HDTenEightyP/NetNews huggingface dataset:
From: mikel@networx.com (Mike Lempriere)
Subject: Jazz History/Books&Collections
Summary: Info wanted: Jazz history, informative books & music
Keywords: books,history
Organization: NetWorx
X-Newsreader: TIN [version 1.1 PL6]
Date: Sun, 11 Oct 1992 20:37:59 GMT

I've been reading "A History of Jazz",  by Tirro.  It's been informative,
though rather dry, and with large chunks of technical detaill that I,
(an interested listener that hasn't touched an instrument since
high-school) can't possibly fathom.  My interest is not so strong that I
wish to learn these details.

However, I still want to know what the formative recordings are, any why.
The tales of the sessions, and the musician's lives are always fascinating.

e.g Tirro mentioned Colemman Hawkins many times throughout the book.  If
I understand correctly, he changed the entire jazz world at that time.
Yet there were only a few pages specifically on Hawkins, although there
are detailed  transcripts of Hawkins performances in the appendix.

Further,  Tirro continually references the Smithsonian Collection of
Classic Jazz.  Is this indeed the reference work?  Is it out on CD
From: mley@acorn.co.uk (Martin Ley)
Newsgroups: rec.music.bluenote
Subject: Pat in UK anyone?
Date: 13 Oct 92 08:49:36 GMT
Distribution: rec
Organization: Acorn Computers Limited, Cambridge, UK

Does ANYBODY know if Pat Metheny is coming to the UK?
I'm pretty p****d off hearing all these rave reviews
from US gigs trying to imagine what they're like.

I haven't got the album yet, because I've been
disappointed with Pat's last couple of (to me)
samey albums. The Latin American stuff leaves me
a bit cold. However, I KNOW that if I went to
a gig I'd just HAVE to buy the album, if the
reviews are anything to go by.

So, somebody please help me spend some money!! 

Martin                mley@acorn.co.uk 

The computer can't tell you the emotional story. It can give you the exact 
mathematical design, but what's missing is the eyebrows.
 - Frank Zappa commenting on the Synclavier vs. human musicians
Newsgroups: rec.music.bluenote
From: will@ogre.cica.indiana.edu (William Sadler)
Subject: Re: >>Jazz Trombonists
Keywords: jazz trombone artists
Organization: Indiana University
Date: Tue, 13 Oct 1992 14:38:37 GMT

Of course, there is the is the great JJ Johnson.  Did someone post
a list of jazz trombonists?  We had nn failure yesterday.

Will
--
***************************************************************************
*   _______________\|/_      Will Sadler     will@cica.indiana.edu        * 
*   Laser 44888    /|\                       sadler@iubacs.bitnet         *     
***************************************************************************
Newsgroups: rec.music.bluenote
From: talh@quip.eecs.umich.edu (Tal Herbsman)
Subject: braxton book
Organization: University of Michigan EECS Dept., Ann Arbor, MI
Date: Thu, 8 Oct 1992 03:25:45 GMT


could someone email me all the relavent information about the book
that gets mentioned here every once in a while about the braxton
european tour that took place sometime in the mid 80's (84 ?).

thnks,
tal.
Newsgroups: rec.music.bluenote
From: milo@cbnews.cb.att.com (guy.f.klose)
Subject: "Free Play"
Organization: AT&T
Date: Fri, 9 Oct 1992 16:32:06 GMT

I'm reading a rather interesting book at the moment, and thought I
should pass along its title to the rest of you.  It's called FREE
PLAY: THE POWER OF IMPROVISATION IN LIFE AND THE ARTS by Stephen
Nachmanovitch (1990, Tarcher Inc., ISBN 0-87477-631-7, $8.95).

As the title implies, it's a book about improvisation and creativity,
told from the point of view of, but not limited to, musicians.  I think
it has a message for anyone that is a musician, likes improvised music,
or wants to develop creativity in their lives (what could engineers
possibly want with creativity?).  It goes far beyond the scope of
"jazz" or "blues".

