HDTenEightyP/NetNews huggingface dataset:
From: mike@vm1.mcgill.ca (Mike Woo)
Newsgroups: rec.music.bluenote,rec.music.makers.guitar,alt.guitar
Subject: Re: "Jazzy" blues??
Date: 18 Dec 92 17:04:59 GMT
Organization: Computing Centre, McGill University

In article <BzB7DK.AMz@hfglobe.intel.com> dcovell@hfglobe.intel.com (David Covell) writes:

>As a guitarist, I'm trying to increase my exposure to blues, both classic
>and modern. My problem is that I'm very fussy about guitar tone, and the
>cheesy (IMHO) tone of most classic blues, coupled with some of the trite
>and overworked licks (again IMHO) really turn me off. I listen to a local
>radio station that plays lots of blues, and they occasionally play some
>with a distinct jazz flavor, which is much more to my taste. It's great to
>hear the feel and mood of blues coupled with better tones, more pass
>chords, and more interesting lead lines.
>So, I'd appreciate pointers to artists/albums in this style. The few albums
>I've seen in the stores that appear to contain jazzy blues look like they
>might be big-band type stuff, which isn't what I'm looking for. I'd prefer
>something with guitar, keyboards, and not an overabundance of sax and horns.
>Thanks in advance.

     I'm into EXACTLY the same bag as you describe above David!  After
reading that one of Larry Carlton's biggest influences was a guy named
ROBBEN FORD, I decided to check him out.  Listening to Robben Ford's
"Talk To Your Daughter" album (for which he won a Grammy) was a 
revelation!  Here was a guitar player who was approaching the blues
in a manner that I'd been trying to do all my life (and still am :-) ).
His whole approach is based on combining urban/classic blues with more
harmonically complex chord changes, note choice, and jazz phrasing.
He plays a Fender Esprit (which has been recently reissued as the Robben
Ford Signature model) through a Dumble amp and gets a warm, round, and
very dynamic tone.  His latest album "Robben Ford and The Blue Line" is
even better (IMHO).  Pick up either album - I can almost guarantee you
won't be disappointed.  Better yet, he has two instructional videos on
REH where he elaborates on his approach.  I have the 2nd one entitled
"The Blues And Beyond" and I highly recommend it if you're into "jazzy"
blues.  The video and audio quality on this tape is excellent and it even
comes with a booklet which transcribes some of the examples that he plays.
It's a little pricey, but definitely worth it IMHO.  There's an article
about him in the latest issue of Downbeat if you want to find out more.
     I had the thrill of watching him up close when he came to Montreal
for our annual jazz festival a couple of years ago.  This guy has feel,
taste AND chops - what more can you ask for?!
                                        Boppin' The Blues,
                                             Mike
                                                                            
                                                                
Newsgroups: rec.music.bluenote
From: burger@sphinx.ece.wisc.edu (Dick Burger)
Subject: Re: last Dolphy sessions, confused
Organization: Univ. of Wisconsin-Madison; Electrical & Computer Engineering
Date: 16 Dec 92 10:10:48 CST

well, i heartily recomend the CONVERSATIONS and IRON MAN disks.   (they used
to be packaged together on an lp from douglas records.   the two albums were
recorded at the same sessions.)   The tune "Music Matador" on CONVERSATIONS
is probably the freshest, most playful jazz performance i can think of.
the duets with bassist richard davis on both of these disks are also great,
especially "come sunday" on IRON MAN.
dick burger
From: gwl@specialist.genrad.com (Glenn W. Lea)
Newsgroups: rec.music.bluenote
Subject: Re: Konitz on Company
Date: 16 Dec 92 16:56:17 GMT
Organization: GenRad, Inc.
NNTP-Posting-Host: specialist.genrad.com

>
>> ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:
>
>> Those LCJO guys are very theatrical.
>
In article <SMEHTA.92Dec16112416@kwela.nynexst.com> 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.
Newsgroups: rec.music.bluenote
From: srcd@athena.mit.edu (Solomon Douglas)
Subject: Re: The Complete Savoy Studio Sessions
Summary: Oops...  I must have been in a hurry...
Organization: Massachusetts Institute of Technology
Distribution: rec
Date: Sun, 20 Dec 1992 10:16:45 GMT

In article <BzELno.CHH@helios.physics.utoronto.ca> srcd@mit.edu writes:
>Does anyone have The Complete Savoy Studio Sessions?
>It's a 3-CD set labelled Savoy Jazz ZDS 5500, and I want
>it.  Apparently, Savoy went out of business last year and
>sold their catalogue to Denon, who is doing a really bad
>job at reissuing things.  I'd like to get the Savoy box,
>which includes a 20-page booklet.

