HDTenEightyP/NetNews huggingface dataset:
From: crispops@world.std.com (Dale A Smoak)
Subject: Re: Don Cherry suggestions?
Organization: The World Public Access UNIX, Brookline, MA
Date: Wed, 6 Jan 1993 10:08:26 GMT

dnb@meshugge.media.mit.edu (David N. Blank-Edelman) writes:

>  I just picked up "Multikulti" in a bargain bin at a local store.
>What a find!  I'd heard Cherry's work on a Tony Vacca/Tim Moran album
>("City Lights"), and thought it was very good.  Can anyone recommend
>more albums by this artist along this vein?

There've been a number of good recommendations for Cherry albums given so
far, but I don't think too many of them are along the lines you're asking.
 
The album listed as being by Penderecki and Don Cherry, called *Actions*,
on Wergo, is one I'd recommend.  Cherry and Penderecki don't actually
appear together:  each gets one album side.

The album was recorded in 1971 at Donaueschingen, and features Cherry
leading The New Eternal Rhythm Orchestra in a performance of "Humus." 
This piece is steeped in what is vulgarly called "world music" elements. 
The Orchestra is essentially what was, or became, the Globe Unity
Orchestra, and the improvisors are more substantial than (with all due
respect) Vacca and Moran.

Manfred Schoof, Kenny Wheeler, Tomasz Stanko: trumpets, cornets.
Paul Rutherford, Albert Mangelsdorff: trombones.
Gerd Dudek, Peter Brotzmann, Willem Breuker, Gunter Hampel: reeds.
Fred van Hove: piano.
Terje Rypdal: guitar.
Buschi Niebergall: bass.
Peter Warren: bass, bass guitar.
Han Bennink: drums and his usual array.

Don Cherry: pocket-trumpet, Chinese shaun-flute, South American Maya bird
flute, vocal.
Loes Macgillycutty, vocal.
Mocqui Cherry, tambura.

Now THAT'S a band.

This album has been reissued at least once, perhaps more than once.  Can
others give the details on this.

Dale
Newsgroups: rec.music.bluenote
From: stanwass@s.psych.uiuc.edu (S Wasserman)
Subject: Ellington at Fargo, Live - 1940
Organization: UIUC Department of Psychology
Date: Tue, 12 Jan 1993 13:09:44 GMT

Dear all:

The Music Heritage Society is offering Ellington Live at Fargo (1940)
   as as two CD set this month.

Does anyone out there have an opinion of this recording ?
Should I go for it ??


Thanks !


Stan Wasserman
stanwass@uiuc.edu
From: wayne@inmet.camb.inmet.com (Wayne Wylupski)
Newsgroups: rec.music.bluenote
Subject: Re: Monk "book"
Date: 7 Jan 93 15:14:57 GMT
Distribution: na
Organization: Intermetrics Inc, Cambridge MA

In article <1ict02INN88t@hpfcbig.sde.hp.com> marc@hpmonk.fc.hp.com writes:
>Wayne Wylupski (wayne@inmet.camb.inmet.com) wrote:
>: Sometime during the past year I have purchased a legitimate book of Monk 
>: tunes.  I'll bring it in tomorrow and post the name, author and publisher.
>: What I remember is that it was incomplete, but included with the music was
>: a description of the origins of the tune and other tidbits.  In the intro
>: the author said he intended on adding ohter tunes to future revisions.
>
>Great!  This sounds like Sickler's work - didn't he also do "Mingus - More Than
>A Fakebook"?  About how many tunes are there, and are they tunes that don't
>appear everywhere else (ie, "Real Book", "New Real Book", Jamey Aebersold,
>other legal books)?

I'm very sorry -- the book I have IS the Mingus book.  I apologize for
my mistake (my mind is going).