Thumbs up!

Next up on my reading list after FREE PLAY:

Peter London's "No More Secondhand Art"
Robert Henri's "The Artist's Life"

-- 
Guy Klose
milo@mvuxi.att.com
From: johnf@Auspex.COM (John Fereira)
Newsgroups: rec.music.bluenote
Subject: Re: Robben Ford fans
Date: 13 Oct 92 19:37:46 GMT
Organization: Auspex Systems, Inc.

In article <Bw0rr4.29n@fc.hp.com> marc@hpmonk.fc.hp.com writes:
|: He can be heard on the new album too!  Smitty Smith (right name?) plays
|: keyboards on the same cut.
|
|Perhaps right name, wrong instrument?  Marvin "Smitty" Smith is normally a
|drummer.  But I suppose if Jack can do it,  so can Smitty...

I thought his name was Jeff "Smitty" Smith.

-- 
+==========================================================================+
| John "Jeff" Fereira | Auspex Systems | "Ask me about my vow of silence." |
| johnf@auspex.com    | Santa Clara CA |                                   |
+==========================================================================+
From: mctkew@dct.ac.uk
Newsgroups: rec.music.bluenote
Subject: Re: JAZZ IS DYING:HELP!!
Date: 15 Oct 92 13:47:26 GMT
Organization: Dundee Institute of Technology

I listen to mainly black influenced music - from African music to Cecil Taylor

most people call this JAZZ - but the variety in this genre is incredible - I 
dont think its dead and most of the "hoary old farts" I listen to have produced  
some of the most radical music I have ever heard - and they keep up their
inventiveness - look at Ornette, Cecil Taylor, any of the AACM lot, Sonny
Sharrock.

The influence of these people has inspired a large number of creative younger
musicians including :-

Ronald Shannon Jackson
Bill Frisell
John Schofield
Bill Laswell 
Peter Brotzmann (sorry cant get OOMLOUTS on this keyboard)
Joseph Bowie (Lesters son)
John Zorn
Vernon Reid
Tim Berne
Joey Baron
Jamaaladeen Tacuma (and anyone else from Prime Time)


and many people I cant think of just now !!!!

This music has been a revelation for me and inspires my life - it rescued me 
from being locked into music from e.g. late 60's.

This music is vibrant and new - it takes influence from any other form of music
it cares to - often with hair raising changes of style ( listen to
"snagglepuss" on Naked City for a good example of this) - So please do not
depress me by telling me that jazz is "dead" !!! 

This new music is only called Jazz because no other label is convenient - the
fact that it contains elements of all other musics makes it unlike e.g "A Kind
of Blue" (definitely recognisable Jazz)

Please also do not consider other influences as "watering down jazz purism" or
whatever - its my opinion that these influences make the horizon of
possibilities available to "jazz" musicians almost limitless

I hope I have managed to transfer the "buzz" I have about this music to you

Ken Whelan
MCTKEW@UK.AC.DUNDEE-TECH
"Now we dont have to worry about Rockette Morton with any of these girls !!!"
Newsgroups: rec.music.bluenote
From: malcolm@wrs.com (Malcolm Humes)
Subject: Re: FRED FRITH at the Knitting Factory
Organization: Wind River Systems, Inc.
Date: Wed, 7 Oct 1992 20:01:23 GMT

Ed writes:

>FRED FRITH IS A GOD!!!!  HE IS ABSOLUTELY FUCKING AMAZING!!!!  HE GOES
>INSTANTLY INTO MY JAZZ-BLUES-AND-CREATIVE-MUSIC PANTHEON OF IDOLS!!!

Aha, another convert to the Frith cult... A guitars-on-the-tables Frith
concert in Philly in 1979 changed my life. I think Bill Hsu also claims
to have had some revelations at his first Frith concert some years ago. 

>he placed this weird rectangle metal thing on the guitar (on its
>platform, which kept vibrating (feedback I guess) and he played along
>with this sound on the electric violin. 

