HDTenEightyP/NetNews huggingface dataset:
From: rnelson@UC.D.UMN.EDU (Ron Nelson)
Newsgroups: rec.music.bluenote
Subject: Re: BLUES HARMONICA
Date: 9 Sep 92 18:36:20 GMT
Organization: University of Minnesota, Duluth. Information Services.

In article <1992Sep8.162354.3153@ultb.isc.rit.edu> B.C writes:
>BTW  I'm in the process of learning to play blues harp right now does any one
>have any suggestions on books.  I'm playing a Hohner Marine Band right now but
>it doesn't sound as 'Bluesy' as most recorded music sounds.  The local music
>store has several harmonicas but you can't play them (health reasons) without
>buying them.  Hohner makes a blues harp for about $17.00 and I've seen Lee
>Oskar harps.  Hohner also makes "Cross Harps" which are about $40.  I wonder
>why it is so much more money?  Does anyone know anything about any of these?  I
> play cross harp not really straight harp if you know what that means.
>	                                  		B.C.

When I talked with James Harmon, he advised me to stick with the Marine Band.
saying that it was the harp that all the great old blues artists used.  He
then went off to slam most of the other harps Hohner tries to sell.  
(James Harmon is a fairly successfull blues harp player, with recordings 
with many of the big names of blues as well as leading his own band.  If
he plays in your area, catch him!)

Of course, a lot of the blues sound comes from it being amplified with
a good harp mike.  But I've used Special 20's successfully too.  I seem
to get a decent seal from the plastic body, with no gaps to catch the
lips.  I dunno, more a matter of taste.  Hohner's "Blues Harp" is a
smaller harp with a wood body.  The reeds are weaker, making it a lot
easier to bend right out of the case.  'Course, you go through them a
lot faster too.  

Harmon said that Oskar was a good "harmonica" player, but that he (Harmon)
was a harp man.  Take that as you want for his harps.

Talking about tasty blues, does anyone here like Buddy Guy and Junior Well's
album _Alone and Acustic_ as much as me?  Just Buddy Guy on acustic guitar
with Junior Wells on unamplified/distorted harp.   Mmmm good!  It's on
Aligator, and I think one of the best tapes I've bought this year.
(What I would give for Buddy's sense of time!)

Hope this helps,

Ron

-- 
  Ron Nelson                   Jake liked his women the way he liked  
  rnelson@arnold.d.umn.edu     his kiwi fruit: sweet yet tart, firm-
  108 Heller Hall              fleshed yet yielding to the touch, and 
  10 University Drive          covered with short brown fuzzy hair.
  Duluth MN  55812

		"I've already explained this once, but repetition is
		the very soul of the net."		(from alt.config)
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Newsgroups: rec.music.bluenote
Subject: Re: laser disc: Cecil Taylor, Paul Bley, Archie Shepp
Date: 15 Sep 92 00:41:24 GMT
Distribution: usa
Organization: Educational Computing Network

In article <RSHAPIRO.92Sep14165754@kariba.bbn.com> rshapiro@bbn.com (Richard Shapiro) writes:
>In the laser disc store this afternoon, I saw a Criterion disc which
>seems to feature performances by Cecil Taylor, Paul Bley, and Archie
>Shepp (not together). That was all I had time to find out about it.
>Anyone know anything further about this item?

And Bill Dixon.  It is called Imagine The Sound.  Produced by the Coda
publisher Bill (?) Smith.  There are recordings of these artists in the
studio, and interviews where the artists discuss the history of the
music, and their own perpectives of what this music means.  Favorite
quote comes from Bill Dixon:  "I'd like to be rich.  Filthy Rich.  But I
am not going to do what you have to do to be rich.  Still, I'd like to
have my own instition." (paraphrased)

I have been able to rent it on video, but I also saw it from the film.
Cecil does solo with some mixing in of dance and poetry on some
selections.  Bley also does a solo, and Dixon uses a trio with Art Davis
on bass.  Shepp brings in his band from the time, the late 70s, which was
Kenny Werner, Santi De Briano.

It is great to see.

