HDTenEightyP/NetNews huggingface dataset:
From: cbrewste@muselab.ac.runet.edu
Subject: Blues T.
Reply-To: cbrewste@muselab.ac.runet.edu
Organization: The Internet
Date: Fri, 3 Apr 1992 18:07:49 GMT




    I don't know how many netters out there are interested but while hanging
    out with Blues T. at their recent Roanoke show, they informed me that 
    this was going to be their first show in the U.S.  since Jan.

    Believe it or not they did 20+ shows with Leornard Skynard (sp?) all
    over Europe.  Crazy eh.....?

    Hopefully Phish is next.....

    Peace.   Brew-ha.
From: baz@mtuni.ATT.COM (Bruce Zenel)
Newsgroups: rec.music.phish
Subject: Mango song (was Re: SET LISTS)
Date: 7 Apr 92 21:03:15 GMT
Distribution: usa
Organization: AT&T Bell Labs, Lincroft NJ


> In article <1992Apr4.075812.777@uvaarpa.Virginia.EDU> saviour!bywater!scifi!andrew@uunet.uu.net writes:
>
>                                         Andrew P.S.  Did you all
>know that the lines in Mango > " youre hands and feet are mangos but
>youre going to be a genius anyway" Those lines are taken from a book
>(which I can not remeber the title of) in which a boy steps on a land
>mine or some such device, and his hands and feet are MANGLED.  Thus
>the line in the book > "Your hands and feet are mangled, youre going
>to be a genius anyway".  Just thought you might like to know.
>

>>>>> On 6 Apr 92 at 21:32:11, Unclejon (uj) said:

uj> This is close, but I read in one of those Trey interviews that
uj> this song was inspired by one of his high school buddies who is
uj> into films.  This kid (forget the name) wanted to make a film
uj> which had to do with a Vietnam soldier who married a Vietnamese
uj> woman.  They had a baby.  Then the soldier was forced to go back
uj> to the states. His wife wanted him to take the baby and tries to
uj> throw the baby to the father just as a mine goes of and mangles
uj> the baby's hands and feet.  As time progresses, the baby grows up
uj> to be a genius....any way!

uj> This is sort of choppy.  I did it off of memory so it could be a
uj> little....very inaccurate!  But the general idea is straight from
uj> the words of Trey.

   Adding to the confusion, this quote is from the insert that came
with PON:

      "A day in the life of a waiter/addict
       with delusions of grandeur."

   The quote is that bit of scribble between the name of the song and
the lyrics.

   So who knows where the true inspiration for this song is from.
Regardless, it's a great tune.  The chorus gets stuck in my head for
days on end.

--Bruce.

---------------------------------------------------------------------------
 Now you've really done it, Jordy Verrill.     Internet: baz@mtuni.att.com
  Your luck's come in, and it's all bad!       Uucp:     att!mtuni!baz
---------------------------------------------------------------------------
Newsgroups: rec.music.phish
From: rwd4f@poe.acc.Virginia.EDU (Robert Williams Dobson)
Subject: Mt. Stage
Organization: University of Virginia
Distribution: na
Date: Wed, 15 Apr 1992 18:17:25 GMT

Hey now. About Mt. Stage--I didnt hear Mt. Satge, but at the show at Trax,
which took place 4 days after they taped the show, Trey seemed real 
disappointed with the show. He said (before All Things) "Weve been waiting
so long for our chance to do this song on NPR, but then when we taped
Mountain Stage, we mutilated it. So here it goes now, the UNmutilated
version of All Things Considered." Or something like that....

Rob


Newsgroups: rec.music.phish
From: "UNION::95_MONAHANG" <95_monahang%union.decnet@gar.union.edu>
Subject: tour dates
Reply-To: 95_monahang%union.decnet@gar.union.edu
Organization: The Internet
Date: Thu, 16 Apr 1992 02:41:20 GMT

I am at Union College and I was wondering whether PHISH is coming to Union on
may 17.  That would be so sick. I heard a rumour phyling around that they
may play here.  I need news soon because I am planning on going to Canada 
that weekend.  In fact I am going to the awesome city of Montreal.


