HDTenEightyP/NetNews huggingface dataset:
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: Rumour about a jazz death
Organization: Educational Computing Network
Date: Tue, 18 Aug 1992 13:18:46 GMT

In article <1992Aug18.144213.1@ul9000.unil.ch> pmagnena@ul9000.unil.ch writes:
>NO, THAT IS NOT TRUE. The organizer of the Willisau Jazz Festival has verified
>this morning. Steve is in perfect condition, and will play at Willisau
>on september 3, at a concert entitled "Thelonius Monk Memorial". There will be:
>- Steve Lacy Quintet
>- Randy Weston solo
>- "Monk in Motian", trio with Paul Motian, Joe Lovano and Bill Frisell.
>
>If you want to be sure, come at Willisau (charming town in centre of
>Switzerland), from August 27 to Aug. 30, where you will hear 6 concerts, 
>featuring, for example, Hamiett Bluett, Oliver Lake, Julius Hemphill, Jeanne
>Lee, Dave Holland, Don Pullen, etc, etc. apart from Steve's one.

That is good to hear.  It is also good to see Willisau going strong.  I
was there 9 years ago, and it was a fun place.  I was too poor to go to
all the concerts, but you could hear the music through the barn.  Lot's
of knot holes to stick your eyes and eyes through to check out the
strong lineup they had.  Free jazz in a barn.  Who'd have thought it.
They allowed free camping on the grounds. 

Jeff
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: Miles' best work?
Organization: Educational Computing Network
Date: Mon, 17 Aug 1992 13:13:29 GMT

In article <1992Aug17.013007.1227@guvax.georgetown.edu> mchenry@guvax.georgetown.edu writes:
>There will also be numerous bootlegs coming out. I haven't counted lately 
>but I expect there are at least 100 items in my Miles collection.

The latest boot is  Paraphanalia, on a French label.  It is the  band
of Miles, Wayne, Chick, Dave and Jack.  This is band never was recorded
by Columbia, although Corea says Columbia is sitting on tons of concert
recordings.  This is basically Miles' working band from around the time
of Silent Way to the time Wayne left to form Weather Report.  The
Fillmore albums replace Wayne with Steve Grossman, and may add Airto and
Jarrett.

In any case, Paraphanalia contains tunes from Nefertiti and Miles In The
Sky, also Bitches Brew, Directions, Sanctuary, and Miles Runs the Voodoo
Down.

Very excellent stuff, recording quality is decent enough, the only loser
in the mix is Corea, but he was playing stuff which would have came off
better on an acoustic piano, not the Rhodes, which wasn't meant to play
thick harmonic clusters.  But nonetheless, the sound is better than
Double Image, the other boot with the same band.

Jeff




>
>It is very hard to sum up what Miles was all about. It's like trying to 
>take a few paintings by Picasso and then from them decide if you like his 
>art in general. It cannot be done. Miles' performances are rarely perfect, 
>and often repetitive. Nevertheless, his influence has been huge. He didn't 
>necessarily think of all the innovations himself, but he brought them to 
>other musicians and to the public in such a way that they were legitimized 
>as new parts of the standard vocabulary of popular music.
>
>Bill McHenry                   |Those who do not hear the past works
>mchenry@guvax (bitnet)         |are condemned to recompose them....
>mchenry@guvax.georgetown.edu   |                 -me
>
>
From: jbart@oakhill.sps.mot.com (John Bartholomew)
Newsgroups: rec.music.bluenote
Subject: Miles and "commercialism" (was: Keith Jarrett in Sun [8/16] NYT)
Date: 19 Aug 92 18:50:19 GMT
Distribution: na
Organization: Motorola Inc., Austin, Texas

In article <1992Aug16.203853.28786@pasteur.Berkeley.EDU>
	      charless@cory.Berkeley.EDU (Charles R. Sullivan) writes:
> One strange thing is that [Jarrett] holds up Miles Davis as an example
> of a true artist, untainted by commercialism.  To me, Miles seems to be an
> strange contradictory example of both true artistry and commercialism, in
> various mixes on different projects at different times.  Jarret could have
> found a better example.