Jeff
From: mlj@po.CWRU.Edu (Marcus L. Just)
Newsgroups: rec.music.bluenote
Subject: Tell me about Paul Williams...
Date: 11 Sep 1992 15:51:04 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: thor.ins.cwru.edu


Hello,

 I was listening to the radio the other day and I heard
a fabulous cover of Robert Johnson's "Terraplane Blues."
The dee-jay said it was done by "Paul Williams and Friends," and
off an album called "In Memory of Robert Johnson."  I looked
around for more Paul Williams stuff but I couldn't seem to find
much.  I would be grateful to anyone who could give me a run-down
on Mr. Williams and his Friends.  Discographies and C.D. 
recommendations would be the best.  

Thanks,
-- 
Marcus Just: mlj@po.cwru.edu: Computing Support: Wickenden 319:
From: gwl%wave3_1@CONCERT.NET (Glenn Lea)
Newsgroups: rec.music.bluenote
Subject: Downbeat -- Shipp again
Date: 10 Sep 92 12:59:38 GMT
Reply-To: gwl%wave3_1@concert.net

New Downbeat has a brief Riffs article on M. Shipp and mentions a new
Silkheart release (Sandeep was right).  Another brief Riff on Barry
Guy, an Abdullah Ibrahim article and "in the studio" impressions of
the Hal WilLner's Mingus tribute "Weird Nightmare", (due the 22nd).

But the Breckers on the cover?

Hey, Gidi, another blockbuster night of great jazz on NBC: Dirty Dozen on
Leno, Pat Metheny on Letterman.  Who needs New York?  :)

--------------------------------------------------
Glenn Lea - reply to gwl@wavetracer.com
Wavetracer, Inc.
Newsgroups: rec.music.bluenote
From: glazer@spot.Colorado.EDU (GLAZER STACEY ANN)
Subject: A few new cds (for James Barnett)
Organization: University of Colorado, Boulder
Date: Sun, 6 Sep 1992 22:41:34 GMT

I just picked a couple of new cds and am very pleased with my selections.
On the recommendations of other people on the net, I picked up Butch Morris',
"Dust to Dust".  I am very impressed with this work.  The pieces seem so well
conceived.  I would like to know how much is spontaneous ensemble work and how
much is pre-conceived (the ensemble sound).  The structure of the ensemble
intrigues me - interweaving of the various instruments.  I would love to see
Morris perform live.

I also picked up a DIW/Columbia release of the fine tenor player David S. Ware.
A couple of the pieces have the rhythm section (Matthew Shipp, William Parker,
Marc Edwards) setting up a spacey feel while Mr. Ware blows on top.  He also 
does very nice renditions of, "There Will Never be Another You" and "Yesterdays"
A nice balance between new material and standards.  I personally am more
interested in new sounds, new material, new structures.  For those who enjoy
a very large tenor sound with some free interplay between musicians, I would
recommend the Ware release.

I'm really enjoying Matthew Shipp's playing - I've heard his name before but
have not heard his playing.  Anybody have more info on him?

Also picked up the David Murray special edition quartet w/McCoy and Elvin Jones.
A very nice release but what's the deal with the fadeouts - right in the middle
of some frantic Murray sounds they cut the piece - I mean there's plenty of 
space remaining on the cd, let them play.

Having fun though.

James Barnett.
From: tallman%ailanth.uucp@wang.com (Robert Oliver)
Newsgroups: rec.music.bluenote
Subject: Re: Comments on Pat Metheny
Date: Sat, 12 Sep 92 23:35:53 EDT
Organization: Ailanthus Project

rob@xyzoom.info.com (Rob Lingelbach) writes:

> In article <malcolm.716271167@wrs.com> malcolm@wrs.com (Malcolm Humes) writes
> >pvallado@sdcc13.ucsd.edu (Paolo Valladolid ) writes:
> 
> >Wichita) (sp?) release. I'd appreciate some pointers to other Metheny
> >that I might enjoy, especially dirty noisy dissonant stuff or things 
> >leaning to McLaughlin's neighborhood. My impression is he doesn't
> >do a lot of music like that on his recorded works. 
> 
> No, but usually does one or two darker, dirtier tunes live.  Check out
> the cut "Offramp" from the album of the same name.  That album also
> has what I consider his best tune ever, "James", which is of the
> opposite flavor (light & beautiful).  "Offramp" was released a year
> after "Wichita", in 1982.
> -- 
> Rob Lingelbach KB6CUN | 2660 Hollyridge Dr LA CA 90068 213 464 6266 (voice) 
> rob@xyzoom.info.com   | "I care not much for a man's religion whose dog or 
> robl@netcom.com       |  cat are not the better for it."  --Abraham Lincoln

If you want dissonant try "Song X" by Pat and Ornette Coleman. The whole 
album is basically noise. I have yet to actually listen to the whole 
thing as I can't stand it.
From: mjs@hpfcso.FC.HP.COM (Marc Sabatella)
Date: Wed, 9 Sep 1992 16:00:20 GMT
Subject: Re: Coltrane recommendation...
Organization: Hewlett-Packard, Fort Collins, CO, USA
Newsgroups: rec.music.bluenote

In rec.music.bluenote, wjh@cbnewsl.cb.att.com (william.j.hery) 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.
> 
> The only thing that he did that even comes close to this in style (namely,
> a larger ensemble with some fairly structured compositions/arrangements
> that Trane solos over) is OLE on Atlantic. But even that is a smaller
> group (of great musicians like Dolphy and Hubbard), and is somewhere
> between Africa and Trane's early 60s quartet/quintet (with Dolphy) work.

On the other hand, the original posting mentioned having liked Trane with
Miles, meaning he may be entirely unfamiliar with any of the Quartet
recordings.  In which case, I'd recommend "Impressions" and "A Love Supreme"
as the most stylistically similar, even if they lack the brass accompaniment.

PS - Welcome back, Bill, perhaps belatedly, but I think this is the first
     set of postings I've seen since before you left...
From: mjs@hpfcso.FC.HP.COM (Marc Sabatella)
Date: Fri, 4 Sep 1992 17:16:06 GMT
Subject: Re: ex ECMers (Re: Gary Burton fans?)
Organization: Hewlett-Packard, Fort Collins, CO, USA
Newsgroups: rec.music.bluenote

In rec.music.bluenote, blindsay@bmerh9f5.bnr.ca (Brian Lindsay) writes:

> Would anyone care to comment on the 1980's exodus of a number of ECM
> artists who left after a fruitful and prominent association with the label. I'm thinking
> of Pat Metheny, Jack DeJohnette, Gary Burton, Bill Frisell, maybe 
> Oregon, Lester Bowie, and Art Ensemble Of Chicago (What a lot of talent to lose)
> 
> Metheny is still hit-and-miss with me, and Frisell continues to impress, but
> I think for the most part these artists have all suffered after
> escaping Eicher. (Haven't heard any post-ECM AEOC though).

I tend to not notice label associations all that much.

I continue to be blown away by Jack DeJohnette.  Are Keith Jarrett's Standards
stuff on ECM?  They are definitely a different sound than his original ECM
recordings.
Newsgroups: rec.music.bluenote,rec.music.classical,rec.music.folk
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: train song tape finished
In-reply-to: dbarker@spang.Camosun.BC.CA's message of Tue, 8 Sep 1992 20:00:40 GMT
Organization: pubs
	<1992Sep8.144656.11267@menudo.uh.edu>
	<1992Sep8.200040.736@spang.Camosun.BC.CA>
Date: 8 Sep 92 16:57:42 CDT

Deryk Barker writes:

   Did nobody mention "Last train to Clarksville" by the Monkees? (A
   place, apaarently, where there never *was* a railway station)

There are several Clarksvilles: Iowa, Missouri, Texas, Virginia and
Tennessee.  Surely some of them had stations in the heyday of trains?

