HDTenEightyP/NetNews huggingface dataset:
From: dsteinbe@nmsu.edu
Newsgroups: rec.music.phish
Subject: Going to be cold, cold, cold, cold, cold
Date: 15 Oct 92 19:37:35 GMT
Article-I.D.: uvaarpa.1992Oct15.193735.19758
Reply-To: dsteinbe@nmsu.edu
Organization: The Internet


Hey everyone, what was the coldest show (i.e. outside weather) that
you have ever attended.  Mine were:

1) 2/9/91 Smith College.  While we were freezing outside (BTW how come
whenever it's 12 degrees, the venue opens late?), I took the
oppertunity (sp) to read some very poorly written anti-war
propagandra.  It was pretty amusing.  Also we hurried in and grabbed
3rd row seats.  We just had heard that the Mango Song had been
revived.  Now I had been harassing Page for almost a year trying to
get this one back, and he kept on saying that it was dead.  So when
they came on stage, me and a few of my friends screamed "Mango".  Trey
turned to us, smiled, and started playing it.  Made up for the
weather.

2) 12/31/91 New Aud.  Because I had no tickets, but had heard a rumor
that some would be released at 10, I showed up around 8.  So I spent
about 12 hours outside in the cold before the show started.  Of course
it payed off.  As I was the first to give Andy a story of woe, he
agreed to put me on the guest list.  Unlike many of my friends, that
is an exceptionally rare occurance for me, so I was happy.

3) 3/13/92 Providence  The only reason I went to these shows was the
weather.  I was on Dead Tour this spring, but it got so cold (and
Nassau was such a hard ticket) that I booked and headed up to
Providence where I have some friends.  While waiting to be let in, we
made up new lyrics for Fee.  I've forgotten most of them; I just
remember the line "We're racing with the wind, we're freezing to
death."


Anyone else notice that although the weather was cold, all three of
these shows were extremely hot.  Maybe that's why Phish rarely play
summer shows.
-David "ZZYZX" Steinberg
**********************************************************************
*"There's a dog in the station  *"I can't believe I'm a junior and a *
* With a bad reputation         * film major, when all I really      *
* That's a sign of the nation's * wanted in this life was to marry a *
* Decay"                        * lobsterman and cook fish."         *
* -Phish                        * -a letter from Christie Searing    *
**********************************************************************
Newsgroups: rec.music.phish
From: MH1406@student.law.duke.edu
Subject: Headphones
Reply-To: MH1406@student.law.duke.edu
Organization: The Internet
Date: Fri, 9 Oct 1992 17:53:49 GMT

Hey Rich, et al -
    You may want to consider some of the Sennheiser (sp?) models at
the $80-120 range - one friend of mine bought the $80 model a few
years ago, and the more recent one in the same price range was
equally tasty - good high ends, light mechanism (shell/construction -
whatever).  You should also do some independent testing of whether
you'd prefer to have an open-ear or a closed-ear set of 'phones.
Can't go into the technical details about the differences (tho some
of you others I'm sure will), but they are definitely two different
listening experiences, and one should be prepared to check for that.
Matt Heller
From: bing@Apple.COM (Christopher R. Bingham)
Newsgroups: rec.music.phish
Subject: Re: Recording shows
Date: 9 Oct 92 17:27:23 GMT
Organization: Apple Computer Inc., Cupertino, CA

In article <1992Oct8.190243.7082@uvaarpa.Virginia.EDU> CART9721@splava.cc.plattsburgh.edu writes:
[...]
>Is bringing your home deck a common thing? 
[...] 
>Later,
>Sean

No, it isn't.  The simple reason is that outlets are usually not available
(and lugging around a big cassette deck is a pain).  Back when soundboard
taping was allowed by all, lots of people brought home decks: Paul even had
an extra power strip set up for the tapers.  But not anymore!  If you 
know the venue well you may be able to find some outlets (I lucked out and
found some in the Colonial Theatre in Keene, NH), but battery-powered is
basically the way to go.

