ú Subject: FAQ: rec.music.bluenote: frequently asked questions Archive-name: music/bluenote/faq Version: 1.0 Last-Modified: Thu Oct 29 11:36:49 EST 1992 This posting provides a (possibly biased) overview of newsgroup rec.music.bluenote by summarizing the history, common past topics, and frequently asked questions. A companion posting to this one, "FAQ: rec.music.bluenote: welcome to rec.music.bluenote" , complements this one by providing a concise introduction to the group. Another posting, "FAQ: rec.music.bluenote: sources of information", , provides references to books, magazines, media, and festivals. These articles are repeated periodically for the benefit of new readers. ---------------------------------------------------------------------- Subject: table of contents Subject: What is the charter of rec.music.bluenote? Subject: What is considered good net.etiquette on rec.music.bluenote? Subject: What have some common past topics been? Subject: What are the best 100 jazz albums? Subject: What are the best 100 blues albums? Subject: Is [jazz | blues] currently [dying | undergoing a rebirth]? Subject: Is [fusion | avant-garde | etc.] really jazz? Subject: I think X is a much better player than Y. Subject: What are "Fake Books?" What about "Real Books?" Subject: What do people think of Wynton Marsalis? Subject: Who did that music on the Charlie Brown specials? Subject: What is a "mojo"? Subject: Why isn't there a rec.music.jazz? Rec.music.blues? Subject: A brief history of rec.music.bluenote. Subject: Support live music! [FAQ Editor's personal soapbox] Subject: Contributions to rec.music.bluenote FAQs. ------------------------------ Subject: What is the charter of rec.music.bluenote? The charter of rec.music.bluenote is to provide a forum for discussion of both jazz and blues music, both past and future. The group is unmoderated; participation is open to all. [There was no mechanism at the time of the newsgroup creation to include a formal charter in the vote, like there is today. However, the above is pretty close to what the original consensus was. See "A brief history of rec.music.bluenote", below, for details. -- Mark] Note that the listing in the canonical "newsgroups" file is: rec.music.bluenote Discussion of jazz, blues, and related types of music. ------------------------------ Subject: What is considered good net.etiquette on rec.music.bluenote? Here are some etiquette reminders that will help us all to make the group an ever-friendlier place: -- Please, before posting, ensure that you've read the basic Usenet etiquette guide in news.announce.newusers. -- Please consider the bluenote readership before you cross-post. Consider rec.music.misc for articles of general interest to all music fans. -- Please set the Followup-To: line in your post. This is especially true if you are cross-posting. If you are requesting information, consider setting Followup-To: poster, and then summarizing the replies to the net. -- Particulary if you're posting upcoming concert information, consider setting the Distribution: line in your post (for example: usa, na, can, ba) to restrict posting to an appropriate local region. [However, some folks like to know what's going on elsewhere in the world.] -- When following up, please change the Subject: line if the subject has really changed. -- Musical tastes differ. Rec.music.bluenote, when at its best, is a force that can aid education and tolerance. Let's each of us try to learn from one another. ------------------------------ Subject: What have some common past topics been? An incomplete list would include: Discussions of specific artists, often with discographies or record reviews. Pointers to upcoming festivals (Chicago Bluesfest, New Orleans Jazz and Heritage festival, others). Concert schedules and reviews. Club listings. Musical jam listings. Discussion of music theory, performance practice, and instrument techniques. Pointers to books and magazines about jazz and blues. ------------------------------ Subject: What are the best 100 jazz albums? Even seasoned listeners won't agree on this topic. Common recommendations include recordings by (roughly in historical order) Louis Armstrong, Duke Ellington, Charlie Parker, Miles Davis, Thelonious Monk, John Coltrane, Charles Mingus, and Ornette Coleman. Most would agree that a discussion of jazz would be