HDTenEightyP/NetNews huggingface dataset:
From: m713@hosp.med.umich.edu
Subject: Joe Negri (Guitarist)
News-Software: IBM OS/2 PM RN (NR/2) v0.14 by O. Vishnepolsky and R. Rogers
Reply-To: m713@hosp.med.umich.edu
Organization: University of Michigan Math Dept
Date: Tue, 13 Oct 1992 18:01:41 GMT


I'm looking for recordings by the guitarist on the Mr.Rogers
kiddie show. His name is Joe Negri. Also the pianist on that
show. His name escapes me.

Thanks
Newsgroups: rec.music.bluenote
From: mikel@networx.com (Mike Lempriere)
Newsgroups: rec.music.bluenote
Subject: Re: Art Pepper collection
Date: 12 Oct 92 22:16:37 GMT
Organization: NetWorx
X-Newsreader: TIN [version 1.1 PL6]

I called the shopp and got some more details.
The collection is entitled "Art Pepper: The Complete Galaxy Recordings".
It's apparently everything he recorded for the Galaxy label (whoever
that is).  It spans '78 through '82.  (I thought he died in '80, I guess
not!)  Apparently some of it is live, and it includes 35 previously
unreleased pieces.

My real question is still unanswered though, how is his later material?
Newsgroups: rec.music.bluenote
From: dasmah@max.physics.sunysb.edu (Srinandan Dasmahapatra)
Subject: Re: Vinyl Sale!
Organization: Institute for Theoretical Physics
Distribution: pa,nj,ny
Date: Fri, 16 Oct 1992 13:49:34 GMT

In article <SMEHTA.92Oct15094849@kwela.nynexst.com> smehta@nynexst.com writes:
>
>> bweiner@ruhets.rutgers.edu (Benjamin Weiner) writes:
>
>> (imagine Tower with more taste, and salespeople who know something
>> about the music).
>
>[plug alert]
>
>While I agree that most Tower/HMV/etc. have ignorant (often dumb --
>they'd fail high school arithmetic) salescritters Tower Village has
>some truly knowledgeable people. Specifically, if you go there during
>the week look up my pal Spencer Richards - ex-JCOA, photographer,
>raconteur and writer -- he wrote the liners to Cecil Taylor's LIVE IN
>VIENNA (Leo, 1988). 

And to "In the brewing luminous" where he is also responsible for the
photography as in "Garden". I believe it is in the liner notes to
"Garden" that Cook or somebody (the guy who wrote the notes to the
Berlin Jazz Composer's Orchestra, for instance, damn my failing
memory) refers to Spencer's (possibly unintentional) charecterization
of Cecil's playing and chanting as "onomatopoetic." He was the one who
introduced me to Charles Gayle. Good man.

>When I quoted Richard Cook on Cecil: "Count Basie
>on mescaline" he promptly replied: "more like Art Tatum on speed" ;-).  
>If you are ever there talk to him about the music or anything
>else -- especially the fine game of cricket :-)



>
>/sandeep
>--
>smehta@nynexst.com
>--
>        "This space of time is organized. We need not fear these
>	 silences, -- we may love them." -- John Cage, Silences, 1961.

Tutul

P.S.: Now that I am stranded here in Trieste, Italy, near the Slovenian
border, could some kind soul direct me to possible jazz places I might
visit?
-- 
Srinandan ("Tutul") Dasmahapatra
Internet: dasmah@max.physics.sunysb.edu


Newsgroups: rec.music.bluenote
From: rardin@binah.cc.brandeis.edu (R. Lynn Rardin)
Subject: Re: MINGUS favs.
Reply-To: rardin@binah.cc.brandeis.edu
Organization: Brandeis University
Distribution: na
Date: Thu, 8 Oct 1992 18:08:41 GMT

In article <BvtB0s.DtE@fc.hp.com>, mjs@fc.hp.com (Marc Sabatella) 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.
>--
>Marc Sabatella
>marc@hpmonk.fc.hp.com

I heard a few weeks ago from a Tower jazz buyer that at least one of Mingus' 
Columbia CDs was being deleted.  Maybe AH UM is the one (or one of them).

