This FAQ only applies to rec.music.bluenote, not rec.music.bluenote.blues, which grew out of r.m.b. and is now a free-standing entity of its own.  I leave it to other parties to produce a FAQ for r.m.b.b.

Sections of this FAQ have been taken directly from its last known revision, dated January 26, 1994, compiled by Mark Linimon.  I have taken it upon myself to continue this work.  This posting, like much of Usenet, is maintained on a purely volunteer basis.  I welcome reactions, additions, and corrections via email at msnyder@dragonfire.net.

It should be stated at the outset that the purpose of any Usenet FAQ is to discourage repetitive or useless posting to the newsgroup in question.  A basic rule for r.m.b. or any other newsgroup is that one should only post if one has something of substance to say, or something to ask that hasn't been asked before.

CONTENTS

1) A brief history of rec.music.bluenote (including why it's not called rec.music.jazz)

2) What is the charter of rec.music.bluenote?

3) What is considered good net etiquette on rec.music.bluenote? (Including a note about trolls.)

4) What are the standard topics for discussion?

5) What have been some specific recurring questions and topics?

5.1) What are the best 10/50/100 jazz albums?

5.2) Wynton Marsalis

5.3) The shill issue

5.4) The musician/non-musician issue

5.5) "I think X is better than Y" or "X is overrated, Y is underrated."

5.6) Is (fusion/avant-garde/etc.) really jazz?

5.7) Does anyone know that jazz tune on the Infiniti commercial for the I30?

5.8) Who did that music on the Charlie Brown specials?

5.9) What collected Charlie Parker (Savoy, Dial, Verve) is available?

5.10) What are the latest issues of (insert label/artist/group)?

5.11) Who wrote Nardis, Blue in Green, Milestones, Donna Lee, Dig, Impressions, Tune Up, Four, Solar and Walkin'?

5.12) When is the Peter Keepnews biography of Thelonious Monk coming out?

5.13) What's the deal with Keith Jarrett groaning all the time? And what is he ill with?

5.14) What are Fake Books?  What is the Real Book?

5.15) What's the deal with digipacks?

5.16) Does Mosaic Records have a web page, can I order online or can I contact them via email?

5.17) What is the address/phone number for Cadence?  Do they have email or a method for ordering online?

5.18)  Is anyone familiar with an LP titled Jazz Immortals featuring Charley Christian, Dizzy Gillespie and Thelonious Monk recorded in the early 1940's?

5.19) Who is playing the other saxophone at the end of the "Psalm" movement of John Coltrane's A Love Supreme?

5.20) What books that are considered good, standard "references" for jazz?

5.21) What tunes are considered "standard" jazz tunes?

7) Are there mailing lists for particular jazz artists?

8) Is rec.music.bluenote archived anywhere?

9) Are there any other jazz-oriented newsgroups?

10) Where can I find the current version of this FAQ?

11) Some final words

12) List of contributors
 
 

1) A brief history of rec.music.bluenote.

The following events occurred over the last four-five months of 1987, as reported by Marcel-Franck Simon <mingus@eclipse.net>, included with his 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 relationship.  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 permutations 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."
 
Rich Kulawiec <rsk@itw.com> 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." (Ed.note: This of course is no longer the case, and the two newsgroups have been long separated.)

Marcel continues:
"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 newsgroup.  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?'"

For another perspective on the newsgroup, read Kelly Bucheger's essay on rec.music.bluenote at
http://www-cs.canisius.edu/~bucheger/ModemJazzRMB.html.

The charter of rec.music.bluenote is to provide a forum for discussion of jazz music, both past and future.  The group is unmoderated; participation is open to all. (Mark Linimon recalls that "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", above, for details.)

(Ed. Note: Along with rights come responsibilities.  Just because one CAN pointlessly provoke people into meaningless (and possibly off-topic) arguments, or talk merely for the sake of hearing one's own voice, does not mean that one SHOULD.  See "What is considered good net etiquette on rec.music.bluenote?")

