HDTenEightyP/NetNews huggingface dataset:
From: elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New)
Subject: Re: BLUES: Chicago vs. Delta
Organization: NCR E&M Columbia SC.
Date: Thu, 20 Aug 92 13:27:27 GMT

In article <Aug.19.17.34.03.1992.24662@ruhets.rutgers.edu> bweiner@ruhets.rutgers.edu (Benjamin Weiner) writes:
>As other people have said, the transition from Delta blues (or just
>"country blues") to Chicago blues (electrified bands specifically)
>has a lot to do with the great northward movement of blacks 

Blues also got electrified out of necessity and availability.  Electric
guitars enabled the musicians to cut thru in the big, rowdy city
clubs... and electric guitars were starting to become available
at a reasonable price after the migration to Chicago.  

As for Howlin' Wolf, he was from Mississippi, and he was a travelling
acoustic blues player in his early days.  Listen to his first recordings
from Memphis (I think there is a CD called Cadillac Daddy...any way it
was the stuff he did for Sun Records... yes same label that 1st
recorded Elvis).  One of the cuts is of Wolf doing "Saddle My Pony",
an old Charlie Patton tune.  Also, listen to the guitar player from
those sessions: Willie Johnson!  What a guy... he must have had his
amp cranked to 12!  Great distorted guitar... big fat chords....
Within a few years, Wolf was off to Chicago and recorded for
Chess.  

>I think all forms of electric blues, such as Texas blues. latter-day
>Chicago blues, etc etc, Southern California blues if there is such a
                         ^^^^^^^^^^^^^^^^^^^^^^^^^
>thing, essentially grow out of first-generation Chicago blues.

Some of the Southern California blues bands are the most authentic blues
bands playing today!  I've posted about them before... but groups like
Rod Piazza & the Mighty Flyers, William Clarke, and James Harman are
great.  They have a lot of swing or jump blues influence from guys
like T-Bone Walker, Pee Wee Crayton, early Gatemouth Brown, Little
Walter, etc.  Check out their stuff.  Even better, catch them live
when they are in your town.

Elliott New
From: exujsch@exu.ericsson.se (Johnny Schmittou EXU-T-EEG x7887 Dallas Texas USA)
Newsgroups: rec.music.bluenote
Subject: Re: Jeff Procaro
Date: 14 Aug 92 18:39:48 GMT
Reply-To: exujsch@exu.ericsson.se
Organization: Somewhere in sunny Richardson, TX

Avi writes:

I just got some info about Jeff Procaro's death from my brother who is studying
drums with Jeff's father at the Musicians Institute in LA. Most of the school 
went to the funeral. 
It turns out that Jeff's arteries have been severely weakened by drug use 
and so it wasn't a surprise that a serious reaction to chemicals would cause 
them to collapse.

---
I wouldn't necessarily believe this.  The news I read was that he had
an allergic reaction the the lawn (pesticide?) chemicals which further
led to a heart attack.  I will try to dig up the article and post it
here...
___________________________________________________________________________
Internet....: exujsch@exu.ericsson.se | "Everything I say is the absolute
Real life...: Johnny Schmittou        |  Gospel...  Nah, just kidding."
Virtual life: Q-man   ---<<<I'd rather be drumming.>>>--- Dallas, Texas USA
Newsgroups: rec.music.bluenote
From: djcam@dxcern.cern.ch (Douglas Cameron)
Subject: Re: Odd custom at B.B. King concert
Organization: CERN European Laboratory for Particle Physics
Date: Thu, 20 Aug 1992 12:46:42 GMT

In article <1992Aug19.193004.26551@anasazi.com> gaf@misty.anasazi.com (Guy Finney) writes:
>
>At the end of his set, B.B. King walked across the front of the stage
>several times handing out things to audience members.  I was too far
>back (even with binoculars) to see what they were, but I caught glimpses
>of what looked like gold chains from time to time.
>
>Is this common practice, and if so what is the motivation behind it?
>This was my first big-name blues concert, so I don't want to judge too
>quickly.  I have to say, though, that it seemed a bit odd to me.

I saw B.B. at at the Paleyo festival at Nyon in Switzerland last month, and he
gave out about 20 of what appeared to be gold chains there too.  For me this
spoilt a little, what was otherwise a pretty good concert, but then maybe he
just likes to be generous.

I had tears in my eyes when he played "The Thrill is Gone".

Albert King played earlier in the evening, and he was full of energy.  An
excellent performance by him on his pink Flying V.

If only Freddie was still alive I could maybe have seen all three Kings of the
Blues.