In article <1992Aug17.142626.14231@sarah.albany.edu>
	      rstump@itchy.geog.albany.edu (Roger Stump) replies:
> I think that Miles is a very good example of what Jarrett was talking about
    [...]
> [Davis] never changed the way *he* played simply to sell more
> albums or to make his music more palatable to others.

First, Davis was a complex character.  The man's accomplishments and 
contributions are beyond dispute, as is his insistence on dignified treatment
of black artists.  However, he clearly *was* interested in making his music
more palatable to the "wider audience" (whiter audience?) and for proof one
has merely to read the man's own words.  

In his autobiography, he relates how in 1947 he met Gil Evans, who was then
arranging for Claude Thornhill's band.  The next year Evans, Davis, and Gerry
Mulligan formed a nine-piece group which mostly rehearsed, but played the
Royal Roost for a two-week stint.  Pete Rugolo of Capitol heard them there
and liked the group enough to suggest that a recording be made whenever the
recording ban then in effect would be lifted.  That eventually transpired and
the result was what we now call "Birth of the Cool," a record viewed 
reverentially by the jazz community in general.  Davis puts an interesting
perspective on the foundations of this record and the reasons for its success.

   "Bebop didn't have the humanity of Duke Ellington.  It didn't even
    have that recognizable thing.  Bird and Diz were great, fantastic,
    challenging--but they weren't sweet.  But 'Birth of the Cool' was
    different because you could hear everything and hum it also."
    ...
   "And that's why I think it got over like it did.  White people back
    then liked music they could understand, that they could *hear* without
    straining.  Bebop didn't come out of them and so it was hard for many
    of them to hear what was going on in the music.  It was an all-black
    thing.  But 'Birth' was not only hummable but it had white people
    playing the music and serving in prominent roles.  ...  We shook
    people's ears a little softer than Bird or Diz did, took the music
    more mainstream.  That's all it was."

The question is not, I submit, whether or not configuring ones art to appeal
to a wider audience makes it somehow "tainted," but rather whether or not the
end result (the music) stands critical scrutiny on its own merits.

John Bartholomew
From: kamine@is.rice.edu (Jorge Hershel Kamine)
Newsgroups: rec.music.bluenote
Subject: Re: Looking for name of guitarist
Date: 17 Aug 1992 16:57:30 GMT
Organization: Rice University

In article <1992Aug14.182714.29939@exu.ericsson.se> exujsch@exu.ericsson.se writes:
>Maurice writes:
>could remember to program my VCR to record it).  Hiram has been associated
>w/ Sanborn for awhile now.  I saw Hiram on a Sanborn tour back in approx.
>'86 here in Dallas.  Hiram dang near stole the show.  [Incidentally, this
>was *by far* the best live performance I've ever heard/witnessed by
>anybody, anywhere, anytime.  David, do you need a drummer for your next
>tour?]  Hiram's also a big session man, as are Sanborn and most of the
>people he plays with.
Was David Sanborn also an original member of the Letterman band?

-- 
*******************************************************************************
*       Jorge Kamine Arreola      * "An eye for an eye leaves two men blind."  
*       email: kamine@is.rice.edu *  -Edward James Olmos   
*******************************************************************************
From: gwl%wave3_1@CONCERT.NET (Glenn Lea)
Newsgroups: rec.music.bluenote
Subject: Re: Robert Johnson Video
Date: 13 Aug 92 12:01:49 GMT
Reply-To: gwl%wave3_1@concert.net

>>>>> On Wed, 12 Aug 1992 18:16:34 GMT, wave3_3!ritvax.isc.rit.edu!whc2993 said:

  B.C.> 	There is supposed to be a new video out soon called The Search For
  B.C.> Robert Johnson, does anyone know about this video like when it is supposed to
  B.C.> be out?  I wonder if most record stores will carry it because many people don't
  B.C.> know who RJ was. I haven't been able to find  a recent biography of RJ's life
  B.C.> which is also titled The Search For Robert Johnson at any book stores. 


The video is out now.  I saw it for sale at Tower/Boston last night.  

The book is by Peter Guralnick.  I see it all the time in the Boston
area.  It's a short (under 150 pages) hardcover, lists for about $14.
You can order it from Wordsworth, (who discount all hardcovers 15%),
1-800-899-2202.  (I'm not affiliated with them, I just spend money
there.)

