HDTenEightyP/NetNews huggingface dataset:
From: wjh@cbnewsl.cb.att.com (william.j.hery)
Subject: Re: DB Reader's Poll
Organization: AT&T
Distribution: na
Date: Fri, 6 Nov 1992 17:37:51 GMT

marc@hpmonk.fc.hp.com writes:
>>> Was it my imagination, or was Dave Holland not even listed in the "acoustic
>>> bass" category of the Down Beat Reader's poll?
>...................................Dave Holland is pretty darn mainstream, and
>certainly has been a lot more in the public eye for the last five years than,
>say, Rufus Reid, who received a good share of votes.  Charlie Haden won the
>category, and I don't see him as significantly more mainstream than Holland,
>although I imagine the latest Liberation Music Orchestra album with Branford
>probably helped.

I don't think its only a question of more or less mainstream. I suspect that
a lot of readers fall into smaller sets that have a favorite sub-style of
music and tend to vote for musicians in that style. Haden and Holland (and
Fred Hopkins) are in the "pretty mainstream, but coming out of the avant
garde side" school, and all three pretty much "compete" for votes from the
same set of readers (I added Hopkins to the list because those are the
three that I was thinking of voting for; I picked Hopkins this year because of
some really dynamite things I've heard him do live lately). Haden had a pretty
high visibility year (the new LMO record and a tour with LMO, a couple of
co-leader dates); I don't think Holland has had any new releases as a leader
for a couplt of years (wasn't EXTENSIONS 2 years ago?). So Haden got most of
those votes.

Reid, however, plays with more "traditional" mainstream groups, and was
probably competing more against Ron Carter...Ray Brown against Milt
Hinton...etc.

If readers were allowed to vote the same way as the critics (several points
[nine, I think] to be distributed over up to three musicians, the results
might be different (I might have gone 4/3/2 for Hopkins/Haden/Holland, for
example).

But all this proves is the uselessness of polls (reader or critic),
except to stimulate discussions of why the results are wrong :-)

Bill Hery
AT&T Bell Labs
201-386-2362
hery@att.COM
From: jhurley@husc3.harvard.edu
Newsgroups: rec.music.bluenote
Subject: Ray Charles, Jazzman???
Date: 8 Nov 92 00:05:34 GMT
Article-I.D.: husc3.1992Nov7.190534.17213
Organization: Harvard University Science Center

Recently I won a CD collection of old Atlantic R&B singles. The section
of the accompanying booklet which concerns Ray Charles says that Ray's
incredibly varied work included jazz recordings with Oscar Pettiford and
Milt Jackson, as well as a live jazz album recorded at Newport many years ago.

If anyone out there is familiar with any of this material, I'd appreciate
some advice on whether or not it's worth tracking down.

-John Hurley
jhurley@husc3.harvard.edu
Newsgroups: rec.music.bluenote
From: millerje@CS.ColoState.EDU (Jeff Miller)
Subject: GRPASBB (was Re: GRP recordings)
Date: Thu, 05 Nov 1992 17:26:33 GMT
Organization: Colorado State University, Computer Science Department

In article <1daf98INNg4l@master.cs.rose-hulman.edu> phillijg@NeXTwork.Rose-Hulman.Edu (Jason G Phillips) writes:
>
>	All this discussion of good recordings on GRP and I have yet to  
>see any mention of the GRP All Star Big Band.  I have found this to be my  
>favorite GRP recording.

Argh! I just bought this one about a week back (it was on sale) because a
friend said it was great.  Yes, the arrangements are great, but half the
people can't solo worth shit. I will be glad to cite examples, but for
the most part, as soon as there's a song with more than two chords, or in
a tempo > 120, the soloing is terrible [IMHO of course].
Blech! From what I understand, I should have bought the McCoy Tyner Big
Band CD instead.


