HDTenEightyP/NetNews huggingface dataset:
From: kougham@pell4l11.alleg.edu (Michael Koughhan)
Subject: Miles Davis Bootlegs(1969-1975)
Organization: Allegheny College
Date: Mon, 31 Aug 1992 23:45:46 GMT

Hello.

After 3 rather rude awakenings this morning I dragged myself out of bed.

I was incredibly annoyed.

Bitches Brew was calling.

I left the house two hours later in a very good frame of mind.

Does anyone have any bootlegs from Miles' "fusion" era? I will gladly send  
blanks and pay for them as long as the prices aren't ridiculously high. I  
also have access to many tapes of interest, bootlegs and rarities alike,  
not all exclusively jazz oriented. Payment plans involving household  
objects are strictly out of the question.
From: pvallado@sdcc13.ucsd.edu (Paolo Valladolid )
Newsgroups: rec.music.bluenote
Subject: Re: Miles with John McLaughlin (Jack Johnson record)
Date: 2 Sep 92 01:38:13 GMT
Article-I.D.: sdcc12.37559
Organization: University of California, San Diego

>except that most of the time he is comping rather than soloing.  What
>comping, though!  And his solo at the end of "Right Off" is wild.

I'm sorry, but that wasn't McLaughlin soloing at the end. It was
Sonny Sharrock. He just didn't get the credit for it.

Cheers,
Paolo
Newsgroups: rec.music.bluenote
From: gretsky@sonia.math.ucla.edu (Neil Edward Gretsky)
Subject: Re: Miles and McLaughlin (was Re: Elliott New is giving me the blues)
Organization: UCLA Mathematics Department
Date: Thu, 27 Aug 92 20:22:47 GMT

In article <1992Aug26.165558.21137@colorado.edu> tesar@tigger.cs.Colorado.EDU (Bruce Tesar) writes:
>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

Isn't the obvious (maybe too obvious) album to answer this question
"Bitches Brew"?
It's Miles with an all-star lineup, a groundbreaking transition to fusion,
and John McLaughlin heavily in there.
From: jpmakela@cc.helsinki.fi (jP M{kel{)
Newsgroups: rec.music.bluenote
Subject: Re: Howlin' Wolf vs. Son House
Date: 25 Aug 92 17:04:14 GMT
Organization: University of Helsinki

In article <1992Aug19.130533.1942@dragon.acadiau.ca>, 880139h@dragon.acadiau.ca (Rob Hutten) writes:
> 
> I think it's a regional thing, just as Texas blues is different than
> Chigago blues which is different than Delta blues.  If I'm not
> mistaken, Son House was from Louisiana, while Wolf was from Chicago.
> I don't think you can call this a transition, really.
> 
	In fact, I think both 'Wolf and Son House are from Drew,
	Mississippi. The difference is because artistically the
	two belong to two different generations of bluesmen: Son
	House was a pupil of Charley Patton, a strict traditionalist,
	while Wolf's main influence was Robert Johnson, a modernist,
	who was famous for picking songs and ideas from radio and
	implanting them into his own songs.


> Regional differences aside, all the great bluesmen had/have their own
> style.  Stevie Ray Vaughan and Albert Collins were/are both Texas
> bluesmen, but they sound very different.


	Well, here, too, a lot of the difference is because of a generation
	gap: Collins developed his style in the 50's, while SRV's main
	influences were in their prime a bit later.

	A more striking example of personality affecting playing style is
	the difference between SRV and his big brother, Jimmie Vaughan. JV
	is more economic, uses less distortion, seems to enchance a song
	with his playing instead of pushing his ego, and so on. He can play
	that distorted Buddy Guy/Albert King -derived flamboyant stuff as
	well as his late kid brother (as evidenced by the Vaughan Brothers'
	tune "Brothers", where the two share the same guitar), he has just 
	chosen not to.