--------------------------------------------------
Glenn Lea - reply to gwl@wavetracer.com
Wavetracer, Inc.
Newsgroups: rec.music.bluenote
From: jkiparsk@Csli.Stanford.EDU (Jonathan Kiparsky)
Subject: Re: history of BLUES music
Organization: Stanford University CSLI
Date: Sun, 23 Aug 1992 08:10:24 GMT

Some people I would reccomend are Skip James, Bukka White, Gary Davis, Sonny
Terry(harmonica), Mississippi Fred MacDowell, and Blind Willie McTell, just
as a starter.
-jon
From: bret@tfd.COM (Bret Weinraub)
Newsgroups: rec.music.bluenote
Subject: Re: Gil, Jimi and Miles
Summary: huh
Date: 14 Aug 92 22:37:16 GMT
Organization: Twenty-First Designs, Wash, DC

In article <weUHhi600aPCRYekci@cs.cmu.edu>, Thomas.Sullivan@cs.cmu.edu writes:

> Hendrix was starting to get more jazzy just prior to his death.  I think
> we
> might have seen Jimi dabbling in some of the 70's funk (maybe not quite
> disco)

Interesting comment.  Pre-Are You Experienced recordings show Hendrix
already "dabbling" in "70s funk".  Check out the Columbia 'Early
Instrumentals' tape that can be found in bargain tape bins.  Hendrix's
use of wah-wah established THE funk cliche.  Hendrix's later recordings with
the Band of Gypsies are both funky sounding, as well as lyrically
congruent with the 'Groove as Spiritual Liberation' philosophy
that has propelled George Clinton and his umpteen disciples.
Specifically, the repeated chant on 'Band of Gypsies', "With the power of soul,
anything is possible!"  Especially considering Hendrix was working more
and more with African-American musicians in the time closest to his death,
I don't think it would have been unreasonable to have seen Hendrix
collaborating in the early seventies with Funkadelic.

BTW, what is disco if not funk?  Disco is one of those meaningless musical
terms that actually refers to a fashion style, like NEW WAVE or
progressive.


 ~~~~~~
~~~~~ o
~~~@   >
~~~   =         bret d weinraub	        bret@tfd.com
 ~~\__}
 ~~
 ~
From: n5ppm264 (Charlie Board)
Newsgroups: rec.music.bluenote
Subject: Re: Frogman in the movies?
Date: 19 Aug 92 21:44:25 GMT
Organization: bnr

In article <1992Aug19.171226.29723@paramount.nikhefk.nikhef.nl>, templon@paramount.nikhefk.nikhef.nl (Jeffrey Templon) writes:
> 
> Sorry, I don't know the movie, but it is Clarence "Frogman"
> Henry, not James.  He also had a song that was a hit called
> "I don't know why I love you but I do".  I found out
> about him a few years ago, when I decided to chase down
> all the musical references in Jimmy Buffett's songs.
> He mentions him in the song "Saxophone""
> 
> 	I cut my teeth on Gumbo Rock,
> 	Bennie Spellman (??) and Dr. John,
> 	Sweet Irma Thomas and Frogman Henry
> 	Used to boogie-woogie all night long
> 
> I managed to find both Thomas and Henry on a compilation
> of New Orleans R&B from the 50's -- very nice.
> Anybody know who the Spellman character is?

Benny Spellman had a cool "hit" (peaked at #80 US)  in 1962 with "Lipstick 
Traces (On A Cigarette)", which I think was later covered by the O'Jays. I
got it on a ?Capitol? various artists album called "Ooh Poo Pah Doo - Early
60's Soul" which came out around the same time as the Rhino "History Of New
Orleans R&B" LP's I think you're referring to above. Don't know if it ever
came out on CD, but it's a GREAT album.
> 
> 					JT
> 
> There is a lip-synch of an old R&B number in "Pretty in Pink"
> (a Molly Ringwald film) but I don't think it was this song.
> A great scene though.  Maybe it's the one your friend is
> thinking of.
> 
> 
> 
Newsgroups: rec.music.folk
From: djb@mailer.cc.fsu.edu (David Brightbill)
Subject: Re: typical irish music ?
Organization: Florida State University
Date: Tue, 18 Aug 92 03:58:51 GMT

Check out almost anything by the Boys of the Lough.
From: pjr@splash.Princeton.EDU (Peter Rayner)
Subject: review: Richard Shindell ``Sparrows Point"
Originator: news@nimaster
Organization: Princeton University
Date: Fri, 14 Aug 1992 20:10:51 GMT

This is a record I haven't heard discussed on this group so I thought
a brief review might be in order.  

