HDTenEightyP/NetNews huggingface dataset:
From: braden@kronecker.mit.edu (Tom Braden)
Subject: Re: VICTORIAVILLE '92 schedule
Organization: MIT Department of Mathematics, Cambridge, MA
Date: Fri, 28 Aug 92 20:32:02 GMT

In article <SMEHTA.92Aug27171138@kwela.nynexst.Com> smehta@nynexst.com writes:
>
>
>		      FESTIVAL MUSIQUE ACTUELLE
>			 VICTORIAVILLE 1992

... I'm drooling.  Sadly, there's next to no chance I can make it.  
Does anyone know how much of the fallout from Victoriaville will be 
coming to the states?  Specifically, are the LJCO or Braxton
coming to Boston?  I'd even consider trekking to NYC.  In fact, I'd
sell some limbs to see the LJCO.  

-- Tom Braden
From: vek@spacsun.rice.edu (Vincent E. Kargatis)
Newsgroups: rec.music.bluenote
Subject: Re: possible Miles Davis tribute
Date: 27 Aug 1992 21:23:50 GMT
Organization: Rice University

Boyd <BOYD@UNB.CA> writes:
> >Anyone remember "Night music with David Sanborn"?
> 
>    Unfortunately, yes. "Unfortunately", because there was very little
> going on the few times I watched it, and all I got to see and hear was
> typical Sanbornian jam-an' white bread music. It was technically very
> good, but I tend to go off the stuff very quickly for sounding the same
> as the last two songs ....

Then you were *extremely* unlucky. Night Music was one of the best music
shows I've ever seen, especially during the second seaon when Hal Willner
took over the production helm and they dumped Jools Holland. Seeing Sun Ra,
Tim Berne, and a host of others perform live on television was treat
enough, but when in addition we could watch Carla Bley and Bootsy Collins
together, or enjoy Richard Thompson, Adrian Belew, and Elliot Sharp all
have guitar solos on the same song... I mean, the show was GREAT.
-- 
| Vincent Kargatis                      |  "It was jump or die."              |
| Dept. of Space Physics and Astronomy  |                                     |
| Rice University, Houston, TX          |      Marilyn Crispell to Anthony    |
| [vek@spacsun.rice.edu]                |        Braxton on his Comp. 69C     |
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Newsgroups: rec.music.bluenote
Subject: Re: Night Music/Miles
Date: 28 Aug 92 23:15:07 GMT
Organization: Educational Computing Network

In article <1992Aug28.181825.1277@guvax.georgetown.edu> mchenry@guvax.georgetown.edu writes:
>Sanborn sat in on one number I think. It fulfilled his dream. It was clear 
>his pure jazz playing was not up to the caliber of the band, but he hung in 
>there, and earned my respect for doing it. Through his own growth from 
>Night Music he went on to record Another Hand, a fine album. This thread 
>has clearly shown why such shows can't make it on TV.

He played with Miles and Paul Shaffer and others in the film Scrooged.
They were all street musicians, and they recorded the tune We Three
Kings, a complete version even though they were in the film about 5
seconds.  I bought a CD single/demo of it at a used store.

Around the time they were shooting, they were on Letterman sitting in with Paul.They played W3K as a featured number on the Letterman show.

As for Sanborn, he isn't my saxophone player, but someone in his
position could easily be a hot dog, and he is not.  He is serious and
respectful of the music.

Jeff
Newsgroups: rec.music.bluenote
From: dickw@IASTATE.EDU (Richard Wallingford)
Subject: Re: Pat Metheny and game shows
Reply-To: dickw@IASTATE.EDU (Richard Wallingford)
Organization: Iowa State University
Date: Wed, 26 Aug 1992 03:15:31 GMT

In article <1992Aug23.071435.13687@xyzoom.info.com>, rob@xyzoom.info.com (Rob
Lingelbach) writes:
> I've always held Pat Metheny's guitar playing, composition, and
> arranging in the highest regard. 
> ...
> ...
> The new record, except for perhaps 2 or 3 cuts, reminds me more of
> television game show music than anything he's done yet.  Is this due
> to Steve Rodby's influence and orchestration?  I can hear Lyle's
> lyrical presence in a couple of cuts, though all too little.  Some of
> the music is fit for movie soundtrack, but I can't stop hearing those
> game show themes.
> 
> Does anyone else agree/disagree?  I know it can be a matter of
> taste...  Perhaps I can listen with a different attitude and like the
> album better if someone corrects me.  