> 
> -Rob
> -- 
> rob.hutten@acadiau.ca  
> hutten@agcrr.bio.ns.ca 
-- 
 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)
Newsgroups: rec.music.bluenote
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: possible Miles Davis tribute
Organization: Educational Computing Network
Date: Wed, 26 Aug 1992 00:16:51 GMT

In article <1992Aug25.143948.1249@guvax.georgetown.edu> mchenry@guvax.georgetown.edu writes:
>Reminds of what Miles said about going on the Tonight Show is his 
>autobiography. That white people don't know how to talk to black people. I 
>have to say it applies to Carson and Leno. I saw Carson with Dizzy and the 
>questions he asked were ridiculous. Same thing with Wynton and Ellis 
>Marsalis. Now Leno asks his idiotic questions, looking extremely 
>uncomfortable and covering it with his toy poodle laugh. Why not let 
>Branford come over and talk to them?

Then there is the Miles on 60 Minutes.  Reasoner was pretty sad.
I was reading Miles at the White House a few days ago.  Miles talks
about who was in the limo, and some old white lady says to Miles "I'll
bet your Mammy is proud of you that you are visiting the White House".
Then Miles writes , "It got real quiet in the car.  I knew everyone was
thinking to themselves , of all the motherfuckers for her to say that to, 
why did she say it to Miles.  and they were waiting for me to go off on 
this old-ass broad".

>I don't think Wallace is getting to be too much like Miles. I noticed that 
>he was playing traditional hard bop lines without a lot of space between 
>the licks. Miles sometimes played that way but not usually. Wallace also 
>started his solo by immediately going "outside," probably to distinguish 
>himself from Miles' most famous solo (or one of the most) on So What. The 

What I meant was his articulation and way he would fall off on some of
the tones.  And the dark sound.  Not necessarily on the lines, but he does
do that chromatic passing tone thing Miles did with his 60s Quintet.

>Imagine following them with a 16 year 
>old selling spicy cookies through the mail. An insult to all Art.

There ought to be a law.


Jeff
From: millerje@CS.ColoState.EDU (Jeff Miller)
Newsgroups: rec.music.bluenote
Subject: Herb Alpert on Tonight Show!
Date: 1 Sep 92 06:20:03 GMT
Organization: Colorado State University, Computer Science Department

Herb Alpert was on the Tonight Show touting his new "jazz" (ahem ahem) 
album (featuring strings of course).  He made one *MAJOR* mistake though. On
one tune (a taste of honey - yuck!) he had Branford sit it.  Next to Branford,
Herb sounded like someone who just bought Jamey Abersold's Vol. 1; "An intro.
to Jazz Improvisation" or the like!


-- 
 _____________________________________________________________________________
|                                                                             |
| "Nuke the unborn gay whales!" |  millerje@cs.colostate.edu  |  Jeff Miller  |
|_____________________________________________________________________________|
From: greens@mentor.cc.purdue.edu (Shawn Green)
Newsgroups: rec.music.bluenote
Subject: Re: Info on Joe Lovano (sp ?)
Date: 1 Sep 92 02:57:56 GMT
Organization: Purdue University Computing Center

Joe Lovano also does some excellent work on Tom Harrell's albums "Form",
"Sail Away", and "Passages".  The first two are put out by Comtempory, and
"Passages" (Tom's latest, as far as I know) is on Chesky.


Shawn Green
greens@mentor.cc.purdue.edu
Newsgroups: rec.music.bluenote
From: NA.CGC@forsythe.stanford.edu (Chris G. Clarke)
Subject: Thanks for Fats info
Organization: Stanford University, California, USA
Date: Wed, 2 Sep 1992 16:57:51 GMT

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
Newsgroups: rec.music.bluenote
From: rardin@binah.cc.brandeis.edu (R. Lynn Rardin)
Subject: Re: Gary Burton fans?
Reply-To: rardin@binah.cc.brandeis.edu
Organization: Brandeis University
Date: Mon, 31 Aug 1992 14:31:05 GMT

In article <17t6udINN989@early-bird.think.com>, Paco Ojeda-Gonzalez <Paco_Ojeda_Gonzalez@macmailgw.dfci.harvard.edu> writes:
>I have been listening to Gary Burton's latest three recordings, "Cool
>Nights" (with Bob James) "Reunion" with Pat Metheny and "Benny Rides
>Again" with Eddie Daniels, doing all Bennie Goodman tunes with a twist
>and enjoy the albums a lot.
>
>Has anybody out there heard these? Any opinions?