I am interested in a collection of Monk tunes, though, and if I can help to
get it to happen, please let me know.

wayne
-- 
Wayne Wylupski    {...!}uunet!inmet!wayne    wayne@inmet.com
Newsgroups: rec.music.bluenote
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Newsgroups: rec.music.bluenote
Subject: Re: Dizzy's Passing
Date: 12 Jan 1993 12:32:30 -0600
Organization: Educational Computing Network
Distribution: na
NNTP-Posting-Host: uxa.ecn.bgu.edu

In article <C0qEvC.GDu@unix.amherst.edu> hjwulfso@unix.amherst.edu (Harris Wulfson) writes:
>Yeah, but "Satchmo" is the name used by white folks, and to me it plays
>up the "jovial pandering to whites" side oide of Louis Armstrong. A more
>fitting nickname was "Pops." It is also interesting that Wynton Marsalis
>speaks very fondly of Pops, but not of Miles.  I guess marsalis considers
>connection with the audience important  in an artist, and doesn't see
>Armstrong as the caricature that white people saw in "Satchmo."

All I know is that Wynton is a "Johnny Come Lately" when it comes to
Louis and Duke.  I heard from inside sources that when he got to New
York, he didn't know who Louis and Duke was.  I found that hard to
believe when I first heard it, especially about Louis, being a New
Orleans native, but later I read an interview with Crouch
and found out it was the fact.

Wynton's view of Miles was that they were in a "dissing" war, and it was
not to be taken completely seriously.  But he still doesn't see the
post 60s Miles works.  Maybe someday he will prove to be a Johnny Come
Lately about that too.  Doesn't really matter.

Jeff
Newsgroups: rec.music.bluenote
From: maysee@ss1.af.mil (Eric E. Mays)
Subject: Dizzy Gillespie 
Reply-To: maysee@ss2.sews.wpafb.af.mil
Organization: U.S. Air Force
Date: Thu, 7 Jan 1993 16:59:55 GMT

Jazz listeners,

   I have a fairly large collection of Miles CD's and a few Coltrane 
CD's and a couple of Parker CD's, but I have no Dizzy Gillespie CD's.
Can someone point me to a few essential CD's by Dizzy?  Anyone hear
of Dizzy's Diamonds, a box set from Verve, I think.  If so, what did
you think of it.

Eric

    
Newsgroups: rec.music.bluenote
From: baril@bnr.ca (David Baril)
Subject: Looking for Otis Span (sp?) CD set
Followup-To: by email
Reply-To: poster
Organization: Bell-Northern Research
Date: Wed, 6 Jan 1993 22:15:13 GMT

Heard an incredible (boogie-woogie? ..barrelhouse?) piano concert a few 
nights ago on the car radio and the name of the artist sounded like 
"Otis Span".  There were a number of amazing solo pieces and a few
sets with other players.  Apparently it was from a 3 CD boxed set and 
available only by mail order from a company whose name has slipped my
mind.  The announcer suggested that further info could be found in any
of a number of 'standard' jazz magazines, none of which I recognized or
recall, which isn't surprising since I know less than nothing about 
jazz (but I know what I like? ;-})

Any help in locating said recording would be much appreciated. 
(by email please!)

----------------------------------------------------------------------------
David Baril                                  "Can we do it again in shapes?"
baril@bnr.ca                                    "It's not their fault!"
Newsgroups: rec.music.bluenote
Subject: Re: Johnny Hartman
From: <JPWJJ@CUNYVM.BITNET>
Date: Tuesday, 5 Jan 1993 22:27:54 EST
Distribution: world
Organization: City University of New York/ University Computer Center

Nina, I'm not sure he's ever done anything other than the Coltrane album that's
 worth listening to. Don't get your hopes up.
Newsgroups: rec.music.bluenote
From: sue@snafu.seada.com (Sue Raul)
Subject:  Dizzy passes
Organization: Software Engineering and Design Associates
Date: Wed, 6 Jan 1993 21:37:37 GMT

I just heard on NPR that Dizzy Gillespie died today.

Sad, I didn't know.

Anyone else heard anything?

Sue
From: sik@grosz.esd.sgi.com (Seth Katz)
Newsgroups: rec.music.bluenote
Subject: Glenn Spearman again
Date: 8 Jan 93 17:01:21 GMT
Organization: Silicon Graphics, Inc.  Mountain View, CA

Hi 

People in the Bay Area and those who are coming
to visit can hear Glenn Spearman every week in
January and February.

Every Sunday in Jan and Feb Spearman will be playing
at Radio Valencia at 8:00 PM for $5.   Radio Valencia
is on Valencia St. at 18th or 19th St.