incomplete without including the recordings of these artists. ------------------------------ Subject: What are the best 100 blues albums? Again, tastes vary. At the very least, no discussion would be complete without Robert Johnson, Leadbelly, and Muddy Waters. A little further study brings you to Bessie Smith, Lightnin' Hopkins, John Lee Hooker, and hundreds of others. ------------------------------ Subject: Is [jazz | blues] currently [dying | undergoing a rebirth]? The press periodically rediscovers jazz and blues. The news coverage accorded to rock is generally steady, but that accorded to jazz and blues seems to only become prominent when the press can seize on someone as "the leader of the new movement". This may or may not be doing a favor for the leader so chosen [see Wynton, above :-) ] In any case both musics seem to undergo periodic revivals; it's likely that neither is in any danger of dying out. But opinions vary. ------------------------------ Subject: Is [fusion | avant-garde | etc.] really jazz? [A quote from Marcel-Franck Simon (mingus@usl.com) -- Mark] We can talk about something is "not jazz" without this meaning that it is not worth listening to. I like, e.g. African pop, among others. That doesn't mean .bluenote is the place to talk about them; moreover, saying so implies no disrespect for those musics. ------------------------------ Subject: I think X is a much better player than Y. These postings always create a great deal of controversy. As subjective listeners we have preferences. Certainly the approach of saying "I prefer X over Y because of A, B, and C" seems to shed more light than saying "I prefer X over Y because Y has A, B, and C wrong with him." Nou Dadoun provides the following true story of a Sheila Jordan comment: In the fall of '88, Sheila Jordan and Bobby McFerrin were both in Vancouver on the same night at different venues. A fan went up to Sheila at the end of the evening and said that she'd gone to hear her instead of Bobby McFerrin because she's better. Sheila responded without a moment's hesitation, "I'm not better, I'm different". ------------------------------ Subject: What are "Fake Books?" What about "Real Books?" "Fake books" are compilations of transcriptions of music, intended as aids to help one to learn to play the compositions. Many vary in accuracy. Most are legitimate in regards to copyright payment. The Real Book, on the other hand, was a compilation of transcriptions done by some Berklee students (that's Berklee College of Music in Boston, not U. Cal. Berkeley) which was photocopied and sold without any attention to copyright. Supposedly the 'New Real Book' has the same focus (mostly jazz standards) but with fewer errors, and with the proper copyright fees paid (and better readability). The original Real Book proliferated because of the usefulness of the tune selection compared to that of other fake books (you could get 'Dexterity' instead of 'California Here I Come'). ------------------------------ Subject: What do people think of Wynton Marsalis? Wynton is a controversial figure in this group, and elsewhere, because of his strong views on the state of jazz today. It seems true that developments in jazz from the late 60's to the present have failed to win the music a wide audience. Wynton in some of his public comments seems to share the view that many people have that this is "bad." This is certainly a matter of opinion; there is certainly no consensus among the readers here. What the group consensus does seem to be is that Wynton, taken aside from his personal views and press buildup, produces music which may well be to many folks' liking, and that he has helped bring new listeners to jazz. ------------------------------ Subject: Who did that music on the Charlie Brown specials? The composer of the music on the first two or three specials was named Vince Guaraldi. He has since passed away, and some of the later specials have been done by Judy Munson. Several albums remain in print under Guaraldi's name. Readers have also recommended an album of music to the film Black Orpheus "Cast Your Fate To The Wind (Jazz Impressions of `Black Orpheus')". The music on that album (at least the title/theme song; probably all of it), is by Louis Bonfa. ------------------------------ Subject: What is a "mojo"? [answer provided by Derek Morgan ("Sleepy" of _Mojo Syndrome_), or (derek@wubios.wustl.edu) -- Mark] MOJO (v) - 1) Casting a spell to cause a person to fall in love with the person issuing the spell. (n) - 2) The magical act of 1). Well, it's not standard Webster's 8-), but as for a complete explanation: The term is from the bayou country, and a "mojo" is generally the spell cast by a woman to catch a man. It is NOT a love spell. Romantic notions have nothing to do with a "mojo". Generally, when one has been "mojoed", EVERYTHING in that person's life goes wrong. Bad luck becomes worse luck, and physical problems occur. There are generally two ways to get rid of a "mojo": 1) The woman becomes disinterested, and removes it; 2) You give her what she wants, and marry her. Depending on the site of the folklore, there may be two additional ways to remove a "mojo": 1) Find her "mojo bag", which contains the secrets of her magic, and take it away from her; 2) Find a witch woman to break the mojo. The theory is that people needed to explain why eligible and desirable men would marry less desirable (physically, I guess) women. In some places, a "mojo" is not a thing to be taken lightly, and caution with the term would be advised. As far as a man being able to "mojo" a woman, the general rule is that it doesn't happen very often; more likely the "mojo" effect will boomerang and afflict the male with the bad luck, instead of affecting the desired female. Probably has something to do with the fact that desirable women do not often marry less-desirable men. "Mojo" has been occasionally used to mean a love spell, but it really isn't; it's just that the use of the term to symbolize obtaining a desired person has been generalized to include love potions, which is a different bayou subject altogether. No, I am not making this up. I needed to do the research for my band, Mojo Syndrome. ------------------------------ Subject: Why isn't there a rec.music.jazz? Rec.music.blues? This has to do with the history of the group, and the feelings of the early creators and participants. See below. ------------------------------ Subject: A brief history of rec.music.bluenote. The following history is from Marcel-Franck Simon (mingus@usl.com), included with permission. I was running mail.jazz and Rich Kulawiec was running mail.blues. We were both on each other's lists, but there was no other relation- ship. Several people on mail.jazz had asked how come it was not a newsgroup. Finally Joe Hellerstein decided to do something about it... There was a lot of talk about this, both private and on the respective mailing lists, but a consensus eventually emerged that the musics were pretty much sides of the same coin, and also that there was no other place for either to go, and that some good synergies would develop from these related, but distinct, points of view. Note that this has basically happened. On the name. Sorry, it had nothing to do with the Blue Note label. The name came out of a bunch of mail exchanges between Joe, Rich and myself. It was quite clear that including the blues meant the [exclusion of the name] rec.music.jazz. None of us liked any permu- tations of rec.music.jazz_and_blues (thank goodness) ... I don't remember the various proposals, but we came to agree on rec.music. bluenotes, since blue notes permeate both jazz and of course the blues (see, e.g. Monk's "Riding on a Blue Note"). The net discussion and vote counting period all carried the bluenotes name, but when the group got created, that final s somehow was lost. Chronology: all this occurred over the last four-five months of 1987. Rich Kulawiec (rsk@gynko.circ.upenn.edu) recalled it this way: There wasn't nearly enough support on Usenet to create a "blues" newsgroup and a "jazz" newsgroup at the time that rec.music.bluenote was created. There was *barely* enough to create r.m.bluenote, in fact. While it's probably true that the number of people reading this group is increasing all the time, I would not be surprised to find that there still isn't enough support for separate newsgroups. Oh, about the name: yes, I picked it, out of the ones suggested by everybody who had an idea to contribute. There was quite a bit of discussion at the time (which I won't repeat here) and "bluenote" seemed to be the name which satisfied the technical criteria and expressed the purpose of the