Greatly appreciated and lots of love to all.  GRM
                                              WFK
                                              GNL
From: eisenhof@zax.teraida.UUCP (Karl Eisenhofer)
Newsgroups: rec.music.phish
Subject: tape tree, shockra and phish
Date: 14 Apr 92 19:02:18 GMT
Distribution: rec.music.phish
Organization: Teradyne, Inc. Boston MA


I have access to a recent Shockra w/Phish tape
that I am considering for a tape tree.  I have never
done a tree before, so would someone who is 
interested in helping me manage this please send me
e-mail?  Don't use reply or answerback
because that won't work.  Send it to 

eisenhofer@maven.dnet.teradyne.com

Karl

P.S. The source of this tape is Felix,
the guitar player for Shockra.
-- 
Karl Eisenhofer  SPIKE  eisenhofer@maven.dnet.teradyne.com
"Searchlight casting for faults in the clouds of delusion"
From: hirsch@stipple.seas.upenn.edu (Stephen M. Hirsch)
Newsgroups: rec.music.phish
Subject: mikey???
Date: 7 Apr 92 00:49:28 GMT
Organization: University of Pennsylvania


I have a lizards song someone wrote for guitar and signed it mikey.  I erased
the header and would like to get in contact with mikey.  Mikey! mail me!


			-steve-
--
###################################@@@@@@_______@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
#   "Saint" Stephen Hirsch  O;-)  #   |\/    / o\  She comes to me in this for-
#   hirsch@eniac.seas.upenn.edu   #   |      | __} eign land and looks down on
####(215)-387-5356#################   |/\____\__/  me from the multi-beast...
From: gwl%wave3_1@MCNC.ORG (Glenn Lea)
Newsgroups: rec.music.bluenote
Subject: Re: Sun Ra
Date: 8 Apr 92 11:54:29 GMT
Reply-To: gwl%wave3_1@mcnc.org


>>>>> On 4 Apr 92 03:27:38 GMT, wave3_3!raybans.cis.ufl.edu!cthulhu (Mark Kupper) said:

  Mark>   Could someone please send me recommendations on a good Sun Ra album to get?
  Mark> I've seen him live and thought he was pretty good. I know he's got alot of 
  Mark> albums so I'd like to get some opinions on which ones people think are among
  Mark> his best. Thanks!

Sticking to things that you have a good chance of finding...

For starters, I recommend "Hours After", a Black Saint studio
recording made in '86.  Its five cuts cover much of the range of his
recent music: A couple of swingin' tunes (one by the Gershwins), an
off-key Ra vocal, a great 13+ minute "outside" piece, and a long
majestic "processional".

For some history, his recently reissued "Jazz in Silhouette" has some
strong original compositions, such as "Ancient Aietheopia" and
"Enlightenment".

Finally, to approximate the late-80s live experience, I recommend
either "Love in Outer Space" on Leo or "Live at Pit Inn" on DIW.

--------------------------------------------------
Glenn Lea - reply to gwl@wavetracer.com
Wavetracer, Inc.
Newsgroups: rec.music.bluenote
From: ebaddour@bigvax.engr.mun.ca
Subject: <None>
Organization: Memorial University of Newfoundland
Date: Mon, 6 Apr 1992 23:24:18 GMT

First
From: owen@ducvax.auburn.edu
Newsgroups: rec.music.bluenote
Subject: Birminham City Stages
Date: 10 Apr 92 15:41:20 GMT

I continue to be amazed at the party my former hometown (Birmingham, AL)
puts on in June.  City Stages is held over 3 days in the center of downtown
Birmingham.  If, like many people who have never been there (lately), your
concept of Birmingham is still based on those news clips from the 60's
featuring the illustrious former Police Commissioner Bull Connor, et. al.,
be prepared for some serious attitude adjustment!

Anyway, the names of most of the performers for this year's festival
(June 19-21) were released yesterday.  They are:

June 19 - Four Tops, Little Texas, The Iguanas, Widespread Panic,
	Fabulous Thunderbirds, Beausoleil, Sonny Landreth, Abdullah
	Ibrahim, David Amram & Friends, Al Grey Sextet, and Richie
	Havens.