The de facto standard deck for tapers is the Sony D-5 or D-6.  The D-5 is
larger than walkman size and very rugged (it's frequently used by reporters,
biologists, etc. for making field recordings).  Unfortunately, I don't think
it's made any more, having been replaced by the D-6, a smaller, walkman-size
deck.  Both make excellent recordings (as good as many home decks) and are
known for their reliability.  Both easily last for one set on a set of 
batteries (actually more, but you never know when you'll get that 3-song
encore...).  I'm not too sure about prices: I think D-5's can be had for $350
used and D-6's for $600 new.  Anyone?

The other battery-powered option is a DAT deck, which are becoming increasingly
popular as the price of decks and blank tapes comes down.  The quality is
unrivaled, but remember that those blanks still cost more than $10.  Portable
DAT decks range from $500 for the Sony DAT Walkman at discount on up to many
thousands for pro models.  A friend of mine got a Denon (can't remember the
model number) for around $800 after much shopping and evaluation.

Mics are out of my realm of experience... Sennheiser and Nakamichi shotguns
seem to be popular, but I don't know about models or prices.

>P.S. I always mean to ask this question but always forget, What are the guys
>     refering to in David Bowie when they say: "UB40" is this a reference to
>     the band UB40 or is it a statement of, perhaps... David Bowie's age or 

It's spelled "UB40" in the liner notes to Junta, so I assume it's the band!

Good luck taping,
Chris

---------------------------------------------------------------------------
Christopher R. Bingham            bing@apple.com
Macintosh System Software         (408) 974-7291
Apple Computer, Inc.              We can stage a runaway golfcart marathon!
---------------------------------------------------------------------------
Newsgroups: rec.music.phish
From: "Eric M. Budke" <budkee@unvax.union.edu>
Subject: HORDE and SPIN DOCTORS postings.
Reply-To: budkee@unvax.union.edu
Organization: The Internet
Date: Sun, 11 Oct 1992 20:47:10 GMT

To my knowledge jeremy The phish digest is the only one that is accessable
through USENET.  There really isn't anything great about getting it that
way except that it is occasionally easier to reply to separate letters.
The digests come straight to your computer.  There is no need to go into
USENET although I do.  Until today I didn't really know that things from
USENET were crossposted into the phish-net.  It blew me away when I found
a letter posted one place listed in another also.  Gotta go do homework.



				Eric
Newsgroups: rec.music.phish
From: grateful@leland.Stanford.EDU (Sirna)
Subject: Re: Recording shows
Organization: DSG, Stanford University, CA 94305, USA
Date: Mon, 12 Oct 92 02:48:55 GMT


Well How does this sound...

Saturday October 24th 1:00 pm -  until all the tapes are dubbed

Phish Taping Party at Stanford

What to bring - Your Phish tapes, Blank tapes, tape decks, power supplies,
                Patch cords, adapters, extension cords, power strips, 
                Helping Phriendly Books, Food and beverages, etc.

Where - Synergy House on Stanford campus


If you are planning to come please send me e-mail telling me how many people
you are and wether you are DAT or analogue and how many decks you can bring.
I will then send you a map on how to get to the party. (even if you know the 
way please mail me to tell me you're coming.)

"Set the tape decks to the high gear of your soul..."

Tony Sirna

grateful@leland.stanford.edu
From: rafael@cats.ucsc.edu (David Erik Konerding)
Newsgroups: rec.music.phish
Subject: Upcoming Fall Shows
Date: 16 Oct 92 22:31:51 GMT
Organization: University of California; Santa Cruz
NNTP-Posting-Host: am.ucsc.edu


	Hiya, phellow phish phans:

	I'm glad Phish is touring this Fall in the east... it gives me some
time off from hectic show schedules, since I live in CA.  Nonetheless, having
seen the last (and only(?)) full phish show in a while, I have to say:
you folks are going to get some *really hot shows*!  The San Juan Capistrano
show (which some of you folks have tapes of now; like 'em?) was INSANE!  I've
seen 'em before but they've changed!

	So, enjoy, folks- you're in for something special (but with phish you
always are).