To my knowledge Shindell first turned up on one of Shanachie's
compilations of new singer/song-writers and it was Gene Shay playing a
couple of his tracks from this on WHYY which first alerted me.  "Are
you happy now" which opens "Sparrows Point" was also on that
compilation I believe.  When I first heard it I couldn't decide
whether the writer had had a very bad time or was viciously sending up
the rash of Sensitive New-age Break-up Songs (SNABUS).  Now I know.
For the next 50 odd minutes Shindell goes through the mill and drags
you right along with him.  To hell with "Two Live Crew", this one needs
a health warning.  

Musically it's Fairly simple.  "Howling at the Troubles" is a
song I can just about see on an old Eagles record but that's
about the richest song for instrumentation.  Usually it's's mainstream
American folk, guitars bass and a fiddle or two.  My main complaint
against the album is that it's a bit musically homogeneous.

The lyrics are generally wonderful. In lots of cases he will sacrifice
rhyme to leave the best word, an exemplary habit.  The opening track
is perhaps the best crafted but my personal favourite is track #4
which provides the title for the whole set (I will bet lunch that June
Tabor will perform this song).  This song and "Kenworth of my dreams"
are stories (one even threatens to end well), there is what looks like
a love-song for a new child, a song about a courier in the Great War and
a compliment of conventional if tortured love-songs.  The last song
simply describes someone picking up a hitch-hiker and evokes
loneliness and flight with very few brush strokes.

So I recommend this one with a warning to those who don't like the
gratuitously maudlin.  It suits me fine.
-- 
Peter Rayner Program in Oceanic           | "All right, I retract, the 
and Atmospheric Sciences Princeton        | Honourable Member does *not* have
University                                | the brains of a monkey." F.Daly
Newsgroups: rec.music.folk,soc.culture.celtic
From: witters@tc.fluke.COM (John Witters)
Subject: On Tour: The Celtic Fiddle Festival
Followup-To: rec.music.folk
Keywords: Folk, Celtic, Irish, Scottish, Breton, Music
Organization: John Fluke Mfg. Co., Inc., Everett, WA
Distribution: na
Date: Wed, 19 Aug 1992 01:42:36 GMT


I found the following in a flyer I received from Green Linnet Records.  The
typing errors are probably mine.


	The Celtic Fiddle Festival
	Kevin Burke -- Ireland
	Johnny Cunningham -- Scotland
	Christian LeMaitre -- Brittany

	Oct.

	30	Portland, OR
		Northwest Service Center
		(503) 283-2688

	31	Vancouver, B.C.
		W.I.S.E. Hall
		(604) 736-3022

	Nov.

