HDTenEightyP/NetNews huggingface dataset:
From: gidi@Hilbert.Stanford.EDU (Gidi Avrahami)
Subject: Re: Abdullah Ibrahim
Organization: Brotherhood Of Breath
Date: Sat, 12 Sep 1992 16:30:13 GMT

mjs@hpfcso.FC.HP.COM (Marc Sabatella) writes:
>[Hugh Ragin] said "then it can't be gospel - Abdullah is a Muslim".  Duh.

From the new Downbeat (Oct 92): ``He learned piano at home and played both
native music and gospel music in the South African branch of the A.M.E.
church which was founded by his grandmother.''

>Could someone post some sort of breakdown of his career and albums?  

Well, check this new DB issue, for one source.  I found that I like
every single Ibrahim album on Enja, so as usual I'm no help.  From the
older stuff, I second the emotion on the DUET with Archie Shepp -- the
song to Mongezi is especially touching.

--Gidi (I'm no Jose Canseco)

Newsgroups: rec.music.bluenote
From: rdr@panix.com (Reuben Radding)
Subject: Re: Snooks Eaglin and "Alberta"
Date: Sat, 12 Sep 1992 05:11:11 GMT
Distribution: usa
Organization: Doc Porter's Thrills Show

I've not seen a cd, but the Snooks record was reissued long ago
in a fabulous package called _Rural Blues_ as a two-record set
with the other LP being one by Robert Pete Williams. It's on 
Fantasy. "Alberta" is great!
 
-- 
================================================================
|  Reuben Radding         rdr@panix.com       cmcl2!panix!rdr  |
|==============================================================|
| ******************* Marrou / Lord in 1992 ****************** |
From: rshapiro@bbn.com (Richard Shapiro)
Newsgroups: rec.music.bluenote
Subject: Re: Ornette Coleman
Date: 12 Sep 92 03:06:52 GMT
	<1992Sep11.230627.23204@uxa.ecn.bgu.edu>
Organization: BBN, Cambridge MA
NNTP-Posting-Host: kariba.bbn.com
In-reply-to: ujwb@uxa.ecn.bgu.edu's message of 11 Sep 92 23:06:27 GMT

In article <1992Sep11.230627.23204@uxa.ecn.bgu.edu> ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:

   Except it is Jimmy [Garrison] on bass on Tenor.

Good point. This does indeed make a significant difference, as you
say. Personally, I prefer Charlie Haden in the context of Ornette's
music. And Ornette seems to me to be a little uncomfortable with the
larger horn. But I haven't played this record for awhile; sounds like
I should give it another listen.



   There are a few albums where Ornette is a sideman.  Jackie McClean (New
   And Old Gospel), Charlie Haden (Closeness, the Golden Number), and
   a few with Jamaaladeen Tacuma.

Also James Ulmer's first record, TALES OF CAPTAIN BLACK.
Newsgroups: rec.music.bluenote
From: gallo@almira.asel.udel.edu (Andy Gallo)
Subject: Meet Betty Carter
Organization: AI duPont Institute
Date: Thu, 10 Sep 1992 15:33:12 GMT


	I was driving home to Albany from Delaware a few weeks ago and
caught a show on I think the Columbia University jazz station of
"great women jazz singers", namely (forgive spelling) Sarah Vaughan,
Ella Fitzgerald, Billie Holliday, and Betty Carter, who just blew me
away.  The tunes they were playing were things like "Thou Swell" (I'm
not sure that's the title), off an album called "Meet Betty Carter".
Anyone seen this album on CD?  I've been looking around for it and
haven't seen it anywhere, so I'm just wondering if it exists.  
	Thanks.

>-----------------------------------------------------------------------------<
> Andy Gallo   | gallo@asel.udel.edu  | U. of Delaware/Applied Sci & Eng Labs <
>-----------------------------------------------------------------------------<
>     Come wash the nighttime clean, come grow the scorched ground green.     <
>-----------------------------------------------------------------------------<

Newsgroups: rec.music.bluenote
From: hsu@sp1.csrd.uiuc.edu (William Tsun-Yuk Hsu)
Subject: Re: Where is Jazz?
Organization: UIUC Center for Supercomputing Research and Development
Date: Wed, 9 Sep 92 18:08:11 GMT

sik@grosz.esd.sgi.com (Seth Katz) writes:

>I've decided that San Francisco is all right for jazz.   