-Lynn

< R. Lynn Rardin (rardin@auriga.rose.brandeis.edu)  >
< Rosenstiel Basic Medical Sciences Research Center >
< Brandeis University, Waltham, MA 02254-9110       >
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: jazz musicians deserving attention (was Re: JAZZ IS DYING:HELP!!)
Organization: Educational Computing Network
Date: Thu, 15 Oct 1992 18:15:41 GMT

In article <2ADDA2C8.6087@deneva.sdd.trw.com> ochikubo@mamacass.etdesg.trw.com (Craig F. Ochikubo) writes:
> BTW ... does anyone know of a CD version of that live in japan
> weather report album ... that is one album i would really love to
> have!

I have never seen it, and have seen some Japanese imports of Weather
Report.  I had read that their very first album ( I always call it
Orange Lady ) was supposed to be issued in September, but I have never
seen it.

Jeff

Newsgroups: rec.music.bluenote
From: wjh@cbnewsl.cb.att.com (william.j.hery)
Subject: Re: recommendations:Brubeck
Organization: AT&T
Date: Thu, 8 Oct 1992 00:44:16 GMT

>: >1. I don't know much about jazz, but want to listen more.
>: >2. I have Brubeck's "Time Out," which I enjoy very much.
>: >3. Could you please recommend other works similar to that which you think
>: >   I would also enjoy. Other Brubeck? Other artists?
>
>Most of Brubeck's recordings from the early fifties to the late 60's are very
>similar to "Time Out", although few of the earlier ones feature such
>deliberately obtuse meters.  Paul Desmond is what makes that album for many

The "deliberately obtuse meters" are mostly on TIME OUT, TIME FURTHER OUT,
COUNTDOWN: TIME IN OUTER SPACE, and TIME CHANGES. I think these are noticably
different from the earlier (early-late 50s) recordings on Fantasy (now
reissued on OJC) and Columbia (I think JAZZ GOES TO COLLEGE and GONE WITH
THE WIND have been reissued, but there are about 30 in that era.

His 2 LP set recorded live at Carnegie Hall has several of the TIME OUT/
TIME FURTHER OUT pieces done in concert, and I believe parts of this are
on a CD reissue.

>people, and Desmond was on virtually all of Brubeck's albums during this time.

There was a solo album on Columbia (~1956), one on Fantasy, two quartets
with clarinetist Bill Smith (who is back with him now) instead of Desmond
(one on Columbia, one on Fantasy), a couple of trios with Cal Tjader playing
both vibes and drums. Plus there were at least 3 with symphony orchestras.

>...but on the whole, nothing
>I can think of really goes directly at the "Time Out" sound...

Well, Max Roach was recording in 5/4 before Brubeck, but it didn't sound like
Bru because his group wasn't nearly as stiff as Bru's in that odd time
signature.

Desmond recorded several albums on his own with Jim Hall on guitar; one
of them, TAKE TEN was an obvious take off on his hit composition TAKE FIVE
(Brubeck didn't write it). Mosaic has gotten all the Desmond/Hall albums
(at least 6) together in a reissue.

I'm not making any recommendations here because my tastes grew away
from Brubeck quite a few years ago. But he was my introduction to jazz.

Bill Hery
AT&T Bell Labs
201-386-2362
hery@att.COM
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Newsgroups: rec.music.bluenote
Subject: Re: Jamaaldeen Tacuma?
Date: 15 Oct 92 18:19:33 GMT
Organization: Educational Computing Network

In article <1992Oct15.164717.16915@CSD-NewsHost.Stanford.EDU> gidi@Hilbert.Stanford.EDU (Gidi Avrahami) writes:
>malcolm@wrs.com (Malcolm Humes) writes:
>>>Jamaaladeen Tacuma (and anyone else from Prime Time)
>>Clue me in. Steer my ears
>
>I have one JT that I really like: SHOW STOPPER.  The first half (first
>side when they still had sides, I guess) is with his band, "Jamal",
>and it's essentially some Prime Time-type electro-funk.  The rest has

He has a fairly recent album out with a sax player named Wolfgang,
and they do the tune Show Stopper.  In fact that is the hottest thing on
the album.  trouble is, they use too many drum machines on some of the
other cuts, and it pulls the music down.  At its best, it is worth it.
Why could Jamaal have gotten a drummer?