I've found Burton's recent recordings to be kind of lame.  His live shows are 
still great, but I think he has taken on the "GRP sound" in his recorded work.

-Lynn

< R. Lynn Rardin (rardin@auriga.rose.brandeis.edu)  >
< Rosenstiel Basic Medical Sciences Research Center >
< Brandeis University, Waltham, MA 02254-9110       >
Newsgroups: rec.music.bluenote
From: malcolm@wrs.com (Malcolm Humes)
Subject: Re: possible Miles Davis tribute
Organization: Wind River Systems, Inc.
Date: Fri, 28 Aug 1992 00:00:51 GMT

vek@spacsun.rice.edu (Vincent E. Kargatis) writes:
>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.

I agree. I was sad I only managed to tape about 7 or 8 of these before it
died. Locally they kept changing the broadcast time and I could never find
out when it would be on. Anyone have any videotapes of the show they'd be
interested in trading? I can put together a list of which ones I have. It
was funny seeing Sanborn trying to cut loose with Sun Ra. Sun looked a little
pissed, and Al Green and Syd Straw were really hamming it up for the camera. 
I thought that was a little sad, they looked like impatient kindergardeners.

 - malcolm@wrs.com
From: md@sound.esm.rochester.edu (Mike DeMurga)
Newsgroups: rec.music.bluenote
Subject: Re: Pat Metheny and game shows
Date: 23 Aug 92 17:05:00 GMT
Organization: University of Rochester, Rochester NY

In article <1992Aug23.071435.13687@xyzoom.info.com> rob@xyzoom.info.com (Rob Lingelbach) writes:
>I've approached Pat's latest album with trepidation, hoping he would
>bring me into some other new musical world, or refine some of the
>other influences...or at least play some solos that bear learning and
>repeating.  His previous two albums appeared to have started a swing
>toward more mainstream pop accessibility that threw me off a little
>(there was still enough raw Pat and experimentation though).
>
>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 don't believe Rodby did the orchestrations.  It was the conductor, if
I remember correctly, whom I had never heard of before and whose name I can't
recall...
 
>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.  
>Regards--
>--Rob

I was also dissapointed by this album, with the exception of two or three
cuts.  When I heard that the LSO was involved in this recording, I had hopes
of hearing some great orchestral writing, since Pat's albums always "sound"
so great, but for the most part, it's just strings mixed fairly low.  Nothing 
new here.  The tunes are very similar to his last two group albums.

I'm not so sure if I hear game shows or the waiting room at my doctor's office.

Sincerely,

Mike

i
Newsgroups: rec.music.bluenote
From: wjh@cbnewsl.cb.att.com (william.j.hery)
Subject: Re: McCoy Tyner Trio at Kimball's East w/ Bobby Hutcherson 8/26/92
Organization: AT&T
Distribution: na
Date: Fri, 4 Sep 1992 01:30:19 GMT
Keywords: review, tyner, hutcherson

schabert@spieden.Stanford.EDU (Vernon Schabert) gave a nice review of what
sounded like an interesting evening evening of Tyner and Hutcherson.
I'd just like to fill in one blank and ask a question:

>The third piece was a Freddie Hubbard tune called "[something] Spring."

Probably "Up Jumped Spring"

>Next, Tyner and Hutcherson did an unaccompanied duet on Monk's
>"Veronica." 

