HDTenEightyP/NetNews huggingface dataset:
From: jmh@morgana.pubserv.com (Jeff Helgesen)
Newsgroups: rec.music.bluenote
Subject: Re: Zappa plays jazz? What is jazz?
Date: 1 Oct 92 22:56:27 GMT

In <1992Sep25.085628@IASTATE.EDU>, dickw@IASTATE.EDU (Richard Wallingford)
writes:

> But the bands I see usually select from the same old 60 tunes every night.
>
> [...] I'm sorry, but I'm tired of hearing "Girl From Ipanema" or "Green
> Dolphin Street".

Perhaps you should see some different bands.  I just can't believe that
a metropolitan area with a Big Ten university has absolutely no
musicians who play more contemporary stuff than what you mention.

You should realize that many inexperienced improvisors, especially
those teaming up with other inexperienced improvisors, tend to
prefer to perform pieces which (a) connect with the audience through
recognition, and (b) are familiar enough so that everyone can get
some blowing in and learn something in the process.

> I haven't seen one of those bands since I watched the Tonight Show
> Band on TV.

You're missing something, then, perhaps the very thing you
complained about above. Assuming that your local university has a
reasonable music program, you can probably find local performances
of the college jazz ensemble locally.  There's often alot of
hidden talent in these ensembles, and a well-run one can generate
a great deal of excitement.  Not to mention the fact that you
usually don't run into as many worn-out arrangements of standards.

> I'd like to hear more people doing vocal arangements like Donald Fagen.

Do you mean harmonically?  How do you react to groups like Manhattan
Transfer (quartet), Rare Silk (trio), or the Singers Unlimited (quartet
w/overdubs), or Chaka Khan (overdub-city)?

					Jeff

______________________________________________________________________________

   \_  \_    \_         Jeff Helgesen           email: jmh@morgana.pubserv.com
    \_  \_    \_        Publication Services    Champaign, IL
     \_  \_\_\_\_
      \_  \_    \_      		"So many drummers...so little time."
 \_\_\_    \_    \_ 
______________________________________________________________________________
Newsgroups: rec.music.bluenote
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Rova in Chicago
Organization: Educational Computing Network
Date: Tue, 6 Oct 1992 13:31:57 GMT

Saw Rova last weekend in Chicago as part of the New Music festival.
I already have two Rova albums, so I knew how good they are.
They lived up to their promise in every way.
They are one of the most exciting groups in the music today.

What seems to be their strong point is that there are no weak points ;)
No matter what they play, it always works.  They have the sense of where
they can play as a single voice: four extremely contrapuntal voices resulting
as one music.  In this regard, they rival the finest classical music string
quartets. 

As for their music, it ranges from avant garde atonal (a la Braxton or
the extreme angular music in a post Webern style) to traditional jazz
saxophone section writing (but only for a second)from big band; with many 
moods, styles, and densities in between (there was a piece dedicated to John 
Cage). Primarily, they come from an avant garde of open forms, fragmented
counterpoint, saxophone multiphonics and extremely structured angularity.

A common technique is to pair the quartet into two twos, the lower horns 
repeat a funk or blues bass riff, albeit in a non-4/4 meter so it sounds like 
it has extra beats.  The other horns plays something without the extra beats,
so it phases around like minimalism.   Of course, unlike minimalism, they 
don't do it for two hours, they use that sound as a point of departure for
improvisation.  In another piece (When The Nation Was Sound) starts
with a drone played by two tenor players, getting the kind of airy
resonance you get from a didjeridoo (sp) while the other soprono saxes
present a sparsely jagged landscape.  They played some tunes composed by
the members of the quartet, as well as Wayne Horvitz and John Carter.
All with excitement and urgency, making it one of the best concerts I
have seen this year.  Don't miss Rova if they play near you.  They come
to play.

