HDTenEightyP/NetNews huggingface dataset:
From: aaiken@bronze.ucs.indiana.edu (Andrew C. Aiken)
Subject: Re: bb king is giving me the blues
Organization: Indiana University
Date: Wed, 26 Aug 1992 13:45:02 GMT

In <geas_Fe00UhWQ1XpoN@andrew.cmu.edu> Robert Angelo Pleshar <rp16+@andrew.cmu.edu> writes:

>From Ernie Corley:
>>Why did they "use" Willie Horton?  Gee, that question would best be answered
>>by none other than Al Gore.  After all, he's the one who brought up Willie
>>Horton against Gov. Dukakis in the '88 primaries.  Oh, no one would think that
>>Mr. Gore had any racial intentions but of course Lee Atwarer did.

>I believe that Mr. Gore referred only to the Massachusetts furlough
>program in general in the 88 primaries and not any specific individuals.
>Atwater "found" Willie Horton's case and had the ads made. 

	No, he referred to Willie Horton in particular, not just because
Horton was a murderer, but because his murders (while on furlough) were
particularly violent.  The Atwater ads never showed Willie Horton.  They
mentioned him and his crimes (but not the most ghastly ones).  
	An independent group made ads showing Willie Horton -- a black
man.  But these ads never aired.  They were made into a campaign issue
by the very media that tells us how racist they were.  
	Is there not a bit of hypocrisy here?  The media would sell their
mothers for a buck.  They "condemn" David Duke and the Willie Horton
ads, but then they hand the microphone over to bigots, allowing them to
spread their intolerance.
 
>Sorry to continue to clutter up r.m.bluenote with this junk. 

	Me too.  Let's get back to talking about music.


Andrew Aiken
From: jaz@icd.ab.com (Jack A. Zucker)
Subject: Giant Steps
Organization: Allen-Bradley Company, Inc.
Date: Wed, 26 Aug 1992 13:21:03 GMT

A really interesting sound (for both the melody and for soloing against)
is to use maj7 #5 chords for all the maj7 chords. This really produces
an interesting sound which enhances the feeling of movement. It also 
makes for some really interesting feelings of movement when playing
solos. For example:

| Bmaj7#5 D7 | Gmaj7#5 Bb7 | Ebmaj7#5  | Am7 D7 |

| Gmaj7#5 Bb7 | Ebmaj7#5 F#7 | Bmaj7#5 | Fm7 Bb7 |

| Ebmaj7#5    | Am7     D7  | Gmaj7#5  | C#m7 F#7 |

| Bmaj7#5     | Fm7    Bb7  | Ebmaj7#5 | C#m7 F#7 |

First of all, the Maj7#5 chord functions as a mode (III) of melodic
minor. Since Melodic minor typically is used over dominant chords,
it suggests some interesting harmonies during the first 4 bars.
For example, over the standard changes here's what I do:

Original:
| Bmaj7  D7 | Gmaj7 Bb7 | Ebmaj7   | Am7  D7 |
What I play over:
| C#7  D7   | A7    Bb7 | F7       | D7      |

Notice that during the minor 3rd section the Melodic minor scale
that fits over the Maj7#5 extension yields a dominant chord (#11)
a whole step up from the tonic chord. It also happens to move up
1/2 step to the dominant chord which comes next in the sequence.
When the progression move up a 3rd in bar 3, the melodic minor
sequence yields the bVII chord in the key that will occur in the
next bar. The bVII chord is a very strong cadence used in many
standard tunes such as Just Friends, Days of Wine and Roses,
Lady Bird, etc. The above sequence repeats for bars 5-8. Starting
at bar 9 and extending to the end of the tune, the melodic minor
sequence continues to yield the bVII cadence...That is, each tonic
chord is played over as a bVII chord of the next key coming up.
This is true until bar 15 where over the Ebmaj7#5 chord, the melodic
minor yields an F7#11 which once again, goes back to the 1/2 step
down from the next dominant pattern. I know this stuff is confusing.
It's actually easier to play than to describe. Just try it out and
you should be pleased.

