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" <bluenote_welcome_720399614@nominil.lonesome.com>,
complements this one by providing a concise introduction to the group.
Another posting, "FAQ: rec.music.bluenote: sources of information",
<bluenote_sources_720399614@nominil.lonesome.com>, 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!"
<bluenote_welcome_720399614@nominil.lonesome.com>, and "FAQ: rec.music.bluenote:
frequently asked questions", <bluenote_faq_720399614@nominil.lonesome.com>,
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: <rec-music-info-welcome_XXXXXXXXX@ph.tn.tudelft.nl>
	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: <rec-music-info-resources_XXXXXXXXX@ph.tn.tudelft.nl>
	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: <rec-music-info-ftp-sites_XXXXXXXXX@ph.tn.tudelft.nl>
	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: <rec-music-info-newsgroups_XXXXXXXXX@ph.tn.tudelft.nl>
	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"
<bluenote_faq_720399614@nominil.lonesome.com>, complements this one by
providing a "community memory" of the group to date.  Another companion
posting, "FAQ: rec.music.bluenote: further sources of information"
<bluenote-sources_720399614@nominil.lonesome.com>, 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"