My favorite Ornette album with Jamaal is Body Meta, out of print from
the Artist House label.

Jeff
From: will@ogre.cica.indiana.edu (William Sadler)
Newsgroups: rec.music.bluenote
Subject: Re: Bill Evans' Demise
Date: 16 Oct 92 15:27:56 GMT
Article-I.D.: ogre.will.719249276
Distribution: rec.music.bluenote
Organization: Indiana University

In <KSEDGWIC.92Oct15171949@netcom.Netcom.COM> ksedgwic@netcom.Netcom.COM (Ken Sedgwick) writes:


>Does anyone know the cause of the pianist Bill Evans' untimely death
>at the age of 50 in 1980?

I believe he had complications resulting from ulcers, but I'm hazy on
this.  The real reason is that he was a heroin addict for several
years.  It does bad things to your body.

He was touring and performing in 1979, so I'm not sure why there were not
any recordings.  I know that he had gotten married pretty recently and
was happy with his new home life.  

Will
--
***************************************************************************
*   _______________\|/_      Will Sadler     will@cica.indiana.edu        * 
*   Laser 44888    /|\                       sadler@iubacs.bitnet         *     
***************************************************************************
Newsgroups: rec.music.bluenote
From: templon@paramount.nikhefk.nikhef.nl (Jeffrey Templon)
Subject: Re: Robben's New Album (was Re: Robben Ford fans)
Organization: NIKHEFK
Date: Wed, 7 Oct 1992 08:23:18 GMT

ochikubo@mamacass.etdesg.trw.com (Craig F. Ochikubo) writes:

>>I forgot to mention that although Robben (and band member Roscoe
>>Beck) were the producers, Chick Corea was the "executive
>>producer".  So maybe this explains some of the fusion feel
>>that sort of wafts in and out of the disc.
>>
>is it on the label that Chick Corea was suppose to be starting?

it was on something called "Stretch Records".  I don't know if
that is Chick's or not.

					jt
From: ray@unisql.UUCP (Ray Shea)
Newsgroups: rec.music.bluenote
Subject: Re: Jamaaldeen Tacuma?
Date: 16 Oct 92 15:48:06 GMT
Organization: UniSQL, Inc., Austin, Texas, USA

In article <Bw6DKM.KnA@uxa.ecn.bgu.edu> ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:
>He has a fairly recent album out with a sax player named Wolfgang,
>and they do the tune Show Stopper.  In fact that is the hottest thing on
>the album.  trouble is, they use too many drum machines on some of the
>other cuts, and it pulls the music down.  At its best, it is worth it.
>Why could Jamaal have gotten a drummer?


I saw those two play in Berlin a few years ago under the name "Red Star",
which also included Alice Sharrock and an amazing Korean percussion ensemble 
called Samul-Nori.  It was intense, even my jazz-hater girlfriend thought
it was the most amazing thing she'd seen in a long time.  Samul-Nori
definitely beats the hell out of any drum machine.


ray




-- 
Ray Shea                       Practice random cruelty 
UniSQL, Inc.                   and senseless acts of violence.
unisql!ray@cs.utexas.edu       
DoD #0372, '88 Hawk NT650	
From: davel@hpfcso.FC.HP.COM (Dave Lechtenberg)
Date: Thu, 15 Oct 1992 15:51:19 GMT
Subject: Re: massacre/defunkt/info
Organization: Hewlett-Packard, Fort Collins, CO, USA
Newsgroups: rec.music.bluenote

In rec.music.bluenote, mctkew@dct.ac.uk writes:

> I have some unlisted tracks by a band called MASSACRE - rumoured to have
> Sonny Sharrock as a member. I would like to know the list of musicians, and a 
> list of albums etc - I live in Dundee Scotland - a noted centre for expansive
> music exploration (no its not). If anyone could give me UK info on MASSACRE
> releases it would be very helpful.
> 

Massacre was Fred Frith on guitar, Bill Laswell on bass and Fred Maher on
drums.  They released only one album: Killing Time.  In the US, it was
released on Celluloid.  I've heard rumors about a remastered CD reissue.
Anyway, it's an amazing album that's highly recommended.