And having just moved here, I can only agree :-)

When I was in NY last April, I was surprised at the small audiences
(for a city that size that boasts about its attendance at cultural
events). And the size and condition of the spaces. I was also impressed
at how the Knitting Factory people have been able to play the right
games to generate the media attention they're getting, considering what
they have to work with.

I think the main benefit for musicians to live in New York is media coverage.
(And other excellent improvisers to play with, of course.) But I think
musicians will realize that there are much more livable places, with 
more supportive scenes and audiences. What the Bay area improvised music
scene needs is perhaps a regular venue and people who can play the right
media games. Freeway (the IMA newsletter) is a big step in the right
direction, and I know there are more recordings coming from Bay area 
improvisers.

But in the meantime, Seth and I will post a lot :-). 

Bill


Newsgroups: rec.music.bluenote
From: sue@snafu.seada.com (Sue Raul)
Subject: Miles cd's - update anyone?
Organization: Software Engineering and Design Associates
Date: Thu, 10 Sep 1992 08:54:37 GMT

Sometime ago someone posted that all the old
Miles recordings that were transferred to CD
were going to be re-done for better recording
quality.  Does anyone have an update on this?
I've seen a lot of Miles CD's at discount prices
and I'm wondering if they're dumping the old
stuff before the new stuff or if there's no
new stuff and I should just buy what's on the
shelf?

thx,
Sue
Newsgroups: rec.music.bluenote
From: hsu@sp1.csrd.uiuc.edu (William Tsun-Yuk Hsu)
Subject: Re: Evan Parker (was: Cecil on FMP)
Organization: UIUC Center for Supercomputing Research and Development
Date: Thu, 10 Sep 92 22:29:36 GMT

John Thomas:
>   Speaking of Evan Parker, how is PROCESS AND REALITY? I probably missed
>   any reviews people may have posted.

Richard Shapiro:
>I found this a little tedious - I don't think Parker does his best
>work in a solo setting (with or without multi-tracking). He seems to
>need another player to work with, or against.

While I agree that Evan Parker works best in non-solo situations
(I'm quite happy to have found Monoceros and own a tape of Live at
the Finger Palace, but they're not records I listen to regularly),
I really enjoyed Process and Reality. Sure, not all the pieces
are worthwhile, but there are some real gems that I've listened to
many times.

Maybe dancing to it helps :-)

Bill
From: rshapiro@bbn.com (Richard Shapiro)
Newsgroups: rec.music.bluenote
Subject: ZYX/ESP
Date: 9 Sep 92 19:57:35 GMT
Organization: BBN, Cambridge MA
NNTP-Posting-Host: kariba.bbn.com

I've just received my first batch of the ZYX reissues of the old ESP
catalog. Some reactions:

1. The music is just wonderful. The mid-60s was a great period for
jazz and ESP had some of the best of the avant-garde of that time.
Having this music readily available again is a joy, and I certainly
expect to be buying more of these things. The advent of cds has
brought us a kind of golden-age of jazz reissues in the past few
years, but this particular set of reissues stands out even in that
setting. I'll have more recommendations later, but I will certainly
recommend right away the music on SPIRITUAL UNITY, perhaps Albert
Ayler's strongest recording, with some outstanding contributions by
bassist Gary Peacock and drummer Sunny Murray; and NEW YORK EYE AND
EAR CONTROL, a fascinating example of free group improv. with Ayler,
Don Cherry, John Tchicai, Roswell Rudd, Sunny Murray et al.


2. In the two specific cases mentioned above, I was replacing noisy
Base vinyl reissues.  Comparing the cds to the lps, I was
disappointed. The cds have a significant loss of high-end, which gives
them a distinctly muffled sound. This is especially noticable on NY
EYE & EAR, where Sunny Murray's drums have *much* less impact than on
the vinyl - a major drawback to appreciating the music on this
interesting record.  On the other hand, many of the Base vinyl
reissues suffer badly from surface noise.  For those items that are
available in both forms (Base vinyl and ZYX cd), I don't know which to
recommend in general. Me, I think I'd rather put up with the vinyl
noise, so long as it doesn't get too intrusive (which it does, for
instance, on the Base reissue of Steve Lacy's FOREST AND ZOO or
Ayler's SPIRITS REJOICE). In any case, the Base reissue series only
covers a small subset of the original ESP catalog, while ZYX seems to
be planning a complete set of reissues. So the decision will usually
an easy one if ZYX comes through. Even in the first batch of ZYX
discs, there are some that are not available from Base. Ultimately, as
far as sonics go, you're probably best off tracking down a clean, used
copy of the original ESP lps. But, aside from a few of their "best
sellers", you're not very likely to find them.

