HDTenEightyP/NetNews huggingface dataset:
From: mece1xg@Elroy.UH.EDU (purna)
Subject: history of blues music
Reply-To: mece1xg@Elroy.UH.EDU
Organization: University of Houston
Date: Wed, 19 Aug 1992 13:24:22 GMT

howdy all!

as a "recent" blues listener, i am curious as to the history of blues
music.  i only know the blues by its interpretation, etc. by "modern"
artists (such as SRV, J. Winters, etc.) as well as those well known
(such as B.B. King, Ray Charles) artists.  recently i have heard other
names (such as Son House) that i plan to check out.

my question is....does anyone (obviously more knowledgeable than me)
have a good compilation of blues artists and/or albums/CDs that would
show the progression of the blues over time?

just trying to expand my horizons....
peace,
-purna
Newsgroups: rec.music.bluenote
From: hsu@sp24.csrd.uiuc.edu (William Tsun-Yuk Hsu)
Subject: coming Chicago events
Organization: Univ of Illinois, Center for Supercomputing R&D, Urbana, IL
Distribution: usa
Date: Fri, 14 Aug 92 22:51:17 GMT

Sat. Aug. 15	somewhere in Wicker Park

	Free music festival featuring Roscoe Mitchell, Gene Coleman
(Chicago avant-jazz/new music clarinetist and composer), a salsa band,
a klezmer band and maybe more. Some time in the afternoon.

Thurs. Aug. 20	Bennett Hall, Ravinia Festival, Highland Park

	Muhal Richard Abrams, Anthony Braxton, Roscoe Mitchell, Malachi
Favors and Thurman Barker. $15. 7:30pm.

Tues. Aug. 25	Hot House Gallery

	Damon Short Quartet (Jeff Beer, are you playing that night?)

Bill
From: vek@spacsun.rice.edu (Vincent E. Kargatis)
Newsgroups: rec.music.bluenote
Subject: Re: Crispell recs
Date: 21 Aug 1992 15:24:30 GMT
Organization: Rice University

jgthomas@crchh420.NoSubdomain.NoDomain (John Thomas) writes:
> Thanks to all for your suggestions.  I can readily get 
> THE KITCHEN CONCERT (I believe on Leo) though and nobody
> seemed to mention that one.  Anybody have this one?
> Reviews heartily encouraged and appreciated...

A beautiful album. Lots of variety, too. Of course, this trio (Crispell,
Dresser, Hemingway) does no wrong.
-- 
| 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     |
From: rshapiro@bbn.com (Richard Shapiro)
Newsgroups: rec.music.bluenote
Subject: Miles boots, 1960-1975 (was: Miles' best work?)
Date: 18 Aug 92 17:36:23 GMT
	<1992Aug17.131329.21525@uxa.ecn.bgu.edu>
	<1992Aug18.043421.28614@usage.csd.unsw.OZ.AU>
Organization: BBN, Cambridge MA
NNTP-Posting-Host: pilsner.bbn.com
In-reply-to: chuck@spectrum.cs.unsw.oz.au's message of Tue, 18 Aug 1992 04:34:21 GMT

In article <1992Aug18.043421.28614@usage.csd.unsw.OZ.AU> chuck@spectrum.cs.unsw.oz.au (Mark Andrew Hawling) writes:

   Does anyone have a complete list of Miles bootlegs. 

This must be a *huge* list, which I won't even think about trying to
compile.  However, I'll take a stab at a subset, from the years
1960-1975 (the Miles era(s) that most interest me). I won't try to
list the actual releases, just the place and year of the concert. No
studio recordings of Miles have ever been bootlegged as far as I know.

1960 (Davis, Coltrane, Kelly, Chambers, Cobb)
  Copenhagen
  Stockholm
  Scheviningen

1960 (Davis, Stitt, Kelly, Chambers, Cobb)
  Stockholm
  Manchester

1963 (Davis, Coleman, Hancock, Carter, Williams)
  St Louis

1964 (as above)
 Antibes

1964 (Davis, Shorter, Hancock, Carter, Williams)
 Paris
 Copenhagen
 Berlin [or somewhere in the former GDR]

1966 (as above)
 Portland [?]