This week's ad in the paper says he'll be playing duets
with drummer Donald Robinson (they've played together for 
at least 12 years).  Implication is a different lineup each
week.  

For those unfamiliar with Spearman, he's a wild, post-Coltrane
(post-Ayler, really) tenor sax player with a lot of power in his
playing.  He has performed with Cecil Taylor and recently
recorded a CD with Raphe Malik.

Radio Valencia is a small cafe with food, drink, and a noisy fan
(and occasionally noisy fans).
=-s
Newsgroups: rec.music.bluenote
From: sbyrd@athena.mit.edu (Samuel D Byrd)
Subject: Re: Ellington at Fargo, Live - 1940
Keywords: ellington
Organization: Massachusetts Institute of Technology
Date: Tue, 12 Jan 1993 20:36:53 GMT

In article <C0qsK9.JHB@news.cso.uiuc.edu> stanwass@s.psych.uiuc.edu (S Wasserman) writes:
>Dear all:
>
>The Music Heritage Society is offering Ellington Live at Fargo (1940)
>   as as two CD set this month.
>>Does anyone out there have an opinion of this recording ?
>Should I go for it ??
>>Thanks !
>>Stan Wasserman
>stanwass@uiuc.edu

Absolutely!!  This performance is a key document in Ellington's
recorded output.  For starters, it is one of the few recorded live
performances of this particular line-up, which includes Ben Webster on
tenor sax, Jimmy Blanton on bass, along with Hodges, Bigard, Rex
stewart, Ray Nance, the killer trombone trio of Nanton, Tizol, and
Brown, Ivie Anderson, etc.--unfortunately Cootie Williams had just
left the band.  In a couple of years, Webster, Blanton, Bigard, and
Ivie would also be gone.  

One thing that's really special about this is the fact that the entire
show was recorded, not just the part earmarked for national broadcast.
In fact, during "Warm Valley" you can hear the radio announcer signing
off the air check, while the band and the show just keeps going!

The most important thing about this recording, however, is the
performance.  It's just GREAT, GREAT, GREAT.  Especially check out the
40s updating of "The Mooche,"  Ivie Anderson's rave-up vocals on "St.
Louis Blues," and Ben Webster's phenomenal solo on "Stardust"--a
worthy followup to Coleman Hawkin's solo on "Body and Soul."  (See
also Gunther Schuller, _The Swing Years_, for a detailed analysis and
partial transcription of this solo.)

Anyway, my only doubt about this whole thing is the version you're
thinking about buying.  The fargo tapes have manifested themselves in
several different versions over the years, the most recent being the
complete show on 2 discs as put out by a label called VJC? VFJ?
Something like that--sorry, not at home to consult my sources.  BUT by
complete I mean even the incomplete takes--since these were recorded
on acetates originally, some songs got cut off when they were changing
discs.  The VJF (?) version contains all the material, and is
remastered by the guy who originally recorded it in 1940--Jack Towers.
The sound is just fine, considering it's live, it's in a ballroom,
it's 1940.  Don't quibble--it sounds great once you get used to it.

If the version the Music heritage Society is putting out has "Sheik of
Araby" and "God Bless America" on it, it's the complete show.  If it
doesn't, it's the version that's been out in various guises on various
labels, including 2 separate discs on some Swedish label, which only
has the songs that were recorded without any breaks--luckily, most of
the evening's selections.  The sound is better on the complete Towers
version, but is acceptable elsewhere.  If the price is right, go for
it.  Or get the version on the VJC(?) label ---but regardless, get it!

Sorry to be so verbose.  Hope this helps.---Sam Byrd
sbyrd@athena.mit.edu
From: bweiner@ruhets.rutgers.edu (Benjamin Weiner)
Newsgroups: rec.music.bluenote
Subject: Re: Harmolodics ???
Date: 8 Jan 93 19:21:48 GMT
Organization: Rutgers Univ., New Brunswick, N.J.

mctkew@dct.ac.uk writes:
>I would like to know more about Ornette's harmolodics ...

"Play without a recognizable key center and still sound great" 

Oh, you want to know *how*?  Sorry ...

Actually, the liner notes to James Blood Ulmer's "Tales of Captain
Black" give "James Blood's Harmolodic Guitar Clef".  It does look
a little bit like repetition on an non-octave scale.  If I can
remember I'll type it in.