-- 
 _____________________________________________________________________________
|                                                                             |
| "Nuke the unborn gay whales!" |  millerje@cs.colostate.edu  |  Jeff Miller  |
|_____________________________________________________________________________|
From: jimh@pongo.Eng.Sun.COM (jim hori)
Newsgroups: rec.music.bluenote
Subject: Re: New York Stories
Date: 11 Nov 1992 16:27:06 GMT
Organization: Sun Microsystems, Mt. View, Ca.
Distribution: world, rec, usa
NNTP-Posting-Host: pongo

In article <9385@blue.cis.pitt.edu.UUCP> milst1@cislabs.pitt.edu (Martin I Lewison) writes:
>Anybody out there heard of this band called New York Stories?  I heard 
>something off of their "Volume I" CD, and I thought it was *hot*!
>
I plugged this when it came out. The concept is a tribute to old
Blue Note blowing sessions played by one time only aggregations.
Supposedly there will be multiple volumes with different players.

The first includes musicians like guitarist Danny Gatton (the
nominal leader), saxophonists Bobby Watson and Joshua Redman
(Dewy Redman's son in his first released recording), and
trumpeter Roy Hargrove.

The horn players come from a post-bop background while Gatton's
influences span the history of the electric guitar. These
varied approaches provide a unique energy to this session.
Gatton, who I'd never listened to before, is an incredible
technician who also has a lot of wit and soul. Watson, out
of the context of his own group, blows harder than I've
ever heard him. Redman displays great chops and an understanding
of the history of his instrument.

I like it.

....
jimh@west.sun.com


Newsgroups: rec.music.bluenote
From: jeff@godzilla.quotron.com (Jeff Marder)
Subject: What ARE the 3-4 Essential Coltrane Impulse Sessions
Organization: Quotron Systems, Inc.
Date: Thu, 5 Nov 1992 17:07:33 GMT

what are the most important, most listenable Impulse discs.  Forget
the Alice Coltrane, Rashed Ali doodling.  I'm talking about Coltrane's
playing, not squacking.   

Thanks.  btw, outside of the opening movement, i found "A Love Supreme"
fairly uninteresting.
-- 
===========================================================
jeff@godzilla.quotron.com
Quotron Systems   310-302-4316

Xref: sparky rec.music.bluenote:8624 rec.music.funky:1708
From: ee154fbk@sdcc15.ucsd.edu (M)
Newsgroups: rec.music.bluenote,rec.music.funky
Subject: Lou Donaldson releases - available on CD??
Date: 8 Nov 92 05:52:46 GMT
Followup-To: poster

Are the albums featuring Pot Belly, It's my thing available on CD???



Newsgroups: rec.music.bluenote
From: wolski@bmera252.bnr.ca (Will Wolski)
Subject: Hard to find CD's 
Keywords: Robben Ford
Reply-To: wolski@bnr.ca
Organization: Bell-Northern Research
Date: Wed, 11 Nov 92 19:31:30 GMT

Audiophile Imports (410) 628-7601  has a large selection of hard-to-find CD's
including such artists as Robben Ford (yes, including the inside story).
I have ordered
several and they haven't let me down. Call them and get their new catalogue.

cheers,
------------------------------------------------------------------------
----------  
Will Wolski wolski@bnr.ca.  (613) 763-2117
Bell Northern Research Ltd., Ottawa, Ontario, Canada
 
The opinions expressed are my own, that's my story an I'm sticking by it. 
------------------------------------------------------------------------
----------
From: mchenry@guvax.acc.georgetown.edu
Newsgroups: rec.music.bluenote
Subject: Mike Stern (was Brecker Bros. show and something else I forgot)
Date: 12 Nov 92 10:51:58 -0500
Distribution: world
Organization: Georgetown University

In article <37090002@hpopd.pwd.hp.com>, geoffb@hpopd.pwd.hp.com (Geoff Benton) writes:
>> As an aside, has anybody actually got a copy of Mike Stern's album
>> "Standards" yet? I'd be interested to hear whether my impressions
>> of him at the BBs gig are borne out on vinyl.
> 
> Martin, I haven't got 'Standards' but I have got "odds and evens" (I think
> that's the name) and it's really great! He's an interesting guitar player and
> he has some great drummers on this album.
> 

I enjoy his earlier album Jigsaw much more than Odds and Evens. It seems to 
me that he is just repeating a formula on Odds and Evens...