3) 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, useful and informative place:

• Please, before posting, ensure that you've read the basic Usenet etiquette guide in news.announce.newusers.  In fact, read ALL the messages on that newsgroup, since there usually aren't very many and they're all helpful.  Two of these messages can be found at:

http://www.clari.net/brad/emily.html
http://www.cs.auckland.ac.nz/FAQs/NetiquetteFAQ.html

• A note about trolls: Trolls are a problem throughout Usenet these days and rmb is no exception.  RESIST THE TEMPTATION TO BAIT OR BE BAITED!!!  Some people have dogmatic views and will not be persuaded otherwise.  However, some post simply to antagonize and raise the heat  of the discussion without contributing anything of substance or value to the newsgroup.  Jazz may be a matter of faith, but avoid launching crusades.  Recognize inflammatory postings for what they are.  Don't waste bandwidth responding to trolls, because they will only be encouraged.

 
• Please consider the r.m.b. readership before you cross-post.  Consider rec.music.misc for articles of general interest to all music fans.

 
• Please avoid off-topic posting.  If a thread threatens to veer off on tangents far removed from music, let alone jazz or improvised music, it is best to continue the discussion via email, or go to a newsgroup appropriate for the altered subject.

 
• MUSICAL TASTES DIFFER.  Rec.music.bluenote, when at its best, is a force that can aid education and tolerance.  Let's all try to learn from one another.

Jeff Beer <jbeer@or219a.e1.iit.edu> comments on this point:

"Everyone comes to jazz from different backgrounds, with different ages, and with different listening histories, and that may play a big factor in why there is such differences in tastes.  The great thing about jazz is that it has so much depth, that as you gain experience in listening to it, many new details may surface.  You may like Charlie Parker, but after you hear Eric Dolphy, you may hear even more in Bird! It is best to keep in mind that just because you may not like artist X today, doesn't mean that you won't like them tomorrow.  That applies to Anthony Braxton as much
as Wynton Marsalis, to Cecil Taylor as much as Oscar Peterson, to John Zorn as much as Pat Metheny.  The reason why you don't like a particular artist may simply be because he or she makes neckties when you want to listen to shoes."
 
• Don't follow-up "tell me about X" postings. Instead, email an answer and let the person summarize. For people asking "tell me about X" questions, offer to collect the answers by email and summarize. Then do it.

 
• If you see an opinion you disagree with, don't follow up just to tell the world you disagree, unless you want to present an alternative point of view (and explain it).

 
• Please set the Followup-To: line in your post.  This is especially true if you are cross-posting.

 
• Particularly 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.

An incomplete list would include:

• Discussions of specific artists
• Collecting jazz recordings and sharing discographical information
• Information on purchasing recordings and trading/buying/locating unissued materials, both audio and video
• Pointers to upcoming festivals, concert and club appearances, and musical jam sessions
• Performance and record reviews
• Posting of essays for group feedback
• Discussions of music theory, performance practice, and instrument techniques.
• Pointers to books and magazines about jazz
• Discussions of jazz history
• Studying music
• Discussion of jazz education
• Discussion/information on jazz organizations and their activities

5.1) What are the best 10/50/100 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.

A useful list of "100 historically significant recordings" can be found on Jamey D. Aebersold's website at http://www.doubletimejazz.com/index_new.htm

Dave Hughes has his own list of top 100 disks, in various categories, at
http://www.primenet.com/~twodavid/Dave100CDs.html

Jim Determan's heavily annotated CD-era update of the listing from Len
Lyons's 1980 book "The 101 Best Jazz Albums" can be found at
http://charon.nmsu.edu/~mmarley/Jazz.html

Please note that nothing is more boring to read than a simple listing of what your favorite albums are, particularly if the list includes Kind of Blue, Blue Train, etc.  However, if you can write with clarity about the merits and wonders of any particular record, especially one that may not generally known among those in the newsgroup, more power to you.
 

5.2) Wynton Marsalis
 
Wynton Marsalis is a controversial figure in this group, and elsewhere, because of his strong views on the state of jazz today and because of his power as the Director of Jazz at Lincoln Center in New York.  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.  About the only thing anyone can agree on regarding Wynton is that he has helped bring new listeners to jazz, both through his recordings and through his efforts in jazz education.

Over the past couple of years there have been recurring wars cropping up on the newsgroup over Wynton, his views and his policies regarding Jazz at Lincoln Center.  These outbursts have invariably generated more heat than light.  Be warned that any discussion regarding him should be undertaken with this in mind.