-ben
From: rshapiro@bbn.com (Richard Shapiro)
Newsgroups: rec.music.bluenote
Subject: Re: Don Cherry suggestions?
Date: 5 Jan 93 22:21:45 GMT
	<1993Jan4.211249.15447@mail.cornell.edu> <C0Dx2K.46B@uxa.ecn.bgu.edu>
Organization: BBN, Cambridge MA
NNTP-Posting-Host: kariba.bbn.com
In-reply-to: ujwb@uxa.ecn.bgu.edu's message of Tue, 5 Jan 1993 14:18:20 GMT

In article <C0Dx2K.46B@uxa.ecn.bgu.edu> ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:

   Where Is Brooklyn, Complete Communion, the Symphony Of The Improvisors,
   and some extra tracks are supposed to be comming out on a Mosaic Box.
   These are all good.

This Mosaic rumor has been circulating for awhile. I *hope* it's true,
but I've yet to hear anything definitive. Jeff, do you have any
further news?

   There are some Montemarte boots on the Magnet label, while the sound is
   boot quality, the playing is very good.

Yes, fine performances. A similar band can be heard on the studio
recording known as TOGETHERNESS (reissued under different titles).

   Don has many good things on Ornette's records.  I think he is really
   happening on ORNETTE! 

Oh yes! Also a couple of outstanding performances on SCIENCE FICTION.


Other notable early Cherry appearances: with Coltrane and Ornette's
rhythm section on the Atlantic album THE AVANT-GARDE; and with Steve
Lacy on a terrific record of Monk & Ellington tunes, EVIDENCE. And the
stuff with Sonny Rollins.
Newsgroups: rec.music.bluenote
From: will@ogre.cica.indiana.edu (William Sadler)
Subject: Re: Benny G.; racist?
Organization: Indiana University
Date: Tue, 12 Jan 1993 19:26:41 GMT

In <1iv0peINNps1@hpfcbig.sde.hp.com> mjs@fc.hp.com (Marc Sabatella) writes:

>William Sadler (will@ogre.cica.indiana.edu) wrote:
>: 
>: Elvis did indeed "steal" a lot of the stylistic elements of r&b on his
>: first few recordings.

>Undoubtedly.  But in what he sense did he deprive someone else of it?  By that
>token, every jazz musician has "stolen" from Pops, Duke, Bird, Miles, and
>Trane, but no one really complains.  The difference is that the guys I just
>mentioned still get credit for their "inventions", while the true "inventors"
>of rock&roll might not have.  Put another way: I couldn't care less if Elvis
>played unoriginal music, as long as he doesn't take credit for it.  It seems
>Elvis has received a lot of undeserved creidt, but it is not clear to me that
>Elvis did anything (other than be white and play the music) to deliberately
>"steal" any such credit.


I agree.  Since history is a constantly changing thing we will hopefully
see the day when the true originators of stylistic inventions will
be given the notice that they deserve.  

Will
--
***************************************************************************
*   _______________\|/_      Will Sadler     will@cica.indiana.edu        * 
*   Laser 44888    /|\                       sadler@iubacs.bitnet         *     
***************************************************************************
Newsgroups: rec.music.bluenote
Subject: Re: Cadence Poll/"Best of 92"
From: hsu@walnut.sfsu.edu (William Hsu)
Date: 4 Jan 93 16:25:33 PST
Reply-To: hsu@walnut.sfsu.edu
Distribution: world

In article <1992Dec30.133238.2462@vixvax.mgi.com>  writes:
> Missing from the above, but included in the list of Downbeat 5 star
> releases are:

Downbeat is too easy with its 5-star rating :-)

> Anthony Davis	Malcolm X

I was disappointed in this. Maybe I can only expect to be disappointed,
since Davis is one of my favorite composer/pianists, and I've been
waiting for this for years, so my expectations were high. Oh well.

While I understand that it's a very difficult score, I don't think
the singers were versatile enough to bring it off. The voices sounded
rather stupid in the bigband dance scene, with this great swinging
music in the background and the singers doing their operatic thing.

There were some powerful moments though.

> Braxton		Eugene and 2 Compositions
> Pullen		Kele Mou Bana

While I enjoyed both of these, they didn't come close to making my top
10.