Doug

-- 

"My son, the world's your lobster" - Arthur Daley

djcam@dxcern.cern.ch
From: sik@grosz.esd.sgi.com (Seth Katz)
Newsgroups: rec.music.bluenote
Subject: Re: Sun Ra Films
Date: 12 Aug 92 21:46:15 GMT
Reply-To: sik@grosz.esd.sgi.com (Seth Katz)
Organization: Silicon Graphics, Inc., Mountain View, CA, USA

In article <9208121129.AA16311@wavetracer.com>, Glenn Lea writes:
>>>>> On 11 Aug 92 23:15:11 GMT, wave3_3!hep1.physics.arizona.edu!wallin (Tripp 
Wallin) said:

  Tripp> I just saw the Sun Ra documentry on Rhasphody films called I think the Sound of 
Joy (?).
I bet you mean "A Joyful Noise"; it's the one where they interview him
=-=-=-=-=-=-=-=-=-=-

What I want to see is some of the home movies the 
Arkestra crowd made in the early 60's.  All I know is
from the (Coda?) interview with Sonny Sharrock where
he talks about seeing a movie in the Arkestra group home
about vibrating statues...

=-s
Newsgroups: rec.music.bluenote
From: rms@babar.whoi.edu (Roger M. Samelson)
Subject: Looking for 'Brown(?)/Roach: Live at the Beehive'
Organization: Woods Hole Oceanographic Institution
Distribution: na
Date: Wed, 19 Aug 92 18:10:24 GMT

I am looking for a copy (not necessarily original) of
'Live at the Beehive' featuring Clifford Brown (I think)
and Max Roach.  The LP is out of print and there are
evidently no plans to re-issue it as a CD because of the
quality of the masters.  Please email any info--thanks!

Roger Samelson
(508) 457-2000 x2504

Newsgroups: rec.music.bluenote
From: subotic@osl440a.erim.org (Nik Subotic)
Subject: Vanguard Revisited
Organization: Environmental Research Institute of Michigan, Ann Arbor, Michigan
Date: 19 Aug 92 10:30:51



A number of months ago.  People posted the contents of the John
Coltrane 61 Village Vanguard run that came out on the Japanese Impulse
label.  Could someone be kind enough to email this to me or repost it?

Thanks
--
--
Nikola S. Subotic
Signal and Image Processing Dept.
Optical and IR Science Laboratory
Environmental Research Institute of Michigan 
P.O. Box 134001                              
Ann Arbor, MI 48113-4001                     
(313)-994-1200 x-2711                        
subotic@erim.org                     
--
Newsgroups: rec.music.bluenote
From: 880139h@dragon.acadiau.ca (Rob Hutten)
Subject: What is ``Modern Blues?''
Organization: Acadia University
Date: Wed, 19 Aug 1992 16:57:33 GMT

Today I picked up the new Rolling Stone with Ice-T on the cover.
Interesting article, and it got me thinking...

Pre-war blues is strongly tied to the social, economic and cultural
background which produced the genre.  This music was the way these
people talked about themselves and their situation in society.  Is it
possible to remove the music from this context and still retain its
meaning?  Has modern blues (a la SRV, Hendrix, etc) lost the original
intent of blues?

Ice-T talks about the ``Cop-Killer'' scandal, and I got the impression
was that this man is to modern inner-city black culture parallels what
Robert Johnson et al were to their own culture.

I'm not trying to say that modern blues is any less meaningful because
it's not performed by illiterate farmers.  I'm just wondering if anyone
else would dare call performers like Ice-T and Chuck D ``bluesman.''

I hope I'm not offending any blues lovers.  I happen to like some 
street rap and thrash bands for a lot of the same reasons I like early
blues artists.  Am I the only one?

-Rob
-- 
rob.hutten@acadiau.ca |fillerfillerfillerfillerfillerfillerfillerfillerfillerfil
hutten@agcrr.bio.ns.ca|lerfillerfillerfillerfillerfillerfillerfillerfillerfiller
fillerfillerfillerfillerfillerfillerfillerfillerfillerfillerfillerfillerfillerfi
From: v059jck9@ubvmsd.cc.buffalo.edu (Ronald S Russ)
Newsgroups: rec.music.bluenote
Subject: Joe Lee Wilson
Date: 12 Aug 92 17:28:00 GMT
Article-I.D.: acsu.Bsvpqx.8nG
Organization: University at Buffalo
News-Software: VAX/VMS VNEWS 1.41

I am curious if anyone has heard anything recently from Joe Lee Wilson.  I 
haven't heard anything new since the early 80's.  I know he had a loft in the
70's that I think was called the Ladies' Fort.  There are some recording I know
of from in the mid-70's with the late Ronnie Boykings on bass. Also Ryo 
Kawasaki was on guitar.  Very tasty album on Survival Records.  If you have
any information you can post it or e-mail it to me.  Thanks.