Bill McHenry                   |Those who do not hear the past works
mchenry@guvax (bitnet)         |are condemned to recompose them....
mchenry@guvax.georgetown.edu   |                 -me

Newsgroups: rec.music.bluenote
From: abz@world.std.com (Andrew B Zaff)
Subject: Coltrane - Exotica?
Organization: The World @ Software Tool & Die
Date: Sun, 8 Nov 1992 16:38:11 GMT

Hi Everyone,

I just picked this CD up in a used store the other day. It's on a strange
label I've never heard of and has absolutely no liner notes. I was wondering
if anyone out there knows anymore about this album. It sounds like it's
earlier than the quartet stuff, but other than that I have no idea what I've
bought. I do like it by the way, though I prefer the later more out there
Coltrane stuff as a general rule.

Any help would be appreciated, please reply via email as I don't read this
group very often.

Thanks,

Andy

Newsgroups: rec.music.bluenote
From: The Internet Surfer <rs18@cornell.edu>
Subject: Re: New Threadgill & Very Very Circus
X-Xxdate: Fri, 6 Nov 92 16: 25:28 GMT
Nntp-Posting-User: rs18@cornell.edu
Organization: Cornell University
X-Useragent: Nuntius v1.1.1d7
Date: Fri, 6 Nov 1992 15:14:06 GMT

In article <1992Nov4.005557.6589@news.cs.brandeis.edu> R. Lynn Rardin,
rardin@binah.cc.brandeis.edu writes:
>Henry Threadgill's LIVE AT KONCEPTS with Very Very Circus finally
appeared at 
>Tower today!

Is it good?  Is it great?  Is it something I must buy in New York this
weekend?

TIS
Newsgroups: rec.music.bluenote
From: lenny@theory.TC.Cornell.EDU (Lenny Silver)
Subject: Re: Where's Lennie Tristano???
Organization: Cornell Theory Center
Date: Thu, 5 Nov 1992 17:13:43 GMT

In article <1992Nov4.225205.8632@ac.dal.ca>, nvats@ac.dal.ca writes:
|> Hi there,
|> 
|> My jazz teacher has often mentioned a teacher of his - Lennie Tristano,
|> who was a renowned piano player and teacher in N.Y..  From what I gather,
|> he was a prominent influence on Jazz in the 40's via his playing and by
|> the late 50's, he'd changed his focus to teaching others.
|> 
|> Here;s the thing - I can't find any of his recordings here!  I know they
|> must exist, but are they readily available?  Are they out on CD??
|> Also, I'd like to know more about this musician from any Jazz "gurus"
|> out there...
|> 
|> Thanks,
|> 
|> Nipun Vats
|> Physics Department, Dalhousie University
|> e-mail: nvats@ac.dal.ca

There's a Lee Konitz album called something like Subconscious-Lee on which
Tristano plays.  There's some other stuff I have that's pretty good, and
some on which the recording quality is abysmal.  The 'Jazz' label is run
by Tristano's daughter.  I'm personally waiting for a Mosaic set that they
report is in the works.

The way I found all that other stuff is by getting my friendly record store
owner to look it up.  If anyone is interested I'll post the album names here.

Lenny
From: bweiner@ruhets.rutgers.edu (Benjamin Weiner)
Newsgroups: rec.music.bluenote
Subject: Re: Otis Rush
Date: 6 Nov 92 16:17:33 GMT
Organization: Rutgers Univ., New Brunswick, N.J.

oded@fiber-bits.ai.mit.edu (Oded Maron) writes:
>I have a number of [Otis Rush] albums.  Does anyone have recommendations
>for more stuff?
>This is what I got: Cold Day in Hell, Mourning in the Morning,  Lost
>in the Blues, and Door to Door with Albert King.

You absolutely must get the "Groaning the Blues" album; his recordings
for Cobra Records, reissued by the Flyright (UK) label.  "Groaning the
Blues" was the LP title, it might be different on CD.  This is Rush's
best work.  It's scary.

