose is to present concerts by Boston
musicians in collaboration with visiting masters.
---
  DeLuxe 1.26b #12237  dale.smoak#channel1.com/76350.3662@compuserve.com
--
Channel 1 (R)   Cambridge, MA

Newsgroups: rec.music.bluenote
From: puschb@Informatik.TU-Muenchen.DE (Bastian Pusch)
Subject: Re: Pat Metheny in Europe?
Organization: Technische Universitaet Muenchen, Germany
Date: Thu, 17 Dec 1992 18:43:07 GMT
X-Newsreader: TIN [version 1.1 PL8]

Paul Porcelli (gnaa38@udcf.gla.ac.uk) wrote:

: Does anyone know if Pat Metheny is touring in Europe, or better still in the UK in '93.
: Thanks a lot
: Paul Porcelli
: e-mail : gnaa38@uk.ac.gla.udcf

Yes, I think Pat Metheny is in Europe in April/May '93. At least
he will be in Munich on 2.May 93.

Ciao, Bastian