> Shore/Ornette	Naked Lunch Soundtrack

This is one record that I was surprised did not make the Cadence list.

Bill
From: rardin@binah.cc.brandeis.edu (R. Lynn Rardin)
Newsgroups: rec.music.bluenote
Subject: Re: Maynard Ferguson discography wanted
Date: 5 Jan 93 04:38:52 GMT
Reply-To: rardin@binah.cc.brandeis.edu
Organization: Brandeis University

In article <1i444tINN1hj@werple.apana.org.au>, bob@werple.apana.org.au (Bob Blanchett) writes:
>I'm looking to expand my meagre Maynard Ferguson collection and I'd
>be grateful if somebody could suggest their favourites or point me towards a
>discography, preferably with catalogue numbers.
>
>Thanks,
>
>Bob (bob@werple.apana.org.au)

Are you looking for recent Ferguson, or some of his big band recordings from 
the 50s and 60s?

-Lynn  (rardin@auriga.rose.brandeis.edu)
Newsgroups: rec.music.bluenote
From: marvo@cbnewsk.cb.att.com (ronald.f.roberts)
Subject: Re: Art Pepper (was: Hello!,NEW TO News Group)
Organization: AT&T
Distribution: na
Date: Wed, 6 Jan 1993 17:19:29 GMT

In article <93005.222041JPWJJ@CUNYVM.BITNET> <JPWJJ@CUNYVM.BITNET> writes:
>Ever hear of this one? "Art Pepper with the Sonny Clark Trio" on Straight-Ahead
> Jazz Records. It was recorded on May 31, 1953 at Lighthouse in Hermosa Beach,
>California. It had Art, Sonny Clark on piano, Harry Babasin on bass and Bobby W
>hite on drums. I got it in a bargain bin in L.A. maybe ten years ago.

Yes, there are two (out-of-print) LPs of Art Pepper w/ The Sonny Clark trio
recorded live at the Lighthouse. I believe the Vol. 1 LP had a photo of
Art Pepper on the cover and Vol. 2 had a checker-board pattern. The two
dates have been issued as CDs in Japan in the late 80s.  Time Is records
issued Vol. 1 of the material as a CD in 1991. To my knowledge they have not
yet issued Vol. 2.  The Time Is release was listed in my previous posting
of RECDB short form Pepper CDs.
-- 

Ron Roberts
AT&T Bell Laboratories, P.O. Box 900, Princeton, New Jersey 08542-0900
rfr@pruxp.att.com, phone: 609-639-2242, fax: 609-639-3121
From: mjs@fc.hp.com (Marc Sabatella)
Newsgroups: rec.music.bluenote
Subject: Re: Ornette bio?
Date: 7 Jan 1993 16:34:37 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 1.1.4 PL6]

Vincent E. Kargatis (vek@spacsun.rice.edu) wrote:
: 
: Well, I can't tell whether Clay was serious or sarcastic with that quote,
: but hey, I kinda like Mancini.

I'll stick up for Mancini too.  Nice sounds in his arrangements.  So maybe he's
not as creative as Gil Evans, but I'll take the Mancini sound over the Nelson
Riddle sound any day.

"Days Of Wine And Roses", BTW, is the one tune a saxophonist friend of mine
refuses to play.  For me, it's "Girl From Ipanema".

--
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.
Newsgroups: rec.music.bluenote
From: thorn@godot.radonc.unc.edu (Jesse Thorn)
Subject: Re: Last Johnny Winter album comments
Organization: Radiation Oncology, NCMH/UNC, Chapel Hill, NC
Date: Tue, 5 Jan 1993 20:27:12 GMT

In article <ROUSSEAF.93Jan5103615@nil.IRO.UMontreal.CA> rousseaf@nil.IRO.UMontreal.CA (Francois Rousseau) writes:
>n> Johhny Winter...
>
>I heard it and I'm gonna buy it today. It's done with taste with more
>good solos. Edgar sings (in duo) on the old James Brown song "Please
>Come Home For Christmas". This last song have been recorded a long
>time ago by the brothers on a "hard to find" album named First Winter
>on Buddha Record (around 1966-67).
>


This song recorded in 1961 was included on the recent Rhino "Blue
Yule" collection of Blues oriented Christmas music, a truly excellent
disc. (BTW it is not on First Winter)

-Jesse


Newsgroups: rec.music.bluenote
From: gidi@Hilbert.Stanford.EDU (Gidi Avrahami)
Subject: Re: The Tonight Show
Organization: Brotherhood Of Breath
Date: Fri, 8 Jan 1993 17:48:15 GMT

ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:
>If this planet got nuked tommorow by jazz loving extra-terrestials, 
>I wouldn't be sad.

