HDTenEightyP/NetNews huggingface dataset:
From: by074@cleveland.Freenet.Edu (R. Lynn Rardin)
Subject: Chico Freeman's CHICO
Reply-To: by074@cleveland.Freenet.Edu (R. Lynn Rardin)
Organization: Case Western Reserve University, Cleveland, OH (USA)
Date: Sat, 15 Aug 92 21:49:39 GMT


I picked up a copy of Chico Freeman's CHICO today (India Navigation 
IN 1031 CD) and found that no recording date is given (when will they
learn??).  The lineup is Cecil McBee (b), Muhal Richard Abrams (p), 
Steve McCall (d) and Tito Sampa (perc).  The tunes are "Moments:
a) Generation b) Regeneration c) Reprise", "And All The World Moved" 
and "Merger".  The first two numbers ae extended duets between Freeman
and McBee.  Everyone else appears on the final cut.  I think maybe it was
recorded in the late '70s (maybe 1979).  Does anyon out there have a better
idea?
-- 
 
< R. Lynn Rardin (rardin@auriga.rose.brandeis.edu)  >
< Rosenstiel Basic Medical Sciences Research Center >
< Brandeis University, Waltham, MA                  >
Newsgroups: rec.music.bluenote
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: DIWs
Organization: Educational Computing Network
Date: Mon, 17 Aug 1992 17:30:13 GMT

In article <9208171617.AA21136@wavetracer.com> gwl%wave3_1@concert.net writes:
>Art Ensemble of Chicago, "Dreaming of the Masters Suite: Music
>Inspired by and Dedicated to John Coltrane".  This, the 3rd of their

Do they do Ohnedaruth (sp)?
This is a tune they did on an Atlantic album in the 70s, and it
was a long tune dedicated to Coltrane, with great solos by all.



Jeff
Newsgroups: rec.music.bluenote
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: coming Chicago events
Organization: Educational Computing Network
Distribution: usa
Date: Sat, 15 Aug 1992 00:22:53 GMT

In article <1992Aug14.225117.11179@csrd.uiuc.edu> hsu@sp24.csrd.uiuc.edu (William Tsun-Yuk Hsu) writes:
>Tues. Aug. 25	Hot House Gallery
>
>	Damon Short Quartet (Jeff Beer, are you playing that night?)

Yes.  Brian Sandstrom, from Hal Russell's NRG ensemble will be subbing
for Kohut.  Speaking of which, one of the hottest bands to check out is
Jeff Stitley's quartet.  It is more straight ahead; eveyone plays very
well together.  Ryan Shultz is on bass trumpet, and Kohut on bass, with
John McClean on guitar, and Stitley the leader on drums.  They are at
the Green Mill on August 22.  They will also be on the festival for
labor day weekend.  I hope they are broadcast on NPR.

Of course, Joe Henderson and Al Foster are at the Joecase, with Renee
Rosnes and Larry Grenadier, next week.  I'm not going to miss that.

And Brackets, is at the Bop Shop on Wednesday, August 26.  That will be
Shultz, Dan DeLorenzo on bass, and Mike Raynor on drums.  And me.

I am hoping the Southend has their afterfest jams.  

So August is a good month for jazz in Chicago.

Jeff
Newsgroups: rec.music.bluenote
From: 880139h@dragon.acadiau.ca (Rob Hutten)
Subject: Re: BLUES: Howlin' Wolf vs. Son House
Organization: Acadia University
Date: Wed, 19 Aug 1992 13:05:33 GMT

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

>So, I picked up two CD's recently.  The Howlin' Wolf London Sessions
>and the Library of Congress' Son House Recordings.  The two men have
>very different styles, but they are both playing the blues.  Son House
>was playing a country/rural blues, while Howlin' Wolf plays a more
>urban/Chicago blues.  I was wondering where and why this transition
>in the blues form occurred...  Any comments?

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.

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.