I think this was an E-bow - it's a commercially available guitar
toy that sets up an electromagnetic field that makes a guitar string
vibrate with infinite sustain. With practice it can get string, flute and
all sorts of sounds from a guitar, or it can be used in a sort of random
fashion as described in this live situation. I've got one - it's a little 
hard to master, but for random weirdness it's fun - I've done one piece
that sounds like an insect swarm, done with strings vibrating with pennies
lying on them, with some processing and pitch shifting thrown in for extra
density. 
 
>There was
>a guy sitting in front of me Monday who videotaped the whole thing --
>which makes a lot of sense for this kind of performnace, because
>listening to it on tape one would have no idea what was going on (like
>when Fred twirled a little leather string around making a slight
>wind-noise and then snapped it down, whipping the neck of the guitar,
>or the weird homemade instruments). 

You got it - this stuff can sound interesting on a record or cd, but you 
can't capture the visual humor that accompanies Fred's live shows without
seeing what he's doing. 

>After the show, Zorn & Frith
>were hanging around and my brother wanted to get their autographs,
>which I thought was kind of goofy; unless maybe if he brought his
>guitar and had Fred carve his name in it with a butcher knife...

At a show here about a year ago my girlfriend and some otehr friends ran 
into Frith and Zorn in the club before the show, and they hit tehm up
for autographs. Zorn's looked like a skull, and Fred drew a little guitar
next to his... 

>My next Cadence order is gonna be heavy on the Frith material!  Anyone
>care to give me recommendations?

Gravity is one of my favorites, but it's more composed than improv. I'd
suggest Massacre (Frith/Laswell/Maher) and Frith's Speechless, also the
Guitar solos cd. If you like the composed stuff go for The Top of His Head
and maybe The Technology of Tears. Email me if you want a not very complete 
but still pretty large discography of Frith's work. He's too prolific.  

 - malcolm@wrs.com 
Newsgroups: rec.music.bluenote
From: sue@seada.com (Sue Raul)
Subject: Re: JAZZ TROMBONE
Organization: Software Enginerring and Design Associates
Date: Fri, 9 Oct 1992 01:26:04 GMT

In article <BvtMKK.9ww@uxa.ecn.bgu.edu> ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:
>>George Lewis
>
>George also does improvisations with his computer.  No records are out
>that I know of, but he has been teaching at the Art Institute a few
>years ago (don't think he is there now) and put on some concerts and
>workshops.  I learned Forth from George Lewis. 

George Lewis is on the music dept. faculty of the University of California,
San Diego these days. He's still playing with his computer and his trombone,
performing from time to time in concert. He did some nice collaborative
work with poet Quincy Troupe last year. I think he was teaching in
Vancouver over the summer.

Sue
From: mjs@fc.hp.com (Marc Sabatella)
Newsgroups: rec.music.bluenote
Subject: Re: Primer on Jazz Improv: WHERE?
Date: 12 Oct 92 21:41:07 GMT
Article-I.D.: fc.Bw12wJ.4Lu
Reply-To: marc@hpmonk.fc.hp.com
Organization: Hewlett-Packard Fort Collins Site
X-Newsreader: TIN [version 1.1.2 PL6]

: A few weeks ago, someone posted an ftp site where he made available a
: primer that he had written on jazz improvisation.  I unfortunately cannot
: find that article now, nor the ftp site.  Can the author or anyone else
: tell me where I may find this primer?  Thanks in advance!

I may as well post a periodic reminder anyhow.  Here's October's:

A primer I've written on jazz improvisation is available via anonymous ftp from
ftp.njit.edu, in /pub/jazz-primer.  There are several versions there; the
postscript and dvi versions seem to be most popular, but there is also an
ASCII-ized version for those with only line printer or on-line viewing
capabilities.  Plus a shar file containing the "troff -me" sources.  And a tar
file containing all of the above.