What slays me is that, instead of playing your own Dizzy records
and doing your own tribute, you sat there watching The Tonight Show like 
a vegetable and expected *them* to run a tribute *for you*.

Bitching about the lack of high quality jazz programming on the
Tonight Show is pretty stupid, don't you think?  Might as well
complain about Oprah not featuring enough discussions on Pre-Raphaelite
painting.


--Gidi
Newsgroups: rec.music.bluenote
Subject: Re: orchestral cecil
From: hsu@walnut.sfsu.edu (William Hsu)
Date: 5 Jan 93 16:12:00 PST
Reply-To: hsu@walnut.sfsu.edu
Distribution: world

Michael Dritschel:
> There's been a lot of discussion of recordings of Cecil Taylor in
> various venues, but one area that's it seems to me to have been
> neglected are his large ensemble pieces, which I find to be some of
> the finest music of this sort.  Unfortunately I am only aware of two
> such recordings. ...
> Something with "winged serpent" in it, I believe.  

Winged Serpents or something similiar, on Soul Note.

There are Cecil large ensemble records other than Into the Hot (which,
as Richard pointed out, isn't a Cecil large ens. record) and Winged
Serpents:

Cecil Taylor European Orchestra, a double CD on FMP, from the Berlin '88
series. Highly recommended.

There's a "student orchestra" disk from the same series that I've
read mixed reviews about.

And close enough, the Jazz Composer's Orchestra conducted by Michael
Mantler, with Cecil Taylor, on Watt. 

Bill
Newsgroups: rec.music.bluenote
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: Don Cherry suggestions?
Organization: Educational Computing Network
Date: Tue, 5 Jan 1993 14:18:20 GMT

Where Is Brooklyn, Complete Communion, the Symphony Of The Improvisors,
and some extra tracks are supposed to be comming out on a Mosaic Box.
These are all good.

There are some Montemarte boots on the Magnet label, while the sound is
boot quality, the playing is very good.

He has some recordings from the 70s and later the 80s on A&M.  When it
is good, it is good, but some of the tunes strike me as more
superficial.

Don had serveral duets with Eddie Blackwell.  There is the MU, which was
originally two records, but they have it out on one CD.   One section is
mostly trumpet and drums, but the other has some short tunes with don on
piano, flute, vocals, and probably little percussion.

Their ECM record didn't have the right pace, it seemed to be too rushed,
but Don has a wonderful solo on the last tune.

Don has many good things on Ornette's records.  I think he is really
happening on ORNETTE!  He has a kick-ass solo on Charlie Haden's THE
GOLDEN NUMBER, as does Ornette Coleman on trumpet.

If you can find the stuff he did on Watt with Carla Bley and Michael
Mantler, there is some good playing.

I know I am forgetting some killer stuff...


Jeff
Newsgroups: rec.music.bluenote
From: marc@fc.hp.com (Marc_Sabatella)
Subject: Re: Request for comments; selections from Cadence
Date: Tue, 5 Jan 1993 18:08:04 GMT
Distribution: na
Organization: Hewlett-Packard Fort Collins Site
X-Newsreader: TIN [version 1.1.4 PL6]

> Betty Carter & Ray Charles "Together"  (ABC) Dunhill 39
> 	I used to see this in the record stores, but haven't for quite
> a while.  Should it be around?

Well, since no one else seems to have mentioned it, be forewarned that this
probably contains the Hit Smash "Baby, It's Cold Outside", a song so amusingly
corny that I think it spawned an Eddie Murphy standup routine.  Betty is rather
young on this, and doesn't sound a whole lot like the Betty we know today - a
lot "straighter".  But it is a nice album.

Marc
Newsgroups: rec.music.bluenote