I haven't heard the latest recording but I do have an observation
along these same lines.  I've always been a PMG fan.  Being a 
keyboardist, I've always loved the way Lyle Mays played without
flashiness, and with amazing understatement.  He certainly deserves
more recognition than he gets.   However....

I was trying to turn a friend of mine on to the Group and he said,
"Naw, everything they play afer "As Falls Wichita.." sounds like 
circus music.  All I can picture is some guy climbing up under the
big top towards the high wire or the trapeez"   I immediately disagreed,
but then I thought about it and could see his point.  Much of Pat's
and Lyle's music would be great theme music for circus performances.

Anybody else picture circuses when they listen to PMG?

--
+--------------------------------------------------------------------+
|Dick Wallingford      | Internet: dickw@iastate.edu                 |
|Center for NDE        | Packet  : wd0anb@n0an.ia.usa.na             |
|Iowa State University | "This river don't go to Aintree" - S.H.     | 
+--------------------------------------------------------------------+
From: millerje@CS.ColoState.EDU (Jeff Miller)
Newsgroups: rec.music.bluenote
Subject: Re: Info on Joe Lovano
Date: 31 Aug 92 19:21:34 GMT
Organization: Colorado State University, Computer Science Department

In article <1992Aug31.174534.18931@CSD-NewsHost.Stanford.EDU> gidi@Hilbert.Stanford.EDU (Gidi Avrahami) writes:
>JGATOWSK@cmsa.gmr.com writes:
>>
>>I recently heard part of a recording by an artist whose name sounded like
>>Joe Lovano. I think the disk was called "From the Soul" on Bluenote.
>
>You got the names right.  The record is reviewed in the September
>issue of Downbeat.
>
>Lovano is an excellent musician, but I admit that I am more acquainted
>with his work as part of the Paul Motian group.  Check the two amazing
>ON BROADWAY volumes, the new IN TOKYO, etc.

...and let's not forget his work with John Scofield.  I bought "Time on
my hands", listened to it for awhile, was slightly dissapointed (esp. after
hearing Lovano's first solo album), then went back and listened again...
what a great CD! Lovano & Sco are some amazing players.


-- 
 _____________________________________________________________________________
|                                                                             |
| "Nuke the unborn gay whales!" |  millerje@cs.colostate.edu  |  Jeff Miller  |
|_____________________________________________________________________________|
From: jmh@morgana.pubserv.com (Jeff Helgesen)
Newsgroups: rec.music.bluenote
Subject: Re: Herb Alpert
Date: 3 Sep 92 19:01:39 GMT


In <Btx3t6.FoE@rice.edu>, kamine@is.rice.edu (Jorge Hershel Kamine) writes

> [...] but I did not get the impression that Herb Alpert was trying to
> "tout" his album as jazz.

Well, it sure seems like the reviews of the album are geared that
way...the Chicago Tribune Sunday Arts Section reviewed the album
about 2 weeks ago, and the quotes from Alpert as well as the
comments on the album definitely stressed the "jazz emphasis".

> I wouldn't exactly call "A Taste of Honey" a tune usually associated
> with jazz.

Ah, depends on your record collection.  The only recording I own
of that album is on "Woody Herman 1964".