Jeff


Organization: Sophomore, English, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.bluenote
Date: Tue, 29 Sep 1992 22:03:24 -0400 
From: Eugene Kuo <ek1i+@andrew.cmu.edu>
Subject: John Coltrane's "Alabama"

Hello,

I was wondering on what album I can find this song recorded by Trane. 
Thanks in advance!

eugene
From: alan@sierra.unr.edu (Alan McKay)
Newsgroups: rec.music.bluenote
Subject: Re: Ray Anderson
Keywords: CD's trombone jazz
Date: 28 Sep 92 16:04:31 GMT
Reply-To: alan@wrc.unr.edu (Alan McKay)
Distribution: usa
Organization: Desert Research Institute, University of Nevada

In article <Bv0BoB.60J@mentor.cc.purdue.edu> rdd@sage.cc.purdue.edu (R Douglas Damery) writes:
>HELP!!!!!
>
>I've been looking to get a hold of some Ray Anderson CD's.  I've tried ordering
>through several music stores and I can't find anything.  If anyone has
>any of his CD's they are willing to sell, or know where I can get some, mail me at the address below.  Thanx.


Surprised you're having a difficult time finding RA stuff; I can generally
find his most recent stuff here in Reno.

With regard to Ray, has anyone out there heard his newest? I believe the
title is _Every One of Us_. Care to compare/contrast to recent RA recordings,
such as _What Because_?

Thanks.

..Al



Newsgroups: rec.music.bluenote
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: So Few
Organization: Educational Computing Network
Date: Fri, 2 Oct 1992 01:59:17 GMT

Also "Diomfuta" with Bobby Few, Cheigk Tidiane Fall (perc), Jo Maka (sax)
Andedra Shockley, (vocal)
Freelance FRL 001 FB 209  Paris, May 79

and:

WHAT ELSE IS NEW? (with Cadence review of 09/87)  (Pan/Alfa 33XB-128)
 
Mike Ellis  soprano sax, leader
Jeff Beer   trumpet
Barry Wedgle  guitar
J.J. Avenel   bass
John Betsch   drums
Bobby Few     piano
John Handelsman  alto and tenor sax
Mathew Russell   flute
Abdou M'Boup     percussion
Mark Sims        trombone
Francois Creamer clarinet
 
(Paris, July 1985)
Newsgroups: rec.music.bluenote
From: smehta@kwela.nynexst.com (Sandeep Mehta)
Subject: Re: Roswell Rudd (was Re: Ray Anderson and Barbara Dennerlein)
Reply-To: smehta@nynexst.com
Organization: Speech Technology, AI Lab, NYNEX S&T Inc, White Plains, NY
	<1992Sep25.024104.3084@cbnewsl.cb.att.com>
	<1992Sep25.134653.2585@ccu.umanitoba.ca> <sjones.717439500@cunews>
	<4585@equinox.unr.edu> <SMEHTA.92Oct6101619@kwela.nynexst.com>
Distribution: na
Date: 6 Oct 92 11:06:13


Half asleep, I wrote:

> It's really too bad that few American groups, Geri Allen being one
> exception, focus on musical genius of Herbie Nichols.
             ^^^^^^^^

when I should've written "do not focus on"

;-)
--
smehta@nynexst.com
--
               "Why do you compose atonally? You've got talent!"
                 -- Strauss to Hindemith, Donaueschingen, 1921.
Newsgroups: rec.music.bluenote
From: kauff@neit.cgd.ucar.edu (Brian Kauffman)
Subject: Pat Metheny - line-up of Secret Story tour
Organization: NCAR, Boulder CO
Date: Wed, 30 Sep 1992 16:26:37 GMT

>  = rob@xyzoom.info.com (Rob Lingelbach) writes:
>> = milliken@scofield.Corp.Sun.COM (Gary Milliken) writes:
-----------------------------------------------------------------------
>>I will be seeing the "group" in Northern California a week before you will.
>It would be great to get a review from you and compare it to what I see.
>
>>The tickets just say "Pat Metheny" on them, which is probably the best choice
>>of wording, because the words "Pat Metheny Group" would directly imply to
>>long-time fans that Lyle Mays would be there.  He will not.  (And by the
>>way, as I recall, Pat only played keyboards himself on one or two tunes
>>from the new album.)

I just saw this show, PM mentioned that 3 members from the "ongoing"
Pat Metheny Group were there to support this album/tour.  He also mentioned
that this album was never intedended to be played live, so it was hard
to find a configuration in which to pull it off live.  