Ben
From: milst1@cislabs.pitt.edu (Martin I Lewison)
Newsgroups: rec.music.bluenote
Subject: The Dolphins
Date: 9 Nov 92 06:00:04 GMT
Organization: University of Pittsburgh



Anyone out there ever hear The Dolphins?  I heard them on the radio once
and scored the album.  Dave Brubeck's son is the drummer, and they
do a *great* fusiony version of "Blue Rondo A La Turk".

Some of the album is that "studio-ized" Berklee sound (like Kenny G?  Please
don't flame me.), but a lot of it is super-raw jazz-fusion.

Anybody else have it?  Anyone know if they're planning any more recordings,
or a tour?

-Martin
From: silver.e@zooid.guild.org (Eric Silver)
Newsgroups: rec.music.bluenote
Subject: Re: Whateverhappenedto...Gato Barbieri?
Date:  6 Nov 92 20:43:49 GMT


In your article ;
From: mcgonig@eeserv.ee.umanitoba.ca (Gordon McGonigal)
>It's been 8 years (and many more tears) since I heard one of the
>most incredible concerts of my life -- Gato Barbieri at the Spectrum
>in Monteal during the 84 Jazz Fest.

Just as an aside, one Gato's great contributions to JAZZ/BLUES
saxophone playing technique was the addition of the 'GROWL'.
A unique and wonderful signature of his playing style.
The GROWL is done by humming the note at the same time you are
playing. A little difficult to do at first but with practice
it becomes intuitive. Some saxophonists claim 'growling' 3rds,
5ths, 7ths, 9ths, etc. above the note played helps them pronouce
partials not 'normally' heard.
Gato has had a large and positive influence on many saxophonists.

Eric Silver - York, Upper Canada.


Newsgroups: rec.music.bluenote,rec.music.makers
From: chung@ils.nwu.edu (Mark Chung)
Subject: Need info on summer jazz programs
Organization: ILS
Date: Fri, 13 Nov 1992 18:30:59 GMT

I'm looking for summer programs for studying jazz improvisation. I've been
studying at the Bloom School of Jazz in Chicago for the past year. Since I
play violin I'd prefer a program that has string players, but the overall
quality of the program is more important. Some instrument specific
instruction would really help my progress. My training is classical but I
have a hard time with articulation in particular.

Here are the programs I've heard about so far. Does anyone have first hand
experience with them or recommend other programs not on the list?

Berklee 5 and 12 week programs - Has a string department, but I've been
hearing bad reviews of Berklee in general.

Aebersold 1 week camps - too short but I hear David Baker works with string
players.

Manhattan School of Music 3 week program - course descriptions didn't seem
to emphasize performance.

Banff Centre for the Arts - for more advanced players?

Schweitzer Institute at SandPoint - ditto. With Wynton Marsalis, Victor
Lewis, Joe Lovano, etc.

Stanford Jazz Workshop, with Turtle Island String Quartet - seems like the
program for me, but I'd like to play with a rhythm section as well as
strings only.

Cal Arts

Indiana University at Bloomington
From: mzickar@s.psych.uiuc.edu (Mike Zickar)
Newsgroups: rec.music.bluenote
Subject: Re: Otis Rush
Date: 6 Nov 92 21:25:27 GMT
Article-I.D.: news.BxBCuG.65t
Organization: UIUC Department of Psychology

bweiner@ruhets.rutgers.edu (Benjamin Weiner) writes:

>oded@fiber-bits.ai.mit.edu (Oded Maron) writes:
>>I have a number of [Otis Rush] albums.  Does anyone have recommendations
>>for more stuff?
>>This is what I got: Cold Day in Hell, Mourning in the Morning,  Lost
>>in the Blues, and Door to Door with Albert King.

>You absolutely must get the "Groaning the Blues" album; his recordings
>for Cobra Records, reissued by the Flyright (UK) label.  "Groaning the
>Blues" was the LP title, it might be different on CD.  This is Rush's
>best work.  It's scary.