Note: the speed on the SPIRITUAL UNITY cd is not the same as on the
Base vinyl. I don't which is correct, though I suppose it would be
easy to check by comparing the various versions of "Ghosts" on other
records (assuming he always played this tune in the same key). There's
no difference in speed on NY EYE & EAR.

3. The packaging is nice, lots of useful information in the booklets
(cf the lp packages, which have essentially no information) plus a
replica of the original cover art. No complaints here.

4. Some of these discs are *short* -- SPIRITUAL UNITY is only 29
minutes, for instance. This and NY EYE & EAR could have been put on
one cd. This is somewhat annoying, even if the cds aren't overly
expensive ($12 in the US).
Newsgroups: ba.music.,rec.music.bluenote
From: lstein@adobe.com (Larry Stein)
Subject: WANTED: TICKET TO MILES DAVIS TRIBUTE
Organization: Adobe Systems
Distribution: ba
Date: Tue, 8 Sep 1992 20:02:30 GMT

I'm interested in one ticket for the "Tribute to Miles Davis"
concert at the Berkeley Community Theater on Sept. 19.

The only seats BASS had available were in the back of the hall
and I would like to sit closer (I was on vacation so I missed
the on-sale date).

Please, no scalpers.

Email or call at (415) 962-6632 (w), (415) 949-4859 (h).

Thanks!

--larry
Newsgroups: rec.music.bluenote
From: kougham@pell4l7.alleg.edu (Michael Koughhan)
Subject: JOHN McLAUGHLIN TRIO TOURING SCHEDULE, ANYONE?!
Organization: Allegheny College
Date: Thu, 10 Sep 1992 06:26:57 GMT



Any abounding info concerning this topic?  ANY dates would be appreciated.   
thanks.
From: eb30413@mcvax4.d48.lilly.com (Bill Taber TL26 TL195)
Newsgroups: rec.music.bluenote
Subject: Chicago Blues gig Reference?
Keywords: Chicago Blues Reference hotline
Date: 14 Sep 92 18:22:00 GMT
Distribution: world,local
Organization: Lilly Research Laboratories

on what Blues artists are playing where in Chicago?  I'm interested in a local
(Chicago) orientation.

        Email:  w.t@lilly.com
Newsgroups: rec.music.bluenote
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: Joe Henderson trio
Organization: Educational Computing Network
Date: Tue, 8 Sep 1992 21:09:01 GMT

In article <9209081835.AA24016@guinevere.pubserv.com> jmh@guinevere.pubserv.com (Jeff Helgesen) writes:
>If anyone ever doubted that the music format on the Tonight Show
>has changed for the better, let this be a signal to wake up.
>
>						Jeff

Right you are.  And it shows that despite how competitive an SOB
Branford is, he is not afraid to have on sax players that are better
than him.   First was Wayne Shorter, now it's Joe Henderson. 

Jeff

Newsgroups: rec.music.bluenote
From: sirothe@srv.PacBell.COM (Sheldon Rothenberg)
Subject: Re: Keith Jarrett
Organization: Pacific * Bell
Date: Fri, 11 Sep 1992 18:52:01 GMT

In article <1992Sep4.155613.14806@ctr.columbia.edu> Fabrizio Sebastiani <fabrizio@iei.pi.cnr.it> writes:
>I am a necomer to this newsgroup, and a recent fan of Keith Jarrett.  I
>would like to buy some more CDs by him, and I would like suggestions by
>Also, I would like to know opinions about his music from people out
>there; in the past I have had a sensation that his stuff was much more
>popular here in Europe than in Northern America, where I have even heard
>some snobbish dismissal of him as "that European Caucasian Music
>ambassador".