Another set of chords that are interesting is to take each tonic
chord (that lasts a full measure) and make it a dominant, putting a II
chord in front of it. For example, in bars 9-16

| Bbm7 Eb7 | Am7 D7 | Dm7 G7 | C#m7 F#7 |

| F#m7 B7  | Fm7 Bb7 | Bbm7 Eb7 | C#m7 F#7 |
                     ^^^^^^^^^^^^^
                     This one does not have the same sound
                     but it still works

-Jaz

-- 

          | Bmaj7  D7  | Gmaj7 Bb7 | Ebmaj7  | Am7  D7  |

| Jack A Zucker                              {uunet}!jaz@icd.ab.com |
| Allen-Bradley Company, Inc.                    or  ICCGCC::ZUCKER |
| 747 Alpha Drive                                                   |
| Highland Hts., OH 44143 Phone(216) 646-4668   FAX: (216) 646-4484 | 

Newsgroups: rec.music.bluenote
From: dickw@IASTATE.EDU (Richard Wallingford)
Subject: Re: possible Miles Davis tribute
Reply-To: dickw@IASTATE.EDU (Richard Wallingford)
Organization: Iowa State University
Date: Sun, 30 Aug 1992 21:05:18 GMT

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...
> 
>I was thinking about Branford's music on the Tonight Show.  It seems like he's
>always in the middle of something involved when the show comes back from a 
>commercial, and then has to cut it off abruptly.  Much as I like the idea of
>his music on NBC, somehow it hasn't really fit in yet, at least to me.  
>I mean, with the old band/Doc Severinson, it had the proper glitzy appeal 
>for J.Carson. But Branford's not really adapted very well to the TV medium, 
>it seems.
> 
>Anyone else have this reaction?

It's hard to tell since the Tonight Show rarely lets the band perform
by itself for the TV audience.  When I was doing satellite TV receiver
work, I would watch the feed that had the band playing during instead
of the commercials (too bad they don't have that feed for Letterman).

One think is for sure, however.  Branford really blew it when he composed
that stupid theme song for the show.   It should have been something
memorable that had a strong melody instead of that 1-chord vamping crap.
I just don't see it (or Leno for that matter) standing the test of time
like Carson's theme song did.   

Is Bill Cosby really going to be the next Tonight Show host after
Leno's ratings fall to a point where they have to fire him?

--
+--------------------------------------------------------------------+
|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: mjs@hpfcso.FC.HP.COM (Marc Sabatella)
Date: Tue, 25 Aug 1992 17:50:45 GMT
Subject: Re: Curtis Fuller (was Re: Several artists...)
Organization: Hewlett-Packard, Fort Collins, CO, USA
Newsgroups: rec.music.bluenote

In rec.music.bluenote, milo@cbnews.cb.att.com (guy.f.klose) writes:

> Granted Curtis Fuller only has a handful of albums under his own name (I
> think I've got about five of them), but: "main claim to fame...?"  Try a
> long tenure with the Jazz Messengers, which I think as a body of work far
> outshines his early work on "Blue Train".

That's actually what she was referring to when she said "Blue Train" was miles
(gee, it's hard to not capitalize that word :-) above anything else he had ever
done.  Believe me, she has no shortage of Messenger albums, and despite that,
and being a pport starving professional trombone player (What's the first thing
a professional trombone player does in the morning?  Gets up and goes to her
day job) is thinking of plunking down the bucks for the new "Complete
Recordings Of The 1960 Jazz Messengers" set.

I have "Ugetsu" and one or two others from the group with Fuller, and have to
wonder, if Fuller could hold his own with Trane & Lee Morgan on "Blue Train",
why is he so overshadowed with the Messengers?  I haven't listed to the latter
recently enough to really say whether or not I agree with her or with you.