Ronald S. Russ
v059jck9@ubvmsd.cc.buffalo.edu

'On Celestial Planes,
   Jazz is It'
    -Sun Ra
From: trradrx@canctr.mc.duke.edu (R.CLOUGH)
Newsgroups: rec.music.bluenote
Subject: Re: T-bone Walker, Lightning Hopkins, Son House.
Date: 19 Aug 92 19:13:44 GMT
Reply-To: trradrx@canctr.mc.duke.edu
Organization: Duke U. Med. Ctr., Durham, NC

In article <jfsenior.713379727@unix1.tcd.ie>, jfsenior@unix1.tcd.ie (John Senior) writes:
>Also, what album contains the 60's recordings that Son House did?
>(I just recently heard his "Death Letter" and I have to say that
>it's the best piece of blues I've ever heard..so I want to hear
>more - I've heard some of his 30's recordings and wasn't so
>impressed.)

To add a little detail to the later followup, CBS's Roots 'n Blues series
recently released _Son House: The Complete 1965 Sessions_.  It contains a 
great deal of material that was previously unreleased.  It contains two 
versions of "Death Letter", which may be the best blues song I've ever heard.
It also has "Pearline", "Preachin' Blues" (some scathing lyrics), and a couple
of spoken word/handclap songs like "Grinnin' in Your Face" and the incredible
"John the Revelator".  He is a bit shaky on some of the songs, as you can
detect the rigors of age taking their toll, but he still had a lot of energy
left.  The sound quality is phenomenal.  Their was actually a small audience
at the studio, which apparently made him a bit nervous.  He was joined on a 
few songs by a member of Canned Heat, who played some guitar and harp.
   I first listened to the _Complete_ recordings after listening to House on
a compilation called _The Roots of Robert Johnson_ (from Yazoo; highly
recommended), and was blown away by the full effect of his voice and his
meaty riffs.  One of the reasons that Johnson quit was that his partner and
collaborator Willie Brown had died years earlier, and didn't like performing
without him.  
  House is fascinating to listen to because of all the inner tensions he had.
Unlike his dissipated contemporary Charlie Patton, who eagerly partook of
all the booze and women around, House had aspirations toward religion.  He
was always struggling with his desire for carousing and his desire to preach.
That's one reason why "Preachin' Blues is such a powerful song.
  
Robert Clough, DUMC (though certainly not speaking for them)
	"I'm not angry.  I'm a delightful sort of person."--Bob Dylan
Newsgroups: rec.music.bluenote
From: sbyrd@athena.mit.edu (Samuel D Byrd)
Subject: Knitting Factory 8/14/92 
Organization: Massachusetts Institute of Technology
Distribution: usa
Date: Wed, 12 Aug 1992 22:04:55 GMT

This Friday, August 14, the following artists will be playing
at the Knitting Factory in NYC:

	Gary Lucas
	William Hooker
	Rudolph Gray
	U Y A

The first three acts will, I think, be duos.

U Y A, the last act, is a quartet (tenor sax, bass/trumpet, electric
guitar, and drums).  We will be playing our usual mixture of free
improv, Ornette and Blood Ulmer cover tunes, and original "ballsy
punk-noise jazz."  We will also be hawking our ever-rarer CD,
"Upstanding Young Americans."

If you're in the area, stop by and LISTEN.

----Sam Byrd (sbyrd@athena.mit.edu)
Newsgroups: rec.music.bluenote
From: 880139h@dragon.acadiau.ca (Rob Hutten)
Subject: Re: BLUES: Son House quits the blues...
Organization: Acadia University
Date: Wed, 19 Aug 1992 13:13:56 GMT

deadhead@beyond.ugcs.caltech.edu (stephen thompson) writes:

>I was reading the other day that at some point the great blues
>guitarist Son House quit playing the blues to become a porter.
>Does anyone know more of this story?  Why would such a genius
>give up his area of expertise?  There must have been a reason
>behind his career move.

According to the liner notes of the `Death Letter' album, House quit
playing for years when the popularity of swing dance music made him
feel that there was no longer an audience for his style of music.  He
was `rediscovered' by this Library of Congress guy in the sixties who
fortunately got a number of tracks recorded before House died.