Sharrock doesn't play on Massacre, but he did appear on the Material album
"Memory Serves" that was released in the same time frame (early 80's).  The 
"Memory Serves" band was a superset of Massacre.

-Dave
Newsgroups: rec.music.bluenote
From: wjh@cbnewsl.cb.att.com (william.j.hery)
Subject: Sunny Murray's first album as a leader
Organization: AT&T Bell Laboratories
Distribution: na
Date: Thu, 8 Oct 1992 13:46:33 GMT

A few weeks ago someone on the net made reference to drummer Sunny Murray's
first album as a leader but didn't have details. I've just come accross
some of the information. The album is SUNNY'S TIME NOW on Jihad records,
recorded in 1965. Personnel: Murray, Albert Ayler, Don Cherry, Henry Grimes,
and Louis Aurel (not a familiar name to me--this is what the name sounded
like when they were talking about it on WKCR). Amiri Baraka (LeRoi Jones)
reads one of his poems, BLACK ART, on one of the cuts.

The album was later reissued in Japan (label not identified) with an
additional cut from that session not on the original release.

The announcer also alluded to the album's title including a type that
won't go away, and I assume they mean Sunny vs Sonny, but I'm not sure
which is correct and which is the typo. I believe he goes by Sunny now
(although I still see Sonny in some places), but he might have just
liked it after the typo. I have seen the album, with "u" not "o," listed
in discographies, so I assume the actual title was with Sunny.

Unfortunately, I didn't get to hear any of the music: this information was
from an 8 hour VHS tape I made during the WKCR Don Cherry festival last
spring (I've only had time to listen to 5 of the 8 8 hour tapes), and
unfortunately I'm usually out ot the house for 10 hours, so I missed the
last 2 hours. The tape went as far as them talking about the album, but
only the first minute of so of music before the 8 hours was up :-(...and
they were about to play the whole thing (including the extra cut on the
Japanese reissue)

Bill Hery
AT&T Bell Labs
201-386-2362
hery@att.COM
Newsgroups: rec.music.bluenote
From: malcolm@wrs.com (Malcolm Humes)
Subject: Re: Rova in Chicago
Organization: Wind River Systems, Inc.
Date: Wed, 7 Oct 1992 19:44:27 GMT

hsu@walnut.sfsu.edu (William Hsu) writes:
>I saw ROVA, Fred Frith and Bob Ostertag at the Great American Music
>Hall a couple weeks ago.
...
>Then Frith and Ostertag performed a short free improv set. Frith was
>mainly in his guitars-on-the-table bag; good to see him return to this
>after Naked City-ing. 

It wasn't really his guitars-on-the-table thang - he just played his trusty
old guitar (the one with the extra pickup on the neck end to pick up those
extra notes created on the string above the fretting position) with lots
of toys - which may in effect be similar to his on-the-table stuff, except
I think he uses special homemade guitars for that. This was just a real 
guitar with lots of stuff done it it, like the drumstick he stuck between
the strings, making for a unique "slide guitar" effect. 

Anyway, I really enjoyed it - it was to me a much better show than the 
Frith/Ostertag/Zorn last year. I took a few moments to talk to Fred 
afterwards, and I asked him if he has a complete discography list - for
much of the last year I've been compiling a list of releases I've found him 
on, and I thought I might as well ask the source. He said that if I ask 
Rec Rec Switzerland they'll forward a copy of his complete discography, not
just the abbreviated promotional one they give out. I can't wait to see what
I've missed...  

>Ostertag is one of very few improvising keyboardists
>(as in non-piano) whom I can stand, and did some wild tricks with his
>sampler. He also played what various net people were calling a "Virtual
>Theremin" or "Buchla lightning"; whatever it is, I want one.

I'm really curious about this device - it's apparantly something that uses
two wands waved in the air to generate MIDI trigger info. I believe it's
made by Don Buchla, who lives in the bay area and who is known for his analog
synth stuff with non-keyboard conrtollers. Ostertag was using it to do 
things that sounded like it was controlling analog tape - he was making
lots of fast forward and rewind type sounds, by triggering his Ensoniq EPS
(I think) with this wand device.