Jarrett probably had his greatest popular following at the time of the 
Koln and the Bremen-Lausanne solo piano productions. He then reached 
beyond the jazz audience and alienated those jazz fans who a: were not
solo paino fans and b: felt that he was beating modal compositions
to death and wasn't saying anything new... Others felt him to be a bit
pretentious in his demands for total audience silence and his desire
to be treated as a "serious" musician, which was seen here as pretty ego
driven. Since then he has come out with several nice albums which
may have been ahead of the audience for today's New Age music and a
some that return to his older jazz base. 

There are still some who think jazz has no business reflecting influences
beyond the inner city who make statements like the one you quoted. I'm
not convinced that their opinions count for much..

Shelley

 

Newsgroups: rec.music.bluenote
From: mcgonig@eeserv.ee.umanitoba.ca (Gordon McGonigal)
Subject: Re: Where is Jazz?
Organization: Dept. of Elect. & Comp. Engineering, U of Manitoba
Date: Fri, 11 Sep 1992 01:54:21 GMT

smehta@nynexst.com writes:
>No, I haven't been and seen any live jazz in San Francisco since
>spring '90 but I do have reliable sources (right Bill, Seth, Vincent
>?? ;-)).  I don't think it can be worse than indicated by Kevin
>Whitehead's recent CODA review of a gig w/ Michael Vladkovich (sp?)
>and Rory Stuart where, besides a friend of the musicians, he was the
>*only* other audience member. As one of the few open minds and ears
>around town he has often complained about almost zero audience
>interest in anything that is out-of-the-way musically.

Having been that "only other audience member" on occasion I've 
wondered: don't the musicians in the band have any friends/relatives
that want to hear their buds play?  What's the deal?
--
                                   * * *
Gord McGonigal                                  mcgonig@eeserv.ee.UManitoba.ca
Dept. of Electrical & Computer Engineering
University of Manitoba, Winnipeg, CANADA (R3T 2N2)       phone: (204) 474-6295
Newsgroups: rec.music.bluenote
From: sod@csd4.csd.uwm.edu (Sean M O Donnell)
Subject: Re: Chicago Jazz Festival
Originator: sod@csd4.csd.uwm.edu
Reply-To: sod@csd4.csd.uwm.edu
Organization: University of Wisconsin - Milwaukee
Date: Sat, 12 Sep 1992 01:44:49 GMT

From article <1992Sep11.155611.23673@sei.cmu.edu>, by rpuranik@sei.cmu.edu (Rajesh Puranik):
> As my family was eating dinner last Sunday, I heard a broadcast of the Chicago
> Jazz Festival on the radio.  The impressive opening set featured a woman
> singer who also might have been the pianist.  Since my young nephew and niece
> were being unusually boisterous, I missed the name (something like Patricia?).

It was the Patricia Barber Trio and yes, she was also playing piano.
It was a great set, one of the best of the festival, in my opinion.

Sean

> 
Newsgroups: rec.music.bluenote
From: gmayhew@sven.lerc.nasa.gov (George Mayhew)
Subject: Re: harmonica music?
Organization: NASA Lewis Research Center
Date: Tue, 8 Sep 1992 15:01:40 GMT

In article <1992Sep4.164859.1@gallua.gallaudet.edu> rlwilliams@gallua.gallaudet.edu writes:
>Hi,
>	any thoughts about good harmonica music artists?  I have cephus and 
>wiggins' two, going on three albums. It doesn'thave to be compleat 
>harmonica solo, can be with guitar... just some stuff that features 
>harmonica music.
>
If you like Cephus & Wiggins, you'll probably also like Sonny Terry & 
Brownie McGee and John Hammond.  There are lots of blues harmonica players
worth listening to:  Sonny Boy Williamson (there were two of them, both
excellent), Big Walter Horton, Lazy Lester, Billy Bizor, Little Walter Jacobs,
James Cotton, Charlie Musselwhite, William Clarke, Dr. Ross, and many others.

If you like country music, Charlie McCoy is the man.