5.3) The shill issue
 
The American Heritage dictionary defines a shill as "one who poses as a satisfied customer to dupe bystanders into participating in a swindle."  This term has been used in rec.music.bluenote to refer to a paid representative from a commercial firm (record label) posing as a disinterested party.

Suffice to say that blatant advertising is almost universally frowned upon here or on any other newsgroup (except those dedicated to that purpose), and posing as an honest fan of the music in order to push a particular label's product will get you tarred, feathered and flamed in short order.  A solution would be for anyone who wants to advertise their latest record to post to the newsgroup and say, "Hey, look at my website to see what's new."  It's quick, easy, and nobody's feathers will get ruffled.

The following is quoted, with permission, from Gord McGonigal's <mcgonig@mbnet.mb.ca> Hard Bop Café website:

"1994 will be remembered as the year that record companies discovered the USENET jazz and blues newsgroup rec.music.bluenote."

"Unfortunately, many companies have failed to appreciate the subtleties of doing business in r.m.b. (if not entirely failing to read the USENET guidelines for acceptable use). Some have paid representatives to artificially drum up discussion of their product (in a medium where it was once thought that all discussion was generated through a love for the music). Some post advertising copy. Some have posted ridiculously long articles (over 1700 lines in one case) without any regard for the attendant costs incurred by others. These practices drew many flames in response. They rightly should, since they contravene the USENET guidelines. Should the readership ever waiver in their opposition to the commercial use of their newsgroup I foresee a sorry end to rec.music.bluenote."

"Unfamiliarity with USENET guidelines and inexperience with the expectations of the rec.music.bluenote readership seems to be the main problem. Part of the problem stems from advertisers not realizing that  USENET (a non-commercial entity) is not the internet (possibly a commercial entity)."

For much more on this topic, see Gord's full exploration of it at http://www.mbnet.mb.ca/~mcgonig/ads.html

For even more good stuff on this topic, look here:
http://www.danger.com/advo.html
 

5.4) The musician/non-musician issue

Rec.music.bluenote is a place where all should feel welcome to contribute their thoughts and viewpoints on the music we all love.   Unfortunately, internecine warfare occasionally breaks out over who does and who does not have the right to say things about the music, and it sometimes revolves around who is and who is not a musician.

A rule of thumb by which all contributors, musicians or not, should go is that if you have something of use to say to the r.m.b. community, can say it clearly and can argue your point well, your position is solid and you have nothing to apologize for.  You will be in an even better position if you are willing to learn from those who know more than you do (even if they aren't musicians).

Clearly of no use whatsoever are endless flame wars over who has the right to be a critic.
 

5.5) "I think X is better than Y" or "X is overrated, Y is underrated."
 
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."

However, the most useless thing to do is to simply say "I hate X and Y" without giving any reason at all.  Whatever you say, please try to offer some reasoning behind your thinking.

Nou Dadoun <dadoun@cs.ubc.ca> 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'."

Finally, see the note above in the etiquette section about differing musical tastes.  As the saying goes, there's no accounting for it, and nobody need apologize for it either.

A related issue (though it's really the same thing) is the "overrated/underrated" question.  This subject crops up occasionally when people start listing a string of musicians as over- or underrated.

Marc Sabatella <marc@outsideshore.com> offers his thoughts on this:

"Given a definition of 'overrated' as 'someone who appeals to the observer less than the general critical consensus would seem to warrant', I respect anyone's right to call someone overrated as a statement of opinion. Someone who confuses their opinion with truth, however, I am less interested in."

5.6) Is (fusion/avant-garde/etc.) really jazz?

As with the Wynton issue, strong disagreements exist.  The very frequency with which this topic comes up, however, probably answers the question.  Obviously, a great many people must believe that a particular style of jazz in fact IS jazz if it continues to come up for discussion on the newsgroup for years on end.  By the same token, there appears to have been very little argument over the thought that "lite jazz" is not jazz at all, since it is discussed so infrequently on the newsgroup, except for the periodic and inevitable Kenny G bashing.