I totally forgot to mention whose album "The Complete Savoy Studio
Sessions" is...  It's Charlie Parker, of course.  Again...  If anyone has
Charlie Parker's "The Complete Savoy Studio Sessions" on compact disc, and
might be willing to be persuaded to part with it, lemme know, ok?

Thanks...

Sol

Newsgroups: rec.music.bluenote
From: mjs@fc.hp.com (Marc Sabatella)
Subject: Re: Mingus tribute (Re: While I was out...)
Reply-To: marc@hpmonk.fc.hp.com
Organization: Hewlett-Packard Company
X-Newsreader: TIN [version 1.1.4 PL6]
Date: Fri, 11 Dec 1992 18:30:00 GMT

Vincent E. Kargatis (vek@spacsun.rice.edu) wrote:
: 
: Well there are about 14 cuts on it, I think, but the CD is 74+ minutes or
: so. That mechanical licensing fee is *per unit*??? It's hard to believe
: that any album using non-original music could make a profit!

And people wonder why CD prices are so high!  No, I screwed up big time, as
someone is bound to observe before reading this.  I misplaced a decimal point!
The rate is $.057, not $0.57!  But it is indeed per unit.  Copyrights almost
always work this way.  For live performance, it is theoretically on a per
performance basis, but of course that is virtually impossible to track, so
ASCAP and BMI (who collect and distribute the public performance royalties)
do so based mostly on guesswork.

Anyhow, back to CD production costs.  If $.20 is the going sideman rate, then I
figure your leader rate is more like $.30 or $.40; so your typical CD might
cost $1 in performance royalties.

Getting out the back of a new envelope, I calculate $3 manufacturing, $1
licensing, $1 royalies, $1 distribution, $1 amortization, for a total of $7 per
unit actual cost to produce.  I really doubt that Hat Hut is making $4 per CD
on this.  Most likely, I have seriously underestimated distribution and
amortization costs.  On the other hand, 40-45% markup is probably about on a
par with other types of businesses.  There are other more or less fixed costs
that must be paid, like salaries, such that this amount of markup may well
translate into your basic 8% profit.

: Well, my "Hmm..." was actually far more innocent than you probably took.

Perhaps, but other respondents used the word "screwed".  I happened to respond
to your posting because you started the monetary breakdown.

--
Marc Sabatella
marc@hpmonk.fc.hp.com
--
Amendment 2 Is Legalized Discrimination - Shame On You, Colorado
--
"Neither the State of Colorado ... nor any of its municipalities ... shall ...
 enforce any ... ordinance ... whereby homosexual, lesbian, or bisexual
 orientation ... shall ... be the basis of ... any ... claim of discrimination"
--
All opinions expressed herein are my personal ones
and do not necessarily reflect those of HP or anyone else.
Newsgroups: rec.music.bluenote
From: jgthomas@crchh420.NoSubdomain.NoDomain (John Thomas)
Subject: Re: Solo Cecil (was Re: akisakila, by c.t.)
Reply-To: John Thomas <jgthomas@bnr.ca>              
Organization: Bell-Northern Research, Richardson, Tx
Date: Tue, 15 Dec 1992 18:06:11 GMT

In article <Bz9vtq.3rq@uxa.ecn.bgu.edu>, ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:
|> I have Ident and used to have Air Above... on vinyl.  I think I like
|> Spring for Two Blue Js and Silent Tongues better.  The encore number of
|> After All is a great song, and Cecil follows the form.  The most recent one
|> I have is For Olim, which is quite a few years old.  I don't have any of
|> the FMPs, I hear the East Berlin is supposed to be good.
|> 
|> I really like the stuff he has been doing with Tony Oxley.  Of course,
|> all his ensemble works usually have solo sections.
|> 
|> Jeff

Yes, EAST BERLIN with Gunter Sommer is good.  It is a two-disc set
that I think Dale Smoak mentioned a few months back.  One disc solo
and one with Sommer.  Sommer uses some background-type effects I don't
care much for (in particular, some type of synth ? tone bursts) but
when he restricts himself to percussion incl. bells, things take off.

BTW, I don't remember if this was mentioned already but my local
record dealer was telling me last night that the complete concert
is on the new CD version of "Air Above Mountains" and the old vinyl
version had parts excised from the original performance.