-Rob
-- 
rob.hutten@acadiau.ca  
hutten@agcrr.bio.ns.ca 
Newsgroups: rec.music.bluenote
From: charless@cory.Berkeley.EDU (Charles R. Sullivan)
Subject: Keith Jarret in Sun (8/16) NYT
Organization: University of California, at Berkeley
Date: Sun, 16 Aug 1992 20:38:53 GMT

An article by Keith Jarret appears in today (Sunday)'s New York
Times Arts and Leisure section (8/16/92).  Since it will probably be
discussed at length on the net, and since I, for one, don't want to
type the whole long thing in, I suggest going and buying a copy
before they are sold out. :-)

He is generally very negative about the music industry, and the lack
of real music with content, instead of just style.  Without mentioning names
he complains about almost everyone, and unfortunately, most of his complaints
are valid. 

One strange thing is that he hold 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.

charlie sullivan                            charless@power.berkeley.edu
From: willie@amalthea.osf.org (William Williams)
Newsgroups: rec.music.bluenote
Subject: Hendrix/Jeff "Skunk" Baxter collaboration
Date: 12 Aug 92 17:15:32 GMT
Distribution: rec.music.bluenote
Organization: Open Software Foundation


Someone on another newsgroup posted a quiz a while back that
had a question about the makeup of Jimi Hendrix's band previous
to the Experience.  His answer list indicated that this band
included the ex-Steely Dan and -Doobie Bros. guitarist Jeff
"Skunk" Baxter.

Being a big fan of both, I asked him if there exists any
recording by this group (I forget its name).  But I got no
response.  Can anyone here shed light on this collaboration?

Or on the fate of Baxter since the Doobie Bros.?
From: rardin@binah.cc.brandeis.edu (R. Lynn Rardin)
Newsgroups: rec.music.bluenote
Subject: Re: Re: Freddie Hubbard/Lee Morgan
Date: 23 Aug 92 14:16:44 GMT
Reply-To: rardin@binah.cc.brandeis.edu
Organization: Brandeis University

In article <17570377@hpfcso.FC.HP.COM>, mjs@hpfcso.FC.HP.COM (Marc Sabatella) writes:
>In rec.music.bluenote, joey@berkeley.edu (Joe Hellerstein) writes:
>
>> As a note of reference, there's a really fun version of "Breaking
>> Point" on Freddie's SWEET RETURN album, under the title "Calypso
>> Fred".  I once saw this album on CD (its an early 80's Atlantic
>> recording), but that was long ago.  Anybody know of the CD
>> availability of this one?...
>
>Interesting - I've heard that same tune ("Calypso Fred") by yet a different
>name, although I can't remember what it is.  "Sweet Return" may have been the
>first jazz album I ever bought that *didn't* feature Oscar Peterson.  I've
>never seen it on CD...

SR _was_ out as an Atlantic CD (I saw it listed in an old Schwann catalog).  
But I've been looking for the CD for months with no luck.

-Lynn

< R. Lynn Rardin (rardin@auriga.rose.brandeis.edu)  >
< Rosenstiel Basic Medical Sciences Research Center >
< Brandeis University, Waltham, MA 02254-9110       >
From: rns@npg-sd.SanDiegoCA.NCR.COM (Rick Schubert)
Newsgroups: rec.music.bluenote
Subject: Re: Frogman in the movies?
Date: 21 Aug 92 15:05:25 GMT
Organization: NCR Corp., Network Products - San Diego

In <1992Aug19.214425.18240@brtph560.bnr.ca> n5ppm264 (Charlie Board) writes:

>In article <1992Aug19.171226.29723@paramount.nikhefk.nikhef.nl>, templon@paramount.nikhefk.nikhef.nl (Jeffrey Templon) writes:
>> 
>> 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.

According to Joel Whitburn, Benny Spellman was the bass vocalist on
Ernie K-Doe's "Mother In Law."  Whitburn also says that Spellman worked
with Huey "Piano" Smith, did frequent session work as a backup singer,
and that he left the music industry in the late 60's to go into beer
promotion.