	1	Seattle, WA
		The Backstage
		(206) 789-1184

	2	Mt. Vernon, WA
		Lincoln Theater
		(206) 336-2858

	6	Somerville, MA
		Somerville Theatre
		(617) 876-4275

	7	New York, NY
		Symphony Space
		(212) 545-7536

	8	Philadelphia, PA
		Site TBA
		(215) 647-0160

	10	Durham, NC
		Duke University
		(919) 684-6654

	11	Vienna, VA
		Wolf Trap Barns
		(703) 255-1902

	13	Kansas City, MO
		Community Christian Church
		(816) 361-8166

	14	St. Louis, MO
		St. Louis Brewery and Tap Room
		(314) 726-4707

	17	Toronto, Ontario
		The Irish-Canadian Centre
		(416) 762-2858

	18	East Lansing, MI
		Fairchild Auditorium, Michigan State University
		(517) 355-6540

	19	Ann Arbor, MI
		The Ark
		(313) 761-1800

	20	Chicago, IL
		Old Town School
		(312) 525-7793

	21	Dayton, OH
		Dayton Art Museum
		(513) 223-3655

-- 
    *  *  *		John Witters			voice:	(206) 356-5274
  *  \      *		John Fluke Mfg. Co. Inc.
 *    \      *		P.O.B. 9090 M/S 241F		fax:	(206) 356-5116
*   DRIVING   *		Everett, Washington  98206-9090	     or (206) 356-5174
 *      \    *
  *      \  *		domain:	witters@tc.fluke.COM
    *  *  *		uucp:	{sun,microsoft,uw-beaver}!fluke!witters
Hi! I'm a .signature virus!  Add me to your .signature and join in the fun!
Organization: Penn State University
Date: Fri, 14 Aug 1992 07:31:56 EDT
From: <TMH1@psuvm.psu.edu>
Newsgroups: rec.music.folk
Subject: Folk music in Boulder Sept. 9-14?

I'll be visiting friends in Boulder Sept.  9-14 and I'm wondering if any
noteworthy Folk folks will be performing then.  We know about the folk and
bluegrass festival that weekend, and we'll probably catch some of that.  But
I'm wondering if, say, Tim and Mollie O'Brien will be performing in town at
any point that week.  (They live in Boulder, right?) Or anyone else of note?

Please reply by e-mail.  Thanks!
Newsgroups: rec.music.folk
From: judym@col.hp.com (Judy Miller)
Subject: Re: Fingerstyle Acoustic Guitarist discographies
Date: Fri, 14 Aug 1992 18:44:31 GMT
Organization: HP Colorado Springs Division

spp@zabriskie.berkeley.edu (Steve Pope) writes:
> Is it just me, or is there anybody else who absolutely
> hates the phrase "fingerstyle guitarist"??  Is this
> really accepted terminology?  *gack*
> 
> Nobody but me cringes at this lable?   Sorry then,
> back to lurking....
> 
> Steve

I just read in a flyer from Shanachie records about four albums
featuring what they called "fingerpicking guitarists".
I believe it was reproduced from Rolling Stone.

It has to do with the American south playing guitar to emulate a
fiddle.

Anyways, I retrieve it from home and will post more info, like the titles.

Judy
Newsgroups: rec.music.folk
From: knossos@milton.u.washington.edu (Judy Broocks)
Subject: John Michael Talbot
Reply-To: knossos@u.washington.edu
Organization: University of Washington, Seattle
Distribution: na
Date: Thu, 13 Aug 1992 16:06:54 GMT

The group John Talbot belonged to was Mason Profitt (maybe I spelled it
wrong?).  They used to be-and still are-one of my favorite groups.  Their
country-rock style could get the crowds happy and rowdy in no time at all.
Terry Talbot, John's older brother was (is?) an incredibly charismatic
performer! The main message was that of non-violence and the quest for
justice and peace.  Quite appropriate for that period in history.

The rumor was that after a member of the group died from an overdose, the
rest of the group "got religion."  It did crop up on their albums--some
Jesus-oriented music.  It wasn't overdone, and it fit in nicely with the
other album cuts.

John Talbot eventually became a monk (Franciscan?), no doubt much to the
dismay of lots of the female fans!

My brother has been keeping his eye open in the Chicago area, where they
performed a lot, for any re-releases of their music.  He has evidently
been unsuccessful thus far.  Don't know what kind of effort he's putting
into the search, however.  As for myself, I WOULD be interested in finding
any of Mason Profitt's old albums on CD, if anyone has heard they exist.

Judy Broocks
knossos@u.washington.edu
Newsgroups: rec.music.folk
From: sorsha@wam.umd.edu (Laurie Beth Brunner)
Subject: Steeleye Span lyrics/music
Summary: I want them! :)
Organization: University of Maryland, College Park
Date: Mon, 17 Aug 1992 03:54:25 GMT

I love Steeleye Span's music...introducing me to them was one of the
few good things my psycho-ex bf ever did for me. :)  Two of my albums
have the lyrics printed in them, my third one doesn't.  As I often find
the lyrics hard to understand without months of listening, I would like
to find them in a book or an ftp site (I'd prefer a book).  Printed
music is also desirable.  Thanks for any help anyone can give.