As for the Oxley, I only have the Feel Trio version of LOOKING
but it is very good; it's sometimes hard to hear what William Parker
is doing though.  For that one, great performance but second-rate
sound although still not approaching the dismal recording of
Ornette's BROKEN SHADOWS on CD on Moon (live with Redman, Haden,
and Higgins or Blackwell, can't remember).
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
Date: 16 Dec 92 11:24:16


> ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:

>> jbulyk@telesciences.com (Jerry E. Bulyk) writes:

>>    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."

> Those LCJO guys are very theatrical.

Heh, heh ;-) If you think the Elsie-Jo's are theatrical then the
Willem Breuker Kollektief -- soon to embark on their '93 US tour --
will really get you lovers of theatrics and related antics excited!
I've never seen anyone do barber shop stuff w/ so much finesse! :-)

p.s. Alex Coke, co-leader of Austin based CO2 - Creative Opportunity
Orchestra - is w/ them these days and will be part of the tour
playing reeds and flute.

/sandeep
--
smehta@nynexst.com
--
        "This space of time is organized. We need not fear these
	 silences, -- we may love them." -- John Cage, Silences, 1961.
Newsgroups: rec.music.bluenote
From: jbulyk@telesciences.com (Jerry E. Bulyk)
Subject: last Dolphy sessions, confused
Organization: TeleSciences CO Systems, Inc.
Date: Mon, 14 Dec 1992 18:14:55 GMT


On my last visit to Tower, I noticed a veritable plethora of Dolphy discs,
all seemingly closely related in some way. All are supposedly late dates,
on off-labels. Now, I know that MEMORIAL ALBUM has appeared in at least
three different guises on lp, but the ones I am soliciting comments on are:

	LAST DATE
	CONVERSATIONS
	IRON MAN (on two labels!)

Btw, for anyone who has not yet picked-up OTHER ASPECTS, do so immediately!
It contains unreleased recording made by Dolphy that were brought/found by
his parents and granted permission for release. Issued by Blue Note in 1987.
Probably unlike any Dolphy recording; unless I'm missing a link to the ones 
mentioned above?

Can someone clarify the confusion with the current flood of pressing?
Any must haves? (or repackages/exploitations to be avoided?)


	- jerry


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

INTERNET:        jbulyk@telesciences.com
From: rost@tecrus.dec.com (My name is Brian Rost)
Newsgroups: rec.music.bluenote
Subject: Re: Carol Sloane
Date: 18 Dec 92 20:17:26 GMT
Organization: Digital Equipment Corporation


In article <1992Dec18.134022.1@vaxa.strath.ac.uk>, cbas26@vaxa.strath.ac.uk writes...
>Hi,
>  I'm new to this news group but I wondered if someone could give me 
>some info. on Carole Sloan. 

Carole Sloane lives in the Boston area and is a fill-in jazz DJ at WGBH-FM, in
addition to being a good mainstream jazz vocalist.  Apparently some of her
older LPs (from the 60s) are available on Japanese labels, but in the US her
stuff is hard to find.  I think she has recorded some things for Concord.

					Brian Rost @tecrus.enet.dec.com

					508-568-6115

	****************************************************
	*						   *
	*  The above does not reflect the opinions of	   *
	*  my employer.					   *
	*						   *
	*  If music is outlawed, only outlaws will be      *	   
	*  musicians.					   *
	*						   *
	****************************************************
Newsgroups: rec.music.bluenote,rec.music.makers.bass
From: jimlynch@netcom.com (Jim Lynch)
Subject: Re: McLaughlin's ex-bassist, Kai.
Organization: Netcom Online Communications Services (408-241-9760 login: guest)
Date: Sun, 20 Dec 1992 03:08:33 GMT

Unfortunately, Kai has filled all his regular slots.
From: sik@grosz.esd.sgi.com (Seth Katz)
Newsgroups: rec.music.bluenote
Subject: Re: Weird Nightmare (Giddins review)
Date: 14 Dec 92 22:29:42 GMT
Organization: Silicon Graphics, Inc.  Mountain View, CA


In article <1992Dec14.130747.2442@vixvax.mgi.com>, mcnamara@vixvax.mgi.com writes:
> 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.
=-=-=-=-=-=-=-
excuse me?  do you often make your purchase decisions based
on the "energy" of album cover art?  I am amazed.