					Jeff
______________________________________________________________________________

   \_  \_    \_         Jeff Helgesen           email: jmh@morgana.pubserv.com
    \_  \_    \_        Publication Services    Champaign, IL
     \_  \_\_\_\_
      \_  \_    \_      "I think I'll just go home and shake myself to sleep."
 \_\_\_    \_    \_                              		-B. Wilke
______________________________________________________________________________
From: rdz@cci632.cci.com (Robert D. Zarcone)
Newsgroups: rec.music.bluenote
Subject: Re: Hugh Masekela (was Two of my current favourites
Date: 4 Sep 92 14:40:42 GMT
Organization: Computer Consoles Inc., Rochester, NY

In article <1992Sep4.011240.16265@cbnewsl.cb.att.com> wjh@cbnewsl.cb.att.com (william.j.hery) writes:
>
>Masekela left South Africa and eventually became somewhat famous in
>the U.S. as a trumpet player and singer of jazz and African influenced
>pop music in the mid 60s; his GRAZIN IN THE GRASS was a minor hit on the
                                                         ^^^^^

I believe this was one of the top 10 selling singles of 1967(8?).

Granted, little was heard of him after that, at least in the US.  I think he
started somewhat of a revival a year or so ago.

Since this is the only cut of his I ever remember hearing, I can't comment
on his style.

Rob Z.
Newsgroups: rec.music.bluenote
From: robin@uhunix.uhcc.Hawaii.Edu (Robin Amano)
Subject: Re: BLUES: Robbin Ford Power Trio recommendations?
Organization: University of Hawaii
Date: Thu, 27 Aug 1992 20:19:29 GMT

In article <BtM03x.n2I@apollo.hp.com> deal_j@apollo.HP.COM (John Deal) writes:
>I have been meaning to ask this for a long time so now is as good a time
>as any.
>
>I saw from SunFest 91 on the old VH1 New Visions show the Robbin Ford Trio
>do a couple of real nice blues tunes (one was 'Help the Poor' but I forget
>the title of the second one).  Would anybody out there have any recommendations
>for Robbin Ford blues stuff?

"Talk to Your Daughter", which has 'Help the Poor', should be still on the
shelves.  But, if you can get "Inside Story", in my opinion, that's the one
to get.  There's some killer blues on that album, I only wish that I can
find it on CD one day.

Also, not about Robben Ford, but a killer jazz/blues/rock fusion album:

"Greg Mathieson Live at the Baked Potato"

This album features Steve Lukather on guitar and is definitely hot!!



--
--------------

rob
uhcc
From: millerje@CS.ColoState.EDU (Jeff Miller)
Newsgroups: rec.music.bluenote
Subject: Re: possible Miles Davis tribute
Date: 27 Aug 92 17:49:41 GMT
Organization: Colorado State University, Computer Science Department

In article <1992Aug27.065933.1357@leela.cs.orst.edu> chrisda@atlantis.CS.ORST.EDU (David Christensen) writes:
>Yeah, it would be nice if network TV would put on an hour of jazz some Friday
>night...

Anyone remember "Night music with David Sanborn"?


-- 
 _____________________________________________________________________________
|                                                                             |
| "Nuke the unborn gay whales!" |  millerje@cs.colostate.edu  |  Jeff Miller  |
|_____________________________________________________________________________|
Newsgroups: rec.music.bluenote
From: etxjoos@kk39.ericsson.se (Johan Sahlin )
Subject: WeatherReport
Keywords: Jaco, Weather, Report
Reply-To: etxjoos@kk39.ericsson.se
Organization: none at all 
Date: Wed, 26 Aug 1992 08:45:03 GMT

Does anyone know on which of WR's records Jaco Pastorius plays?

Pls. respond by e-mail. I'll summarize if anyone is intrested.

    -Johan
From: mchenry@guvax.georgetown.edu
Newsgroups: rec.music.bluenote
Subject: Re: What is Hard Bop?
Date: 28 Aug 92 18:25:06 -0400
Distribution: world
Organization: Georgetown University