Finally, we have this quote from Marcel-Franck Simon <mingus@usl.com>:
"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 rec.music.bluenote is the place to talk about them; moreover, saying so implies no disrespect for those musics."

5.7) Does anyone know that jazz tune on the Infiniti commercial for the
 I30?

It's called Take Five, and it is performed by The Dave Brubeck Quartet.  It was written by the Quartet's alto saxophonist, Paul Desmond, and the group recorded it on their "Time Out" album in 1959 for Columbia Records (CL 1397).

5.8) 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 specifically recommended an album by Guaraldi called "Cast Your Fate To The Wind" (originally released as "Jazz Impressions of `Black Orpheus'").  The album includes four pieces by Louis Bonfa written for the movie Black Orpheus; Guaraldi's CAST YOUR FATE TO THE WIND (which became a top-40 hit); and three other cuts.

The music for the soundtrack of 'Black Orpheus' was originally written by  Luiz Bonfa and Antonio Carlos Jobim.

5.9) What collected recordings of Charlie Parker (Savoy, Dial, Verve) are available?
 
There is the Complete Charlie Parker on Verve, which contains both live and studio cuts done for that label, along with a booklet containing information aplenty.

All of Parker's material on Dial is available via mail order from Spotlite Jazz (4 cd's; Spotlite SPJ-CD4-101).  The address and phone number is:
Spotlite Jazz, 103 London Road, Sawbridgeworth, Hertfordshire, CM21 9JJ,
United Kingdom (phone (0)279 724572)

Before Denon bought Savoy, the label had a 3-CD set which contained all of Parker's Savoy studio cuts.  Denon deleted this convenient release in favor of  "original album reissues" (some of which time in at under 35 minutes), and they *still* don't give everything that was on the 3-CD set.  (At least eight Parker Lp's were released by Savoy.)
 

5.10) What are the latest issues of (insert label/artist/group)?

Rather than post to the newsgroup about this, it is best to check the websites of the label in question, since many (though by no means all) important labels have their own sites by now.  A list of their URL's can be found on the WNUR Jazzweb site at http://www.nwu.edu:80/WNUR/jazz/labels.html
 

5.11) Who wrote Nardis, Blue in Green, Milestones, Donna Lee, Dig, Impressions,
Tune Up, Four, Solar and Walkin'?

Michael Fitzgerald <fitzgera@eclipse.net>, offers the following information regarding who we think wrote the tunes, based on the evidence we have at the moment (please read and digest all of this information before posting to the newsgroup about it):

"Nardis is by Miles Davis, not Bill Evans as is sometimes suggested (Miles never recorded it and Evans loved it).  If you listen to the original version on Portrait of Cannonball (with Evans), it sounds much more like a Miles tune than has been remembered from the Evans interpretations, which make it sound like an Evans tune.  But then again, Bill makes 'Alice In Wonderland' sound like an Evans tune."

"There is a recording of a live broadcast by Bill Evans where the announcer credits it to Miles Davis and Evans does not correct him (interesting, but inconclusive). Also, interviewer Ben Sidran asked Miles Davis about the title of the tune (it's Sidran spelled backwards, after all) and Miles (also the author of tunes like "Selim" and "Sivad") seemed surprised by that. He didn't mention that he did not compose the tune."

"Blue In Green - the verdict is still out between Miles and Bill Evans, (or a collaboration between the two).  Orrin Keepnews states that Evans told him to put his (Evans's) name on it, while in his autobiography, Miles claims to have written everything on Kind of Blue (autobiography, p. 234),  which certainly isn't the whole truth as Evans introduction to 'Flamenco Sketches' is taken from his earlier arrangement of 'Some Other Time.'"

(Ed. note: At least partial credit for "Blue In Green" can be given to Miles.  The following is quoted from the sleeve notes of Spring Leaves, a 1976 repackaging of Portrait in Jazz and Explorations issued on Milestone Records.  Evans, in an interview with Conrad Silvert, said of "Blue In Green":
 

"And actually it's my tune, even though Miles is credited as co-writer for reasons only he understands. One day at Miles' apartment, he wrote on some manuscript paper the symbols for G-minor and A-augmented and he said 'What would you do with that?' I didn't really know, but I went home and wrote 'Blue in Green.'")
 