June 20 - James Brown (!), Irma Thomas, Arrow, John Mooney (yeah!),
	Riders in the Sky, The Connells, Spanic Boys, Sue Foley,
	Kanda Bongo Man, Buddy Guy, The Radiators, Kenny Neal, Nathan
	& the Zydeco Cha Chas, Dave Grisman, Barry Harris, Rebirth
	Brass Band, Born Divas, and Mark O'Connor.

June 21 - Al Green, Mighty Clouds of Joy, Soul Stirrers, Kim Hill,
	Follow For Now, the Itals, Webb Wilder, Marcia Ball, Jason
	D. Williams, Spyro Gyra, Robin and Linda Williams, Buckwheat
	Zydeco, and Life Force.

Although a few of the above who I don't recognize may be locals, I do
know quite a few locals who will be playing who aren't in this list.
They have about 8 remaining slots to be filled with "national" acts.
Three day passes are $10.  One day tickets are $7 for adults, $1 for
children ages 6-12, and children under 6 are free.  A major bargain.
The food and crafts are not up to the level of the New Orleans Jazz
Fest, but they don't have to apologize to anybody for the quality of
the music.

The site has been expanded somewhat to better handle the crowds.
Attendance has greatly exceeded expectation for the previous City Stages.
Last year 130,000 people attended over the 3 days (75,000 Friday night,
most of who were at the Neville Brothers stage at the same time).
Drop on by, if you're in the neighborhood.

Larry Owen
Newsgroups: rec.music.bluenote,rec.music.makers
From: jaz@icd.ab.com (Jack A. Zucker)
Subject: Re: Hip Chord Voicings
Organization: Allen-Bradley Company, Inc.
Date: Wed, 8 Apr 1992 18:45:28 GMT

In article <1992Apr8.122647.7809@bronze.ucs.indiana.edu>, william sadler <wsadler@copper.ucs.indiana.edu> writes:
|> In <1992Apr4.014453.1722@helios.physics.utoronto.ca> srcd@faraday.physics.utoronto.ca (Solomon Douglas) writes:
|> 
|> >I agree that the parentheses help but I completely disagree that listing
|> >all the alterations associated with an "alt" chord is easier to see on a
|> >chart that just calling it an "alt" chord.
|> 
|> >	 G7(alt)      G7(b5b9#9)
|> 
|> >... to me they mean the same thing but the first one is fewer tokens to
|> >scan... :)
|> The logic behind this is that the person spelling out the chord has
|> complete control (usually over the piano player :-))  Instead
|> of the pianist playing a #9 and a #13 and the saxophone player
|> playing a b9 and a b13 before they both realize they are not
|> altering the same notes they both know which scales to use. 

I have an idea, we could sequence the piano and the sax, edit out
the notes that are bad or that conflict and then we would have
*PERFECT MUSIC* (tm). First of all, a #13 is a b7 so that doesn't
hurt anything but even if one guy plays a 13 and the other guy
plays a #5; so what ? That's what jazz is all about. Trying to
eliminate the problem by being more specific does not jibe with me.
Why don't we just spell out the entire chord and scale ? (Sarcasm 
intended) There is nothing wrong with one guy playing one thing,
and another guy playing another. If you are playing with a pianist
who doesn't listen to what you play, get another pianist. Don't
set up a bunch of rules (remember parallel 5ths) to solve the
problem. BTW, I love the sound of b9 and #9 in the same chord.


|> 
|> The other thing about using mi7(b5) is that it more accurately explains
|> the function of the chord than "half-diminished."  It is not really a
|> diminshed chord with a minor seventh-- it's a minor chord with a
|> flat five.  The end result is the same, but often how you think
|> about a chord determines how you approach it improvisationally.
|> 

I agree completely. 


-- 

                       (Chasin' the Trane)

| Jack A Zucker                              {uunet}!jaz@icd.ab.com |
| Allen-Bradley Company, Inc.                    or  ICCGCC::ZUCKER |
| 747 Alpha Drive                                                   |
| Highland Hts., OH 44143 Phone(216) 646-4668   FAX: (216) 646-4484 |
From: manderse@orion.oac.uci.edu (Mark Andersen)
Subject: Re: Giant Steps
Newsgroups: rec.music.bluenote
Organization: University of California, Irvine
Date: 16 Apr 92 22:51:55 GMT

In article <17570276@hpfcso.FC.HP.COM> mjs@hpfcso.FC.HP.COM (Marc Sabatella) writes:
>
>Gonzalo Rubalcaba.  Although last time I posted about him, I couldn't remember
>his name either, so I approximated it as "Gibraltar Reubensandwich".  No one
>corrected me...
>
>Gonzalo, for those who haven't heard him, actually sounds a little bit like
>Chick Corea (Akoustic Band style) in terms of use of technique and harmony.