BTW, I think Giddins missed one point- more people are going to 
hear of Partch for the first time with this album than
Mingus.  For Partch this album is a true disservice- it doesn't even 
contain his compositions, distorted or not.  For those who are 
interested, I'm no expert, but Partch's own recording of "The Bewitched"
is out on CRI CD and I love it.
=-s
Newsgroups: rec.music.bluenote
From: bobsoron@world.std.com (Bob Soron)
Subject: Re: Reno Williams & the Sax Maniacs
Organization: The World Public Access UNIX, Brookline, MA
Date: Sun, 20 Dec 1992 23:27:46 GMT

In article <1992Dec20.130617.1@gallua> CADS_COLE@GALLUA.BITNET (Kevin Cole; Washington DC) writes:
>
>Greetings from the void,
>
>A friend recently commented that he had been unable to find any CD's by a group 
>called "Reno Williams and the Sax Maniacs".  He described their stuff as R&B,
>although he had also looked under "Rock" and "Blues" catagories.
>
>Does anyone know if they have any albums out and if so, where in the DC area 
>might he find them?
>-- 
>
> ========== U.S. Mail =============================== E-Mail =================
> Kevin Cole      <Flatline>           |  Bitnet: CADS_COLE@GALLUA.BITNET
> Gallaudet Research Institute  (GRI)  |  Internet: KJCOLE@GALLUX.GALLAUDET.EDU
> Washington, D.C.  20002-3625         |  UUCP: ...!psuvax!gallua.bitnet!kjcole
> (202) 651-5575  x4592                |  The WELL:   kjcole

I know there was an album by Johnny Reno and the Sax Maniacs -- I can
well imagine that there's a hundred bands in the country calling themselves
the Sax Maniacs, but the lead names strike me as too much of a coincidence.
Although the group disbanded a while back, Johnny Reno tours with a really
fine band; they're worth checking out. (I caught them about a month ago.)
Anyway, Johnny Reno and the Sax Maniacs were on Black Top and did only one
album as far as I know. If DC has the used-album stores that the Boston and
Providence areas have, that's probably the best bet; should cost a couple
bucks.

Bob
bobsoron@world.std.com
"With Velcro, gravity is obsolete" -- Mister Boffo
From: rlich@atr-2s.scg.hac.com
Newsgroups: rec.music.bluenote
Subject: Which Getz compilation?
Date: 16 Dec 92 00:38:40 GMT
Reply-To: rlich@atr-2s.UUCP ()
Distribution: usa


 There are at least two Stan Getz compilation CD packages available.
 Which should I get for a nice XMAS present?
 Which to avoid?
From: hellers@cs.wisc.edu (Joe Hellerstein)
Subject: Re: Improvised music in Oakland
Organization: Univ. of Wisconsin @ Madison, CS Dept.
	<1992Dec11.133323.3485@nic.csu.net>
Date: Sun, 13 Dec 1992 05:47:10 GMT

In article <1992Dec11.133323.3485@nic.csu.net> hsu@walnut.sfsu.edu (William Hsu) writes:
>   (However, I'm happy to report that several San Francisco venues have
>   started to have improvised music. Radio Valencia at 23rd and Valencia
>   hosted the Raphe Malik/Glenn Spearman/Lisle Ellis trio for two weekends,
>   and ths Splatter Trio has been playing there occasionally. Brave New
>   World has also done some improv shows.)

That's good news.  Radio Valencia is a nice place -- when there isn't
live music, they have "menus" on the tables of the mix tapes that they
play over the loudspeakers.  Usually an interesting selection, and the
CDs that the tunes come from are for sale there as well.

Try the Mexican hot cocoa.

Joe Hellerstein

Newsgroups: rec.music.bluenote
From: smehta@kwela.nynexst.com (Sandeep Mehta)
Subject: Re: Dewey Redman's CHOICES (short review)
Reply-To: smehta@nynexst.com
Organization: Speech Technology, AI Lab, NYNEX S&T Inc, White Plains, NY
Date: 15 Dec 92 18:56:52


> rstump@itchy.geog.albany.edu (Roger Stump) writes:

> In sum, a very good album.  Dewey is in fine form, and Joshua gets perhaps 
> his best showcase to date to display his considerable talents.

YES!!!  This disc is the highlight of the new releases that I picked
up @ Tower 2 weeks ago. Both Dewey and Joshua real burn on up some
tunes. My favorite tune is still O'Besso, especially so for the
Afro-chanting ;-) Too bad we have to wait so long for new Dewey
releases. More mumblings on new pickings later...

/sandeep
--
smehta@nynexst.com
--
        "This space of time is organized. We need not fear these
	 silences, -- we may love them." -- John Cage, Silences, 1961.
Newsgroups: rec.music.bluenote
From: smehta@kwela.nynexst.com (Sandeep Mehta)
Subject: Re: On liner notes (long)
Reply-To: smehta@nynexst.com
Organization: Speech Technology, AI Lab, NYNEX S&T Inc, White Plains, NY
Distribution: na
Date: 17 Dec 92 10:42:46


In article <873@blue.cis.pitt.edu> saul+@pitt.edu (Alan B Saul) writes:

> 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.