newgroup. I don't think it's confusing at all -- especially since any new user should read news.announce. newusers ... before asking questions like "what is the purpose of newsgroup X?" ------------------------------ Subject: Support live music! [FAQ Editor's personal soapbox] [When Mark Boolootian (booloo@lll-crg.llnl.gov) commented on Sarah Vaughan's passing: She was supposed to play at Yoshi's (in Oakland) last month and I was going to take my mom to see her. I had assumed we'd catch her next time... My own, personal, response followed: Here's a melancholy realization I came to sometime last year. We have to _assume_ that there isn't a next time. For me, there wasn't for Bill Chase, and Lightning Hopkins, and Roy Buchanan, and others. Folks, the time to pay tribute to these artists is while they're living, by showing up when they're in town, checking them out, applauding, and putting some bucks into their back pockets. So take that "job-critical" evening off and see Mal Waldron, or drive 250 miles to see Steve Lacy, or drive through a tornado warning to see Richard Dobson (outside the scope of this group, yes). I've done all these. Now, over two years later, I can't remember what I would have been doing if I hadn't gone. Whatever it was just wasn't that important, in the long run. Do it. Some of the old lions in jazz and blues get their starts in the 1930s and 1940s. Check 'em out now, and celebrate while you can. I love records, mind you, but live music is where it happens, and this music is meant to be loved -- live. End of soapbox. Thanks for indulging me. -- Mark] ------------------------------ Subject: Contributions to rec.music.bluenote FAQs. Thanks to the following for additions, corrections, and updates: Jeff Beer (ujwb@uxa.ecn.bgu.edu) Mark Boolootian (booloo@lll-crg.llnl.gov) Nou Dadoun (dadoun@cs.ubc.ca) Bill Hery (hery@att.com) Malcolm Humes (malcolm@wrs.com) Rich Kulawiec (rsk@gynko.circ.upenn.edu) Shamim Zvonko Mohamed (sham@cs.arizona.edu) Derek Morgan (derek@wubios.wustl.edu) Marc Sabatella (marc@hpmonk.fc.hp.com) Marcel-Franck Simon (mingus@usl.com) Dan Torosian (ai.torosian@MCC.COM) I welcome reactions, additions, and corrections to this posting via email at linimon@nominil.lonesome.com. -- Mark Linimon / Lonesome Dove Computing Services / Roanoke, Virginia {chinacat,uunet}!nominil!linimon || linimon@nominil.lonesome.com "Well, I ain't got a lick of sense, I've got a crazy mind; 'Cause I don't want to leave, and I don't want to stay behind." -- Butch Hancock, "One Road More" ú Subject: FAQ: Rec.music.bluenote: further sources of information Archive-name: music/bluenote/sources Version: 1.0 Last-Modified: Thu Oct 29 16:50:13 EST 1992 This posting provides an incomplete list of resources for more information about jazz and blues, gathered from various net.postings. Two companion postings, "FAQ: rec.music.bluenote: Welcome to rec.music.bluenote!" , and "FAQ: rec.music.bluenote: frequently asked questions", , provide an introduction to the group, and answers to frequently asked questions. These articles are repeated periodically for the benefit of new readers. Editorial comments can be found in brackets. [This FAQ is still somewhat preliminary, based on a couple of years of saved-off postings scattered here and there. Further contributions welcomed, see below -- Mark] ---------------------------------------------------------------------------- Subject: table of contents Subject: A list of magazines about blues and jazz. Subject: A list of books about blues and jazz. Subject: A list of festivals of blues and jazz. Subject: A list of museums about blues and jazz. Subject: Jazz and blues on the radio and TV. Subject: Other information about blues and jazz accessible via Usenet. Subject: Contributions to rec.music.bluenote FAQs. ---------------------------------------------------------------------------- Subject: A list of magazines about blues and jazz. BLUES REVUE QUARTERLY Blues Revue Quarterly is billed as an acoustic and traditional blues digest. An annual subscription goes for $12 and can be sent to Blues Revue Quarterly, Rt. 2 Box 118, West Union, WV 26456, att: Bob Vorel. CADENCE MAGAZINE Cadence Building Redwood, NY 13679 +1 315 287 2852 $25/year Bill Hery: I think it is by far the best US magazine for reviewing less commercially oriented jazz--from Satchmo to Cecil and