-- 
---
David Konerding						   rafael@cats.ucsc.edu
University of California, Santa Cruz
Newsgroups: rec.music.phish
From: mdbruce@leland.Stanford.EDU (Michael David Bruce)
Subject: Re: Underhill '88
Organization: DSG, Stanford University, CA 94305, USA
Date: Sat, 10 Oct 92 03:06:52 GMT

In article <1992Oct9.200115.10090@uvaarpa.Virginia.EDU> DJAVA@suvm.acs.syr.edu writes:
>Hi-
>    I have this Phish tape from Underhill, VT which dates back to
>8-23-88.  Anyway, the third song is not listed and I don't know
>what it is.  Could someone please help?  The list goes:
>
>Lizards>Oh, Possom!>?????>Alumni>On the way down>Golgi>
>(side 2)Sally>YEM>Curtis Lowe>Fluffhead

Try "Blue Bossa"  At least that's what my copy is labelled with.  Actually,
listen to that Fluffhead and that Golgi.  I have a sneaking suspicion that
we either have the same tape source, or that your copy is from mine.
What I mean is, I think that the Golgi and the Fluffhead are actually
off of Junta.  There are with mine (listen for the mistake in the 
"Bundle of Joy" part of fluffhead--it's a dead giveaway for a Junta
copy...)



-- 
--Mikey				"'But anything we can do is so _trivial_.'
mdbruce@leland.stanford.edu	And I would say, 'Not trivial, just small.  The
Hayduke lives!			way all life begins."  --Wayland Drew.
Newsgroups: rec.music.phish
From: Matt Laurence <mlaurenc@world.std.com>
Subject: Omar Saeed info
Reply-To: mlaurenc@world.std.com
Organization: The Internet
Date: Wed, 14 Oct 1992 18:41:41 GMT


Ok, well, the response to that Omar Saeed review was SO overwhelming,
I am just going to post the address and all info I have to the
net. Here is what I know about how to get info and tapes:

                        Planet X Records
                        Suite 153
                        306 Thayer Street
                        Providence, RI 02906
                        (401) 274-9722

The manager is Dave Hurst. It's probably a good idea not to flood
him with calls, since this is the business number and not a 
hotline. But I'm going to talk to him tonight and ask him how
much the tape will be through the mail and all that, and I will post
my findings as soon as I do. Anyway, support these guys 'coz they
are truly awesome and make some killer music.

Anyway, I'm glad to see all the interest. If you drop notes to 
Dave, let him know that the net is spreading the word and that
you heard about them here. 

Take care y'all.

Matt

P.S. Final info on NET SHIRT II coming soon!
From: mrss_ltd@uhura.cc.rochester.edu (Matt Ross)
Newsgroups: rec.music.phish
Subject: new blanks
Date: 9 Oct 92 02:17:46 GMT
Organization: University of Rochester - Rochester, New York

I've come across an inexpensive blank.  It's the That's as:IV.  
The 'as' stands for audition series, and IV for type 4.  Has 
anybody else heard of these tapes ? The dubbing I've done with them
so far seem to come out O.K.

Matt
-- 
Matt Ross
mrss_ltd@uhura.cc.rochester.edu
What ever you do, take care of your shoes.
Newsgroups: rec.music.bluenote
From: wcsanil@superior.carleton.ca (Anil Prasad)
Subject: Major *UZEB* news
Organization: Carleton University, Ottawa, Canada
Date: Sat, 10 Oct 1992 02:51:09 GMT

The official word is Uzeb has broken up. The legendary Montreal fusion
band played it's last gig at a gigantic 100,000+ attended show in
Montreal last summer. However, out of the ashes has arisen a new
group of some interest to Uzeb fans.... :)

The new group is SORTIE. The lineup features:

Alain Caron - Uzeb's bassist
Paul Brochu - Uzeb's drummer
Michel Cyr - Uzeb's 1st keyboardist
Jean St. Jacques - Uzeb's last keyboardist
Luc Boivin - legendary Quebec percussionist
Denny Christianson - legendary Quebec trumpet player

Not a bad line-up huh? :) Basically, this is every member of Uzeb
past and present minus Michel Cusson (who is now with his own band
The Wild Unit).