Does he play quite a few fast passages in open sixths, like Corea does? If
so, he may be the "unknown pianist" I heard a while back on KLON. Very nice
technique, very Latin sound; I thought maybe he was Brazilian. Will have to
keep my eyes open for his recordings.

>Marc Sabatella     "Blondes and jazz seldom go together" - Cmdr. William Riker
Marc - Does this mean I can blame my hair loss on my taste in music?
>marc@hpmonk.fc.hp.com

Mark Andersen                   manderse@orion.oac.uci.edu
Dept. of Ecology and Evolutionary Biology
UC Irvine, Irvine, CA, 92717

From: mjs@hpfcso.FC.HP.COM (Marc Sabatella)
Date: Mon, 6 Apr 1992 17:13:19 GMT
Subject: Re: Patitucci Leaves the Electric Band
Organization: Hewlett-Packard, Fort Collins, CO, USA
Newsgroups: rec.music.bluenote

In rec.music.bluenote, cwalker@canopus.tmc.edu (carleton walker `93) writes:

> 	Can you imagine what jazz would be like if Miles kept all of
> his original players?

Well, at last then we wouldn't have to vote on which likeness of Miles to use
on the postage stamp - the kid with Joh Lewis and Lee Konitz, the young turk
with Sonny Rollins, the mainstream idol with Coltrane, the too cool dude with
Herbie Hancock and  Wayne Shorter, the funked out cat with John McLaughlin, or
the eccentric elder statesman with Marcus Miller.

I can dream can't I?

-------------------------------------------------------------------------------
Marc Sabatella      "Blondes and jazz seldom go together" - Cmdr. William Riker
marc@hpmonk.fc.hp.com
From: hsu@sp24.csrd.uiuc.edu (William Tsun-Yuk Hsu)
Newsgroups: rec.music.bluenote
Subject: Re: Blues Record Stores in Chicago?
Date: 15 Apr 92 18:20:04 GMT
Article-I.D.: csrd.1992Apr15.182004.27708
Distribution: usa
Organization: UIUC Center for Supercomputing Research and Development

Me:
>it's on Grand close to State St, just north of the financial district.

Jeff Beer:
>you mean WET district ;)

Haha... actually I saw a map of the flooded areas earlier (which might
be wrong, of course). I think the buildings on Grand did not have to
be evacuated. (They may have no power, of course. Anyone knows?)

Funny, I thought you were talking about personal lubricants at first :-)

Bill (ok ok, no more Chicago jokes)
From: yackob@eeserv.ee.umanitoba.ca (Kerry Yackoboski)
Newsgroups: rec.music.bluenote
Subject: Re: Rahsaan Roland Kirk
Summary: don't be a chicken, man!
Keywords: Audio Dream
Date: 15 Apr 92 20:02:31 GMT
Organization: Elect. & Comp. Eng., U of Manitoba - Tuvan Instruments Corp.

bst@wang.com (Bruce Tannenbaum) writes:
>I recently purchased the CD version of "The Case of the 3-Sided Dream in
>Audio Color".  The last cut is called "Telephone Conversation".  After 3
>minutes of _dead air_, I gave up on the cut.  Can anyone tell me if there
>is supposed to be anything on that cut?
	Well, I could, but that would be telling.  You gave up on it?
	Listen to it yourself at least once, man!  PS don't turn the
	volume up too loud. :-)  It's pretty quiet at the start - Nigel
	Tufnel once said he can't get into a solo until he's been playing
	at least 13 or 14 minutes.... :-)
	
>If not, why the heck did Atlantic Records do that?
	The glib answer is because the LP was like that.