1967 (as above)
 Paris
 [one other European location, I forget offhand]

1969 (Davis, Shorter, Corea, Holland, DeJohnette)
 Paris

1971 (?)
 NYC
 Stockholm


These are the ones I know that have been commercially available at one
time or another. I'm  sure there are others -- I'd like to know about
them if so, so please post if you have further info.
Newsgroups: rec.music.bluenote
From: bruces@sco.COM (Bruce Steinberg)
Subject: Re: Boston Sound
Organization: The Santa Cruz Operation, Inc.
Distribution: rec.music.bluenote
Date: Sat, 15 Aug 1992 03:21:17 GMT


I knew the '80s were over when corman@Ingres.COM (Anthony Corman) said,
Yo! To the requester of band names:
Yo! 
Yo!             <...>
Yo! 
Yo! Anyone else got Boston Sound trivia? Club names? Catacombs (Boylston
Yo! nr Mass Ave), Boston Tea Party (orig South End, then Lansdowne (sp) St.
Yo! What else?
Yo! 
////////////////

Can't forget Paul's Mall.
-- 
Bruce Steinberg  (uunet!sco!bruces, bruces@sco.com)
The Santa Cruz Operation, Inc.

               "What if there were no hypothetical questions?"
Newsgroups: rec.music.bluenote
From: mece1xg@Rosie.UH.EDU (purna)
Subject: BLUES:Albert King's style
Reply-To: mece1xg@Rosie.UH.EDU
Organization: University of Houston
Date: Sat, 22 Aug 1992 20:45:33 GMT

howdy all!

i'm not sure if this message should be posted here or in alt.guitar,
but we'll see what kind of discussion this sparks up :)

for those interested in blues guitar, i just received the last of
my incomplete set of _Guitar Extra_ magazine.  i like this one
because of all the different styles of music they discuss.
anyway, the very first issue has a BIG article in there about
Albert King.  it talks about his early days, music, etc.  what
i found fascinating, though, was the way he plays the guitar.

first, he plays a right-handed guitar with a left-handed technique
(and he doesn't restring 'em!).  secondly, he tunes the highest
two strings BOTH to E!!  i really find this bizarre, but there was
no explanation of it.

oh well, just some info on a cool blues artist.  hope you liked
it.  if  anyone's interested, i can post more stuff, but i'll
wait to see reactions and appropriateness of this group for
such a discussion.

peace,
-purna
From: gt6990b@prism.gatech.EDU (MADDALA,VIVEK)
Newsgroups: rec.music.bluenote
Subject: Re:  Jeff Porcaro is dead:  Let's make a record list
Date: 12 Aug 92 21:26:45 GMT
Organization: Georgia Institute of Technology




I am a very big Jeff Porcaro fan.  He was one of my all time favorite
musicians.  I really only started getting into his work a couple of
years ago, and the albums I know of that he played on are probably
only a small fraction of the total number.  I really believe he was
one of the most recorded drummers in history (which has to tell you
something about his talent and ability).

He was never a member of Steely Dan; except for in the beginning,
Steely Dan was never a group--just Donald Fagen and whatever studio
musicians he hired.  He has played on quite a few records of 
Steely Dan, Al Jarreau, Madonna, B52's, Michael Jackson, Dire Straits,
George Benson, Larry Carlton, Lee Ritenour, Don Henley, and a host of 
other jazz/pop/rock records.  It seems everywhere I'd turn around I'd 
see his name in the musician credits.  Apparently, he, David Paich 
(keyboards), and David Hungate (bass) were in Boz Scaggs' backup band, 
and around '77 they formed what became Toto (along with Steve 
Porcaro--Jeff's brother, Steve Lukather--the well known and 
accomplished guitarist, and Bobby Kimball on vocals).  Although through
the years Toto has undergone many personnel changes, the three members
who have remained and who make (or made) up the backbone of Toto are
J. Porcaro, Paich, and Lukather.   Jeff, Steve, and Mike Porcaro
(who played bass after Hungate left) were sons of Joe Porcaro, the 
famous percussionist.  David Paich is son of Marty Paich, the band
leader.  Joseph Williams (vocals on the album "Fahrenheit") is son of
John Williams, the conductor.  Perhaps the name "Toto" came from singer
Bobby Kimball's real name (Robert Toteaux).  In 1990 Toto did put out a 
new album (a "Greatest Hits" type of album that included a few new 
songs), but I don't know that Toto has released anything since, 
although I believe they still remained a group.  I'm not sure what state 
the band and other members of Toto will be in now that Jeff Porcaro is 
gone.  I guess we'll have to see.

Anyway, I just thought I'd post some info to, perhaps, let people know 
more about Porcaro and his work.  (As a side note, I think "Rosanna" 
from Toto IV is about Rosanna Arquette, Steve? Porcaro's ex.)

If anyone has more information, please post.  Thanks....