In article <BtnIF9.6rK@rice.edu>, vek@spacsun.rice.edu (Vincent E. Kargatis) writes:
> will@ogre.cica.indiana.edu (William Sadler) writes:
>> In <1992Aug26.180648.1261@guvax.georgetown.edu> mchenry@guvax.georgetown.edu writes:
>> 
>> So "hard" was the East Coast continuation/extension 
>> >of be-bop, whereas "cool" continued in the West Coast with (mainly) white 
>> >players. Hard bop was the dominant style of jazz in the later 1950s and 
>> 
>> Is there a specific album you have in mind here?  It was always my
>> understanding that hard-bop was the style used by Mingus, Art Blakey,
>> Cannonball Adderley etc. that was more "funk" oriented than cool
>> jazz.  Of course, "funk" then meant something different than funk
>> does now.  Basically a return to blues oriented, hard swinging,
>> aka Horace Silver type tunes.  Like "better git it in your soul"
>> and "mercy, mercy, mercy"  
> 
> I'd always thought that there were both "hard bop" and "funky bop", Blakey
> being an example of the former, post-Messengers Silver and Cannonball the
> latter. I'd say there were enough musical distinctions to validate the
> classifications.
> -- 

Miles' playing is not quite as typically hard bop as Lee Morgan, Freddie 
Hubbard in the early 1960s, and finally Woody Shaw. That's because Miles 
pretty much avoided playing any of the "funky" (church-based Gospel 
refinement of the blues) that Horace played. But the common denominator is 
probably the "hard" drumming of Philly Jo Jones, Art Blakey, Elvin Jones, 
and Tony Williams. The cool music was not too complex rhythmically, whereas 
these drummers were introducing more and more polyrhythms. Hard bop can 
therefore be thought of as mainstream acoustic small-group jazz that has 
been current since the lates 50s with some breaks in the lineage down to 
the present. I know this is a shakey definition but I think most will agree 
with me. But the early 1960s Miles was really blowing a lot of notes in all 
registers of the horn. He never competed with Clifford or Clifford's 
descendants in terms of the complexity of his runs within the framework of 
the chird structure of the song, so in that sense he is less of a hard bop 
player. His fast playing was heavily based on chromatic runs and had less 
of the blues influence that is evident in Lee Morgan's playing. OK, I am 
rambling.

Bill McHenry                   |Those who do not hear the past works
mchenry@guvax (bitnet)         |are condemned to recompose them....
mchenry@guvax.georgetown.edu   |                 -me
From: millerje@CS.ColoState.EDU (Jeff Miller)
Newsgroups: rec.music.bluenote
Subject: UFOTOFU quick review
Date: 1 Sep 92 06:36:10 GMT
Organization: Colorado State University, Computer Science Department

Since you asked...

Album: UFOTOFU
Who: Bela Fleck & Flecktones
TT: ~55 mins.
SPARS: DAD (*)

(*) Yes, "DAD" ;) ... Bela explains it's recorded digitally, mixed to 1/2 in
analog tape, then mastered digitally.  I like the acronym.

The Tunes:
==========

1. The West County
	A bluegrass sounding tune.  The harmonica is a little high in the mix
	for my tastes, but overall a good, moving tune.
2. Sex In A Pan
	Dedicated to James Brown, it's a funky tune in that inimitable Fleck
	style.  Some really nice bass playing here.
3. Nemo's Dream
	Very reminicient of the tunes on "Cosmic Hippo".  If you liked that
	album you'll dig this tune.
4. Bonnie & Slyde
	Bela plays slide banjo.  Cool Tune
5. Scuttlebutt
	Slightly commercial sounding tune, but killer playing nonetheless.
	Some real smooth time and feel changes also.
6. UFO TOFU
	This is the type of tune that makes the Flecktones the Flecktones and
	everyone else everyone else.  Their best tune (IMHO), second only to
	"Blu-Bop" (from "Cosmic Hippo")
7. Magic Fingers
	A bluesy tune...decent.
8. True North
	Starts mellow, then grooves in 3
9. Life Without Elvis
	An "out" tune, but still "in" - really amazing stuff IMHO.  Great demo
	of just how tight these guys are.
10. Saresta
	A Latin tune written by Howard (harp/keyboard).  Nothing spectacular.
11. The Yee-Haw Factor
	Bluegrass meets the Flecktones...'nuf said
12. After the Storm
	Mellow tune.  Pretty ending to a great CD

Rating: 8/10 (9/10 if you're already a fan)

It's a little more "commercial" (accessible?) than "Cosmic Hippo", but it
has some great moments.