Good luck,
George
From: jojw@uhura.cc.rochester.edu (John J. Wood)
Newsgroups: rec.music.bluenote
Subject: In need of Pat Metheny tour dates
Date: 11 Sep 92 14:40:38 GMT
Organization: University of Rochester (Rochester, NY)

Word around here is that Pat Metheny and co. are to tour the northeast,
so...does anyone have the official tour schedule? If so, please email
me or post.  Thank you in advance.:-)

 *-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=*
 | John J. Wood                              jojw@uhura.cc.rochester.edu  |
 *-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=*
 |			PLEASE GET WELL, JERRY!!!   			  |
 *-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=*
 | "You can't let go, 'cause you're afraid to fall,            		  |
 |  And the day may come, when you can feel it all..."			  |
 *-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=*
From: ms0t@ns1.cc.lehigh.edu (MATTHEW CHRISTIAN SZAP)
Newsgroups: rec.music.bluenote
Subject: UFOTOFU / UFOTOFU
Date: 7 Sep 92 20:03:16 GMT
Organization: Lehigh University



To all Flecktonites:  I recently saw Bela and the Flecktones on some
talk show on TNN.  They jammed a few tunes from their new release.  The
host (a real zero) then interviewed Bela and I think Bela mentioned
something about the music on UFOTOFU being played both forward and
backward to complete the palindrome of the title.  He said it was
"very difficult".  I do not have a copy yet and the above review
makes no mention of this.  Is this true?  I don't know if I heard him
correctly.  Please send/post any info.  thanks, matt
-- 

mcszap/ms0t     :)
Mudd 648
83481
From: David.Thomas@brunel.ac.uk (David Thomas)
Newsgroups: rec.music.bluenote
Subject: Re: Last Train to Clarksville (was Re: train song tape finished)
Date: 10 Sep 92 09:17:39 GMT
Organization: Brunel University, West London, UK

In article <14548@auspex-gw.auspex.com> johnf@Auspex.COM (John Fereira) writes:

>Lost in all this "Was last train to Clarksville about the draft" is that
>it is actually a pretty good song.

>My old roommate used to cover this song when he had Marc Bonilla playing
>in his band.  Marc is a guitarist ala Steve {Morse, Satriani, Vai} that
>recently released an album on Warner Brothers.  He did some incredible 
>acoustic guitar work on that song.
>
>-- 


Who actually played the guitar parts on the Monkey's version ? Does
anyone know ?

David Thomas
Brunel University
Xref: sparky rec.music.bluenote:6905 rec.music.folk:6171
From: WAUGH@SLACVM.SLAC.STANFORD.EDU
Newsgroups: rec.music.bluenote,rec.music.folk
Subject: Re: Last Train to Clarksville (was Re: train song tape finished)
Date: 10 Sep 92 00:23:33 GMT
 <1992Sep9.024840.3571@Princeton.EDU>
 <92253.082010WAUGH@SLACVM.SLAC.STANFORD.EDU>
 <1992Sep9.163602.15331@athena.cs.uga.edu>
Organization: Stanford Linear Accelerator Center

In article <1992Sep9.163602.15331@athena.cs.uga.edu>, rholmes@athena.cs.uga.edu
(Robb Holmes) says:
>
>In article <92253.082010WAUGH@SLACVM.SLAC.STANFORD.EDU>
>WAUGH@SLACVM.SLAC.STANFORD.EDU writes:
>>I was under the impression that the Clarksville referred to in the Monkees
>>first single was an induction center (all you old guys out there, remember
>the
>>draft?) with the singer on his way to military service and perhaps a war
>zone.
>
>Hmm.  Just when did that record come out, anyway?  Was Clark Clifford still
>Secretary of Defense?  Is that how they came up with the equation:
>Clarksville = induction center?

Don't know exactly when the song was released but somewhere in the middle
sixties ('65-'66) is a good guess.  The TV show was patterned after the Beatles
successful films (Magical Mystery Tour is obviously excluded from this list)
and the single "Last Train..." was to pique viewer interest.  I don't believe
the Monkees wrote their early tunes.  Colgems records had the writing team of
Tommy Boyce and Bobby Hart pen most of the Monkees hits, Last Train included.

I also don't know when Clark Clifford became Secretary of Defense.  I just
remember Robert MacNamara's slicked-back hair shining in the press lights
giving the body count; "54 VC dead, 107 wounded.  American casualites were
described as 'light.'"  I always wondered why they couldn't count Americans
when they were obviously so good at counting the Viet Cong.  One of life's
little mysteries.

