HDTenEightyP/NetNews huggingface dataset:
From: gwl@specialist.genrad.com (Glenn W. Lea)
Newsgroups: rec.music.bluenote
Subject: Re: Thomas Conrad's Basic 50
Date: 27 Jan 93 12:22:02 GMT
Organization: GenRad, Inc.
NNTP-Posting-Host: specialist.genrad.com

In article <Vy0ZXB5w165w@bluemoon.use.com> buzzsaw@bluemoon.use.com (Patrick Buzby) writes:
>
>     Not that I find anything specifically wrong about Conrad's list,

Could someone please post the list?

Thanks,
Glenn
From: lmcohen@terapin.com (Lee Cohen)
Newsgroups: rec.music.bluenote
Subject: HAROLD LAND (In answer to other posts)
Date: 22 Jan 93 19:45:54 PST
Organization: BBS

I'm a huge Harold Land fan.  From what I've read so far I think he is
a little mis-understood.  Although growing up in San Diego, he didn't
make it to Los Angeles until 1954, when he first worked with Clifford
Brown.  That post-dates most of the action on Central Avenue, and
considering his work with Shorty Rogers and his Giants, and the
Gerald Wilson band, puts him more in the "West Coast" camp than
anywhere else.  Even more to that point is his stint with The Curtis
Counce Group, which included Jack Sheldon, Frank Butler, Carl
Perkins,  and for the final LP, Elmo Hope, who were all part of what
was known as the "West Coast" sound.  They also recorded for the
quintessential "West Coast" label, Les Koenig's Contemporary.
Harold has a very distinctive "woody" sound that's nothing like
Sonny Rollins, and his approach has none of  Sonny's anger, or
humor, for that matter.  Harold is out of the Prez school of tenor, as
was his contempories on "The Coast".  He did fall prey to Coltrane in
the mid-sixties, but then WHO didn't!  My recommendations would
be "THE CURTIS COUNCE GROUP VOL1", and "HAROLD IN THE
LAND OF JAZZ", both on Contemporary and available on CD.  The
later has fine work by trumpeter Rolf Ericson and Carl Perkins on
piano.  A HAMPTON HAWES date was mentioned, "For Real".  This
has just recently been re-issued and along with Hamp and Harold,
has Scot La Faro on bass.  HAWES is someone else I go out of my
way to collect, and I've been waiting for this one, however, it is not
the best recording for any of these players and unless your filling in
your collection, I would suggest other purchases first.  Of course, if
you are a La Faro fan, it's a must, this was one of his first dates
when he arrived in LA from New York.  Ted Gioa's book "West
Coast Jazz" is very good, although I think he dwells too much on
Brubeck and didn't include any pictures.  Another book is Robert
Gordon's "Jazz West Coast", which came out a couple of years
before Ted's and does a better job in some areas.  Roy Porter, the
drummer on the famous Parker Dial sessions, also wrote a book that
chronicles the California scene, "There And Back", which gives a
black musicans perspective of what went down during that time.  I
should mentioned Red Callendar's book too, "Unfinished Dream".
The West Coast continues to be mis-understood in the world of
Jazz, as enced by Down Beat and Jazztimes' lack of coverage
of even the contemporary scene out here.  If it's not from NEW
YORK, it has no value as Jazz, seems to be the prevalent attitude.       
Newsgroups: rec.music.bluenote
From: smehta@kwela.nynexst.com (Sandeep Mehta)
Subject: Re: Steps Ahead - need info
Reply-To: smehta@nynexst.com
Organization: Speech Technology, AI Lab, NYNEX S&T Inc, White Plains, NY
Date: 22 Jan 93 14:51:24


> avi@Warren.MENTORG.COM (Avi Ziv) writes:

> I am desperately searching for a Steps live album which I heard on tape.
> I think it is called something like "Smokin' in the Pit".
> I know for a fact that the band included Michael Brecker and Steve Gadd.
> Tower Records doe not list it in their catalog. Can it be a foreign issue?
> Is it available in the US? Any info will be appreciated.