"Lipstick Traces (On A Cigarette)" is on the Rhino Records' CD "Best Of New
Orleans Rhythm & Blues, Vol. 1" (along with Spellman's "Fortune Teller").
It's also on "Carolina Classics,  Volume 3" from Ripete Records,
which sounds like it might be pretty obscure.

And, yes, the O'Jays did cover "Lipstick Traces (On A Cigarette)."

-- Rick Schubert (rick.schubert@SanDiegoCA.NCR.COM)
From: gwl%wave3_1@concert.net (Glenn Lea)
Newsgroups: rec.music.bluenote
Subject: Tonight's Tonight
Date: 13 Aug 92 12:13:47 GMT
Reply-To: gwl%wave3_1@concert.net

B. B. King, Buddy Guy, Dr. John, and the Fabulous Thunderbirds will be
on the Tonight Show Tonight (Thu, 8/13).

G
From: mikeh@cbnewsg.cb.att.com (michael p.herlihy)
Newsgroups: rec.music.bluenote
Subject: BLUES: What is ``Modern Blues?''
Date: 20 Aug 92 13:46:03 GMT
Distribution: na
Organization: AT&T

In article <1992Aug19.165733.17153@dragon.acadiau.ca> 880139h@dragon.acadiau.ca (Rob Hutten) writes:
>
> .....
>I hope I'm not offending any blues lovers.  I happen to like some 
>street rap and thrash bands for a lot of the same reasons I like early
>blues artists.  Am I the only one?
>
>-Rob
>-- 

No, Rob, you are not alone.  I like some rap artists and some
thrash bands for the same reason I like the blues.  There is
an element of danger in the music. There also is a lot of
feeling and anger.

Today's pop music consists of re-hashed themes and sanitized
lyrics.  There is no real feeling or expression in it.

Blues (and jazz) music will always be around.  I doubt Madonna 
and Tiffany will.
-- 
"Yep, I'm an enigma" -- Cheers, "The Gift of the Woodi", Woody
From: joey@berkeley.edu (Joe Hellerstein)
Newsgroups: rec.music.bluenote
Subject: Re: Trumpets
Date: 13 Aug 92 15:03:47
Organization: Postgres Research Group
	<1992Aug12.221021.25959@cbnews.cb.att.com>
	<1992Aug13.094845.1156@aisb.ed.ac.uk>
NNTP-Posting-Host: elysium.cs.berkeley.edu
In-reply-to: jae@cstr.ed.ac.uk's message of 13 Aug 92 09:48:45 GMT

>   Excellent analysis of the trumpet and trombone harmonic series.  I just want to 
>   add that there are extra pedal notes achievable on the trumpet (and therefore
>   probably trombone)

For all you physics weenies, note that the pedal on the trumpet is the
fundamental wave of the tube, while the lowest "real" note is the
first harmonic.  On flugelhorns you can hit the fundamental for real
(although if you don't have 4 valves you have to skip down to it).

Joe Hellerstein
Newsgroups: rec.music.bluenote
From: anton@HQ.Ileaf.COM (steve norton)
Subject: Re: concert review journalism
Reply-To: anton@HQ.Ileaf.COM (steve norton)
Organization: Interleaf, Inc.
Date: Mon, 17 Aug 92 17:07:01 GMT

In some article, vek@spacsun.rice.edu (Vincent E. Kargatis) writes:

> Under Steve Norton's urging, I'm posting a little tidbit of information
> that Kevin Whitehead told me over the phone. I'd called him to find out if
> any magazines/journals he wrote for subsidized trips for concert reviews
> and/or interviews (obviously for the KTRU concert we're planning). He said
> that the magazines like Downbeat *never* spring for any expenses and that
> it's the festivals that always pay for the reviewer's way, despite "the
> obvious conflict of interest". He said Downbeat was extremely miserly about
> that stuff. Never read that at the bottom of any concert reviews, though,
> do we? Guess it's either that or no reviews at all.
> 
> Thoughts on the matter? Or does that surprise no one? :/

well, i *was* surprised, which is why i urged vince to post this, tho'
i suppose i shouldn't have been.  (it *is* all part of the Music
Industry, after all... )

does anyone here think that the journals should have to disclose this
type of deal when they run these articles?  this really strikes me as
some kind of cover-up.  the journals seem to pretend that what they're
doing is "pure journalism", when actually it's some bastardised
amalgam of journalism and advertising.  and the festivals seem to
pretend that their media coverage happens solely because of the merit
of their offerings and the interest that they generate, when actually
it is because of some patronage deal.

or do i have this all wrong?