 - malcolm@wrs.com  
Newsgroups: rec.music.bluenote
From: smehta@kwela.nynexst.com (Sandeep Mehta)
Subject: Re: FRED FRITH at the Knitting Factory
Reply-To: smehta@nynexst.com
Organization: Speech Technology, AI Lab, NYNEX S&T Inc, White Plains, NY
Date: 7 Oct 92 10:09:13


> wildman@athena.mit.edu (Timothy Worsley) writes:

> Minor but fun observation: background music at the Knitting
> Factyory on Monday was Hendrix (some live concert) followed by
> Frisell (Where in the World).  Nice combination.  But you know, as
> much as I like Hendirx, JIMI WOULD HAVE FLED IN TERROR FROM FRED
> FRITH!!!  OK, maybe not, but still, it's an interesting comparison.

The KF background music isn't selected for contrasts or to elicit any
emotional or intelluctual reaction. It simply is the stack of CDs the
sound engineer has lying around with him or those that are handed to
him from the CD cabinet downstairs (i.e., when they're plugging the
KFW material). By coincidence, it does make for interesting
contrasts.

/sandeep
--
smehta@nynexst.com
--
        "This space of time is organized. We need not fear these
	 silences, -- we may love them." -- John Cage, Silences, 1961.
QUIT
John Cage, Silences, 1961.
Newsgroups: rec.music.bluenote
From: dave@jato.jpl.nasa.gov (Dave Hayes)
Subject: Re: JAZZ IS DYING:HELP!!
Reply-To: dave@jato.jpl.nasa.gov
Organization: Jet Propulsion Lab - Pasadena, CA
Date: Thu, 15 Oct 1992 23:26:18 GMT

fwj@reg.triumf.ca (JONES,FRED_W.) writes:

>Today, the jazz programming seems to be polarized: you either get 24-hour
>Yellowjackets/Kenny G "Happy Jazz" interspersed with New Age, or material 

I hardly think that the Yellowjackets and Kenny G are in the same category.
In my opinon, the Yellowjackets are much more expressive and progressive
than Kenny "too many notes" G. 

Besides...Mr G was a lot better when he was with Jeff Lorber.
-- 
Dave Hayes - Network & Communications Engineering - JPL / NASA - Pasadena CA
dave@elxr.jpl.nasa.gov       dave@jato.jpl.nasa.gov         ...usc!elroy!dxh

Honest (adj.) - Someone who is secretly regarded by everyone as an enemy. 
Newsgroups: rec.music.bluenote
From: jte@beefheart.cc.columbia.edu (Jeff Eldredge)
Newsgroups: rec.music.bluenote,rec.music.misc
Subject: RIP Gary Windo??
Date: 8 Oct 92 17:54:18 GMT
Reply-To: jte@beefheart.cc.columbia.edu
Organization: Columbia University


The recent Hal Wilner tribute to Mingus is dedicated to "my dear friends  
Doc Pomus, Beaver Harris, Harry Smith, and Gary Windo."  This sounds a  
hell of a lot like "in memory of..."  

Does anyone know if saxophonist Gary Windo (who has played with Carla Bley  
and NRBQ amongst others) passed away?  Or is Wilner mixing the living with  
the dead?  Doc Pomus is gone.  I think Beaver Harris is...don't know who  
Harry Smith is.

Jeff Eldredge
From: steed@hpcc01.corp.hp.com (Gary Steed)
Date: Thu, 8 Oct 1992 06:10:38 GMT
Subject: Re: Re: recommendations: Brubeck
Organization: Corporate Computing & Services
Newsgroups: rec.music.bluenote


I have the CD of "Time Out" and have been meaning to ask about it here.
It's was part of the Columbia Jazz Masterpieces, which is supposed to be
"Digitally Remastered Directly from the Original Analog Tapes". I noticed
that during the drum solo on "Take Five" that the bass sounds overdriven. 
So much so that it is very distracting. Even when I turn it lower the sound
quality of the bass bothers me. It seems like a really bad engineering job
to me. Has anyone else noticed this? I hear it on some of the other cuts too, 
but not nearly as bad. 