/sandeep
--
smehta@nynexst.com
--
        "This space of time is organized. We need not fear these
	 silences, -- we may love them." -- John Cage, Silences, 1961.
From: mkleczka@gacvx2.gac.edu
Newsgroups: rec.music.bluenote
Subject: FUNK CDs
Date: 16 Dec 92 19:41:20 -0600
Organization: Gustavus Adolphus College, St. Peter, Minnesota

Can anyone recommend some good funk CDs? (I prefer E-mail).

Matt at GAC.
Newsgroups: rec.music.bluenote
From: anton@HQ.Ileaf.COM (steve norton)
Subject: Re: Penguin Guide
Reply-To: anton@HQ.Ileaf.COM (steve norton)
Organization: Interleaf, Inc.
Date: Wed, 16 Dec 92 19:02:24 GMT

Gordon H. Fick writes:

> Peter Brotzmann (Machine Gun) FMP0090
> Ganelin Trio (Catalogue) Leo LR102
> Lars Gullin (Volume 5) Dragon 181
> Alexander Von Schlippenbach (Pakistani Pomade) FMP0110
> Vienna Art Orchestra (Minimalism of Satie) hatArt 6024
> John Zorn (The Big Gundown) Elecktra 979139
> 
> I would be interested in any independent reviews of these last
> six discs. Are they REALLY desert island material?

that's an odd question.  are you looking for facts here?  whether
these are "REALLY desert island" discs depends completely upon who you
are, no?
-- 

/steve
From: hsu@walnut.sfsu.edu (William Hsu)
Newsgroups: rec.music.bluenote
Subject: Re: On liner notes (actually Bill Dixon, and FMP)
Date: 17 Dec 92 22:04:49 GMT
Reply-To: hsu@walnut.sfsu.edu
Distribution: na


Speaking of liner notes, I was going to mention this for a week, but
there was this small distraction of making up finals for 3 classes
and dealing with 60 students...

Finally found Bill Dixon's November 1981, which I'd been looking for
since hearing his recent _Sons of Sisyphus_ for the first time. November
is a double lp with a gatefold sleeve and an additional sheet inside
for liner notes, so I was all psyched for another long and thoughtful
Dixon interview or something (like the Live in Europe double lp on
BS/SN?).

But what I got were these ummm idiosyncratic musings by one Jimmy
Stewart. I can't do better than to give an example:

"Prior to the 1960's, it could not be denied that jazz was a
 music based on the parsimonious harmonies of a June-Moon music
 of pop tune standards caught between the scylla and charybdis
 of a vapid popular music song form and an aspiring aesthetic aim
 of attainment."

From little remarks in the liner notes, I got the impression that
Stewart was/is not, as one might guess from the notes, a stuffy
European academic/critic. I remember some comments alluding to
camaraderie with Dixon etc and other references (for example to
jazz as "our music") which led me to guess that he's an African
-American jazz musician, but of course I can be wrong.

The record itself is very fine, though not quite in the class of
Sons of Sisyphus, with its incredible richness of ideas and colors,
stated with conciseness and clarity. Two sides studio, and two sides
live, with Dixon on trumpet (no piano, which is fine with me), Alan
Silva, and his regular rhythm section Mario Pavone b and Laurence Cook
dr. Some of the live material reminds me of the Leo Smith/Peter Kowald/
Gunter Sommer trio dates on FMP (which y'all should snarf up quickly
before they go out of print). There are many moments where the playing
is just as fierce, but Kowald/Sommer is a hard combination to beat.

And speaking of FMP vinyl, I heard the rumor from Richard Shapiro about
Cadence getting in a pile before they get taken out-of-print, and called
in my order. It sounded like Cadence tried to snarf up everything that's
left, but what they got in (outside of their regular stock) fell far
short of my expectations. More than half of the top items on my list
are apparently out-of-print, and (if I may be allowed a little attitude
here :-)) I consider these some of FMP's major catalog items. For
example, they're out of

the two Schlippenbach Trio records with Peter Kowald
the Kowald/Guy and Kowald/Phillips duos
Kowald 5-tet (heard this on KPFA; it's great)

(They *did* get in 10-15 items that I didn't care about, tho they did
stock up on the first Smith/Kowald/Sommer record.)

Bill, who's quite happy that he'll have all the Globe Unity records
on FMP when his shipment comes in


guess that he's 
Newsgroups: rec.music.bluenote