I've gotten lots of feedback on it so far, and I thank everyone for the
overwhelmingly positive response (too much of it to respond to individually for
the most part).  I still welcome comments and suggestions for improvement -
surely there are some drummers out there who recognize the rather pathetic
nature of the section on percussion:-)

--
Marc Sabatella
marc@hpmonk.fc.hp.com
From: jimh@pongo.Eng.Sun.COM (jim hori)
Newsgroups: rec.music.bluenote
Subject: Re: MINGUS favs.
Date: 8 Oct 92 17:51:32 GMT
Distribution: world, rec, usa
Organization: Sun Microsystems, Mt. View, Ca.
NNTP-Posting-Host: pongo

In article <BvtB0s.DtE@fc.hp.com> marc@hpmonk.fc.hp.com writes:
>: >	"Ah Um" -Columbia CD
>: I suspect this one isn't available now
>It is, or at least was recently, unless Columbia has recalled it from the
>shelves.  It isn't really one of my favorites - a little overly sanitized for
>my tastes - and as you mention, no lyrics on "Fables", which was indeed on "CM
>Presents CM", BTW.  What was the "companion release" you mention, though?  I've

"Mingus Dynasty" came out about the same time, with the
same basic group, so might qualify as a "companion". The
two releases were actually paired later on by Columbia
into a 2-record set reissue. Even though there are edits
throughout the original released versions of the songs
on these records, they are among my favorite Mingus works.


....
jimh@west.sun.com
Newsgroups: rec.music.bluenote
From: tcw@kepler.unh.edu (Timothy C Webb)
Subject: Albert Mangelsdorff & Jaco Pastorius
Organization: University of New Hampshire  -  Durham, NH
Date: Thu, 8 Oct 1992 02:25:27 GMT


  On a compilation album I have (from Polygram's "Jazz Club" series) there's
a fantastic track called "Foreign Fun", played by Albert Mangelsdorff, Jaco,
and Alphonze Mouzon. Does anyone know what album this was originally on? I've
had a hell of a time looking for it.
 
-- 
-----------------------------------------------------------------------------
|          Tim Webb              |       tcw@kepler.unh.edu                 |
-===========================================================================-
|  "You know something, Alice? You've got a bigger heart than a cow!"       |
-----------------------------------------------------------------------------
From: vek@spacsun.rice.edu (Vincent E. Kargatis)
Newsgroups: rec.music.bluenote
Subject: Re: JAZZ TROMBONE
Date: 9 Oct 92 03:28:38 GMT
Organization: Rice University

hsu@walnut.sfsu.edu (William Hsu) writes:
> Finally, I'm surprised Sandeep forgot to mention the exuberant New Yorker
> Dave Taylor who usually plays bass trombone. He plays on Herb Robertson's
> recent CD.

Add the also-exuberant Art Baron, who plays on the recent Willner Mingus
album.
-- 
| 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: gidi@Hilbert.Stanford.EDU (Gidi Avrahami)
Subject: Re: Who were those guys?
Organization: Brotherhood Of Breath
Date: Fri, 16 Oct 1992 05:00:10 GMT

jww@evolving.com (John W. Woolley) writes:
>Who were the guys in "White Men Can't Jump" who stood around near Venice
>Beach singing terrific instrumental-style jazz?  Have they made records?

The main man there was Jon Hendricks.  He is one of the fathers of
modern jazz vocalese, right after Eddie Jefferson, I guess.  The trio
Lambert, Hendricks and Ross was a major influence in the fifties.  You
should be able to find many of his recordings.  For just one teensy
example, the Manhattan Trasfer's 1985 album VOCALESE features the
lyrics of Jon Hendricks as well as his voice (soloing on Night In
Tunisia).


--Gidi

Newsgroups: rec.music.bluenote,rec.music.misc
From: vek@spacsun.rice.edu (Vincent E. Kargatis)
Subject: Re: RIP Gary Windo??
Organization: Rice University
Date: Fri, 9 Oct 1992 00:47:39 GMT

ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:
> BTW, has anyone bought that Mingus tribute yet.  I saw it, but was too
> scared to buy it.