-- 
 _____________________________________________________________________________
|                                                                             |
| "Nuke the unborn gay whales!" |  millerje@cs.colostate.edu  |  Jeff Miller  |
|_____________________________________________________________________________|
Newsgroups: rec.music.bluenote
From: elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New)
Subject: Re: Looking for Hollywood Fats
Item: rec.music.bluenote 63349,  Wed, 02 S,  61 lines.    (0 items left)
Organization: Stanford University, California, USA
Date: Wed, 2 Sep 1992 16:52:01 GMT

In article <1992Sep2.004015.19294@morrow.stanford.edu> NA.CGC@forsythe.stanford.edu (Chris G. Clarke) writes:
>I am looking for recordings by a guitarist know as "Hollywood Fats"
>I don't have his real name but was told that he recorded with the
>James Harman Band but died within the last few years.
>
>
>Does anyone have any info...would you know which Harman band albums
>he recorded on...???

---------                                                                    **|
Nice to see someone else knows about Hollywood Fats!  He
was a killer blues guitar player.  His real name was Mike Mann,
but that won't help you much.  I don't think he recorded anything
under his own name.  In no particular order, here are some things
to look for...

   William Clarke - __Can't_You_Hear_Me_Callin'__ (Rivera Records LP-RR502)
     This is a re-release of the William Clarke thing.  Basic, straight
     ahead blues w/Fats on Guitar.

   James Harman Band - __Extra_Napkins__ (Rivera Records LP-RR505)
     Fats is on a few cuts of this record.  Also has Jr. Watson on a
     couple, plus Kid Ramos.   Kid and Fats played w/Harman together
     for several years.

   James Harman Band - __Strictly_Live...In_'85__ (Rivera Records CD-RR506CD)
     There are a couple of KILLER Fats solos on this one.  Fats really shines
     on the jump blues stuff.
     (Rivera Records address: P.O. Box 1848   Orange, California  92668)

   Rod Piazza - __Harpburn__ (on Murray Bros. Records)  Fats plays
     on about half the records, but doesn't get too many solos.

   __The_Hollywood_Fats_Band__  -  I forget the record label, but there
     were only about 2000 copies pressed.  I've heard that the records
     go for about $50 *if* you can find one.  However, the Fats Band
     record has been re-released on CD... in Europe.  You can get it
     from Crosscut Records in Germany if you can track them down, and
     figure out how to mail order from Germany.  :-(  Maybe Tower
     Records could get it.


There are a few other songs that he played on from various hard-to-find
out-of-print records.  Some of the best Hollywood Fats stuff I've heard
is from live tapes of him.  He really burned live!

If you really like Fats' blues playing, check out Rod Piazza and The Mighty
Flyers, The William Clarke Band, and The James Harman Band.  Great guitar
players in all of these bands.

Hope this helps,

Elliott New

P.S. - Where did you hear about Hollywood Fats???

Thanks a bunch for the info!! it was alot more than I expected...I
have a lead on some of the stuff in the Bay Area (California) so
I'll be checking it out soon.


To answer the question --  I head about Hollywood Fats from Dave
Hidalgo (guitarist from Los Lobos) who said he was the best blues
guitarist he ever heard. I thought it was a pretty strong
recommendation so I'm checking it out

Thanks again

Chris Clarke
From: tesar@tigger.cs.Colorado.EDU (Bruce Tesar)
Newsgroups: rec.music.bluenote
Subject: Miles and McLaughlin (was Re: Elliott New is giving me the blues)
Summary: Live/Evil, Emergency
Date: 26 Aug 92 16:55:58 GMT
Organization: University of Colorado, Boulder

In article <1992Aug26.155852.13842@wam.umd.edu> peugh@wam.umd.edu (Arthur Dent) writes:
>
>  Can anyone recommend a good Miles Davis album, with John Mcglauchlin(?) on
>guitar?  I've got a couple of John's albums, and i love 'em, and i would like
>to get into Miles Davis' work.