Sortie has just released its debut self-titled CD on the Canadian
jazz label Justin Time. It's *GREAT*. Check it out.

If you're one of the poor saps that hasn't realized that Uzeb was
the best fusion band of the 80s, well, it's time for you to learn!

Anil Prasad
wcsanil@ccs.carleton.ca
From: detrolio@andromeda.rutgers.edu (David De Trolio)
Newsgroups: rec.music.bluenote
Subject: David Sancious
Date: 9 Oct 92 02:30:42 GMT
Organization: Rutgers Univ., New Brunswick, N.J.

As anyone seen any of his solo recordings, which are supposed to be
re-released, out in the stores yet?

I am interested in the CD versions.  The only one I have, which is on
album, is "THE BRIDGE".

Thanks,


-- 
---------------------------------
     David De Trolio
---------------------------------
(detrolio@andromeda.rutgers.edu)
From: mjs@fc.hp.com (Marc Sabatella)
Newsgroups: rec.music.bluenote
Subject: Re: Jazz History/Books&Collections
Date: 13 Oct 92 17:50:25 GMT
Article-I.D.: fc.Bw2Mw2.D2v
Reply-To: marc@hpmonk.fc.hp.com
Organization: Hewlett-Packard Fort Collins Site
X-Newsreader: TIN [version 1.1.2 PL6]

: However, I still want to know what the formative recordings are, any why.
: The tales of the sessions, and the musician's lives are always fascinating.

I second the recommendation for Miles' autobiography.  His career covered
nearly a half century, and for about half of that time he helped pioneer
virtually every new direction taken in jazz.  I can't imagine a more
entertaining account of the history of jazz than this account of how this
history intersected (unlike parallel lines, more than once) the career of
perhaps its most influential musician.

Mingus', on the other hand, mentioned by someone else, does't really give a
whole lot of insight into the history of the music, not even into Mingus' role
in that history.  It is, I will agree, a fascinating tale of a musician's life,
however.

: e.g Tirro mentioned Colemman Hawkins many times throughout the book.  If
: I understand correctly, he changed the entire jazz world at that time.
: Yet there were only a few pages specifically on Hawkins, although there
: are detailed  transcripts of Hawkins performances in the appendix.

"changed the entire jazz world" is almost certainly an overstatement, although
he certainly is an acknowledged master and arguably an innovator of sorts.  I
haven't seen the book you mention, so I can't say if he really does over or
underrepresent him, though.

--
Marc Sabatella
marc@hpmonk.fc.hp.com
From: milliken@scofield.Corp.Sun.COM (Gary Milliken)
Newsgroups: rec.music.bluenote
Subject: Re: Pat Metheny Group tour review
Date: 16 Oct 1992 14:58:49 GMT
Organization: Sun Microsystems, Mt. View, Ca.
NNTP-Posting-Host: scofield.corp.sun.com

>I drove by the theatre several times today--it is
>within blocks of my house-- and saw two long (50 ft.?), white
>tractor-trailers--very modern, streamlined, brand-new, no graffiti--
>parked by the stage door.  The semis were from an outfit in San
>Francisco called "Roadshow".  At about 1 pm, I saw some of the
>equipment being offloaded.
>
>Does anyone know if this tour uses these trucks all across the
>country?  Where the heck do they wash these things?  Do the drivers
>sleep in the (big) cabs?  Where does everyone go when they pull up to
>the theatre the morning of the show (I saw nobody milling about)?  Are
>local crews hired to load and unload?  Do Metheny and band travel in
>the bus, is it more relaxing than flying (I believe it would be)?
>What time is the sound check, generally?  How the heck are these
>things (tours) organized, anyway?

Lotta questions I don't know, except that the trucks and the bus were
there in San Jose, so they must be part of the tour.  When you see what's
on the stage at the concert, you should understand...  The sound was so
good that you *know* they bring their own with them.  The lights were
very carefully synchronized with the music, so they may bring all those
with them as well (my least favorite part of the show, really -- at times,
the lighting effects seemed too slick, such as when they "accompanied"
Wertico's drumbeats).  They may also feel the need to bring their own
stage platforms (risers?), etc. etc.  All in addition to zillions of
musical instruments, and the people to set it all up and break it down.