"obvious conflict of interest" indeed!
-- 

/steve
Newsgroups: rec.music.bluenote
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: Charles Tyler (was Re: Rumour about a jazz death)
Organization: Educational Computing Network
Date: Thu, 20 Aug 1992 20:44:05 GMT

In article <oqn4bis@zuni.esd.sgi.com> ericl@miles.esd.sgi.com (Eric Linstadt) writes:
>  Apparently, ZYX Music GmbH will also re-release ESP 1029, "Charles
>Tyler Ensemble" (Jan 1966 w/Joel Friedman, cello; Charles Moffett,
>orchestra vibes; Ronald Jackson, percussion; and Henry Grimes, bass),
>and ESP 1059 "Eastern Man Alone" (Jan 1967, w/Dave Baaker, cello;
>Brent Makeson and Kent Brinkley, bass).

That probably is Ronald Shannon Jackson's first recording.  I understand
Ayler was hanging out of at that session, heard RSJ, and hired him for
his band.  That's when they recorded Black Revolt and Truth Marching...

Jeff
From: rdz@cci632.cci.com (Robert D. Zarcone)
Newsgroups: rec.music.bluenote
Subject: Re: Hendrix/Jeff "Skunk" Baxter collaboration (Now Boston Sound)
Date: 13 Aug 92 15:59:31 GMT
Distribution: rec.music.bluenote
Organization: Computer Consoles Inc., Rochester, NY

In article <1992Aug12.204257.28083@pony.Ingres.COM> corman@Ingres.COM (Anthony Corman) writes:
>I can contribute to Skunk's early career history: he was a member of the
>Boston Sound group Ultimate Spinach, led (I believe) by Ian Bruce Douglas.

There were two other groups that were part of this genre.  I think that
all three were under contract to MGM.  One of the albums by one of the other
groups was entitled "The Clown Died in Marvin Gardens".

So, can anyone tell me the names of the other two groups?  I remember all
three were staples in my early psychedelic period.  That must be why I can't
rember.  :-)

Rob Z.
Newsgroups: rec.music.bluenote
From: acgd@cbnewse.cb.att.com (andrew.charles)
Subject: Re: BLUES: Howlin' Wolf vs. Son House
Organization: AT&T
Date: Thu, 20 Aug 1992 17:33:42 GMT

In article <1288@bridge2.NSD.3Com.COM> craigo@ESD.3Com.COM (Craig Owens) writes:
>An excellent book that describes the history of the blues is "Deep Blues" by
>Robert Palmer.  I'd recommend that anyone with interest in this area read it
>(if you can find it, that is).  On the other had, skip the movie by the same
>name.

I second the recommendation.

Regarding recordings of older blues, check into Yazoo records. They have a lot
of material from the 20s and 30s. The transfers to CD are pretty good (a LOT
better than the job done on "The Complete Robert Johnson"). I haven't
heard any of their LPs. Try the Charley Patton disc.

If there's interest I can email/post their address for catalog information.
However, like most record labels, their discs are cheaper if you buy them
from a retailer (I've always assumed that record labels did this to
encourage people to encourage their local dealers to carry that label). 

Someone else was also asking about "modern" blues. The Alligator records
20th anniversary 2CD complilation (2CDs for the price of 1) is a good place
to start if you are interested in "Chicago blues". It also includes an
interesting history of Alligator Records.