I do remember going to Campi Records in San Jose and plunking down my $.99
for the single though.  Only Monkees record I ever bought.  Still got it too.

Why the hell am I posting this to rec.music.bluenote?  Honest, I only listen
to jazz and the blues these days.  Really.

Brian Waugh                       |    "What's for dinner?"
WAUGH@SLACVM.SLAC.STANFORD.EDU    |  Michael "Woolhat" Nesmith
From: rshapiro@bbn.com (Richard Shapiro)
Newsgroups: rec.music.bluenote
Subject: Cecil, density (was: Cecil on FMP)
Date: 11 Sep 92 16:54:11 GMT
	<RSHAPIRO.92Sep9181454@pilsner.bbn.com>
	<1992Sep11.152700.5543@ucsu.Colorado.EDU>
Organization: BBN, Cambridge MA
NNTP-Posting-Host: kariba.bbn.com
In-reply-to: glazer@spot.Colorado.EDU's message of 11 Sep 92 15:27:00 GMT

In article <1992Sep11.152700.5543@ucsu.Colorado.EDU> glazer@spot.Colorado.EDU (GLAZER STACEY ANN) writes:

   ... Taylor's quintet "Looking (Berling version) Corona".  The
   density of the quintet recording (bass, violin, cello, drums, and
   piano) is almost too intense



I have exactly the same problem with density in a number of Cecil
Taylor recordings, from the late 70s on. I just can't hear very
clearly what anybody's doing, and I certainly can't hear any subtle
interaction that might be going on between one player and another. On
the other hand, the music doesn't have the raw, overwhelming sonic
power of other chaotic ensembles like Borbetomagus.

I love all of Cecil's records through the mid 70s; and I'm very
impressed with many of his solo and duet records since then (except
for the vocalizing, which I could do without). But once the personnel
count gets any higher than 2, his music fails to reach me in any way.
I can't think of another jazz artist towards whom I have such a
bipolar reaction, so I have to wonder: am I missing something here?


>I've got the Oxley/Taylor of which I'm very impressed

I've been wondering about this one, as well as the Moholo/Taylor.
Anyone have recommendations, pro or con, regarding the latter?
Newsgroups: rec.music.bluenote
From: root@ute.Columbia.NCR.COM ()
Subject: Re: I am curious about Grant Geissman
Organization: NCR Corp, E&M-Columbia, Columbia, SC
Date: Mon, 14 Sep 92 15:45:31 GMT

In article <1992Sep14.124115.4615@ncrcae.ColumbiaSC.NCR.COM> elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New) writes:
>In article <j+wnxh_.carhart@netcom.com> carhart@netcom.com (Raymond E. Carhart) writes:
>>
>>Hi
>>I recently saw an ad in Tower Records' PULSE magazine for an album by
>>guitarist Grant Geissman on  enja/bluemoon  records.  This is interesting
>
>Is this the same Grant G. that played w/Chuck "Feels So Good" Mangione(sp?)?
>
>Elliott New

Sounds like the same guy to me. I have an old Guitar Player article on Grant
at home. I will try and dig it up if you like. It may even have a discography.

Richard Maxwell
Newsgroups: rec.music.bluenote
From: lorenzo@spot.Colorado.EDU (Eric J. Lorenzo)
Subject: Bobby McFerrin
Followup-To: poster
Summary: other albums?
Organization: University of Colorado, Boulder
Date: Tue, 8 Sep 1992 03:32:10 GMT

Since I bought 'Play' by Bobby McFerrin and Chick Corea, I haven't stopped 
listening to it.  I am mainly ipressed by Bobby McFerrin since my only image 
of him up until now was his annoying(IMHO) 'Don't Worry, Be Happy.' song.  I'm 
wondering if his other albums are just as impressive?

Also, just wondering if anyone knew the tour list for Doc Sevrinson and the
Tonight Show band since I've heard they were touring currently.

Thanks in advance
-Eric
-- 
'You can fly high as a kite if you want to.              /  Eric J. Lorenzo \
     Faster then light if you want to.                   \AKA: Rico and Spam/
     Speeding through the universe...               /lorenzo@Spot.Colorado.EDU\
   Thinking is the best way to travel' -Moody Blues \ also: @UCSU and @Tramp  /