The Giver Goddess
-- 
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
Send burnt offerings to....."If love is a grenade,.........Ahead groove......
..sorsha@wam.umd.edu......I'll pull the pin." B-52's....factor five! -Holly..
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
From: bermes@cbnewsc.cb.att.com (Terry Bermes)
Newsgroups: rec.music.folk
Subject: Re: typical irish music ?
Date: 18 Aug 92 18:01:53 GMT
Organization: AT&T Looney Bin

From article <1992Aug14.082351.8402@cicb.fr>, by moisan@cicb.fr (Herve Moisan -  stagiaire CICB):
> can somebody say to me what groups are the best irish groups (or
> scottish)?
> 
> i want to buy some tapes and i have no idea which one are the best ...
> (CLANNAD , THE CHIEFTAINS ?)


	My recommendations are the Bothy Band and Planxty (both defunct),
DeDannan, anything with Kevin Burke, Jackie Daly, Micheal O'Dohmnail,
Triona Ni'Dohmnail, or Donal Lunny, Silly Wizard, Touchstone (now defunct
but a great band nonetheless), Arcady....

terry
From: geb@dsl.pitt.edu (gordon e. banks)
Newsgroups: rec.music.folk
Subject: Re: Seeking a good banjo book
Keywords: fee, fi, fiddley-i-oh
Date: 17 Aug 92 15:30:50 GMT
Distribution: na
Organization: Decision Systems Laboratory, Univ. of Pittsburgh, PA.

In article <4547@news.duke.edu> tbd@neuro.duke.edu (Tristan Davies) writes:
>I've had a banjo for a couple of years now, but haven't gotten
>too far learning it.  I got an instruction bok for the
>3-finger method when I got the banjo, but lately I've been
>thinking that it might be better (and easier) to learn
>chords first, then add the finger rolls later.
>So I'm looking for recommendations for books that focus
>on learning chords, sort of the Pete Seeger type of
>banjo playing, I guess. (By the way, can someone tell me
>what clawhammer banjo is?)
>

Pete Seeger's book starts out with chords, but chords aren't
nearly as useful on the banjo as on the guitar, and you won't
want to go very far with that.  One good elementary book
is the one by Tim Jumper (How to Play Banjo, I think).  
Seeger's is a bit too densly packed, I think, but you may
find it useful also.  Jumper's book starts you out with
Seeger-style up picking, then goes on to clawhammer and
then 3-finger style.  Clawhammer is the old-time African
way of playing the instrument, and still, in my opinion,
the best way to play it to get the rhythm the instrument
is made for.  In clamhammer, you strike the melody strings
with the back of your fingernail of the index (or middle)
finger and the 5th string with your thumb.  Occassionally
the thumb may play one of the other strings, too.  The
major motion in playing clawhammer is the motion of the
whole arm which gives the rhythm.  The fingers and thumb
are kept pretty still.

Better yet, take lessons.  Many folk music societies
have group lessons for beginners and it would be incredible
if the the Durham area you couldn't find these.
-- 
----------------------------------------------------------------------------
Gordon Banks  N3JXP      | "Skepticism is the chastity of the intellect, and
geb@cadre.dsl.pitt.edu   |  it is shameful to surrender it too soon." 
----------------------------------------------------------------------------
Newsgroups: rec.music.folk,soc.culture.celtic
From: wagner@unity.cs.umn.edu (Paul Wagner)
Subject: Re: Dan Ar Bras solo albums?
Organization: University of Minnesota, Minneapolis, CSci dept.
Date: Tue, 18 Aug 1992 20:02:12 GMT

In article <17AUG199215410113@yin.irisa.fr> cedelle@yin.irisa.fr (Alain Cedelle) writes:
>
> There is only one album that i know, from Dan Ar Bras, it's _Septembre bleu_.
> I really like it, but i'm unable to say if it's better than any other ...
>
>a.c.

A friend of mine has another called "Musique pour les silences a venir".
If "Acoustic" is too acoustic for you, you should like this one - more
energy, and nice electric guitar work.

Paul

--
* Paul J. Wagner                School   - wagner@cs.umn.edu              *
* Computer Science Department   Work     - pwagner@uwstout.edu            *
* University of Minnesota                                                 *
*    *     *    *     *     Reboot the system     *     *     *     *     * 
Newsgroups: rec.music.folk