It is an import and, to my knowledge, out of print. My vinyl copy is:
Nippon Columbia YB 7010-11-ND released in 1981. I also remember it
being a bit overpriced.

--
smehta@nynexst.com
--
        "This space of time is organized. We need not fear these
	 silences, -- we may love them." -- John Cage, Silences, 1961.
From: mjs@fc.hp.com (Marc Sabatella)
Newsgroups: rec.music.bluenote
Subject: Re: 'Nardis' - composed, yet unrecorded...
Date: 28 Jan 1993 18:32:14 GMT
Organization: Hewlett-Packard Company
Distribution: na
Reply-To: marc@hpmonk.fc.hp.com
NNTP-Posting-Host: hptrane.fc.hp.com
X-Newsreader: TIN [version 1.1.2 PL6]

Larry Lewicki (ldl@berlioz.nsc.com) wrote:

: I wondered about this too - about 4 years
: ago there was an interview with Mile Davis in Keyboard
: magazine - there was also an auxillary piece written
: by Orrin Keepnews - he talked about the 'Nardis' was
: it written by Bill Evans question.  He said that Bill
: Evans never claimed that he wrote "Nardis' - he always
: gave credit to Miles.  This wasn't out of politeness
: because when the "Kind of Blue" album was being printed
: Miles originally claimed credit for 'Blue in Green" -
: Bill Evans demanded (Keepnews wording - not mine) that
: he be given credit for this song.

I still think that "Nardis" sounds nothing like anything else Miles was
writing at the time, and everything like what Bill was doing.  But if Bill says
Miles wrote it, who am I to argue?

: This brings to mind another story.  About 7 years ago
: my wife and I saw John Handy play locally.  He played
: 'Four' but in the verbal introduction he claimed that
: it was really written by (I am pretty sure of this)
: Eddie "Cleanhead" Vincent (spelling?) and that Miles
: had appropriated the song for himself.  

"Vinson".  I hadn't heard the story, but at least this time, "Four" sounds to
me like something Miles would have written.  On the other hand, if many the
tunes Miles supposedly wrote were actually penned by others, maybe I don't
what Miles' own writing really sounds like after all.

Perhaps Miles was just sore that he didn't consistently get credit for "Donna
Lee", and was still kicking himself over attributing "Boplicity" to his mother,
or something like that.

BTW, regarding the older "Milestones" - the fakebook I have it in definitely
attributes it to John Lewis, so my memory was not faulty, although my source
may be.  This one could go either way.  It reminds me enough of "Afternoon In
Paris" to believe Lewis could have written it.

--
Marc Sabatella
marc@hpmonk.fc.hp.com
--
Amendment 2 Is Legalized Discrimination - Shame On You, Colorado
--
"Neither the State of Colorado ... nor any of its municipalities ... shall ...
 enforce any ... ordinance ... whereby homosexual, lesbian, or bisexual
 orientation ... shall ... be the basis of ... any ... claim of discrimination"
--
All opinions expressed herein are my personal ones
and do not necessarily reflect those of HP or anyone else.
From: milst1@cislabs.pitt.edu (Martin I Lewison)
Newsgroups: rec.music.bluenote
Subject: Re: Take 6
Date: 27 Jan 93 18:09:24 GMT
Distribution: usa
Organization: University of Pittsburgh

I'm a big fan of these guys.  They have made three albums - Take 6,
So Much 2 Say, and a Christmas album, which I haven't heard.

They are *really* talented, and their arranging is incredibly fantastic.
They are a "Christian group", so a lot of there stuff is spiritual, but
you've never heard a public domain spiritual like these guys do it.

They also do some of their own writing, and that stuff is really good
upbeat pop/jazz stuff.  I'm thinking of "Gold Mine" off the first album and
"I L-O-V-E U" from the second.

If you can manage to ignore constant references to Jesus (it took me a while -
I'm *not* a Christian!), they're definitely worth listening too.  Best
a cappela stuff I've ever heard.