>It's an irritation, especially when you've got to wait 
>12:00 minutes for the next CD to start playing (I suppose I could go ahead
>and change it manually, but when you are n rooms away, and in the middle
>of doing stuff...well, you get the picture).
	Sorry to hear you find it irritating - I get the feeling it was
	recorded just for you! :-)  It's a pretty long track, and I really
	enjoyed it the first few times I heard it.  Miles Davis once said
	something about the music not being in what he's playing, but in
	all the stuff he *isn't* playing.  (probably a bad paraphrase on
	my part).  I don't think Kirk meant it as any real deep message,
	but it is fun.  And I'm not going to tell you what's there!

--
<yackob@ee.umanitoba.ca>     Tuvan at heart.
From: dalton@hpcupt1.cup.hp.com (Anonymous)
Date: Fri, 10 Apr 1992 20:02:10 GMT
Subject: Re: Joni & Vincent
Organization: Hewlett Packard, Cupertino
Newsgroups: rec.music.bluenote


plummer@cs.swarthmore.edu (David Barker-Plummer) writes:
>On the live Joni Mitchell album "Miles of Aisles", people in the
>audience are calling out requests to her between songs, and she makes
>this remark in response.  It got a laugh at the time, and made it onto
>the album...

Except that the implication -- as I read it -- in her words is that
the requests, or at least the ability to sing the same song over and
over, is something that makes song writing "better" than painting.
(She paints a little, as you know).  She sort of says, Van Gogh did
his masterpiece once and that was that, but I can sing The Circle Game
time and time again, and every time it's like I'm creating it again.

Of course, Van Gogh died shortly after painting Starry Night, so we
don't really know whether or not he would have wanted to paint it
again, by request or otherwise.

--Gidi


That's interesting, but I always took the implication the other way, that
she resented being asked to play the same old song over and over again.

	Nobody ever said to van Gogh: 'paint {A Starry Night} again, man'.
	He painted it, and that was it.

I thought she was saying: other kinds of artists don't even get these
tiresome requests, much less entertain them.

No proof either way;  the ambiguity is interesting in itself.

#  David Dalton        dalton@cup.hp.com           408/447-7133      #
#As far as we know, our computer has never made an undetected error. #
From: joey@berkeley.edu (Joe Hellerstein)
Newsgroups: rec.music.bluenote
Subject: Gonzalo Rubalcaba (was Re: Giant Steps)
Date: 14 Apr 92 11:32:18
Organization: Postgres Research Group
	<1992Apr13.223120.7352@news.cs.brandeis.edu>
	<SMEHTA.92Apr14121051@kwela.nynexst.Com>
NNTP-Posting-Host: elysium.berkeley.edu
In-reply-to: smehta@kwela.nynexst.Com's message of 14 Apr 92 17:10:51 GMT

In article <SMEHTA.92Apr14121051@kwela.nynexst.Com> smehta@kwela.nynexst.Com (Sandeep Mehta) writes:

[Re: Gonzalo Rubalcaba]
>   Let's wait and see. In the meantime, I wish the
>   stupid U.S. State Department would lift their blanket ban on letting
>   him perform/work/record in the U.S.
>

I heard Charlie Haden speak recently, in a clinic before a TREMENDOUS
concert on the Berkeley campus with Joe Lovano and Eddie Marshall
(The concert is deserving a long post in itself, but time constrains.
Suffice it to say that it was some of the most beautiful music I have
ever had the pleasure of hearing.  Truly truly.)

Haden said that he first heard Rubalcaba while on tour in Cuba, and he
was taken not only with Rubalcaba's technique, but with the maturity
of his conception at such a young age.  However, the US and Cuban
governments still won't make friends, so Haden is unable to bring
Rubalcaba to the US.  Therefore he invited him to that Montreux
festival (which was recorded), just to get the opportunity to play
with him.

Haden also pointed out that Bruce Lundvall of Blue Note records is to
be commended for his efforts to get Rubalcaba's music released in the
US.  Upon returning from Cuba, Haden played a tape of Rubalcaba for
Lundvall, and Lundvall immediately booked a flight to Havana.