-------------------------------------------------------------------------------
Marc Sabatella           Winner, 1992 First Annual Bill Evans Lookalike Contest
marc@hpmonk.fc.hp.com
Newsgroups: rec.music.bluenote
From: n5ppm264 (Charlie Board)
Subject: Re: Best of Elmore James / Live Muddy Waters CDs sought
Organization: bnr
Distribution: usa
Date: Wed, 02 Sep 1992 14:08:52 GMT

In article <5696@npg-sd.SanDiegoCA.NCR.COM>, ewing@npg-sd.SanDiegoCA.NCR.COM (David Ewing) writes:
> 
> Can anyone please recommend a "best of" CD of Elmore James?
> Noteworthy appears to offer two: "Dust My Broom" on Rhino and
> "Let's Cut It" on Virgin.  Does anyone out there have a preference
> between these two?  Are there any others that are superior?

What timing! About 3 weeks ago the newly-reconstituted Capricorn Records
released a 2CD box set on Elmore James titled "The King Of Slide Guitar".
50 cuts (all of the Fire/Fury/Emjoy recordings 1959 or 60 thru 1963) in 
an attractive box with a decent booklet for around $25. I got it this
weekend and already rank it in my "6 most essential blues sets". (The others
are the Muddy,Wolf, and R. Johnson boxes, Alligator Records 20th Ann, and
T-Bone Walker's Complete Imperial Recordings 50-54). A must!

> 
> Also, I am looking for a live Muddy Waters CD.  How are "At Newport"
> and "Mississippi Waters"?  Any others that are essential?
> 
> E-mail or post.  Thanks.
> 
> 
> -- 
> *************************************************************************
> David A. Ewing                             David.Ewing@SanDiegoCA.NCR.COM
> 
> 
Newsgroups: rec.music.bluenote,rec.music.classical
From: kstephen@wtcp.DaytonOH.NCR.COM (Kay Stephenson)
Newsgroups: rec.music.bluenote
Subject: Looking for Jazz Clubs - Atlanta, Ga.
Date: 25 Aug 92 19:24:47 GMT
Reply-To: kstephen@wtcp.DaytonOH.NCR.COM (Kay Stephenson)
Distribution: usa
Organization: NCR Corporation - Dayton, OH

I will be in Atlanta Sunday 8/30 and Monday 8/31 evenings, and wondered if
anyone had a favorite Jazz Club to recommend.  I know Sunday and Monday are
not very good nights for going out, but I'm an optimist.  Anything special
going on?  Is "Underground Atlanta" worth the visit?  Any special place to
check out there?

Please e-mail direct as I don't have time to read this newsgroup very often. 
If there are enough replys and any interest, I will summarize and post the
list.  Thanks in advance.

Newsgroups: rec.music.bluenote
From: chuck@spectrum.cs.unsw.oz.au (Mark Andrew Hawling)
Subject: Re: Coltrane recommendation...
Keywords: coltrane
Reply-To: chuck@spectrum.cs.unsw.oz.au (Mark Andrew Hawling)
Organization: none
Date: Thu, 3 Sep 1992 10:14:22 GMT

In article <BtxA7r.7Ky@usenet.ucs.indiana.edu> shashaan@bronze.ucs.indiana.edu (Ali Shashaani) writes:
>
>	I bought Coltrane's "Africa/Brass" albume last week and have
>been listening to it nonstop (God bless my patient neighbors!)  What
>an amazing CD.  What would you say are other great collections like
>it--or better?  I had always enjoyed his performances with Miles, but
>this album is something else.  I'll be greatfull if you have any other
>recommendations and explain the reasons for your preference.  Thanks.

A great collection of Coltrane is "The Major Works of John Coltrane". Be warned
that the two versions of Assention are pretty heavy going as is OM. Kulu se Mama
is also on it and is really beautiful.

Something a bit less heavy would be "Live at The Village Vanguard" which has some 
spectacular playing.
From: clements@milton.u.washington.edu (Steve Clements)
Newsgroups: rec.music.bluenote
Subject: Re: Hugh Masekela (was Two of my current favourites
Date: 4 Sep 92 17:02:22 GMT
Article-I.D.: u.1992Sep4.170222.21146
Organization: University of Washington, Seattle

One of the first jazz albums I ever bought was Masakela's "The
Americazation of Ooga Booga," 'ooga booga' apparently being a
style of jazz or what we might now call 'world music' from South
Africa (?). Looking back, I'd say now that it bordered on pop, but
only bordered. Good music. Abdullah Ibrahim comes to mind. Same
ballpark, not surprisingly.