everything in between. They have more reviews than the other US mags, and concentrate on non-major labels and imports. Look at the center 30 pages or so for a fine print list of thousands of small label/import jazz recordings they sell at reasonable (but not necessarily great) prices. Also very interesting, in depth interviews with jazz mucians who are not [necessarily] commercial stars. DOWNBEAT Bill: Can be considered to be complementary to Cadence, since they cover a lot of the major labels (which also happen to advertise in DB). JAZZ CD / JAZZ CASSETTE Alan Mills: A new magazine has just [10/92] begun publication in Britain; it's called 'Jazz CD' or 'Jazz Cassette' and includes a CD or cassette respectively. The first issue was in September and it will be published monthly by Van Owen Publications Ltd., 17/19 Raynham Road Industrial Estate, Bishops Stortford, Hertfordshire, CM23 5PB, England. JAZZ JOURNAL INTERNATIONAL Alan Mills: Jazz Journal International magazine reviewed over 1000 records in 1991. JAZZ TIMES Bill: again, not bad, but they are very conservative. They don't pay much attention to avant garde or fusion, but what they do cover (swing and bebop seem to be their favorites) they do a pretty good job with. JAZZIZ Bill: To me, the exact opposite of Cadence. They only cover the most commercial stuff around, and treat everything (reviews, interviews) very superficially. David Willard: It has columns on all types of music except for 'popular' and 'country and western' music. It does have blues, traditional jazz, comtemporary jazz, new age, folk, Brazilian, voices, and even a little R&B and classical. LIVING BLUES Living Blues C/O Center For the Study Of Southern Folklore University of Mississippi A blues magazine focusing on acoustic country/delta blues. Excellent. RECORD ROUNDUP Roundup Records P.O. Box 154 N. Cambridge Mass Roy McKelvey: They put out a catalogue about every other month with an interesting selection of Folk, Blues, Bluegrass, Jazz and "World" music. The catalogue is free, and will keep coming if you order something a few times a year (I forget the exact inactivity limit they impose). STRAIGHT NO CHASER Straight No Chaser 43B Coronet St. London N1 6HD London, England (available at some Tower Records) Sue: It's got a variety of short interviews and spotlights on jazz musicians from everywhere. Not very in-depth, but it exposes a lot of musicians that American music media doesn't very often, including a lot of South African, West African, and Latin American jazz musicians. [However, it may have gone out of print since she first came across it. Has anyone seen it more recently? -- Mark ] WIRE Bill: This is a new one to me (thanks Sandeep!), and I think it's excellent. Very well written, coverage of interesting and less commercial music over a range of styles. Good feature articles recently on Sun Ra, Don Cherry, Geri Allen, reviews of European performances. From England, so it is a bit expensive [for US readers] ($40 per year). ---------------------------------------------------------------------------- Subject: A list of books about blues and jazz. [Bill Rosenblatt (billr@ora.com) has posted a much more complete compilation of books reviews from the net. He and I are working together on getting these lists synchronized. In the meantime, his current version is still available for anonymous FTP; James Plank (jsp@princeton.EDU) has made them available on princeton.edu, in the file pub/jzrvws.Z. -- Mark] "Advanced Ear Training for Jazz Musicians", CPP/Belwin. If you want a real challenge. "Advanced Improvisation", David Baker. A book about jazz improvisation. "Big Road Blues", David Evans. Evans does the most sophisticated work from an ethnographical standpoint. "Blackwell's Guide to Blues Records", Paul Oliver, ed. A good source book for buying recordings. "Das Jazzbuch" [tr: the jazz book]), Joachim E. Berendt. Originally issued in Germany but is now available in almost any country. Another introduction. "Deep Blues" by Robert Palmer (not the musician). Excellent history of the development of Delta and Chicago blues by a guy who loves and understands the music and the musicians. It also has an extensive list of recommended recordings for a lot of the old musicians. It is out in a paperback now, (Penguin, maybe?). "The Essential Jazz Companion", Ian Carr et