    It depends upon which facet of John McLaughlin's playing interests you,
but if you like the early Mahavishnu Orchestra stuff (I certainly do), then
I would recommend Miles Davis' "Live/Evil". Unfortunately, I don't believe
Columbia has had the wisdom to release it on CD yet. Most of the material
is very high-energy, including some hot electric McLaughlin.

    Along those lines, I would also recommend "Emergency" by the Tony
Williams Lifetime. Killer trio with Tony, John, and Larry Young on organ.
The recording quality is terrible, but the music is great! (Just ignore
the vocal numbers :-)

    I hope that is what you are looking for; I don't think you will find
any Miles Davis records that sound much like Shakti (anyone out there that
could prove me wrong?).

Bruce
-- 
Bruce B. Tesar                    Internet:  tesar@cs.colorado.edu
Computer Science Department
University of Colorado at Boulder 
Boulder, CO  USA  80309-0430
From: mjs@hpfcso.FC.HP.COM (Marc Sabatella)
Date: Mon, 31 Aug 1992 17:26:10 GMT
Subject: Re: possible Miles Davis tribute
Organization: Hewlett-Packard, Fort Collins, CO, USA
Newsgroups: rec.music.bluenote

I saw the Miles tribute group this weekend.  Due to a scheduling snafu, they
did only about a 50 minute set, which was half over before the concert was
originally supposed to have started (and there supposed to be four warmup
acts).  Wallace does indeed try to consciously to sound like Miles did with
that group - many stolen licks and mannerisms.  Wayne was on-and-off, but never
as insightful as he was in the 60's.  Ron was solid but unspectacular.  I used
to say that I would most love to play with Ron and Tony; I've changed my tune
to Dave Holland and Smitty, lately.  Tony and Herbie were incredible.  I didn't
see the Tonight Show, so I can't compare my notes with Jeff's on how "seamless"
Herbie's comping was, but my God, his playing on "Little One" at the concert
was painfully beautiful.  They also did "So What", "R.J", "Pinnochio" (I think
that's what it was - I'm almost positive it was from "Nefertiti), and some tune
I didn't recognize at all - it sounded like something Ron might have written,
but since I don't remember hearing any other Tony Williams tunes, it was
probably one of Tony's.  Anyhow, when I hear Herbie like this, I get so mad at
him for slacking off for the last couple of decades.

The concert was way too short - I'm glad I didn't have to pay for the tickets
(promotional giveaway from KUVO, a Denver jazz radio station).  I'm kind of
disappointed they recorded the album before even starting the tour - I'll
almost certainly buy it anyhow, but I imagine waiting until things started to
gel a little longer could only help.  Maybe they'll do a live album too.

-------------------------------------------------------------------------------
Marc Sabatella           Winner, 1992 First Annual Bill Evans Lookalike Contest
marc@hpmonk.fc.hp.com
From: gwl%wave3_1@CONCERT.NET (Glenn Lea)
Newsgroups: rec.music.bluenote
Subject: Re:  Blue Note Scrapbook
Date: 2 Sep 92 19:43:56 GMT


Fred Rozenblad asked:
 
> Has anyone seen the Blue Note Scrapbook? I call it such because it has many
> featured artists from the 60s-70s era who recorded on Bluenote. What the book
> has are pictures of different albums released by the artists.
> I found a copy where I buy my CDs. The cost is 24.95. I haven't bought it yet.
> I'm still debating if it's worth it. I may wind up buying anyway because you
> get useful info about the recordings for special orders or whatever. Most of
> the Blue Note stuff from that time period is out of print so knowing the info
> on various albums could come in handy sometime.

I assume this is different from the similarly-priced "Blue Note Cover Art"
book of last year?  Is it comprehensive or does it skim the surface?
The potential of such a book is great, hope it lives up to it :-)

Yesterda I saw a book very much like the BN Cover Art book but covering
the West Coast jazz scene -- full-sized repros of Chet Baker covers, etc.,
including the "Playboys" cover (with the hand puppets) that cracks me up.
 

Glenn Lea
gwl@wavetracer.com
Newsgroups: rec.music.bluenote