I don't recall a Monk composition by this name, but he did write one
called Pannonica, named after his (and many jazz musicians') friend
Baronness Pannonica de Koenigswater. Another possibility is Tommy
Flanagan's composition Thelonica, dedicated to Monk.

Bill Hery
AT&T Bell Labs
201-386-2362
hery@att.COM
Organization: Penn State University
Date: Thu, 27 Aug 1992 10:54:20 EDT
From: Karl Nordstrom <KXN2@psuvm.psu.edu>
Newsgroups: rec.music.bluenote
Subject: Hard Bop; what is it?
Distribution: world

mchenry@guvax.georgetown.edu says:

>I don't think Wallace is getting to be too much like Miles. I noticed that
>he was playing traditional hard bop lines without a lot of space between
>the licks. Miles sometimes played that way but not usually.

What is hard bop?  I've heard that Miles played it somewhere between
Birth of the Cool and Kind of Blue.  What distinguishes it from bop?
Was this style unique to Miles or did others play it?
Newsgroups: rec.music.bluenote
From: lorenzo@ucsu.Colorado.EDU (Eric J. Lorenzo)
Subject: Magazines
Followup-To: poster
Summary: Would like some titles
Organization: University of Colorado, Boulder
Date: Wed, 2 Sep 1992 00:14:58 GMT

I'm a newbie to this newsgroup, but have just started listening to jazz.  About
time since I've been playing jazz and other various types of music on my alto
sax for 9 years!  

Anyway, I'm looking for magazine titles that are about jazz, in any form.  
Addresses or numbers would be nice if the title isn't a nationwide publication.

Thanks in advance.

-- 
'You can fly high as a kite if you want to.              /  Eric J. Lorenzo \
     Faster then light if you want to.                   \AKA: Rico and Spam/
     Speeding through the universe...               /lorenzo@ucsu.Colorado.EDU\
   Thinking is the best way to travel' -Moody Blues \ also: @Spot and @Tramp  /
Newsgroups: rec.music.bluenote
From: deadhead@grate.ugcs.caltech.edu (stephen thompson)
Subject: Re: What is ``Modern Blues?''
Organization: California Institute of Technology, Pasadena
Date: Tue, 25 Aug 1992 21:37:23 GMT

maverick@fir.CS.Berkeley.EDU (Vance Maverick) writes:
>Now I admit I hear exceptions.  Skip James' late version of "Special Rider"
>does sound sad to me.  But most of my favorite blues music doesn't.  Am
>I sick?

No. The blues is more analogous to life in general than sorrow in particular.

--stephen


--
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% deadhead@through.ugcs.caltech.edu   | |   /USA/91126/170-25/stephenthompson %
%     " I'll let you be in my dreams if I can be in yours. " -- Bob Dylan     %
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
From: jpmakela@cc.helsinki.fi (jP M{kel{)
Newsgroups: rec.music.bluenote
Subject: Re: What is ``Modern Blues?''
Date: 25 Aug 92 17:22:01 GMT
Organization: University of Helsinki

In article <1992Aug19.165733.17153@dragon.acadiau.ca>, 880139h@dragon.acadiau.ca (Rob Hutten) writes:
> 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.''


	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 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?
>                                                         

	Besides, have you ever noticed that trash bands sound much more
	like Charley Patton and Son House than, say, Robert Cray or SRV 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)
Newsgroups: rec.music.bluenote
From: gcf@spd.eee.strathclyde.ac.uk (graham Freeland )
Subject: avant
Followup-To: rec.music.bluenote
Summary: scatology
Originator: gcf@newton
Organization: Signal Processing Division, University of Strathclyde. Glasgow
Date: Tue, 1 Sep 1992 14:14:05 GMT