Here's an attempt to recall the line-up, the instrumentation is definitely
correct, but I'm having trouble with the names (corrections welcome):

o Guitar  - PM
o Bass    - Steve Rodby        (from PM Group)
o Drums   - Paul Wertico (?)   (from PM Group)
o Congas  - Armando Marcal (?) (from PM Group)
o keys #1 - Gill Goldstein (?) (played with Miles)
o keys #2 - ? (NOT Lyle Mays)  (played with John McLaughlin)
o 2nd gtr - ?
o Misc horn,gtr,perc,vocals #1 - ?
o Misc horn,gtr,perc,vocals #2 - ?


-Brian
From: lc@fct.unl.pt (Luis Correia)
Newsgroups: rec.music.bluenote
Subject: Re: r.m.bluenote --> r.m.jazz + r.m.blues (was: rec.music.jazz)
Date: 29 Sep 92 13:09:00 GMT
Organization: Univ. Nova de Lisboa - PORTUGAL

In article <1992Sep28.224551.10200@CSD-NewsHost.Stanford.EDU>
gidi@Hilbert.Stanford.EDU (Gidi Avrahami) writes:
>by785@cleveland.Freenet.Edu (Robin Gibson) writes:
>>I'd love to see a newsgroup dedicated to
>>jazz and jazz only.
>
>Okay, so no more B.B. King, John Lee Hooker, Robert Johnson and SRV.
>Great.  That'll clean the air!
>
>But, when you say "jazz and jazz only", does this mean no more Shakti,
>Bela Fleck, Steve Reich, Wendy Carlos, Santana, Joni Mitchell?
>
>Anxiously waiting for the decision of the Committee On Purity,
>
>--Gidi
>

I don't understand why you worry. I remember a long discussion on this group
about the Little Village recording. To me that's not blues and even less jazz.
And still nobody kicked them out from r.m.b.

If open mindedness is followed in this group I don't see why separating will
decrease it. Are the blues fans the open minded ones or is it the jazz ones.
The separation will be clear for the bulk of the postings, and I think this
is the important issue here.

Luis Correia
lc@fct.unl.pt
From: jmh@morgana.pubserv.com (Jeff Helgesen)
Newsgroups: rec.music.bluenote
Subject: Re: nothing
Date: 6 Oct 92 18:57:08 GMT
Article-I.D.: morgana.9210061857.AA14239

In <Oct.5.14.54.38.1992.8089@ruhets.rutgers.edu>, bweiner@ruhets.rutgers.edu
(Benjamin Weiner) writes:

>  Am I hallucinating, or are half the people who post to this group 
>  really named Jeff?

It was just a nightmare. Now go back to sleep.
Newsgroups: rec.music.bluenote
From: malcolm@wrs.com (Malcolm Humes)
Subject: Re: John McLaughlin ?
Keywords: McLaughlin dates
Organization: Wind River Systems, Inc.
Date: Tue, 6 Oct 1992 15:52:44 GMT


> fbahrami@ucselx.sdsu.edu (Farhad Bahrami) writes:
>>Does anybody have any info on the John McLaughlin Trio's usa tour ?  I read
>>somewhere that they'd be touring the states, but checking the LA times
>>has yielded no info.  I'm really looking forward to the 'Que Allegria' tour -
>>hope they haven't given up on California.

I'm afraid you probably missed it - the Trio played San Francisco months
ago, at the Great American Music Hall, I think back sometime between May and 
July or so. It was a pretty good show - I liked them better than the year 
before, and also Zakir Hussain sat in for an incredible set. He and Trilok
together was a real treat. The Trio has been here about once a year for
the last 5 years (except in 1990 when he broke his finger and cancelled)
so I wouldn't expect him back in California for a while, though it would
be nice if another tour was pending soon.  

torda@igc.ethz.ch (Andrew Torda) writes:
>They (McLaughlin + Trilok Gurtu + Dominique DiPiazza) are in Zurich on
>wed oct 14. Have no idea if they are in the states before or after
>Europe.
>How much are tickets in the US ? McLaughlin is Sfr 35 to stand and Sfr
>55 to sit (a franc is still somewhat smaller than a $US).

The show I saw was $15-20, for two sets. Previous years (I've seen him four 
times since 1988) was $15 for one set but they'd often let you stay for
the second set anyway. I gather we're lucky having the shows here priced
so low - I think someone a while back mentioned a recent show at the
Bluenote in NY for $35 a seat or more. 
 