I used to think it was my set up, but I recently got a new receiver and 
different speakers and I still hear it. It's so bad that I don't play it
anymore, although I really enjoy the music on it. I would like to know if 
this was a problem that has been "fixed" with later CD's, if in fact it 
was a problem after all. I have over 100 CD's and don't hear problems with 
anything else. 

Just Curious,

------------------------------------------------------------------------------
Gary Steed    				Hewlett-Packard Co.  
                                        CC&S Network Engineering
Unix:   steed@hpcc26.corp.hp.com        Palo Alto, CA.
From: hellers@cs.wisc.edu (Joe Hellerstein)
Newsgroups: rec.music.bluenote
Subject: Query: Ellington's "Solitude", lyrics
Date: 8 Oct 92 18:16:32 GMT
Organization: Univ. of Wisconsin @ Madison, CS Dept.

Quick question:

	When was the music to "Solitude" written, and when (and by
whom) were the lyrics?  Somebody recently gave the "you can't play
the tune if you don't know the lyrics" speech on "Solitude", and I was
hoping it would be one of those tunes where the lyrics didn't appear
until many years later.

I find that whole business about knowing the lyrics to be a lot of
nonsense, and I try to discourage it whenever I can.  It's one of my
top 10 annoying master-class tips.  (That would be an entertaining
thing to compile, by the way...)

Joe Hellerstein
Newsgroups: rec.music.bluenote
From: tesar@tigger.cs.Colorado.EDU (Bruce Tesar)
Subject: Re: Ed Blackwell passes away
Organization: University of Colorado, Boulder
Date: Sat, 10 Oct 1992 21:33:23 GMT

In article <SMEHTA.92Oct8004934@kwela.nynexst.com> smehta@nynexst.com writes:
>
>I hate to be the carrier of sad tidings but Ed Blackwell passed away
>at 6:20pm on Wed, Oct 7 at a hospital in Hartford, CT. No further
>details were provided by WKCR.
>
>That, including Beaver Harris, makes two great drummers who have
>passed away in the past year. Ed Blackwell was a jazz giant who now
>watches over us from the big band in the sky.
>
>/sandeep
>--

    And I was just last night admiring Blackwell's playing on Joe Lovano's
latest album. Sad tidings indeed.

Bruce
-- 
Bruce B. Tesar                    Internet:  tesar@cs.colorado.edu
Computer Science Department
University of Colorado at Boulder 
Boulder, CO  USA  80309-0430
Newsgroups: rec.music.bluenote
From: wjh@cbnewsl.cb.att.com (william.j.hery)
Subject: Re: What Are Cutouts? (was Re: Cutouts and record company economics)
Organization: AT&T
Distribution: usa
Date: Wed, 14 Oct 1992 13:08:18 GMT

errol@hpgnd153.grenoble.hp.com (Errol Inan) writes:
>From a consumer point of few, a cutout is usually a deeply discounted record
>with one of the top corners either cut off or a whole punched out of it.
>The store does this because the general policy is that a cutout record cannot
>be returned to the store for any reason.  With the cutout mark, they can
>identify these records if clients trys to return them.

As I pointed out in an earlier article, the notch is put in by the
manufacturer/distributor so that the store cannot return them as unsold
full price merchandise. As far as I know, cutouts are not sold "as-is"--
if they are defective you should have a right to return them.

>The store wants to dump the records it puts in the cutout bins so it drops
>the price on them to attract buyers but because the prices are so low, they
>can't afford to take back defects afterwards.

If a store has full price recordings that it is not selling, they return them
to the distributor, not mark them down as drasticly as cutouts. Cutout
prices are usually below the wholesahe prices that the stores pay for
full price merchandise. The manufacturers can afford to mark down THEIR
prices because they do not pay artist's royalties on cut-outs. Artist's
royalties are a major marginal cost (i. e., the cost of selling one more
item, not the initial recording session costs, etc., which is amortized
over as many as they can sell), which allows the companies to sell the
cutouts at a profit similar to the profit they make on the full price
items. In other words, you get a bargain because the artist gets screwed.

Bill Hery
AT&T Bell Labs
201-386-2362
hery@att.COM
Newsgroups: rec.music.bluenote