al. This is closer to the "Trouser Press" format, but the emphasis is on artists rather than specific recordings (though a good list of recordings is given at the end of each article). They cover just about everybody from Fats Waller to Derek Bailey ... The coverage is a bit more detailed than an introd- uctory book. Leonard Feather encyclopaedias (of jazz). "Feels Like Going Home", Peter Guralnick. Blues. "The Harmony Illustrated Encyclopedia of Jazz", Brian Case and Stan Britt, Harmony, 1986. It's not nearly as comprehensive as the title indicates, but it is still useful. Again, it's organized by artist, but the individual recordings aren't described. They only list records, they don't rate or review them. "How to Play Bebop", Frangipani Press, a 3 volume series that covers the subject in detail. "In Search of Robert Johnson." It's only 83 pages long, including the references, so you can read it on the bus ride home. Well written. "Jazz In The Forties", "Jazz In The Fifties", on DaCapo Press. (Actually, Da Capo has a whole series of books on jazz and blues). "Lost_Highways", Peter Guralnick. Blues. "Lydian-Chromatic Approach", George Russell. An influential book on jazz theory. At one time it was available from Jamey Aebersold for $32. "The Meaning of the Blues", Paul Oliver. Examines the social and cultural aspects of Black America in the first half of the century as expressed through blues lyrics. "Method For Piano Improvisation", Dan Haerle. Useful, even for non-pianists. It originally came in three volumes, but is generally sold as a single unit as "Complete MFPI". It contains the most useful information from his "Scales" and "Keyboard Voicings" books, plus a lot of information actual improvisation. Although the book concentrates on issues that seem fairly piano-specific, such as voicing techniques (actually, guitarists can benefit directly from this as well), a horn player can learn about harmony by knowing how the pianist approaches it. The scale and improvisation material is, of course, generic. "The One Hundred one Best Jazz Albums: A History of Jazz on Records", Len Lyons, 1980. Publisher: Morrow, ISBN 0-688-08720-5 (paper), ISBN 0-688-03720-8. "Patterns for Jazz", Jerry Coker, Jimmy Casale, Gary Campbell and Jerry Greene. It's split up into sections by harmonic structure. Mostly they give you a pattern ... which you're supposed to "get under your fingers" to expand your improvisational vocabulary. Usually the pattern is given in one or two keys, and you're expected to transpose it to the other 10 or 11, which is probably the most useful part of the book (do NOT write the things out, or you miss the whole point.) There's something in the concept of using these things as the major source of improvisational ideas that several folks don't like. It should be used in combination with other tools (transcription of REAL solos, playing with other people, and so forth). "Rolling Stone Jazz Record Guide", John Swenson, editor, Random House, 1985. Not bad, though some think they rate a lot of things too highly. They give recordings ratings on a five-star scale, plus at least a brief comment on each musician or group. It suffers from having multiple contributors, some of whom vary in quality. "Searching for Robert Johnson", Peter Guralnick. Possibly the same as the above-mentioned "In Search of Robert Johnson" ? "Study in Fourths", Walter Bishop Jr. A jazz theory book. There is an Aebersold VHS tape that Bishop did, as well. ---------------------------------------------------------------------------- Subject: A list of festivals of blues and jazz. THE BIRMINGHAM [ALABAMA] JAM [I'm trying to get more definitive information about this, billed as a jazz, blues, and gospel festival, which happened 9/18-20/92.] CHICAGO BLUES FEST John Manley: 1991's Chicago Blues Fest was the weekend of June 14-16. The list of scheduled performers is finalized around April. To get more info or to put yourself on the info mailing list, call +1 312 744 4000 in the US and ask for the Mayor's Office for Special Events. [Number correct as of 10/92]. MEMPHIS BEALE ST. MUSIC FESTIVAL The 1992 Memphis Beale St. Music Festival was held on Friday, May 1, through Sunday, May 3. The schedule was printed in the Commercial Appeal, the local newspaper. It is held right on the banks of the Mississippi with three different stages