Chris Brewster
cb@cray.com
Newsgroups: rec.music.bluenote
From: smehta@kwela.nynexst.Com (Sandeep Mehta)
Subject: Re: Evan Parker (was: Cecil on FMP)
Reply-To: smehta@nynexst.com
Organization: Speech Technology, AI Lab, NYNEX S&T Inc, White Plains, NY
	<RSHAPIRO.92Sep9181454@pilsner.bbn.com> <1992Sep10.141102.15329@bnr.ca>
	<RSHAPIRO.92Sep10142155@kariba.bbn.com>
Date: 10 Sep 92 17:54:30


> rshapiro@bbn.com (Richard Shapiro) writes:

> I found this a little tedious - I don't think Parker does his best
> work in a solo setting (with or without multi-tracking). He seems to
> need another player to work with, or against.

I think MONOCEROS (Incus 27) is pretty good although I bought it at
the same time as an LP by another Brit soprano saxist - Lol Coxhill's
solo album on Shock from 1990 which I prefer over Parker's even if it
is for melodic reasons. I even recall the latter making Milo Fine's
Best of 1991 list (gasp! ;-)).

/sandeep
--
smehta@nynexst.com
--
"An artist is never ahead of his time but most people are far behind theirs."
	-- Edgard Varese
From: rshapiro@bbn.com (Richard Shapiro)
Newsgroups: rec.music.bluenote
Subject: laser disc: Cecil Taylor, Paul Bley, Archie Shepp
Date: 14 Sep 92 23:57:54 GMT
Distribution: usa
Organization: BBN, Cambridge MA
NNTP-Posting-Host: kariba.bbn.com

In the laser disc store this afternoon, I saw a Criterion disc which
seems to feature performances by Cecil Taylor, Paul Bley, and Archie
Shepp (not together). That was all I had time to find out about it.
Anyone know anything further about this item?
Newsgroups: rec.music.bluenote
From: gidi@Hilbert.Stanford.EDU (Gidi Avrahami)
Subject: Ahmad Jamal (& the Crouch)
Organization: Brotherhood Of Breath
Date: Thu, 10 Sep 1992 15:53:33 GMT

mjs@hpfcso.FC.HP.COM (Marc Sabatella) writes:
>I just picked up a reissue of some Ahmad Jamal
>sides called "Poinciana".  I'm not sure if this is related to any album of that
>name that might have been released decades ago - these are trio recordings with
>guitar and bass from the early 1950's.

Is this the one on Portrait?  With, uh, Billy Boy, Slaughter On 10th
Avenue, Girl In Calico, etc?  If it is, then it's completely different
from the old black and white Chess album, which has no guitar but does
have a longish Autumn Leaves.

>  Anyhow, the reissue notes are by
>Stanley, and did you know Ahmad Jamal is the single most influential jazz
>musician since Charlie Parker?  I certainly didn't, and I'll bet neither Miles

Funny you should say that, because it seems that Miles really liked
Ahmad Jamal and was influenced by him.  (Ian Carr makes the full list
of songs that Miles picked up after Jamal did them).  And Red
Garland's work for Miles was certainly influenced by Jamal (need I
mention Billy Boy on MILESTONES?) which of course influenced Bill
Evans and Wynton Kelly and Hancock and Keith Jarrett...

So, yes, Ahmad Jamal was pretty influential, in a quiet sort of way.
I wouldn't burn Crouch in effigy for *this* statement.

Hey -- I admit -- I really like Jamal.  A couple of years ago I said
on the net that I'd write him in for the Downbeat hall of fame and the
net.wisdom almost crushed me with abuse...  I'd be worried that I am
on Crouch's side in this debate, but luckily I know that he's just a
hack who will write pompous liner notes about anyone who pays, whether
that artist deserves them or not.

--Gidi

PS:  The Dirty Dozen Brass Band have been on the Tonight Show at least once
     in the B.L. era (before Leno).  Don't be a Crouch -- don't credit
     the Marsalises with everything that is good about jazz in this world!
From: gwl%wave3_1@CONCERT.NET (Glenn Lea)
Newsgroups: rec.music.bluenote
Subject: Letterman
Date: 14 Sep 92 12:09:05 GMT
Reply-To: gwl%wave3_1@concert.net

>>>>> On Sat, 12 Sep 1992 18:42 EDT, wave3_3!BINAH.CC.BRANDEIS.EDU!RARDIN said:


  Lynn> Whoever announced Pat's appearance on David Letterman, thank you!
  Lynn> Seeing him jam with Paul's band was a treat!  Too bad we didn't get
  Lynn> to see more of him and too bad David didn't take the time to
  Lynn> interview him.