 - malcolm@wrs.com
From: lv0e+@andrew.cmu.edu (Lisa Laverne Vaughan)
Newsgroups: rec.music.bluenote
Subject: AtTheGig: 100 Top Requests
Date: 5 Oct 92 12:42:24 GMT
Organization: Psychology, Carnegie Mellon, Pittsburgh, PA

I don't know if this has been posted before or not.  If it has, could 
someone send me the results, and if not, I'll post the results...

So here it is, we jazz musicians are at the gig and get a request.  Most
likely, the request falls into the category of the top 20, or maybe top 50, 
or even top 100 most requested tunes.  Can we name them so we can all have
them ready to play at the drop of a hat?

If no order yet exists, let me propose that y'all send me your lists, 
how many ever tunes you want to submit (1 or a few or 100 or whatever), 
and in the format of this: 
NumberDotSpaceTitle (then I can search easily by number or by name)

1. Misty
2. Satin Doll
3. Wave
etc
10. 'Round Midnight

e-mail to this address, LV0E@Andrew.CMU.EDU
From: kumard@acsu.buffalo.edu (Deepak Kumar)
Newsgroups: rec.music.bluenote
Subject: Re: Barbara Dennerlein
Date: 28 Sep 92 17:33:16 GMT
Organization: State University of New York at Buffalo/Comp Sci

In article <Sep24.173752.73987@yuma.ACNS.ColoState.EDU> millerje@CS.ColoState.EDU (Jeff Miller) writes:
>I own BD's Straight Ahead and Hot Stuff!.  Hot Stuff may be one of my
>favorite cd's of all time (with the obvious exception of every Steely
>Dan album), but Straight Ahead (which I bought after buying Hot Stuff) I
>was very disappointed with... not because it is a straight album (which
>I enjoy) but because of that Ray (I forget his last name) guy's trombone
>playing.  IMHO, he solos without any sense of melody chords or time,
>seemingly just to make noise and appear to be playing fast.
>
>To get to the point, I noticed he re-appears on the new BD album... how
>does this album compare to the aforementioned album?  Is the soloing 
>better?  How are the tunes, etc.
>

I've been trying to get a hold of her "Tribute to Charlie (Parker)"
for three years now....no luck!! It is probably her BEST work
(though all covers of Bird, which is GREAT as far as I'm concerned!)
If anyone knows any more info on this...I do have access to it via
a friend who owns it.

Deepak.

-- 
I'm not a teacher but I play one at school.
kumard@cs.buffalo.EDU                    Deepak Kumar, Department of Comp. Sc.
kumard%cs.buffalo.edu@ubvm.bitnet        226 Bell Hall, SUNY@Buffalo, NY 14260.
Newsgroups: rec.music.bluenote
Subject: Re: rec.music.creative_music
From: hsu@walnut.sfsu.edu (William Hsu)
Date: 5 Oct 92 18:32:58 PDT
Reply-To: hsu@walnut.sfsu.edu
Distribution: world

In article <1aqla3INN56h@agate.berkeley.edu>  writes:
> If there's going to be a split in r.m.bluenote,
> I'd like to see a group evolve in which I can read about Braxton,
> Sun Ra, Duke Ellington, Howling Wolf, Elmore James, Pere Ubu, Fred  
>Frith, 
> Alvin Curran, The Molecules and debris.  I'd like to have the group 
> called rec.music.creative_music, from which title I would hope
> people would know not to post often on W, B, or D Marsalis. 

Dan, you don't ask for much, do you? :-)

Seriously, there's been talk on and off of a creative improv
*mailing list*. (Gee, I've even gone as far once to collect a
list of 50+ names for one, but never had time to set it up. And
I certainly don't have time now. It was actually more of a music.snobs
list :-) than a pure creative improv list.)

And speaking of the Molecules, they gave another scrappy high-energy
set at the Chameleon this past Sunday night. The guitarist played a
keyboard solo (poor innoncent abused Korg), and both guitarist and
bassist sported new outfits. I came away feeling
cleansed and fulfilled, like after cleaning out a new body piercing
in the morning. That's what I moved to San Francisco for (or something
like that).