spread out over a pretty long area. In addition to the music at the festival, there are plenty of bands to be seen at all the clubs in town. [contact information needed -- Mark] NEW ORLEANS JAZZ AND HERITAGE FESTIVAL Bruce Steinberg: call the New Orleans Jazz and Heritage Festival office at +1 504 522 4786 (it's listed like that in N.O. information if you lose it or it changes), and ask them to send you the complete schedule. [Number is correct as of 11/92]. The festival always starts the last weekend in April and ends the Sunday of the first weekend in May. Larry Owen: In general tickets for the evening concerts range from $22.50 to $32.50 (I didn't get the fairgrounds ticket prices, but I would expect them to still be around $9.00/day - one of the really great bargains left on the planet, if you can stand the crowds). Kevin Long: There are about seven stages running simultaneously, and they're well-isolated sound-wise. The music begins precisely on time and runs according to schedule. It's a bitch to get hotel accomodations. To charge tickets by phone to Visa or MasterCard, for for ticket information, call Maison Blanche/Ticketmaster: +1 504 888 8181 or +1 800 535 5151 outside Louisiana. [Numbers not yet checked -- Mark] ---------------------------------------------------------------------------- Subject: Jazz and blues on the radio and TV. Alan Mills: two programmes on BBC radio: 'The Best of Jazz' and 'Jazz Record Requests' normally feature this kind of music. ---------------------------------------------------------------------------- Subject: A list of museums about blues and jazz. MISSISSIPPI DELTA BLUES MUSEUM Willie Williams writes: There is a Mississippi Delta Blues Museum located in the public library in Clarksdale, MS. I was there in '87 during a trip from my wife's family's home in Montgomery, Alabama to the Jazz Heritage Festival in New Orleans. We did watch a wonderful video there of Furry Lewis, Sam Chapman, and others. (Tip for blues fans: catch the film Mississippi Masala, which is terrific in all, and has some fun sequences with Sam Chapman -- the last of the original delta bluesmen). But, as another poster points out, don't have great expectations for this place. Unless it's had a windfall, it has modest resources. I liked its big map of where the greats lived. It's pretty amazing how many titans came out of such a small area. We didn't stop at the Stovall Plantation (Muddy Waters) or the Dockery Plantation (home of Henry Sloan, Charley Patton, Tommy Johnson, Willie Brown, Jake Martin, and others). SMITHSONIAN COLLECTION OF CLASSIC JAZZ Division of Performing Arts Smithsonian Institution Washington, D.C. 20560 For a good look at early jazz all the way through the sixties/seventies, this set of recordings is a good choice. Recommended by multiple sources. ---------------------------------------------------------------------------- Subject: Other information about blues and jazz accessible via Usenet. Many periodic and informational postings show up in the moderated newsgroup rec.music.info, including concert listings, and even pointers to more musical resources. Each is "tagged" by a leading keyword in the Subject: line [an excellent convention that I wish others would pick up!] These keywords including CONCERT, CHART, DISCOGRAPHY, FAQ, INFO, MAILINGLIST, RELEASE, and REC.MUSIC.INFO (for administrivia). Many sites also archive these postings. An essential few postings would include: Newsgroups: rec.music.info,news.answers From: rec-music-info@ph.tn.tudelft.nl (Leo Breebaart) Subject: REC.MUSIC.INFO: Welcome to rec.music.info! Message-ID: Summary: This is the introduction article to the moderated group Archive-name: music/rec-music-info/welcome Newsgroups: rec.music.info,news.answers From: rec-music-info@ph.tn.tudelft.nl (Leo Breebaart) Subject: REC.MUSIC.INFO: List of Internet Musical Resources Message-ID: Summary: This is a bi-weekly article that lists and describes places where Archive-name: music/resources Newsgroups: rec.music.info,news.answers From: rec-music-info@ph.tn.tudelft.nl (Leo Breebaart) Subject: REC.MUSIC.INFO: List of Internet Musical FTP Sites Message-ID: Summary: This is a bi-weekly article that lists the addresses of ftp-sites Archive-name: music/ftp-sites Newsgroups: rec.music.info,news.answers From: rec-music-info@ph.tn.tudelft.nl (Leo Breebaart) Subject: REC.MUSIC.INFO: List of Usenet Musical Newsgroups Summary: This is a bi-weekly article that lists and briefly describes the Message-ID: Archive-name: music/newsgroups Newsgroups: rec.music.info From: dld30@quts.ccc.amdahl.com (Dave Dooley) Subject: RELEASE: Recent and Upcoming Album Releases: XX-XX Message-ID: (varies) The rec.music.bluenote FAQs are also now cross-posted to rec.music.info and news.answers. Marc Sabatella (marc@hpmonk.fc.hp.com) has written a jazz improvisation primer, available via anonymous FTP from ftp.njit.edu in /pub/jazz-primer. It is a beginning to intermediate "how to play jazz" text, and it covers a broad range of topics from history to theory to "how to structure a jam session". Bill Hery also maintains lists of jazz clubs, record stores, and so forth. The subject lines are (more or less): Jazz CD/Record Shop List Jazz Club List City Jazz Hotline List Jazz Radio Station List They are posted irregularly to rec.music.bluenote. Brian White (brw@hertz.njit.edu) has also made them available on FTP, and questions regarding the FTP versions should be directed to him. They are on: ftp.njit.edu:/pb/rmb-lists Bill Rosenblatt (billr@ora.com) had posted a compilation of reviews of jazz books. See above in "book" section for reference. David Datta (datta@cs.uwp.edu) maintains a set of music archives. [For next month's edition, I'll include more information -- Mark] [I'll try to have a more descriptive paragraph on FTP, archives, and MBAS for next month's revision, but it's already way past time to get this thing out the door! -- Mark] ---------------------------------------------------------------------------- Subject: Contributions to rec.music.bluenote FAQs. The following net.folks have contributed to this posting: Arno Bosse (abosse@reed.UUCP) Edward Dansker (edansker@us.oracle.com) Ken Firestone (kenf1@aplcen.apl.jhu.edu) Joe Hellerstein (hellers@cs.wisc.edu) William J. Hery (hery@att.com) William Tsun-Yuk Hsu (hsu@walnut.SFSU.EDU) Kevin Long (klong@bcm.tmc.edu) John Manley (johnm@meaddata.com) Vance Maverick (maverick@fir.Berkeley.EDU) Roy D. McKelvey (rm0n+@andrew.cmu.edu) Alan Mills (millsad@prl.philips.co.uk) Kenneth E. Mohnkern (km2a+@andrew.cmu.edu) Larry Owen (owen@ducvax.auburn.edu) James Plank (jsp@princeton.EDU) Sue Raul (sue@snafu.seada.com) Bill Rosenblatt (billr@ora.com) Marc Sabatella (marc@hpmonk.fc.hp.com) William Sadler (will@ogre.cica.indiana.edu) Thomas Schmitt (wsct@ciba-geigy.ch) Bruce Steinberg (bruces@sco.com) Steve Vinoski (vinoski@apollo.hp.com) Brian White (brw@hertz.njit.edu) David Willard (willard@hvsun1.mdc.com) Willie Williams (willie@osf.org) cdx39!gold@ucbvax.Berkeley.EDU I welcome reactions, additions, and corrections to this posting via email as linimon@nominil.lonesome.com. -- Mark Linimon / Lonesome Dove Computing Services / Roanoke, Virginia {chinacat,uunet}!nominil!linimon || linimon@nominil.lonesome.com "Well, I ain't got a lick of sense, I've got a crazy mind; 'Cause I don't want to leave, and I don't want to stay behind." -- Butch Hancock, "One Road More" ------------------------------------------------------------------------ ú Subject: FAQ: rec.music.bluenote: welcome to rec.music.bluenote! Archive-name: music/bluenote/welcome Version: 1.0 Last-Modified: Thu Oct 29 11:36:58 EST 1992 The charter of rec.music.bluenote is to provide a forum for discussion of both jazz and blues music, both past and future. The group is unmoderated; participation is open to all. The readership currently spans several continents and includes both musicians and non-musicians. A companion posting, "FAQ: rec.music.bluenote: frequently asked questions" , complements this one by providing a "community memory" of the group to date. Another companion posting, "FAQ: rec.music.bluenote: further sources of information" , provides references to books, magazines, media, and festivals. These articles are repeated periodically for the benefit of new readers. I welcome reactions, additions, and corrections to these postings via email at linimon@nominil.lonesome.com. -- Mark Linimon / Lonesome Dove Computing Services / Roanoke, Virginia {chinacat,uunet}!nominil!linimon || linimon@nominil.lonesome.com "Well, I ain't got a lick of sense, I've got a crazy mind; 'Cause I don't want to leave, and I don't want to stay behind." -- Butch Hancock, "One Road More"