Amazing Records (in Austin) carries a mix of Texas blues, cajun and related
music. The Texas stye is not as much to my taste so I won't try to rate them
(though I do like "Keri Leigh and the Blue Devils" which includes a couple
of Robert Johnson covers). I can also provide catalog information for them
(with the same pricing caveat).

Chess has released a lot of material on CD. I haven't heard their box set
releases (e.g. Willie Dixon, Howlin' Wolf) but haven't been very impressed
with the sound quality on the MCA 2 LPs on 1 CD releases (e.g. Bo Diddley).
The 4CD set of Elmer "Sonny Boy Williamson" Rice is much better but I've
never seen another copy of it. It was manufactured in the EEC but wasn't
listed or priced as an import. It says it is "CD Red Box 1". Has anyone
ever seen a "CD Red Box 2"?

Lastly, there is a series of CDs called "The American Folk Blues Festival"
for each year from 1962 up into the 1980s. The first year is available on
Polygram as "The Original American Folk Blues Festival". All but one of the
discs I've seen was recorded live. Through the years many MANY different blues
artists have appeared. The CDs vary in length (under 40 minutes to over 70)
and quality. All of them are available on L&R (distributed by Optimism). Of
the 15 or so that I have (I got most of them really cheap on cut out :-))
1966 and 1967 are my current favorites. Koko Taylor has a burning version
of "Wang Dang Doodle" on the 1966 disc. Sound quality is generally very good
on all of them.

This is all a little more than I first meant to post. I better quit now
before I REALLY go off on a tangent.

Andrew Charles
acgd@ihlpl.att.com

Newsgroups: rec.music.bluenote
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: New stuff: Braxton and ESP CDs
Organization: Educational Computing Network
Date: Fri, 14 Aug 1992 19:41:50 GMT

In article <1992Aug14.190120.8846@odin.corp.sgi.com> sik@grosz.esd.sgi.com (Seth Katz) writes:
>A mystery label from Germany, ZYX, has released a 
>number of seemingly authorized CDs of ESP albums.
>So far, I've picked up 3 (not all are out yet, of course).

The  Ornette Town Hall is out on ESP, and very good.  Believe it or not, I saw
it as a CD in Paris in 1990.  Don't know if it is the same company.
It is the trio with Moffett and Izhensen (sp) and also an excellent
string quartet.  

Jeff

Newsgroups: rec.music.bluenote
From: wjh@cbnewsl.cb.att.com (william.j.hery)
Subject: Re: New stuff: Braxton and ESP CDs
Organization: AT&T
Date: Sat, 15 Aug 1992 00:53:04 GMT

>>A mystery label from Germany, ZYX, has released a 
>>number of seemingly authorized CDs of ESP albums.
>>So far, I've picked up 3 (not all are out yet, of course).
>
>The  Ornette Town Hall is out on ESP, and very good.  Believe it or not, I saw
>it as a CD in Paris in 1990.  Don't know if it is the same company.

And I found a cd in Amsterdam in 1988 with the same session, but called
DEDICATED TO POETS AND WRITERS on the Magic Music label (if you read the
back of the package) or Giants or Jazz and Blues label (if you read the front
:-) ). There  are no liner notes, and no dates on the package and I only
determined the source of the material comparing it to the ESP release. It
was also only about $11, at a time when common, major label CDs there
were $20-$25.

As for NY Eye and Ear Control (with Ayler, Cherry, et al), I just saw
it on a BASE CD in Oakland (at dba Brown, I think). I wonder if any of these
releases are from the original tapes?

Bill Hery
AT&T Bell Labs
201-386-2362
hery@att.COM
Newsgroups: rec.music.bluenote
From: glad@Csli.Stanford.EDU (Clayton Glad)
Subject: Re: Freeway (IMA Newsletter)
Organization: Stanford University CSLI
Date: Wed, 12 Aug 1992 23:29:29 GMT

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

>and one I noticed before I left:
>  8/18:  Henry Kaiser & Friends/Glenn Spearman Double Trio (Slim's)

I just found out that the second of the two trios will be 
Larry Ochs, Chris Brown and William Winant.