And some MUSIC TRIVIA: 

Unless I'm very much mistaken, that's Hugh Masekela we hear
playing trumpet on the Byrd's "So You Want To Be A Rock and Roll
Star." The guy popped up all over the place in the 60's and 70's.
He was very popular, and I believe he is still at it.
From: ICSAFF@ASUACAD.BITNET (Allen French)
Newsgroups: rec.music.bluenote
Subject: The Clouds?
Date: 30 Aug 92 04:34:45 GMT
Organization: Arizona State University

Rummaging through some used vinyl, I came across an album from the Netherlands
called THE CLOUDS. I can't understand much of the Scandanavian? notes on
the back, but I saw the words "free jazz" mentioned so I bought it. It has
some nice mellow jazz tunes on it, but I don't know if I would consider it
"free jazz." It seems THE CLOUDS is the name of the combo, that is, Freddy
Sunder, Armand van de Walle, and Clement de Maeyer, perhaps dating back to
the 1960s. Just curious if anyone has heard of this group before or if it
was just an obscure, local jazz ensemble. Allen
Newsgroups: rec.music.bluenote
From: labiche@crchh561.BNR.CA (Maurice LaBiche)
Subject: Re: What is ``Modern Blues?''
Reply-To: labiche@crchh561.BNR.CA (Maurice LaBiche)
Organization: Bell-Northern Research Ltd.
Date: Tue, 25 Aug 1992 17:57:23 GMT

|>
|>
|>	And I thought I am the only one! Besides, there is a form of
|>	blues tunes called the "Talkin' Blues", which is rap, only
|>	with a guitar instead of a sampler 8-).
|>
|>	Taj Mahal, interviewed in a Finnish magazine, told something about
|>	the roots of rap. There is a game where a person puts his foot on
|>	a stone and rhymes about things, putting down others and bragging
|>	about him/herself. According to TM, this game is very old, probably
|>	even older than the blues in the sense we know it.
|>

I think this game is called the 'Dozens'.  I deleted part of the original post
and I'm going to comment on something which was said there.  The original 
poster asks if 'the intent of the blues has been lost'.  I would say no, but 
mainly because the blues is a shared experience/feeling and not a human so
there could be no preconceived notion of intent by 'the blues'.  The blues
goes deeper than merely being a manifestation of 'sorrow' from a people
who were forced into slavery, it is one feeling of living.  Everyone gets 
the blues.  No one is immune. We all feel bad/depressed at some time.
There is blues music for many moods, swing, jump, delta, chicago.....
Enjoy, I do.

|>>
|>-- 
|> jP M{kel{	({'s are a's w/ umlauts)	  jpmakela@cc.Helsinki.fi
|>-----------------------------------------------------------------------------
|>"Good sense is, of all things among men, the most equally distributed; for
|> every one thinks himself so abundantly provided with it, that those even
|> who are the most difficult to satisfy in everything else, do not usually
|> desire a larger measure of this quality than they already possess."
|>                                                               (Descartes)
                                               

------------------------------------------------------------------------
Maurice LaBiche (Mo.L.)         |   labiche@bnr.ca
Bell Northern Research          |   Part of Northern Telecom 
Richardson, Texas               |   i'm really in Texas
------------------------------------------------------------------------
No opinions herein expressed have anything to do with the opinions 
of Bell Northern Research or Northern Telecom or CIA or NSA ...
These statements are mine and mine alone, well i guess my wife 
agrees with some of them?
Newsgroups: rec.music.bluenote
From: bhoughto@sedona.intel.com (Blair P. Houghton)
Subject: Re: bb king is giving me the blues
Organization: Intel Corp., Chandler, Arizona
Date: Wed, 26 Aug 1992 16:14:23 GMT

Who is Willie Horton?  Didn't he play bass in
the Miles Davis Quintet?