In article   writes:
>RARDIN
>From: rardin@binah.cc.brandeis.edu (R. Lynn Rardin)
>Newsgroups: rec.music.bluenote
>Subject: Zorn gets own record label
>Message-ID: <1992Aug29.194347.28589@news.cs.brandeis.edu>
>Date: 29 Aug 92 19:43:47 GMT
>Sender: news@news.cs.brandeis.edu (USENET News System)
>Reply-To: rardin@binah.cc.brandeis.edu
>Organization: Brandeis University
>Lines: 14
>
>I just read an interesting tidbit in the latest (9/92) Pulse! magazine from 
>Tower.  It seems that DIW of Japan has "given" John Zorn his own record label, 
>to be called Avant.  I guess that's one way to get around the problem of 
>battling recording company execs. over cover art, etc.! :)  Four Zorn 
>recordings will be among the first releases on Avant, along with a live date 
>from 1982 by DNA and a solo outing by guitarist Buckethead with Bootsy 
>Collins.  A recording by Haino Kenji, whom Pulse! describes as a "Japanese 
>distortion-feedback guitarist," will also be released on Avant.
>
>-Lynn
>
>< R. Lynn Rardin (rardin@auriga.rose.brandeis.edu)  >
>< Rosenstiel Basic Medical Sciences Research Center >
>< Brandeis University, Waltham, MA 02254-9110       >

Have just purchased Avant01: Naked City,"heretic,jeux des dames cruelles",
@ Tower Records @ 12.99 pounds (= $26 since the dollar is doing particularly
shite (see below)). May post a brief review if I can affect the style of
a Yamatsuka Eye scream. The cover Art should prove a big hit amongst the
scatologist community (however only female buttocks are aired).

Graham Freeland.
From: mjs@hpfcso.FC.HP.COM (Marc Sabatella)
Date: Thu, 27 Aug 1992 17:04:33 GMT
Subject: Re: Coltrane question - Meditations, Interstellar Space
Organization: Hewlett-Packard, Fort Collins, CO, USA
Newsgroups: rec.music.bluenote

In rec.music.bluenote, rshapiro@bbn.com (Richard Shapiro) writes:

>> 	   Also, the back of the "Interstellar Space" disk says it
>>    features John Coltrane on sax and bells, and Rashied Ali on bells.  Is
>>    this all - just two musicians, or are these just the "featured"
>>    musicians.
> 
> Like the cover says (or used to say) "an astonishing series of duets"
> -- just two musicians. It's an outstanding record but among the most
> intense of Coltrane's recording career.

Doesn't Rashied play drums on this, though?  I thought I remember hearing
some...

-------------------------------------------------------------------------------
Marc Sabatella           Winner, 1992 First Annual Bill Evans Lookalike Contest
marc@hpmonk.fc.hp.com
Newsgroups: rec.music.bluenote
From: einhorn_d@apsicc.aps.edu (E. Drew Einhorn)
Subject: Re: Flecktones (Was SRV fans)
Date: Mon, 31 Aug 92 22:27:00 GMT
Organization: Albuquerque Public Schools - Career Enrichment Center
News-Software: VAX/VMS VNEWS 1.41    

In article <1992Aug31.184157.28974@math.utexas.edu>, 
   mossingh@henri.ma.utexas.edu (Mike Mossinghoff):

>Flecktone music is notoriously hard to categorize, but I'd call it jazz
>(admittedly a very general category); beyond that they're in a category
>of their own.
> 
>You can also find Bela Fleck on the New Grass Revival records.  They're
>disbanded now, but they have a fun sound -- kind of like Earl Scruggs
>meets Aretha Franklin in church.
> 

I too would call it jazz.  But because Bela Fleck used to play bluegrass
you may have to look in the Bluegrass section of your friendly local
braindead record/CD/music store. 

Newsgroups: rec.music.bluenote
From: NA.CGC@forsythe.stanford.edu (Chris G. Clarke)
Subject: Looking for Hollywood Fats
Organization: Stanford University, California, USA
Date: Wed, 2 Sep 1992 00:40:15 GMT

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...???

Chris Clarke
415-723-9041 W
na.cgc@forsythe.stanford.edu


Thanks.
Newsgroups: rec.music.bluenote