I'm sure the audience appreciates that all this equipment, and the lavish
sound that it produces, is the direct result of PM's popularity and the
income that comes with it -- it is the time-honored business practice of
re-investing profits back into the enterprise, but it's particularly
satisfying to see a jazz artist able to do what pop stars do.  And IMHO,
the product has far more artistic merit than the swill usually associated
with big record sales.

Meaning no offense to your more recent girlfriend, I'd say you made the
right choice of a concert companion.  Bury the hatchet and Enjoy!

Newsgroups: rec.music.bluenote
From: "mel wilson" <mel.wilson@canrem.com>
Subject: toronto radio stations?
Reply-To: "mel wilson" <mel.wilson@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 13 Oct 92 03:22:11 EST

Guy.F.Klose <1992Oct7.122511.19030@cbnews.cb.att.com> asked
re: Toronto radio stations?

GFK>Can anyone point me towards Toronto jazz radio stations,
GFK>or at least radio stations with jazz programs?

CJRT-FM 91.1MHz 10:00PM-1:00AM Mon.-Fri.  The Jazz Scene, Ted O'Reilly
                 6:00AM-12:00 Sat.        ditto
                 7:00PM-9:00PM Sat.       ditto
                 9:00PM-1:00AM Sat.       The Big Band Show
My personal favourite

The Jazz Report also lists
        CKLN    88.1      7:00AM weekdays and other times
        CBC AM  690/94.1 10:00PM and other times
        CHUM    ?        11:00PM Mon.-Thurs.
        CIUT    89.5       1:00PM weekdays

        Regards.        Mel.
---
  SLMR 2.1a  - Your Name Here -
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
From: bweiner@ruhets.rutgers.edu (Benjamin Weiner)
Newsgroups: rec.music.bluenote
Subject: Re: braxton & lewis (was: Re: JAZZ TROMBONE)
Date: 14 Oct 92 19:37:16 GMT
Organization: Rutgers Univ., New Brunswick, N.J.

plummer@cs.swarthmore.edu (David Barker-Plummer) writes:
> so it may yet grow.  The disc in question is "Five Compositions
> (Quartet) 1986".  From my expedition to the store, I know that this
> title is typical of his work, but is the music?

Easier records for the first-time Braxton listener might be
"Six Compositions (Quartet) 1985" on Antilles (I think that's
the one - it has Anthony Davis on piano) and the often-mentioned
"Creative Orchestra Music 1976," which uses larger ensembles.
These are not too hard to find on used LPs which takes the financial
risk out of experimenting.  (Since you're at Swarthmore you could 
go into Philly and check out the Philly Record Exchange's jazz store
on 2nd between Market and Chestnut - you'll be glad you did.)
From: milliken@scofield.Corp.Sun.COM (Gary Milliken)
Newsgroups: rec.music.bluenote
Subject: Re: Query: Ellington's "Solitude", lyrics
Date: 9 Oct 92 16:55:04 GMT
Organization: Sun Microsystems, Mt. View, Ca.
NNTP-Posting-Host: scofield.corp.sun.com

In article <HELLERS.92Oct8121632@cleo.cs.wisc.edu> hellers@cs.wisc.edu (Joe Hellerstein) writes:
>Quick question:
>
>	When was the music to "Solitude" written, and when (and by
>whom) were the lyrics?  Somebody recently gave the "you can't play
>the tune if you don't know the lyrics" speech on "Solitude", and I was
>hoping it would be one of those tunes where the lyrics didn't appear
>until many years later.
>
>I find that whole business about knowing the lyrics to be a lot of
>nonsense, and I try to discourage it whenever I can.  It's one of my
>top 10 annoying master-class tips.  (That would be an entertaining
>thing to compile, by the way...)
>
>Joe Hellerstein