                                        - The Tadster

-- 
MADDALA,VIVEK
Georgia Institute of Technology, Atlanta Georgia, 30332
uucp:	  ...!{decvax,hplabs,ncar,purdue,rutgers}!gatech!prism!gt6990b
Internet: gt6990b@prism.gatech.edu
Newsgroups: rec.music.bluenote
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: Keith Jarrett in Sun (8/16) NYT
Organization: Educational Computing Network
Date: Wed, 19 Aug 1992 16:19:46 GMT

In article <5801@m1.cs.man.ac.uk> dnd@spec0.ee.man.ac.uk (Darryl Davis (RA)) writes:
>The synthesiser bit has me confused tho, after all isn't Terry Riley clever
>with synthesisers ...

Jarrett doesn't like electronic instruments, period, he has said it is
harmful to your health, and like florescent lights, causes headaches.
He used them earlier, mainly so he could play with Miles.  He did his
Ralph Kramden "He knew that I know that he knew that I knew" bit about
Miles knowing Keith didn't like playing electronic keyboards.

This is where I think he is wrong.  While electronic instruments
generally do not have the expressive range of many acoustic instruments, 
it still ultimately is the _human_ that makes expression.  For all KJs
lovey-dovey rhetoric, he should know this.  He also uses a harpsichord
when he plays classical music.  So what is this?

As for the music business part, and the raison d'etre of music, I
generally agree with him.

Jeff
From: mcnamara@vixvax.mgi.com
Newsgroups: rec.music.bluenote
Subject: Re: Jazz Showcase (Chicago) Schedule
Date: 19 Aug 92 14:30:54 CDT
Distribution: usa
Organization: Management Graphics, Inc.

In article <1992Aug18.145656.15474@lmpsbbs.comm.mot.com
>, johnhe@ecs.comm.mot.com (John Hefferan) writes:
> For those of you who will be visiting Chicago in the next few months,
> Here is a list of upcoming events at the Jazz Showcase...
> 
> Jazz Showcase --  Blackstone Hotel, 636 S. Michigan Ave. Chicago IL 60605 
> 	(312)427-4846
> All Ages / No Smoking / No Minimum
	     !!!!!!!!!!

	Amazing list of concerts deleted .......

	Let me urge those of you in the Chicago area to head down and check
out the Showcase.  Not only great music, but no smoking!  This club
has made my occasional business trips to Chicago worthwhile.
	I was quite disappointed, however, in the turn-out for two
recent concerts there, namely James Moody and Barry Harris.  Here are two
artists who I admired and had despaired of ever seeing, and the audience
consisted of no more than six people!  It *was* midweek, but you can't
keep a club open this way.

						Curt

****************************************************************************
Curt McNamara	(mcnamara@mgi.com)	|"Mistakes are part of the dues
Mgmt. Graphics, Inc.			|one pays for a full life."
1401 E. 79th St.			|	Sophia Loren
Mpls., MN    55425			|
****************************************************************************

Newsgroups: rec.music.bluenote
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: Re: Trumpets (Was Playing diff trpts)
Organization: Educational Computing Network
Date: Fri, 21 Aug 1992 18:52:24 GMT

In article <17570376@hpfcso.FC.HP.COM> mjs@hpfcso.FC.HP.COM (Marc Sabatella) writes:
>In rec.music.bluenote, joey@berkeley.edu (Joe Hellerstein) writes:
>
>> 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).
>
>Just curious - why is that?  Why can you do it on fluegel but not trumpet?
>How about cornet?  Why does having four valves matter?  Why would you have to
>"skip down" to it?  What do you mean by "skip down", anyhow?

The flugel has a bigger bell, and no doubt its acoustical
charactaristics make it easier.  It should be said that you can hit the pedal C
on regular trumpet, but it is harder.  On flugel, it pops right out.

Skipping down means that on a flugel, the lowest regular note is a low
F#, with all fingers depressed.  Then to go to that pedal C that comes
out so nice, you have to lip everything down.  It is not a stable note,
meaning you can play it, but the valves really aren't helping you.
There have been flugels with 4 valves to give you these notes.
I don't know how popular they are these days, they weren't all that
popular in the 70s.

Jeff
Newsgroups: rec.music.bluenote
From: johnhe@ecs.comm.mot.com (John Hefferan)
Subject: Jazz Showcase (Chicago) Schedule
Organization: Motorola Land Mobile Products Sector
Distribution: usa
Date: Tue, 18 Aug 1992 14:56:56 GMT

For those of you who will be visiting Chicago in the next few months,
Here is a list of upcoming events at the Jazz Showcase...