>Ben
 
I have to give a strong second to this recommendation.  The CD is 
available in the US on the Jewel/Paula label.  I just picked it up a
few weeks ago.  Simply titled Otis Rush/Cobra Recordings.  It's simply
incredible.  It's a must have.

Also, I saw that a new label, Evidence, just came out with a slew of
blues reissues of mostly live stuff.  One of the CDs is live Otis Rush.
Has anybody heard this material?  Is it top-notch?  Also, how about
any of the other material on this label?  I'm curious.

Thanks,
Mike Zickar
mzickar@s.psych.uiuc.edu
From: palaio@ux1.lbl.gov (Nicholas P Palaio)
Newsgroups: rec.music.bluenote
Subject: John Surman
Date: 12 Nov 1992 01:07:06 GMT
Organization: Lawrence Berkeley Laboratory
Distribution: na
Reply-To: palaio@ux1.lbl.gov (Nicholas P Palaio)
NNTP-Posting-Host: ux1.lbl.gov


One of my favorite reed players is John Surman.  Does anyone know if he
ever plays live gigs in the US or Canada?  I was very lucky to be in 
London on vacation about 8 years ago and happened to see him there.  But
I have never seen him swing through the San Francisco Bay Area.

Also does anyone know of any recordings with Surman as a side man released
in the last few years.  I have all of his solo stuff and his recordings with
Paul Bley.

Thanks.

Nick Palaio
From: AS.TLK@forsythe.stanford.edu (Timmer)
Newsgroups: rec.music.bluenote
Subject: Re: Favorite Fusion Album of All......
Date: 10 Nov 1992 11:51:34 -0800
Organization: Stanford University
Distribution: usa
NNTP-Posting-Host: morrow.stanford.edu

Karl Nordstrom <KXN2@psuvm.psu.edu> writes:
>
>milst1@cislabs.pitt.edu (Martin I Lewison) says:
>>
>>I've always considered Steely Dan ... to be fusion artists too, but
>>I've omitted ... for fear of controversy.
>
>Hey lets be controversial.  If Steely Dan isn't fusion, then what are they?
>If they arn't fusion then what other band is in the same category?


To me the early stuff leans more towards rock, the later stuff more
towards jazz.  Although there are some send-ups to people like Bird
and Ellington on the Pretzel Logic album.

-Tim Kaufman
From: azari@ksr.com (Nasser Azari)
Newsgroups: rec.music.bluenote
Subject: Re: Django on CD
Date: 12 Nov 92 22:48:55 GMT
Article-I.D.: ksr.18582
Organization: Kendall Square Research Corp.

Hi folks,

I have to say I am a true fan and I love the music a lot.  However, I have so
far been listening to the traditional good stuff (Louis Armstrong and 
Billie Holiday, etc).  
The other day I decided to expand my horizon and went to the Tower Records
here in Boston and I was shocked to see the number of blues CD's in the 
shelves. I sort of looked through them but I was lost and had no clue where
to start and what to buy!!
Can any one out there give me a clue about some of the good CD's out there 
which categorize as a MUST (I hope you forgive my lack of knowledge)!!

Please send me an email:  azari@ksr.com
From: hsu@walnut.SFSU.EDU (William Tsun-Yuk Hsu)
Newsgroups: rec.music.bluenote
Subject: Glenn Spearman/Raphe Malik in San Francisco
Date: 7 Nov 92 02:14:04 GMT
Organization: San Francisco State University


Another great show at the Great American Music Hall. The opening
band was Wayne Horvitz's new band Pigpen, with Horvitz on keys,
sax, drums and the bassist from Tone Dogs. The blurbs say "Nirvana
meets Ornette Coleman", and while they're not as wacky as that, they
are quite fun. Who was it that said "John Zorn lite"? (Seth?) The typical
postmodern eclectic NY downtown thang, less frenzied in its section 
changes. Horvitz was digging deep into his funky organ bag, which meant
I was spared too many DX-7 plastic synth sounds. The bassist did some
fine stuff, but I hated his fat mmmmellow sound.