Y'er welcome.  As for Letterman, I think it's obvious the guy has no
interest in music whatsoever, though someone in his organization is
pretty hip as to who to invite on the show.  But the musical guest is
always last and only gets one brief moment, always accompanied and
upstaged by the world's most selfserving band.

G
Newsgroups: rec.music.bluenote
From: gidi@Hilbert.Stanford.EDU (Gidi Avrahami)
Subject: Re: Where is Jazz?
Organization: Brotherhood Of Breath
Date: Tue, 8 Sep 1992 23:18:16 GMT

sue@snafu.seada.com (Sue Raul) writes:
>I want to hear live music from people like [...]
>Where should I be living? 

According to recent postings on this newsgroup, you can live anywhere
and just watch the Tonight Show.  The readership of RMB seems
unanimous in their orgasmic reaction to Branford's guests and their
three minute spots.


--Gidi
From: sik@grosz.esd.sgi.com (Seth Katz)
Newsgroups: rec.music.bluenote
Subject: Re: Cecil, density (was: Cecil on FMP)
Date: 11 Sep 92 21:46:36 GMT
Reply-To: sik@grosz.esd.sgi.com (Seth Katz)
Organization: Silicon Graphics, Inc., Mountain View, CA, USA

In article <RSHAPIRO.92Sep11125411@kariba.bbn.com>, Richard Shapiro writes:
In article <1992Sep11.152700.5543@ucsu.Colorado.EDU> glazer@spot.Colorado.EDU 
(GLAZER STACEY ANN) writes:
   ... Taylor's quintet "Looking (Berling version) Corona".  The
   density of the quintet recording (bass, violin, cello, drums, and
   piano) is almost too intense

I have exactly the same problem with density in a number of Cecil
Taylor recordings, from the late 70s on. I just can't hear very
clearly what anybody's doing, and I certainly can't hear any subtle
interaction that might be going on between one player and another. On
>I've got the Oxley/Taylor of which I'm very impressed

I've been wondering about this one, as well as the Moholo/Taylor.
Anyone have recommendations, pro or con, regarding the latter?
=-=-=-=-=-
The original poster mentioned also "Unfortunately, I can't here the cello too well"
as if that were a problem with the density.  The Corona session is probably the
worst recording of the FMP Taylor (second only to the other Feel Trio recording, in
which we really get a shallow recording of Taylor and Oxley).  

It's not that FMP can't do a decent recording of a large group- the 
European Orchestra (which I listened to this morning on the way to work) 
recording is clear- one can hear all the players.   Corona is the only Taylor
disk I'd consider dumping.  

I warmed to the Oxley/Taylor duet album in the CT set first, and I still like it.
I am buying what I think of as the best CDs in the set.  Here's what I like best,  
for what it's worth:

Bailey/Taylor
Oxley/Taylor
Honsinger/Parker/Taylor
European Orchestra
something I must be  forgetting :-)

For another great Oxley-and-a-pianist recording, buy Stefano Battaglia's 
recording on Splasc(h).  Great album, fine recording.
=-s
Newsgroups: rec.music.bluenote
Subject: Re: Thou Swell (was: Meet Betty Carter)
From: john@spss.com (John Przyborowski)
Date: Fri, 11 Sep 1992 13:54:32 GMT
Organization: SPSS Inc.

euaaen@eua.ericsson.se (Anders Engwall) writes:

>gallo@almira.asel.udel.edu (Andy Gallo) writes:

>>	I was driving home to Albany from Delaware a few weeks ago and
>>caught a show on I think the Columbia University jazz station of
>>"great women jazz singers", namely (forgive spelling) Sarah Vaughan,
>>Ella Fitzgerald, Billie Holliday, and Betty Carter, who just blew me
>>away.  The tunes they were playing were things like "Thou Swell" (I'm
>>not sure that's the title)

>To deviate somewhat from the subject of Betty Carter: yes, that's indeed
>the title. It's an old Rodgers & Hart evergreen. Myself, I have it on an
>old Supremes LP -- "The Supremes Sing Rodgers And Hart". (OK, you can stop
>laughing now, there actually are some fairly snappy big band arrangements
>on it. Honest.)