Bill


Bill
Newsgroups: rec.music.bluenote
From: john@spss.com (John Przyborowski)
Subject: Re: JOE HENDERSON'S _LUSH LIFE_
Organization: SPSS Inc.
Date: Tue, 6 Oct 1992 15:05:59 GMT

by785@cleveland.Freenet.Edu (Robin Gibson) writes:

>If you have this CD let me know what you think of it.  I heard about it
>in _Stereo Review_ magazine, and they gave it nothing but glowing
>reviews.  Thanks!

>Robin
>-- 
>Robin L. Gibson      gibson@email.ncsc.navy.mil
>Coastal Systems Station
>Panama City, FL  32407-5000

One of the better releases in the past few years.  Great Billy Strayhorn 
songs, great combinations of Joe with various groupings of younger 
musicians.  Definitely worth it.

john
Newsgroups: rec.music.bluenote
From: mongeau@NMC.ED.RAY.COM (Michael Mongeau)
Subject: Re: Robben Ford fans
Organization: Equipment Division, Raytheon Company
Date: Tue, 6 Oct 92 13:40:04 GMT

In article <16874D852.US30139@VM.CC.LATECH.EDU> US30139@VM.CC.LATECH.EDU writes:
> 
>Is his new album released yet?
> 

I bought the new Robben Ford CD a few weeks ago and I think it's great.
This is my first exposure to his work so I have nothing to compare it to,
but on the basis of this CD I plan on picking up some of his earlier
material.   His voice is outstanding and his guitar playing speaks for
itself.

The new CD is called "Robben Ford and the Blue Line" and consists of
mostly original tunes and 2 covers.  The covers are Otis Rush's 
_My Love For You Will Never Die_, which features some great guitar 
work by Ford,  and John Hiatt's "Real Man", which is given the R&B 
treatment with some nice horn arrangements.  There's also a song
in the Chicago blues vein which features Robben's brother Marc Ford 
on harp.   There are (I think) 3 instrumentals, two sort of blues/rock
and the third a ballad along the lines of SRV's _Lenny_ or _Riviera 
Paradise_.    All in all, a great CD (IMO).   The production is
sparkling, but then it's on the GRP label so I would expect no less.


 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 "The Blues has been...the blues is...the blues will be, as long as time"
                                                        -Willie Dixon

   Mike Mongeau                           Raytheon Equipment Division
   mongeau@nmc.ed.ray.com                                Marlboro, MA
 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: mingus@cbnewsl.cb.att.com (Damballah Wedo)
Newsgroups: rec.music.bluenote
Subject: Re: New Steve Lacy
Date: 7 Oct 92 01:33:05 GMT
Distribution: na
Organization: The Poto Mitan in the Houmfor

Well, gotta be differnt, I guess. I don't like Irene Aebi's
vocals, and find her violin playing, well, tolerable. I'd be
a happy camper if the Lacy Sextet became an Aebi-less Quintet.
Which probably won't happen, given her burgeoning net fan club :-)
and the relationship between her and Lacy. Back to tolerance,
I guess....
-- 
Marcel-Franck Simon             	mingus@usl.com, usl!mingus

	" Papa Loko, ou se' van, ou-a pouse'-n ale'
	  Nou se' papiyon, n'a pote' nouvel bay Agwe' "
From: milliken@scofield.Corp.Sun.COM (Gary Milliken)
Newsgroups: rec.music.bluenote
Subject: Re: Pat Metheny Group mailing list
Date: 3 Oct 1992 15:12:57 GMT
Organization: Sun Microsystems, Mt. View, Ca.
NNTP-Posting-Host: scofield.corp.sun.com

Thank you for the better-informed members who have corrected my error.
I have been on the mailing list long enough to have forgotten the e-mail
address that membership *requests* should be sent to.  Now as a result of my
publicizing the name of the "send-out" informational address for the PMG
mailing list, all of the requests that I receive asking to be added to the
list are being addressed to the informational address instead of to me
directly.  :-)

My apologies to all for another mistake.