A guy I know saw House playing live at a blues festival shortly before
he died.  Apparantly he could hardly play a thing; his singing was off
and he couldn't tune his guitar.  It's sad to hear of such a powerful
performer weakened by age to the point where he can no longer get his
music out.  

BTW, Son House's `Death Letter' is one of the most powerful blues
recordings I've ever heard.  In my opinion, he's up there with Blind
Willie Johnson in terms of raw, gutsy emotive playing.

I'm eager to hear more blues in the Son House/Blind Willie vein; does
anyone out there have any suggestions?  In case you aren't familiar
with either performer, their styles were both characterized by often
deeply religious lyrics and slow, droning slide playing.  

If you want to hear some amazing music, check out either `Death Letter'
(available on the Son House recording of the same name and also on the
excellent compilation `Legends of the Blues') or `Dark Was the Night',
a Blind Willie tune available on the compilation `The Slide Guitar:
Bottles, Knives and Steel.'

-Rob
-- 
rob.hutten@acadiau.ca  
hutten@agcrr.bio.ns.ca 
Newsgroups: rec.music.bluenote
From: dafuller@sequent.com (David Fuller)
Subject: Re: Jeff Procaro
Organization: Sequent Computer Systems Inc.
Date: Mon, 17 Aug 92 18:04:15 GMT

>	Porcaro also performed with such stars as Bruce Springsteen, Dire
>Straits, Paul Young and John Fogerty.

Damn.  His best work was on Steely Dan, I think, and also David Gilmour's
About Face.

What a pity.
-- 
Dave Fuller		 	All opinions expressed are my own and not
Sequent Computer Systems	those of Sequent Computer Systems, Inc.
dafuller@sequent.com
From: wallin@hep1.physics.arizona.edu (Tripp Wallin)
Newsgroups: rec.music.bluenote
Subject: Re: Naked City and Nike?!
Date: 18 Aug 92 03:54:00 GMT
Distribution: world,local


 
|> In a previous article, wildman@athena.mit.edu (Timothy Worsley) says:
|> 
|> >I just saw a Nike ("Just Do It") ad on TV that used Naked City's
|> >"Batman".
|> >
|> >It was something of a shock!
|> 
|> I saw that ad and had exactly the same response! (although I didn't 
|> recognize the tune as "Batman", I knew it had to be Naked City)

It didn't surprise me that much that Zorn would do a commerical after I got
"Filmworks" with his Camel Cigarette ad music. It surprised me though that 
it was a NIKE commerical though.

Tripp Wallin                       "I'm not part of history, I'm part of mystery...."
Physics and Math Geek
Bass Player
wallin@hep1.physics.arizona.edu
From: bweiner@ruhets.rutgers.edu (Benjamin Weiner)
Newsgroups: rec.music.bluenote
Subject: Re: What is ``Modern Blues?''
Date: 19 Aug 92 22:08:30 GMT
Article-I.D.: ruhets.Aug.19.18.08.29.1992.25178
Organization: Rutgers Univ., New Brunswick, N.J.

880139h@dragon.acadiau.ca (Rob Hutten) writes:
> ... Is it possible to remove the music from this context and still
>retain its meaning?  Has modern blues (a la SRV, Hendrix, etc) lost the
>original intent of blues?

Well, not all blues are specifically about "the oppressed position of
blacks in society" a la Robert Johnson in the song "Crossroads," etc.
There have always been blues about love, losing your job, and so on, and
those are still relevant - especially, these days, losing your job ...
But I understand your larger point - right now, the blues is the
language of commentary for a small set of people but not for the
majority of African-Americans, (or anybody else for that matter).
That doesn't make it invalid - although there are certainly people who
play the blues but don't have enough conviction to carry it off.

>Ice-T talks about the ``Cop-Killer'' scandal, and I got the impression
>was that this man is to modern inner-city black culture parallels what
>Robert Johnson et al were to their own culture.
>
>I'm not trying to say that modern blues is any less meaningful because
>it's not performed by illiterate farmers.  I'm just wondering if anyone
>else would dare call performers like Ice-T and Chuck D ``bluesman.''

Actually I bet you're more on target than you think - for one thing,
I think they do play similar roles, and for another thing, it seems
to me that both the blues and rap (especially rap) are related to
the old African-American tradition of "the dozens" - loosely, a
complicated game of verbal one-upmanship.  If you're interested in the
roles of black musicians as spokespeople and symbols, you should
read _Blues People_ by Amiri Baraka (it might say "LeRoi Jones" on the
cover) although, he like everybody has his own biases.