>--
>Anders Engwall				Email: Anders.Engwall@eua.ericsson.se
>ELLEMTEL Utvecklings AB			Voice: +46 8 727 3893
>"Alvsj"o, Sweden			Fax: +46 8 727 42 20
>l


Check out Blossom Dearie's recording of that tune--she is just the *best*

john
SPSS
From: vek@spacsun.rice.edu (Vincent E. Kargatis)
Newsgroups: rec.music.bluenote
Subject: Re: A few new cds (for James Barnett)
Date: 10 Sep 92 00:01:05 GMT
Organization: Rice University

hsu@sp1.csrd.uiuc.edu (William Tsun-Yuk Hsu) writes:
> There's another recent Shipp CD on a small east coast label (Riti? or is
> that Joe Morris' label?) It's a trio date with William Parker and a drummer
> (Walt Dickey?) I think the title has "temple" in it somewhere. There's
> a lot of confident, energetic and interesting playing on this, and a few
> less successful spots (like the last piece which drones on for too long).
> Maybe not essential, but worth hearing. Radio people should contact
> Larkin Talent Assoc. to get a copy of this.

CIRCULAR TEMPLE on Quinton Records. With drummer WHIT Dickey. Yeah, it's
worth hearing. Parker does some great work.
-- 
| Vincent Kargatis                      |  "It was jump or die."              |
| Dept. of Space Physics and Astronomy  |                                     |
| Rice University, Houston, TX          |      Marilyn Crispell to Anthony    |
| [vek@spacsun.rice.edu]                |        Braxton on his Comp. 69C     |
Newsgroups: rec.music.bluenote
From: goldrick@ug.cs.dal.ca (Majeed  Goldrick)
Subject: Ornette Coleman
Organization: Math, Stats & CS, Dalhousie University, Halifax, NS, Canada
Date: Fri, 11 Sep 1992 16:06:18 GMT

Hi Everyone,

A couple years ago I picked up one of Ornette Coleman's "earlier"
albums Called "Something Else!" and it blew me away!  I then bought
"Free Jazz" - another great album, IMHO.  But then recently I went
out and bought the album he did a few years ago with Pat Metheney
"Song X" - a lot of people told me that this is a great album, but
I just can't get into most of it.  Just the other day I tried listening
to it again, with the same result.

This got me thinking that I might be missing something - after all,
there is a more than 20 year gap between my selections from Ornette's 
library.  Could anyone suggest some albums that might fill in the enormous
gap?  Maybe someone has a list of their favorite Ornette Coleman
albums.  

Also, while I'm asking, I once read that Ornette Coleman uses/used
the thinnest of reeds and one of those post-war plastic saxes (the name
of which escapes me now) - a la Charlie Parker at Massey Hall.  Does anyone
know if this is so and why?  


Thanks,

Majeed.
Newsgroups: rec.music.bluenote
From: af185@yfn.ysu.edu (Robin L. Gibson)
Subject: WANTED:  ROY AYERS STUFF
Reply-To: af185@yfn.ysu.edu (Robin L. Gibson)
Organization: St. Elizabeth Hospital, Youngstown, OH
Date: Wed, 9 Sep 1992 15:11:17 GMT


Hello!

I am VERY interested in copping some of Roy Ayers' earlier stuff, particularly when Ubiquity was still with him.  I have checked the wrecka stows and none of this material is in print.  Anyone have any information for me?  Advance thanks!

Robin Gibson
-- 
Robin L. Gibson          gibson@email.ncsc.navy.mil

Coastal Systems Station
Panama City, FL  32407-5000
Newsgroups: rec.music.bluenote