But the main problem with Pigpen was they opened for Glenn Spearman's
G-Force. After Spearman, Malik and friends came on, it was hard to
remember what happened in the first set (the difference between the men
and the boys etc etc). G-Force is Spearman (in case you haven't heard
him, a powerful post-Coltrane tenorist), Lisle Ellis (one of the strongest
and most energetic bassist I've heard, transplanted to the Bay area from
the Northwest), drummer Don Robinson, and a versatile guitarist whose
name I forget (according to more experienced G-Force followers, he was 
relatively restrained that night and hardly reached for his Beefheart-isms). 
Malik's style has changed a bit since his late '70s/early '80s records with 
Cecil Taylor and Jimmy Lyons. From last night and the recent FMP CD, his
playing has become more rough and aggressive; I rather missed the lyricism
of the earlier dates (he was aggressive then as well, but was working with
a wider range of materials).

The feel of the material was very Cecil-ish. I'm reminded in particular
of Jimmy Lyons' Black Saint dates from the early '80s (Malik was on
one of them). The lineups are similar; substituting the G-Force guitarist
for Karen Borca's bassoon fills out the spaces and adds more weight.
(In fact, after the show I threw on that Lyons record and it sounded
positively light and airy in comparison.) Most of the pieces were based
on groups of short, fragmented written motives which provide "anchors"
in between the free sections. The group empathy was on the level of 
those Lyons quintets, and the organization of the pieces were more
interesting than the head-solos-head of most of the Lyons tunes. This
was the most impressive of the Glenn Spearman shows I've seen. He's maybe
a step further back from the abyss than Charles Gayle's completely ecstatic
performances, but no less inspiring. Lisle Ellis also contributed some 
incredible extended steel-fingered solos; unfortunately he was slightly 
undermiked for the ensemble sections.

Only about half the audience stayed through the end of the blistering 90+ 
minute set. We were all shellshocked and exhausted but Malik in particular
seemed ready to play some more.

Bill
Newsgroups: rec.music.bluenote
From: gidi@Hilbert.Stanford.EDU (Gidi Avrahami)
Subject: Re: DB Reader's Poll
Organization: Brotherhood Of Breath
Distribution: na
Date: Fri, 6 Nov 1992 18:03:59 GMT

wjh@cbnewsl.cb.att.com (william.j.hery) writes:
>But all this proves is the uselessness of polls (reader or critic),
>except to stimulate discussions of why the results are wrong :-)

Don't start me on polls!  However...

Years ago Downbeat used to have this section where four or five
critics each presented four of their "current favorite" things -- I
think it was usually one new release, one old classic, one "rarity"
and one rececnt live event.  Anyone remembers this?  Too bad they
stopped.

But I guess that's what we have RMB for...


--Gidi


Newsgroups: rec.music.bluenote
From: jb@buddha.ncc.umn.edu (James Barnett)
Subject: Anthony Braxton solo in Denver
Organization: Nutrition Coordinating Center, University of Minnesota
Date: Tue, 10 Nov 1992 21:45:38 GMT


Anthony Braxton was in Denver last Sat. to give a solo performace.  The 
evening was in part funded by the non-profit organization, Creative Music
Works which is based in Denver.

It had been about 15 years since I last saw Braxton.  I was about 17 at the
time and had no ear for what he was playing at that time (I believe it
was a trio with bass and drums).

Now, however, Braxton is one of my favorite musicians and composers.  The
place was standing room only!! I couldn't believe that could happen in Denver.

He was in total command of his horn (alto).  He played a number of slower
pieces - long tones, almost meditative.  The faster tempoed pieces focused on
the various sounds he could make with his horn (singing into the horn - 
reminicient of Dewey Redman, slap tonguing, heavy overblowing, and his 
lightning runs).  He also played a couple of standards with a beautiful
rendition of Lush Life.   He only played for about 50 minutes.  But I was
totally satisfied - the pieces rarely lasted longer than five minutes.
This didn't surprise me as I am familiar with his latest solo recordings
whose pieces seem to be about that length.

It would have been nice to see him play a couple of his other horns.  But
I was totally satisfied - honored to see the master at work.

James Barnett.
Newsgroups: rec.music.bluenote