Jazz Showcase --  Blackstone Hotel, 636 S. Michigan Ave. Chicago IL 60605 (312)427-4846
All Ages / No Smoking / No Minimum
Cover charges listed when known

Showtimes
Tuesday, Wednesday, and Thursday 8 and 10 PM
Friday and Saturday 9 and 11 PM
Sunday mat 4PM, eve 8 and 10 PM

August (is Charlie Parker month)

18-23  Joe Henderson, Renee Rosnes, Al Foster, Larry Grendier
       (DownBeat will present awards to Joe at the Tuesday Night show)

25-30 Eastern Rebellion - Cedar Walton, David Williams, Billy Higgins, Ralph Moore

September

4-6    Post Jazz Fest Jam Sessions
       (some of the headliners might drop in -- Joe claims that Louis Bellson will after his gig)

8-13   Stanley Turrentine Quintet $15

15-20  Ed Thigpen Trio w/ Tony Purrone, Marlene Rosenberg  $10

22-27  Dorothy Donegan Trio  $15

29-4   Ray Brown Trio w/ Bennie Green, Jeff Hamilton $15

October

6-11   Tommy Flanagan Trio  $12/$15

13-18  Brother Jack McDuff  $10

23-25  John Scofield Quartet w/ Joe Lovano  $15  (note friday-sunday only)

27-1   Jim Hall (tentative)

November

3-8    McCoy Tyner

10-15  Ahmad Jamal

17-22  Mose Allison a/o J.J. Johnson

24-29  Maynard Ferguson



-- 
John Hefferan           |  "Disco is Rhythm and Blues for people
                        |   who have neither" - Mark Colby
johnhe@comm.mot.com     |  
Newsgroups: rec.music.bluenote
From: noykman%peruvian.utah.edu@cs.utah.edu (Nathan Dykman)
Subject: Re: Jeff Porcaro Died
Date: 12 Aug 92 13:57:01 MDT
Organization: University of Utah CS Dept

I will send a request to NDA, national drummers assoc. for a complete 
discography, if and when I get it, I will post it here. We drummers have lost
a great man as well as drummer. May he always rest in the palm of God's hand.

He did the drumming on Dire Straits On Every Street, I think.

Nathan Dykman
Newsgroups: rec.music.bluenote
From: US30139@VM.CC.LATECH.EDU
Subject: BLUES:  post label
Organization: LOUISIANA TECH UNIVERSITY
Date: Wed, 19 Aug 92 11:51:29 CST

 
I just wanted to comment how much I like the labeling of recent blues
entries with BLUES in all caps.  It makes it much easier for me to locate
blues-related articles.  I wholeheartedly recommend further blues entries
be made this way.  Good idea, somebody!
 
Mike James
Ruston, LA
US30139@VM.CC.LATECH.EDU
From: gwl%wave3_1@CONCERT.NET (Glenn Lea)
Newsgroups: rec.music.bluenote
Subject: Re: DIWs
Date: 18 Aug 92 11:31:47 GMT
Reply-To: gwl%wave3_1@concert.net

>>>>> On 17 Aug 92 17:30:13 GMT, wave3_3!uxa.ecn.bgu.edu!ujwb (Jeff Beer) said:
  Jeff> Apparently-To: jmh@morgana.pubserv.com
  Jeff> Apparently-To: gwl@wavetracer.com

  Jeff> In article <9208171617.AA21136@wavetracer.com> gwl%wave3_1@concert.net writes:
>Art Ensemble of Chicago, "Dreaming of the Masters Suite: Music

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

Yes, it's on there.  Thanks for making the connection.

Glenn

--------------------------------------------------
Glenn Lea - reply to gwl@wavetracer.com
Wavetracer, Inc.
Newsgroups: rec.music.bluenote
From: stevec@doppler.ncsc.org (Steve A. Chall)
Subject: A story about "We Want Miles" (was Re: Miles' best work?)
Followup-To: sender
Organization: North Carolina Supercomputing Center
Date: Fri, 21 Aug 1992 21:10:39 GMT

"We Want Miles" was recorded at Miles' first live performance
after his late-seventies hiatus (when was that...'81?) at an
unlikely club just off Kenmore Square in Boston called Kix
(hence the tune of the same name) which ordinarily functioned
as a disco. There was just a tiny little ad for Miles in the
paper, so an hour or two before the listed showtime I suggested
to my girlfriend (now my wife of eight years, inseparably bonded
to me, perhaps by this very experience) that we mosey on over to
see Miles at what I foolishly expected to be an intimate and
obscure little club gig.

By the time we got to Kenmore on the T, the line to get into Kix
stretched for blocks, and there was no hope in hell we were
going to get in to see Miles' first live performance in half a
decade. So we walked up front near the entrance to the club and
there witnessed quite a foofaraw and general hubbub as befitted
the momentous occasion. We could hear the band playing from
outside, and they sounded strong, as the record testifies.