Yow.

-- Clay
Newsgroups: rec.music.bluenote
From: sbyrd@athena.mit.edu (Samuel D Byrd)
Subject: Bill Russell's biography of Jelly Roll Morton
Organization: Massachusetts Institute of Technology
Date: Wed, 12 Aug 1992 22:08:47 GMT

An obituary in the Boston Globe for the late jazz violinist and
producer Bill Russell a couple of days ago stated that he had just
completed thirty years' of work on a biography of Jelly Roll Morton.
Has anyone heard about whether or not this has been accepted for
publication, and if so, when it will be published?

---Sam Byrd (sbyrd@athena.mit.edu)



Newsgroups: rec.music.bluenote
From: gmortens@rodan.acs.syr.edu (Gerald E Mortensen)
Subject: Re: Miles' best work?
Organization: Syracuse University, Syracuse, NY
Date: Wed, 19 Aug 92 22:45:52 EDT

In article <1992Aug13.104708.1@cc.helsinki.fi> mlindholm@cc.helsinki.fi writes:
>
>    I was thinking of byuing some Miles Davis records.
>    Which ones would you recommend?
>
>    mikko lindholm
>    mlindholm@cc.helsinki.fi

probably you'll get as many answers are there are miles fans. i would 
recommend getting the suspiciously commercial-sounding "miles davis'
greatest hits" columbia pc9808 which has some of the best early 60's
stuff. the early bop records on Prestige (e.g. "dig", "miles davis all stars")
are available on cd, and they're swingin'.  
i also really like several of the latest albums - my favorite is "amandla". 
probably the closest thing to a unanimous choice among jazz fans would
be "kind of blue". i would recommend staying away from some of the more
notorious albums, particularly "bitches brew", unless you have already
listened to it. if you're a fairly new jazz fan this might not be
a "cost effective" purchase. (i know a lot of people might disagree
about this and claim its -more- accessible than other miles albums
because its basically rock and roll, but ...)

jay mortensen
gmortens@rodan.acs.syr.edu
Newsgroups: rec.music.bluenote
From: rardin@binah.cc.brandeis.edu (R. Lynn Rardin)
Subject: Re: Miles' best work?
Reply-To: rardin@binah.cc.brandeis.edu
Organization: Brandeis University
Date: Sun, 23 Aug 1992 03:34:27 GMT

In article <2038@tfd.tfd.com>, bret@tfd.COM (Bret Weinraub) writes:
>
>Does anyone know the story of a live album WE WANT MILES.  I found a
>tape of this album in an abandoned boom-box in Boulder, CO.  It
>is excellent.  Any info much appreciated.   

WWM was recorded at Kix in Boston (6/27/81), Avery Fisher Hall in NYC 
(7/5/81) and Tokyo (10/4/81).

The recording is available as a French CBS import (CBS 466440 2).  It's part 
of Henri Renaud's "I Love Jazz" series.  I think I've also seen a Japanese 
CBS or CBS/Sony import CD of the recording.

-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: chuck@spectrum.cs.unsw.oz.au (Mark Andrew Hawling)
Subject: Re: Miles' best work?
Reply-To: chuck@spectrum.cs.unsw.oz.au (Mark Andrew Hawling)
Organization: none
Date: Tue, 18 Aug 1992 04:34:21 GMT

In article <1992Aug17.131329.21525@uxa.ecn.bgu.edu> ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:
>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.
>

Does anyone have a complete list of Miles bootlegs. There is this double CD in a store
here that costs $100. (SHIT). It includes two percussionists and Keith Jarret on piano.
Someone I know thinks its the band Keith Jarret mentions in the remembering Miles issue
of musician from a few months ago. Keith says that that band lineup was never recorded
and I think its from a period after the "Double Image " band but before Fillmore etc.
Any info would help.

Mark
Newsgroups: rec.music.bluenote,rec.music.makers,rec.music.funky,alt.rock-n-roll,alt.guitar