Scared?? Shoot, I run to the store when a Willner album comes out, but
that's just me. WEIRD NIGHTMARE: MEDITATIONS ON MINGUS is great! Unlike
previous albums, this one features a house band of Art Baron, Bill Frisell,
Greg Cohen, Michael Blair, and Don Alias, instead of a changing cast.
Guests include Henry Threadgill, Gary Lucas, Vernon Reid, Bobby Previte,
Charlie Watts, the Uptown Horns, Don Byron, Robert Quine, Elvis Costello,
Robbie Robertson, Chuck D, Diamanda Galas, Dr. John, and a bunch of Harry 
Partch's instruments.

Also unlike previous Willner comps, this album has much more of a
consistent mood and sound - dark, eerie, often pretty - very much a
possible soundtrack to a weird nightmare. It features several readings from
published and unpublished sections of _Beneath the Underdog_.

I dig it, for sure. Oh, not every track is perfect - Keith Richards
rendition of "Oh Lord, Don't Let Them Drop That Atomic Bomb On Me" is a
little too close to the original flavor, and oh, how I wish Diamanda Galas
would sing the lyrics to "Eclipse" instead of just wordless vocalizing.
(how I love that version with Janet Thurlow - wow.)

I think it's majorly cool, but I'm not the hardest person to please, so
whatever. Go buy it anyway. It's on Columbia of all labels, so it's easy to
find. Encourage them.
> 
> Jeff
-- 
| 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: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: Ed Blackwell passes away
Organization: Educational Computing Network
Date: Thu, 8 Oct 1992 18:20:53 GMT


Sad to hear... 

Eddie was one of my favorite.  I saw him live with Old And New Dreams,
with David Murray, and with Mal Waldon.  I also got to play with him
once at the Creative Music studio in Woodstock.  His uplifting grooves have such
a singing quality... there was never any doubt on how to play with
Eddie. 

He was the drummer with Ornette for much of the 60s and early 70s.  In addition
to jazz styles, his playing combined the sounds of African rhythems with the 
parade rhythms from New Orleans.  With Ornette, all these stylistic
elements were present, often in a musical setting containing a strong pulse 
yet no fixed meter.  He also played in more straight ahead groups such as Mal
Waldron and more recently Joe Lovano.  The last records I think he made
were the new Ray Anderson (with fellow Ornette rhythm section mate
Charlie Haden), and Joe Lovano (with Dave Holland).  From a few years
back, there was one with Karl Berger and Dave Holland.  He has had
kidney problems for the last 20 years or so, and that made it more
difficult to tour.

Eddie Blackwell will be missed.

Jeff
From: hsu@walnut.sfsu.edu (William Hsu)
Newsgroups: rec.music.bluenote
Subject: Re: FRED FRITH at the Knitting Factory
Date: 7 Oct 92 17:43:59 GMT
Article-I.D.: nic.1992Oct7.104401.2824
Reply-To: hsu@walnut.sfsu.edu
Distribution: world

In article <1992Oct7.111313.19726@athena.mit.edu>  writes:
> 
> My next Cadence order is gonna be heavy on the Frith material!  Anyone
> care to give me recommendations?

As far as I can remember (that's I'm not remembering much these days),
you can sample more guitars-on-the-table Frith in the three sets of
Guitar Solos (Vol.2 and 3 are compilations with some of the most
important free improvising guitarists of our time). I believe much
of this material has been reissued on CD, you lucky dogs. I also have
a tape or two of awesome Frith live solo sets lying around somewhere
(but I just moved across the country, I'm not supposed to be able to
find anything in my apartment). There are also more recent non-solo  
releases that are guitars-on-the-table type sets.

> Recent listening: LAST EXIT in Tokyo (with Herbie Hancock!).  I'd
> never heard them before, bought this CD just for the hell of it (I was
> really looking for Brotzman/Laswell's "Low Life") but I like it.

Check out Last Exit in Koln, on ITM available from Cadence. It's my
favorite of the Last Exit sessions. Low Life is also wonderful, and
should be available as a cheapie cutout CD (I *could* brag about
how little I paid for mine, heh.)