Although I don't have the answer to the quick question with me right now
(at work), I will try to add to the discussion.  I believe Ellington's
popular songs to be particularly poor examples of the "you can't play
the tune if you don't know the lyrics" philosophy, primarily because
most of them - maybe *all* of them - started out as instrumentals,
written for Duke's band, and had their lyrics added later.  In most
such cases, the original tune had to be distorted, a little or a lot,
to accomodate the words.  The most obvious case that comes to mind is
"Do Nothing Till You Hear From Me" which was originally "Concerto for
Cootie", a feature for Cootie Williams.  There was no comfortable
song structure to the original composition, so it had to be excerpted
and rebuilt, and a bridge section had to be invented from scratch, in
order for it to fit the mold of a popular song.  Other examples, although
not as egregious as that one, would be "Caravan", "Don't Get Around Much
Anymore" (originally called "Never No Lament"), "Solitude", and no
doubt others I can't think of immediately.  Even in some cases where
the tune didn't get mauled by adding lyrics, the original melody may
be too challenging for the average vocalist, so it gets altered (i.e.,
simplified) in performance:  I don't think I've ever heard "Take the
A Train" sung with the exact original melody.

On the other hand, if the popular song started its life as a true
combination of music and words -- *most* particularly if the same guy
composed both the music and words, like Cole Porter, Irving Berlin,
and many tunes by Frank Loesser -- knowing the lyrics is absolutely
invaluable.  I think the most artistic goal for a "lyrical" jazz player
is to "sing" the song through his axe, and I've always loved imagining
that when I played "Love for Sale" or "How Deep is the Ocean" or
"Luck Be a Lady", I am singing the words even though nobody hears them.
It affects your spontaneous phrasing, and if you do it well, it makes
the end result more human and more communicative, even if only at a
subconscious level.
Newsgroups: rec.music.bluenote
From: ksedgwic@netcom.Netcom.COM (Ken Sedgwick)
Subject: Bill Evans' Demise
Organization: Netcom Online Communications Service
Distribution: rec.music.bluenote
Date: Fri, 16 Oct 1992 01:19:49 GMT


Does anyone know the cause of the pianist Bill Evans' untimely death
at the age of 50 in 1980?

Why are there so few recordings available from the last
5 years of his life?

Ken
--
+-----------------------+
|     Ken Sedgwick      |
|     510/294-8324      |
|  ksedgwic@netcom.com  |
+-----------------------+
-- 
+-----------------------+
|     Ken Sedgwick      |
|     510/294-8324      |
|  ksedgwic@netcom.com  |
+-----------------------+
From: cjn@cbnewsf.cb.att.com (curtis.j.newton)
Newsgroups: rec.music.bluenote
Subject: Re: What's happening in Boston next week (10/10-10/18)
Date: 7 Oct 92 17:03:38 GMT
Distribution: usa
Organization: AT&T

In article <1992Oct5.215829.18537@PA.dec.com> austin@decisv.ucs.dec.com (Cathy Austin) writes:
>I'll be in the Boston Area next week.  Does anyone know what's happening.
>
>Thanks,
>Cathy A.

Yeehah...Since you asked, I'll plug a Debris gig (with fellow rmb-er 
steve norton), Wednesday at the Middle East Cafe, starting 9 pm.  
The total bill is:

	SPONJ Sax Quartet:  Randy McKean, Steve Norton, Dan Plonsey,
			    Chris Jonas

	Third Ear:  Michel Gentile (flute), Matt Turner (cello),
		    John Mettam (percussion)--all improv stuff

	Debris (the sextet version):  Steve Norton & Randy McKean
	(reeds), Arthor (guitars), Bob Ross (bass), Jason Rogers
	(trombone), Curt Newton (percussion).

Some guy named Bill Frisell is also Wednesday, at Johnny D's in
Somerville.  That'll be $15 to see three people play; come to the
Middle East to see three BANDS play for about $5 cover.  How can you
beat that?

(I post to the general rmb community in case anyone else will be
coming through town...)

Curt Newton   cjn@muvko.att.com
Newsgroups: rec.music.bluenote