-Martin
Newsgroups: rec.music.bluenote
Subject: Re: Hal Russell
From: kenz@local.host
Date: 28 Jan 93 09:39:42 -0600
Reply-To: kenz@local.host
Distribution: world
Organization: Organization, City, State, etc.

In article <1993Jan27.142238.3952@nic.csu.net>, hsu@walnut.sfsu.edu (William Hsu) writes:
>Bill Kenz:
>> I still find it strange that an "old, bearded man"
>> could play with such fire. 
>
>If you've ever seen Hal Russell play (like Seth Katz and I did in
>Chicago last summer), all your preconceptions about "old, bearded
>men" go out the window :-). Hal was an irrepressible child. Hal was
>everywhere. Hal danced around. Hal rapped like Donald Duck. 
>
>Hal was the kind of "old bearded man" you see in old cartoons...
>
>Bill
==============================
So I take it you don't think he also arrived on Earth from Saturn?
I'll  miss him.  By the way, there is an RCA LP with the Joe Daley Trio which
HR played on.  I've got a copy.  I wonder if HR was dancing and rapping back
then?!  Too bad there isn't a video of that "63 performance.
  B Kenz
================
From: rardin@binah.cc.brandeis.edu (R. Lynn Rardin)
Newsgroups: rec.music.bluenote
Subject: Re: Steps Ahead - need info
Date: 26 Jan 93 21:31:51 GMT
Reply-To: rardin@binah.cc.brandeis.edu
Organization: Brandeis University

In article <1993Jan26.123357.21267@fel.tno.nl>, qb7g6@fel.tno.nl (Maarten Landzaat) writes:
>rardin@binah.cc.brandeis.edu (R. Lynn Rardin) writes:
>
>>BTW, it's possible that these recordings may be reissued domestically by Mike 
>>Mainieri's new NYC label.  There was a note in his most recent Steps Ahead 
>>release on NYC that said something about his label releasing old Steps 
>>recordings that had never been released in the U.S...
>
>Here in Holland, I recently saw a new CD by Mike Mainieri (don't remember
>the title) with old tracks. I didn't listen but the musicians of 
>"Steps" (not steps ahead) were listed and there was an old recording date,
>and the track titles looked familiar to me.
>I guess this is the CD you were referring to.

I think you may be referring to WANDERLUST, Mike Mainieri's new one on NYC.  
As you said, it was recorded awhile ago (1980 or 1981, I think) and features 
the guys from Steps plus some others.

-Lynn  (rardin@auriga.rose.brandeis.edu)
From: cpaulu@bu.edu (Chris Paulu)
Newsgroups: rec.music.bluenote
Subject: Johnny Hartman CDs?
Date: 27 Jan 93 01:02:51 GMT
X-Newsreader: Tin 1.1 PL5

Having heard the incredible John Coltrane/Johnny Hartman CD (titled
John Coltrane & Johnny Hartman, amazingly enough), I'm dying to hear
more of Johnny Hartman.  So,

What's out there?

What's recommendable?

Thanks in advance...

Chris Paulu
cpaulu@bu.edu
Newsgroups: rec.music.bluenote,rec.music.info,rec.answers,news.answers
From: eamg052@orion.oac.uci.edu (Matthew Wesley Spitzer)
Newsgroups: rec.music.bluenote
Subject: Tito Puente
Summary: What are the essentials
Keywords: Essential Latin Jazz
Date: 28 Jan 93 00:41:48 GMT
Distribution: rec.music.bluenote
Organization: University of California, Stepford

Thank you all for your responses to my post about the Lounge Lizards.  Now
I would like to sample the Net's wisdom on another subject.  I recently 
picked up a copy of The Best of Tito Puente, and it absolutely blew my mind.

So my question is, suppose I want to get a more complete sample of Tito's work,
but I have limited funds, whate are the essential recordings I can't do without.Thanks in advance for 
your attention.