				--Blair
				  "Jaz for the eyz."
Newsgroups: rec.music.bluenote
From: minoru@lesti.hut.fi (Minoru Huttunen)
Subject: Re: sax mouthpieces 
Organization: Helsinki University of Technology, Finland
	<1992Aug30.175833.6256@ichips.intel.com>
	<1992Aug31.151434.20015@daimi.aau.dk>
	<1992Sep2.031946.15047@latcs1.lat.oz.au>
	<1992Sep2.181345.4218@leland.Stanford.EDU>
Distribution: rec.music 
Date: 3 Sep 92 11:38:53

Have any of you tried mouthpieces from Yanagisawa? I've been using one
(metal 7) for my alto sax for a few weeks, and it sounds quite cool 
and what's best for a beginner such as I: it's rather easy to play as 
well (being of that size). I've heard from more experienced players that
it's easier to play than OTTO LINK, for example, but then again the 
sound may not be that "powerful". I use a safe-choice MEYER 5MM as
my "general-purpose" mouthpiece.

Any commments?  

--Minoru
--
Minoru Huttunen                   BE COOL - NOT SUPER COOL, BUT PLAIN COOL 
Department of CS, Helsinki University of Technology, Finland     (A. King)
Internet: Minoru.Huttunen@hut.fi  Bitnet:Minoru.Huttunen%hut.fi@FINHUT.BITNET
Projects: kanji, sax              Saxuality
Newsgroups: rec.music.bluenote
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: Info on Joe Lovano (sp ?)
Organization: Educational Computing Network
Date: Mon, 31 Aug 1992 20:58:46 GMT

In article <1992Aug31.175500.20510@sarah.albany.edu> rstump@itchy.geog.albany.edu (Roger Stump) writes:
>In article <16854AC68.JGATOWSK@cmsa.gmr.com> JGATOWSK@cmsa.gmr.com writes:
>Yes, all this info is correct.  It's a fairly new release (and got a very
>good review in the last downbeat).  I haven't heard much of it, but what
>I've heard is pretty good.

Yes, Lovano is high on my list of tenor players.  I just got VILLAGE
RHYTHM, whith Tom Harrell and Kenny Werner and Marc Johnson and Paul
Motian.  That is my favorite, though I don't have Landmarks yet.
There is another one with a larger ensemble and Bill Frisell and a
vocalist which I heard, but can't remember the name.  But it is very
good.

Jeff
h
Newsgroups: rec.music.bluenote,alt.music.progressive
From: jost@walt.coyote.trw.com (Patrick Jost)
Subject: Brand X Recommendations
Reply-To: Patrick Jost <jost@wilbur.coyote.trw.com>
Organization: TRW Inc., Redondo Beach, CA
Date: Tue, 1 Sep 1992 19:09:36 GMT

I really like the new Brand X album...but I've heard all sorts of mixed things
about the old ones. Any recommendations, especially for things featuring
Percy Jones' amazing bass?



Thanks,



Patrick

(ps please email!!!)



-- 
..suenos perdidos, dolor infinito, ya sin sentido, en el triste fluir, de los
llantos sumergidos, al silencio de un grito en el vacio... (J. L. Velasquez)

              Patrick Jost/jost@coyote.trw.com/(310) 812-2759
Newsgroups: rec.music.bluenote
From: chaplin@keinstr.uucp (Roger Chaplin)
Subject: Re: Ufo Tofu -- Bela Fleck & The Flecktones
Organization: Keithley Instruments, Cleveland, Ohio
Distribution: usa
Date: Tue, 1 Sep 1992 17:55:02 GMT

A few months ago I saw Bela Fleck & The Flecktones on an installment of
PBS' "Jacksonville Jazz" series.  The band did two songs: "Michelle" and
"The Sinister Minister".

Does PBS ever re-run these?

-- 
Roger Chaplin / Instruments Division Engineering / "Worry does not empty
chaplin@keinstr.uucp / CI$: 76307,3506          / tomorrow of sorrow -
#include <disclaimer.h>                        / it empties today of strength."
#include "disclaimer.h" /* cover all bases */ /               - Corrie ten Boom
Newsgroups: rec.music.bluenote
From: mcgonig@eeserv.ee.umanitoba.ca (Gordon McGonigal)
Subject: Re: Miles and "commercialism" (was: Keith Jarrett in Sun [8/16] NYT)
Organization: Dept. of Elect. & Comp. Engineering, U of Manitoba
Distribution: na
Date: Mon, 24 Aug 1992 03:45:16 GMT

rstump@itchy.geog.albany.edu (Roger Stump) writes:
>....................  Commercialism comes when the artist abandons his 
>distinctive, personal voice.  Using this definition, I still think that 
>Miles is an excellent example of an artist who did not sell out to 
>commercialism -- that is, one who always maintained his own voice, even 
>though he played in many different musical contexts, from bebop to doo-bop.