So please note below that the address to send requests for new membership is

     pat-meth-request@mary.cs.fredonia.edu

Gary Milliken

In article <6322@m1.cs.man.ac.uk> M.Whidby@mcc.ac.uk writes:
>In article <lcmbgnINNltd@exodus.Eng.Sun.COM>, milliken@scofield.Corp.Sun.COM
>(Gary Milliken) writes:
>|> In a recent post, I reprinted a Pat Metheny Group concert review,
>|> and mentioned that it came from the PMG mailing list.  I am now
>|> receiving numerous e-mail requests to be added to the mailing list.
>|> 
>|> My mistake for inadvertently implying that I run the mailing list!
>|> I have nothing to do with it, except that I'm on the list.  Any
>|> such inquiries should go to:
>|> 
>|>     pat-meth@mary.cs.fredonia.edu
>
>Just to confuse the matter even more, requests to join the list should go to
>
>        pat-meth-request@mary.cs.fredonia.edu
>
>The pat-meth address is where to send contributions once you've joined. I was
>wondering why I had 5 requests to join in my mail this morning...
>-- 
>_____________________________________________________________
>Mark Whidby, Distributed Systems, Manchester Computing Centre


Newsgroups: rec.music.bluenote
From: wildman@athena.mit.edu (Timothy Worsley)
Subject: Re: New Keith Jarrett solo recording
Reply-To: eprice@sql.sybase.com
Organization: Massachusetts Institute of Technology
Date: Sun, 27 Sep 1992 14:15:48 GMT

ct@icarus.lis.pitt.edu (fac chris tomer) writes:
>Keith Jarrett's latest solo piano recording, Vienna Concert, has been
>released by ECM. Any opinions?

It's great -- but I'm a hardcore fan so I don't know if my opinion is
worthwhile to others (probably not).  It starts out slow and simple
(as usual it seems) but picks up energy.  By 20 or 25 minutes into the
first part he's really smoking.  Some nice voicings, some impressive
technical pyrotechnics.  I remember at least one of those melodic
phrases that really seared its way over the texture Keith was
maintaining (alright, I'm babbling -- but this is a real phenomenon!
For example I can remember at least one phrase Charlie Parker played
in a solo on ... Yardbird Suite I think, not a typical bebop line
that all the imitators do but something really beautiful and
"efficient" (ah, yes, computer geeks talking music), eighth-notes for
the most part -- I'd sing it but not in ASCII I'm afraid...).

AHHH, whatever.  (Perhaps these things don't translate at all anyway,
being highly subjective reactions?)

I could understand it if people didn't think this recording was very
interesting and dismissed it as Keith noodling around on simple chords
or something, because in some sense that's not inaccurate.  But
listening to Keith doing this is a hell of a lot more rewarding than,
say, listening to me do it!  [Note: I'm strictly an amateur, and an
inactive one at that...  :-(]

>I'm also looking for opinions about the recordings in the Charly
>Bluesworks series.

PLEASE KEEP THIS "BLUES" CRAP OUT OF REC.MUSIC.JAZZ!!!

Ciao,

-Ed (not Tim), eprice@sql.sybase.com (not wildman@...)
From: joey@bluesman.EBay.Sun.COM (Joe Lempkowksi)
Newsgroups: rec.music.bluenote
Subject: Re: Magic Slim and the Teardrops - Info reques
Date: 5 Oct 1992 20:44:15 GMT
Organization: Sun Microsystems, Inc.
Distribution: world
Reply-To: joey@bluesman.EBay.Sun.COM
NNTP-Posting-Host: bluesman.ebay.sun.com

Magic Slim A.K.A. Morris Holt is based out of Chicago.  Regularly tours parts of the 
U.S. with the Teardrops.  The most recent version of the Teardrops,  I saw included:
John Primer (second guitar),  Nick Holt (bass),  and Jerry Porter (drums).  
Past version included:  Junior Pettis (guitar),  Pete Allen (guitar) and Nate 
Applewhite (drums).  He has recorded on numerous small labels including:  Wolf
(distributed by Rounder and won a Handy),  Alligator (re-issue of a pair of LP's
recorded in France),  Rooster (Raw Magic),  and most-recently Blind Pig.  Magic 
Slim has also done quite a bit of work as a sideman.

Magic Slim and the Teardrops play in a very unique style.  They are a very tight
group where the group effort is more important than the individual efforts.  
He is at his best outside when seen outside of Chicago.  Both he and John Primer
are walking juke boxes.  They know about a zillion tunes.  John Primer was a memeber 
of the house band at Theresa's and plays an excellent slide guitar. He learned quite 
a bit from the late Sammy Lawhorn.

Joe 


---
Disclaimer: Opinions expressed herein are mine, and do not represent
	    Sun Microsystems or its management.