Sincerely,
Matt Spitzer 
              
 
Newsgroups: rec.music.bluenote
From: braden@tarski.mit.edu (Tom Braden)
Subject: Re: Parker/Lytton
Organization: MIT Department of Mathematics, Cambridge, MA
Date: Mon, 25 Jan 93 19:50:22 GMT

In article <C19qCI.Dw1@news.rich.bnr.ca> John Thomas <jgthomas@bnr.ca>               writes:
>
>Which brings me to another question.  Recently I saw an expensive import
>CD on (I think) the Matchless label called SUPERSESSION or something
>like that with a quartet including Barry Guy and Evan Parker.
>
>Parker played tenor and soprano sax and Guy and the other two members
>played "electronics" (in addition to bass for Guy).
>

If this is what I'm thinking of, the other two are longtime AMM members
Kieth Rowe and Eddie Prevost.  Rowe is a guitarist who likes to drop 
things on his strings, and things like that.  Prevost is a percussionist,
though he may also play with electronics.  I don't remember the electronics
being very prominent.  Unfortunately, the sound's not very good, which 
can really hurt with texture-based improv like this.  

-- Tom



Newsgroups: rec.music.bluenote
From: marvo@cbnewsk.cb.att.com (ronald.f.roberts)
Subject: Re: Sun Ra
Organization: AT&T
Distribution: na
Date: Tue, 26 Jan 1993 18:35:46 GMT

In article <MfNK4Kq00iUyA2d3N4@andrew.cmu.edu> Robert Angelo Pleshar <rp16+@andrew.cmu.edu> writes:
>from Ron Roberts:
>> 
>>I'm still trying to determine whether "Pictures of Infinity"
>>is an album title as opposed to a tune.
>
>Pictures of Infinity is an album title. There is no song with that title
>by Sun Ra. the album is a live 1968 recording released by Black Lion
>records. It is currently out of print, but some Black Lion stuff is
>being reissued on cd, so maybe it will be available again sometime soon.

Ralph, thanks very much for this info!
-- 
Ron Roberts      rfr@pruxp.att.com or att!pruxp!rfr      (609) 639-2242

   "'Nardis'...composed, yet unrecorded, by the Prince of Darkness?"
Newsgroups: rec.music.bluenote
From: dmandl@shearson.com (David Mandl)
Subject: Re: African Head Charge, Sun Ra recommenda
Reply-To: dmandl@shearson.com
Organization: Lehman Brothers, Inc.
Date: Thu, 21 Jan 1993 21:56:12 GMT

In article 8275@CSD-NewsHost.Stanford.EDU, gidi@Hilbert.Stanford.EDU (Gidi Avrahami) writes:
>cford@hpcc01.corp.hp.com (Charlie Ford) writes:
>>
>>  I'm looking for recommendations for Sun Ra and African Head Charge albums,
>>  and this group looked like it might be the closest place. For that matter,
>>  where's the reggae ?
>
>For Sun Ra (and the other stuff, too, possibly) look at
>rec.music.bluenote, the Jazz-Blues-Etc group.
>
>For reggae, there's the new rec.music.reggae
>

There's a mailing list devoted to Adrian Sherwood and his On-U
label (this would include African Head Charge, of course).
I think it's at:

on-u@pta.pyramid.com.au

As for recommendations, my favorite AHC LPs are still the 
earliest ones, which may or may not be available on CD.
They're definitely long out of print on LP.  I would suggest
"My Life in a Hole in the Ground," "Environmental Studies," and
"Drastic Season," but I suspect if you like AHC, you'd like
just about any of their records.  You'd probably also like
a lot of Adrian Sherwood's other work: Playgroup, Dub Syndicate,
etc.

   --Dave.