A friend sent me an excerpt from the Doo-Bop liners:

"Miles knew that these sounds were the future mainstream of music in
 America, and he wanted to make a record that would be heard by inner
 city people, the kids who grew up with rap. He wanted his music played
 on urban radio stations, not just on a few jazz stations". 

I've heard the Doo-Bop Song.  I agree, Miles plays magnificently.
--
                                   * * *
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: wjh@cbnewsl.cb.att.com (william.j.hery)
Subject: Hugh Masekela (was Two of my current favourites
Organization: AT&T
Date: Fri, 4 Sep 1992 01:12:40 GMT

loon@underdog.ee.wits.ac.za (LOON M J) writes:
>I was wondering if any of you have heard of Hugh Masakela, a born and bred 
>South African jazz trumpeter - excellent - supposedly pretty famous 
>internationally. I think he's played at the Blue Note in New York. 

[I believe its spelled MasEkela]

Masekela was a member (co founder?) of a South African jazz group called the
Jazz Epistles in the late 50s or so. From the one recording of them that I
have heard, they were pretty much in the vein of American bop/hard bop
bands of the 50s as recorded on many Prestige and Blue Note records of
the day; surprisingly, this record doesn't show too much overtly African
influence. The group also included Dollar Brand (Abdullah Ibrahim) and
Kippie Moeketsi who later produced a lot of wonderful jazz with a strong
South African influence.

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
pop music charts at the time. He recorded several albums for Verve
(probably long out of print; I beilive they were on the folk oriented
Verve Forecast subsidiary, but I'm not sure). He was also married to 
African singer Miriam Makeba, a former Harry Belafonte protege who
was verypopular in the 60s as "folk" singer of African songs.

I don't know much about what Masekela has been doing since then, but
I believe he has been letting his jazz roots come through more. He was
on a Hamiet Bluiett album, Nali Kola, about 5 years ago, but I haven't
heard it.

Bill Hery
AT&T Bell Labs
201-386-2362
hery@att.COM
Newsgroups: rec.music.bluenote
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: benny goodman / composers and collaborations
Organization: Educational Computing Network
Date: Fri, 28 Aug 1992 23:42:58 GMT

I picked this up in a used CD place because the price was right.  I
mainly bought it because it has Bartok and Szigeti playing with Benny,
but I was surpised at how interesting it was.

It is basically a pre-Third Stream recording of some attempts at
classical composers to write music for jazz performers or to some extent
using jazz idioms.  It contains the following works:

Leonard Berstein:  Prelude: Fuge and Riffs (1955)

Aaron Copland:  Concerto For Clarinet and String Orchestra (1947-1948)

Igor Stravinsky: Ebony Concerto ( 1945 )

Morton Gould: Derivations for Clarinet and Piano (1955)

Bartok:  Contrasts (1938)

None of these works are going to be consider the composer's greatest
hits, nor are they going to start any new traditions of jazz ( nor did
they in first place ) but taken as a composer's impression of jazz,
they are a lot of fun.  Much as how Duke said when he would go to
far away lands, he wouldn't try to copy the styles, he would just
write his impressions in his own language.  (BTW, check out Duke's
Nutcracker Suite.)  So none of these composers changed their sophisticated 
languages:  Copland has his pastorals, Igor his "L'histoire" circus atmosphere.
There is no attempt to swing in a jazz tradition, if you try to
hear it that way, it would indeed be corny.  But taken as classical
pieces which have suggestions of jazz (in a variety of ways), they have
their charm.  Benny's playing on it is real solid too, and the sound on
CD is extremely good considering the time it was recorded.

Jeff
Newsgroups: rec.music.bluenote