> So I've got this and some very early stuff
> too ("Introducing Paul Bley").  On this album (ECM) he does sound a
> bit like Jarrett, in particular I could swear they're both playing
> something very similar on one tune from this and one of the Standards
> Trio albums...  Film at 11...

Now I know my memory is failing (must be these VAX assembly language
classes I'm teaching) but I don't think Introducing Paul Bley was on
ECM, unless it's a different Introducing Paul Bley from the '53? date
with Mingus. That's a rather atypical Bley record (after all, he was
all of 21 or something then). The Bley record that Jarrett claims to
have listened to 1000 times (gee, I've only listened to mine about
30 times) is Footloose, with Steve Swallow and Pete LaRoca, on one
of those French labels from the '60s. Footloose is not easy to find,
but I believe material from it is included in Floater and Syndrome,
reissued with extra material as (what else) Floater Syndrome on CD.
My copy of Footloose is a bad pressing, the bass is really muddy etc,
so the Floater Syndrome CD is the thing to get if you're interested
in this period of Bley. The sound is still a little ragged but it's
much cleaner than the vinyl of Footloose. 

Bill
From: wjh@cbnewsl.cb.att.com (william.j.hery)
Newsgroups: rec.music.bluenote
Subject: Jamie Abersold's reocrd dist. company
Date: 14 Oct 92 03:34:47 GMT
Article-I.D.: cbnewsl.1992Oct14.033447.17201
Distribution: usa
Organization: AT&T

>>Some months back, at a local CD store, I noticed an Art Pepper boxed
>>set.  At $245, there was no chance I'd be walking out of there with it.

>.................  Incidentally, you can get the set from Jamey
>Abersold's record distributing company for significantly few bucks.

A few months ago, there were some complaints here about poor service from
Abersold's record distributino company. Hoping that they had gotten their
act together, and seeing some interesting items/prices in a recent catalog
I sent in an order for 7 CDs in mid August. After not hearing anything for
4 weeks, I called them to find out what the status of my order was. The
person who answered the phone couldn't tell me much (and what he said sounded
confused), but I was told that the manager would call me the following
day. I never got a call, and a few weeks later (7 weeks after my original order
was mailed), I finally got a package. It included three of the seven
CDs I ordered, and one that I hadn't ordered (but of course, I was being
charged for it). I am about to send back the one that I hadn't ordered.
Hopefully, they will credit my credit card account more quickly than
they processed my order.

Also, two of the three CDs I received from them were unsealed, looking
shopworn, and with cracked jewel cases. I'm also going to ask for replacement
jewel cases.

Until I hear of more favorable experiences, I doubt that I will be doing
business with them again.

Bill Hery
AT&T Bell Labs
201-386-2362
hery@att.COM
From: fwj@reg.triumf.ca (JONES,FRED_W.)
Newsgroups: rec.music.bluenote
Subject: Re: MILES DAVIS
Date: 16 Oct 1992 17:46 PDT
Organization: TRIUMF: Tri-University Meson Facility
Distribution: world
NNTP-Posting-Host: reg.triumf.ca
News-Software: VAX/VMS VNEWS 1.41    

chuck@spectrum.cs.unsw.oz.au (Mark Andrew Hawling) writes...

>All of Miles' 70's stuff has been released in Japan by Sony. If you
>really want to pay big money you should be able to get them on import.
>Here in Australia I have seen them all, but they are asking around $80
>for these imports. Some of the 70's stuff has been released everywhere.
>This includes Bitches Brew (well not really 70's, also horrible rematering
               ^^^^^^^^^^^^                        ^^^^^^^^^^^^^^^^^^^^^^^^
>job on this), Circle in the Round, Arharta and Pangea. Not much hugh!
 ^^^^^^^^^^^

Could you elaborate on what the problems are with the remastering?
This is a c.d. I had in mind to buy some time.
Thanks

Fred Jones
fwj@reg.triumf.ca

Newsgroups: rec.music.folk