Newsgroups: rec.music.bluenote
From: rardin@binah.cc.brandeis.edu (R. Lynn Rardin)
Subject: Re: penguin guide to recorded jazz
Reply-To: rardin@binah.cc.brandeis.edu
Organization: Brandeis University
Date: Sat, 23 Jan 1993 14:13:53 GMT

In article <1993Jan22.231121.19455@serval.net.wsu.edu>, dschaefe@wsuaix.csc.wsu.edu (Don Schaefer - Economics;S28754) writes:
>last week there was a discussion of the penguin guide to
>recorded jazz. my local bookseller investigated and could
>only find penguin's Jazz on CD LP and Cassette by Cook and 
>Morton (isbn 0140153640) which would not be available
>until may 1993. is this the penguin guide to recorded jazz?
>if not could anyone provide me with more information so i
>could track it down?
>thanks
>don schaefer

You've got the correct ISBN number.  The complete title is:

"The Penguin Guide To Jazz On CD, LP & Cassette"

It sounds like it's only spottily available in the U.S. at the moment.  I 
ordered a copy from Music Bookstore in Toronto, where it's been available for 
awhile now, and finally received my copy yesterday.  From a brief glance 
through it, I'd say it's definitely worth searching out.

-Lynn  (rardin@auriga.rose.brandeis.edu)
Organization: University Libraries - Administration, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.bluenote
Date: Fri, 22 Jan 1993 10:08:06 -0500 
From: Ignatios Alexander <ia0n+@andrew.cmu.edu>
Subject: Re: Ellington 78 info

>From: saul+@pitt.edu (Alan B Saul), who asks:

>Would any Ellington scholars please provide me with some information
>I've wondered about for a long time? Many years ago I dubbed a great
>bunch of 78s (they belonged to a pianist named Sylvan Burke, who had
>played for a short time in New York in the 40s I guess, and told me
>stories of Lady and her spaghetti) to cassettes. Among these there
>was a record with wonderful clarinet playing, and I've always wondered
>if it was Barney Bigard, Pee Wee Russell or somebody else?
>One side has a Herb Jeffries (I believe) vocal with lyrics like
>  There's two kinds of woman
>  There's two kinds of man
>  There's two kinds of romance
>  Since time began.
> 
>  There's the real true love
>  And that good old jive
>  One tries to kill you
>  One helps to keep you alive.
> 
>The other side is a clarinet vehicle called Are You Sticking?


My old Ellington Discography (going up to only 1945) indicates that you are
right--'Are You Sticking?' was on the flip side of 'I Don't Know What Kind
of Blues I Got' on Victor 27804, and Barney Bigard is the clarinetist.
But take note--Harry Carney also plays clarinet at the end of one or both
of these sides.  BTW, these were recorded six months apart.

    Hollywood, June 5, 1941
    Are You Sticking?  matrix #061284

    Hollywood, December 2, 1941
    I Don't Know What Kind of Blues I Got  matrix # 061943


Please tell us the story of Lady and her spaghetti.  

---Ignatios
From: wjh@cbnewsl.cb.att.com (william.j.hery)
Newsgroups: rec.music.bluenote
Subject: Re: Stan Getz, Best of Verve Years, Vol. I
Date: 28 Jan 93 01:08:16 GMT
Distribution: na
Organization: AT&T

marvo@cbnewsk.cb.att.com (ronald.f.roberts) writes:
>You probably have chosen something reasonable if you are not familiar with
>Stan Getz.  While recording for Verve Getz released a classic with strings
>called "Focus" and of course the Bossa Nova dates with Joao Gilberto, Astrud

...and even better bossa nova dates with Charlie Byrd (Jazz Samba), and Luis
Bonfa (Jazz Samba Encore)...

>Gilberto ("Girl From Ipanema"). He also recorded with Oscar Peterson and I
>believe Chick Corea!..all on Verve. So you may want to read the titles

...and Diz, and Mulligan (half with Getz on bari and Jeru on tenor),
and Bill Evans, and Lionel Hampton, and JJ Johnson, and Chet Baker,
and Conte Condoli, not to mention regular band members like Brookmeyer
and Chuck Raney. Plus the various JATP and allstar sessions that got
everybody else that recorded for Verve in the 50 into the act. Too bad
that a lot of these (and my personal favorite, STAN GETZ AT LARGE, a
quartet with a European rhythm section) haven't been reissued (although
I have seen AT LARGE as a pair of non-Verve, high priced imposrt CDs).

Corea was on SWEET RAIN from 1966, and is one of Corea's earliest
recordings; it might be his first "jazz" recording (he was playing in
NY slasa bands before Getz and I believe he recorded with some of them).