Sneer as you like at Marcus Miller's music, but that rhythm
section -- Marcus along with Al Foster on drums (who sounded
infinitely better than he had at a Pall's Mall Miles gig about
1974) -- was an unmitigated motherfucker and stands in its way
with some of Miles' best (I did get a chance to see them with
Miles a year or two later, also in Boston, and they were superb).

(As someone else said recently, the "We Want Miles" version of
Gershwin's "My Man's Gone Now" is an extraordinary recreation,
true to the original feeling of the song and yet all new, due in
large part to Marcus' low-down and nasty popping blues bass line.)

While we were out front listening, Herbie Hancock pulled up in a
chauffeured limousine, got out wearing a pearl-gray three-piece
suit, smiled and waved to the cheers of the other excluded
faithful lingering along with us outside the club, and was
quickly ushered in through a side door to hear his former
boss play.

-Steve Chall
Newsgroups: rec.music.bluenote
From: tim@vestek.com (Tim McGinnis)
Subject: Ohnedaruth
Organization: Vestek Systems
Date: Mon, 17 Aug 92 22:58:00 GMT

In article <1992Aug17.173013.6322@uxa.ecn.bgu.edu> ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:
>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



anybody remember the "church of john coltrane" thread from a few weeks ago?
well, the house band is loosely made up of members of the local sf jazz
band Ohnedaruth.  I was wondering where the name Ohnedaruth came from
thanks....


it's all starting to come together....


tim

Newsgroups: rec.music.bluenote
From: walden@ready.eng.ready.com (Eugene Walden)
Subject: Finding the Underground Jazz Scene (was: Jarrett)
Organization: Ready Systems
Distribution: ca
Date: Mon, 17 Aug 92 18:51:56 GMT

In article <1992Aug17.013747.18861@athena.mit.edu> eprice@sql.sybase.com writes:
>charless@cory.Berkeley.EDU (Charles R. Sullivan) writes:

>... I'm a little
>confused as to what audience he was writing this for: people who love
>music will always find it even if the "industry" does not encourage it
>(and has it *ever*?) 

This brings up something that I've wanted to ask here. 

Where are the good spots in the Bay Area to see hot local jazz talent? The
only place I know of is Cafe Du Nord on Market Street. They have some hot 
bands playing there.

Most of the jazz I've seen has been at Yoshi's, Kimball's East, or Club Jazz.

   (A side-note: At Kimball's in August and September: Milt Jackson (with Cedar
    Walton and Tootie Heath), Dorothy Donegan, McCoy Tyner, Jimmy McGriff...
    How will I find enough money to see it all? )

These places are nice-- good view, good acoustics, but they seem to lack the 
excitement of a hole-in-the-wall jazz joint. In addition, the crowds at these
shows are typically pretty rich, because ticket prices are at least $15.

In addition, most of the performers I've seen at these places are older, 
well-established musicans. That leaves a void for the more raw sound of 
younger and less-established musicians just trying to make it.

So, if anyone has a favorite place to see local jazz, or if you know of a 
local band that's really hot, could you post the info? If I get enough 
responses, I'll post a summary. 

Also, does anyone know why the yupperclubs mentioned above never seem to have
opening acts for the big names? Maybe I've just gone on nights where they 
didn't have opening acts, but it seems that a big-name show is the perfect 
opportunity to showcase local talent. Perhaps the big names don't like having 
opening acts? 

   - Eugene Walden (walden@gate.ready.com)
Newsgroups: rec.music.bluenote
From: n5ppm264 (Charlie Board)
Subject: Re: Frogman in the movies?
Organization: bnr
Date: Wed, 19 Aug 1992 16:39:38 GMT

In article <1992Aug19.130207.21629@usenet.ins.cwru.edu>, mlj@po.CWRU.Edu (Marcus L. Just) writes:
> 
> 
> Okay, 
> 	I was in a bar last night and someone played this cool
> song on the jukebox.  It was called "Ain't got a Home," by
> Clarence "Frogman" James.  I had never heard it before but my
> drinkin' buddy had.  He said he saw a brat pack movie where
> some teenager was lip synching with the whole song.  Then he
> started getting p-oed because he couldn't think of the name of
> the movie and who was in it.  HE HAS NEVER BEEN STUMPED BEFORE!
> If some kind person knows the movie I'm talking about, please
> e-mail me.  There might be a percentage of the money I win off
> him coming to you. :-)

I've got no clue on the movie, but the artist is Clarence "Frogman"
HENRY (not James).

> -- 
> Marcus Just: mlj@po.cwru.edu: Computing Support: Wickenden 319:
> 
>