Joe Hellerstein

Newsgroups: rec.music.bluenote
From: rardin@binah.cc.brandeis.edu (R. Lynn Rardin)
Subject: Re: Giant Steps
Reply-To: rardin@binah.cc.brandeis.edu
Organization: Brandeis University
Date: Mon, 13 Apr 1992 22:31:20 GMT

In article <1992Apr13.205021.8924@icd.ab.com>, jaz@icd.ab.com (Jack A. Zucker) writes:
>Has anyone heard this Cuban pianist that has a couple of CDs out with
>Charlie Haden and Jack DeJohnette ? He does an interesting version
>of 'Steps on it and in general sounds fantastic. (Of course it helps
>to have Haden and DeJohnette). I can't remember his name.
>
>-Jaz
>

You must be talking about Gonzalo Rubalcaba.  He's certainly made a big splash 
with his first two Blue Note CD's, DISCOVERY and THE BLESSING.  The recording 
of "Giant Steps" you spoke of is on THE BLESSING.  Check out the live 
recording, DISCOVERY, too!  This was recorded during the Montreux Jazz 
Festival in July, 1990, when he was teamed up with Paul Motian and Haden.  
DISCOVERY is, IMHO, at least as good a recording as THE BLESSING.  Rubalcaba 
also has out at least 3 CD's on the Mesidor label.

-Lynn

< R. Lynn Rardin (rardin@auriga.rose.brandeis.edu)  >
< Rosenstiel Basic Medical Sciences Research Center >
< Brandeis University, Waltham, MA                  >
From: hsu@sp24.csrd.uiuc.edu (William Tsun-Yuk Hsu)
Newsgroups: rec.music.bluenote
Subject: Re: Chick-Round II
Date: 9 Apr 92 00:39:50 GMT
Organization: UIUC Center for Supercomputing Research and Development

plank@cs.utk.edu (Jim Plank) writes:

>5 stars:

>Piano Improvisations -- spontaneous & refreshing.  Vol 2 is a little more
>  free form than vol 1.
>Now He Sings, Now He Sobs -- Ditto

I'm a big fan of early free Corea. The piano improvisations have many
impressive moments but they don't really do much for me. Corea seems
too preoccupied with maintaining flow (for my taste). In a (somewhat)
similar context, I prefer Paul Bley.

If you like "Sings, Sobs", check out the Circle records (Corea, Dave
Holland on bass and Barry Altschul on drums, later with Anthony Braxton).

>3 stars

>Sundance -- early experimental stuff.  Good rendition of Song of
>  the Wind.

There's also _Is_ from the same period, with the same lineup. I like
both records quite a bit, despite some unevenness.

>Tap Dance.  Yuck.

Agreed.

Bill
Newsgroups: rec.music.bluenote
From: jsw@cray.com (Jon S. Wood)
Subject: Re: Chick Corea Question
Organization: Cray Research, Inc.
Date: 8 Apr 92 17:22:21 CDT

In article <1992Apr6.062830.7089@CSD-NewsHost.Stanford.EDU> gidi@Hilbert.Stanford.EDU (Gidi Avrahami) writes:
>ebaddour@kean.ucs.mun.ca writes:
>>[...] I have some of his earlier stuff (for example, the songs of 
>>singing) that leads me to believe the man must have been doing some 
>>heavy drugs.....
>
>Return To Forever is perhaps the ladmark 70's fusion band (along with
>the Mahavishnu Orchestra, I guess.)  I'm basically a non-fusionist so
>I am not really familiar with their heyday, which is supposed to be
>the records with Al Di Meola.  I do know the 73-74 stuff, with Joe
>Farrell, Stanley Clarke, Airto Moreira and Flora Purim, e.g. the
>eponimous record on ECM, and the super-classic LIGHT AS A FEATHER.
>They are very very good, strong & smooth (but not slick).  Actually,
>all of his 70's work on ECM -- like the Gary Burton duets -- is good
>like that.
>
>
>--Gidi
>						
  You are absolutely correct Gidi, Return to Forever was an excellent
group. I caught them in London in Feb 76 about the time Romantic Warrior
was released(?). Billy Cobham sold a lot of solo records after RTF.
Excellent drummer. What I never could figure out about Billy is how
he could play so fast and technically accurate with the arms of
a heavy weight boxer? The last I saw or heard of Cobham was about
1979 at the Longhorn Bar in Mpls.
 Don't ask where I've been........

Woodman