Bill Hery
AT&T Bell Labs
201-386-2362
hery@att.COM
From: ngse18@castle.ed.ac.uk (J R Evans)
Newsgroups: rec.music.bluenote
Subject: Albert Collins, John Zorn and the unity of r.m.s (was Spillane ... )
Date: 23 Jan 93 12:33:26 GMT
Organization: Edinburgh University

smehta@kwela.nynexst.com (Sandeep Mehta) writes:

>I think that that is a good description. However, I think I would
>program the CD player to skip the third suite :-) which I simply did
>not connect to. The Albert Collins piece worked remarkably well!

Indeed.  Personally, I felt this was one of the best things I've heard
from Albert Collins.  I gained the impression that Zorn was challenging
him to extend his range, to examine his existing vocabulary and to say
a little more.  On the other hand, I disagree about the third suite.
The 'late romantic' components sound a little forced, so don't sit well
within the rest of the work, but the vocal sections make up for it (an
echo of Norma Winstone, to my ears).  All in all, I found this one of the 
most provocative albums I've heard in the last few years (but I regret that
I have barely a nodding acquaintance with the body of Zorn's work).  

The Collins pieces also bring to my mind the occasional discussions
about splitting this newsgroup.  Works like this show the strength 
of the unifying threads amongst modern Western improvisation.  If Zorn,
Coleman, Trane and Bird had not listened to and played the blues, or
if bluesmen did not listen to (and sometimes seek to emulate) Django,
Wes and even John Scofield, the music would not be where it is.  Works
like Spillane and Two-Lane Highway are *not* arbitrary eclecticism --
they stem from an understanding of that interplay.  I find no dividing
line between 'blues' and 'jazz' and these pieces illustrate the futility
of trying to draw one ..

Russ
Newsgroups: rec.music.bluenote
From: atten@phil.ruu.nl (Mark van Atten)
Subject: woody allen tape?
Summary: tape request
Keywords: jazz, woody allen
Organization: Department of Philosophy, University of Utrecht, The Netherlands
Date: Wed, 27 Jan 1993 11:45:44 GMT

Hi,

I've been almost exclusively listening to Bruce Springsteen the last 8 years,
but the films of Woody Allen made me interested in jazz too. I know that
Mr. Allen himself has been playing clarinet for almost all his life, and that
he still does. In particular he plays at, I believe, Michael's Pub every
Monday. Now I am wondering if anyone has got a tape of Mr. Allen performing?
Please mail to atten@groucho.phil.ruu.nl
                     ^^^^^^^
Thanks,
Mark.
From: patrick.eckman%acc1bbs@ssr.com (Patrick Eckman) 
Newsgroups: rec.music.bluenote
Subject: Re: B.B King on cable
Date: 26 Jan 93 17:46:00 GMT
Distribution: world
Organization: Advanced Computer Concepts BBS, New Rochelle, NY 914-654-1981
Reply-To: patrick.eckman%acc1bbs@ssr.com (Patrick Eckman) 


 J . Subject: Re: B.B King on cable

 J . In article <1993Jan21.032119.28335@ferrari.nmc.ed.ray.com>, mongeau@NMC.ED.RAY.COM (Michael Mongeau) writes:
 J . > The Family Channel is broadcasting a show called "B.B. King and Friends"
 J .
 J . "Recorded live at the Ebony Showcase Theater in Los Angeles, B.B. King takes
 J . the stage for a once-in-a-lifetime performance ;with some of the music world's
 J . greatest stars to create an unforgettable evening of Red Hot Blues.
 J .
 J . "On Stage: B.B. King with guest Paul Butterfield (in his last recorded
 J . performance), Eric Clapton, Phil Collins, Etta James, Dr. John, Chaka Kahn,
 J . Albert King, Gladys Knight, Billy Ocean and Stevie Ray Vaughan."


 I saw this and it is very very good. Did anyone tape it?

---
 . JABBER v1.2 . Usenet: patrick.eckman%acc1bbs@ssr.com  RIME (#4) (914) 654-1981