Ben Weiner
From: sik@grosz.esd.sgi.com (Seth Katz)
Newsgroups: rec.music.bluenote
Subject: Re: Crispell recs
Keywords: Crispell
Date: 21 Aug 92 18:19:48 GMT
Reply-To: sik@grosz.esd.sgi.com (Seth Katz)
Organization: Silicon Graphics, Inc., Mountain View, CA, USA

In article <1992Aug21.142601.13413@bnr.ca>, John Thomas writes:
Thanks to all for your suggestions.  I can readily get 
THE KITCHEN CONCERT (I believe on Leo) though and nobody
seemed to mention that one.  Anybody have this one?
Reviews heartily encouraged and appreciated...
=-=-=-=-=-=-=-=-=-

That Vince Kargatis is just too positive and happy.

I think The Kitchen Concert is a fine album, but not
the best.  Personally, I try to get all of them, but I'm a 
hopeless fan.  

If I wanted just one or two Crispell albums, I'd get
Gaia and (here's the controversial part) Live in Zurich.
What makes Zurich great is the sound quality (who would
ever think I'd say that about a Leo recording?) and Reggie 
Workman's bass.  The man is awesome.   Gotta love Motian,
too, but Hemingway is a great drummer as well.

To me, Kitchen sounds a little too uniform.  

Sigh.  Then you'll have to go buy a copy of Braxton at Willisau.
The same trio as Kitchen, plus Braxton.  Just about the only thing
I listen to now.
=-s
Newsgroups: rec.music.bluenote
From: whc2993@ritvax.isc.rit.edu
Subject: posting blues messages
Reply-To: whc2993@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology
Date: Fri, 21 Aug 1992 13:56:30 GMT



********************************************************************************
"The blues is a low down achein' chill"  Robert Johnson
********************************************************************************

Newsgroups: rec.music.bluenote
From: whc2993@ritvax.isc.rit.edu
Subject: Let's inject some blues into this thing
Reply-To: whc2993@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology
Date: Tue, 18 Aug 1992 13:55:01 GMT

Can anyone list the names of the early Fleetwood Mac albums with Peter Green
and whether they are still available.  I've seen two live cd's of the group but
I want to know what they released.
								B.C.


********************************************************************************
"The blues is a low down achein' chill"  Robert Johnson
********************************************************************************

Newsgroups: rec.music.bluenote
From: wildman@athena.mit.edu (Timothy Worsley)
Subject: Re: Keith Jarrett in Sun (8/16) NYT
Reply-To: eprice@sql.sybase.com
Organization: Massachusetts Institute of Technology
Date: Tue, 18 Aug 1992 01:28:30 GMT

jdc5@typhon.uchicago.edu (Jonathan Cohen) writes:

>Guess I'll go home and listen to Still Live until I think KJ is a
>deity once again.

Yeah; shouldn't take too long either!  :-)

(Actually, I put on the Kyoto concert, but it's the same principle...)

-Ed (not Tim), eprice@sql.sybase.com (not wildman@...)
From: jimh@pongo.Eng.Sun.COM (jim hori)
Newsgroups: rec.music.bluenote
Subject: Recommendation: New York Stories
Date: 13 Aug 1992 18:44:30 GMT
Organization: Sun Microsystems, Mt. View, Ca.
Distribution: rec
NNTP-Posting-Host: pongo

Just picked up an album called New York Stories (I've been
out of town and apologize if this subject has come up before)
just out on Blue Note that features Danny Gatton, Bobby Watson,
Roy Hargrove, Joshua Redman, Charles Fambrough, Yuron Israel,
and a French/Algerian cat whose name escapes me at the moment,
and it's my favorite jazz album of the year except for that
killer Steve Coleman.

Gatton has been discussed here before but I had never listened
to him before this session. Big mistake, as he is a phenomenal
technician who also has a lot of soul, and incredible fluency
in a number of styles. As the liner notes rave, there are times
when he sounds like a cross between Merle Travis and Charlie
Christian, and I hear Scofield, Montgomery, Frisell, and Dick
Dale as well.

The set is also the debut of Joshua Redman, Dewey's contest
winning son, who displays great chops and sense of history.
Watch out for him. I wish I remembered the name of the French/
Algerian pianist because he cooks as well.

The album is conceived as a tribute to 50s/60s Blue Note
blowing sessions (one of my favorite periods in jazz) and
comes off to these ears as having the same timeless quality
as those dates. Any other opinions?


....
jimh@west.sun.com
From: mjs@hpfcso.FC.HP.COM (Marc Sabatella)
Date: Mon, 17 Aug 1992 17:24:20 GMT
Subject: Re: Several artists info needed
Organization: Hewlett-Packard, Fort Collins, CO, USA