"'Milestones' (the first one) is by John Lewis, not Miles, not Bird. Parker expert Phil Schaap is the source of this, contradicting Miles's autobiography (p. 105)."

"Donna Lee is by Miles, not Bird (who holds the copyright) - Gil Evans is the source of this clarification. He asked Parker for permission to arrange  it for the Claude Thornhill band and Bird told him to "ask Miles - it's his tune." Davis says this was his first composition to be recorded and says  that the erroneous crediting was a record company mistake (a common occurrence) not an attempt by Parker to claim the tune. (Autobiography, p. 104.)  That Parker executes the melody line better than its composer is evidence only of Bird's musicianship. Writing and performing are two unrelated abilities.  Phrases similar to those in 'Donna Lee' can be heard in Fats Navarro's improvisations on the tune 'Ice Freezes Red' (recorded for Savoy), which like 'Donna Lee' is based on 'Back Home Again in Indiana', but the connection is not definitive. Navarro's recording is from January 1947, while Parker and Davis recorded Donna Lee (for Savoy, again) in May  1947.  The tune is named for bassist Curly Russell's
daughter."

"Dig is by Jackie McLean who called it Donna (it's based on Sweet Georgia Brown). Miles recorded it on Prestige as Dig, then on Blue Note as Donna. Miles addresses this in his autobiography, p. 153."

"Impressions - Check Lewis Porter's 'John Coltrane: His Life and Music' for information showing the pieces Coltrane put together ('So What' by Miles Davis, 'Pavanne' by Morton Gould, 'Pavane Pour Une Infante Defunte' by Maurice Ravel) to create this work.''

"'Tune Up' and 'Four' - Saxophonist Eddie "Cleanhead" Vinson wrote these, not Miles Davis."

"'Solar' - Guitarist Chuck Wayne, not Miles Davis, composed this tune."

Jack Woker <stereo@ix.netcom.com> has the following to say about "Walkin'":

"Richard Carpenter [who is credited with writing it] was a manager/entrepeneur.  He was involved with the careers of Gene Ammons and Tadd Dameron, among others.  Ammons is probably the actual author of "Walkin'".  He recorded a very similar tune 'El Sino' with Leo Parker in 1947 (for Savoy), and introduced 'Walkin'' under the title 'Gravy' in 1950 (Prestige).  I don't have access to the original 78 of 'Gravy', but all the LP reissues identify the tune as 'Walkin'' and credit it to Carpenter."

5.12) When is the Peter Keepnews biography on Thelonious Monk coming out?

Nobody, not even Keepnews himself, knows.  He's been working on the book for over a decade and has ceased making predictions for when he'll be finished.  For information on other books on Monk that are currently available, go to http://www.achilles.net:80/~howardm/books.html

5.13) What's the deal with Keith Jarrett groaning all the time?  And what is he ill with?

Opinions vary on Jarrett's vocal habits, but it is important to note that he has been groaning since 1967 at least, when he recorded his first album as a leader, "Life Between the Exit Signs."  He has stated that it is an integral part of his playing and that it is impossible for him to stop, so who are we to argue?  Also, note that Oscar Peterson, Errol Garner, Bud Powell, and even Thelonious Monk are/were known on occasion to do some groaning of their own.

Regarding Jarrett's health, Mark de Clive-Lowe <mark@xjazz.co.nzx> wrote to r.m.b. on 3/10/98:
"Hi all, just went to a Jack Dejohnette clinic tonight - it was fantastic and an
excellent follow up to seeing the Gateway trio on Saturday night - Jack
and Dave especially were so amazing :)  Anyway, at the clinic Jack was
talking about the Standards Trio and said that Keith has chronic fatigue
syndrome (I'd heard a rumour, but Jack saying it confirms it for sure) and
has been on treatment that has him at about 60% health at the moment. Jack
thinks he might be back on board by summer but definitely by the next
summer. So, in short, he's getting better! :)"
 

5.14) What are Fake Books?  What are 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 now 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').

The original Berklee Real Book (currently labeled as "Fifth Edition") is riddled with errors of various kinds. Untold numbers of young players (a third or fourth generation by now) have learned tunes from this book in the wrong key, with the wrong changes or the wrong melody, or think the wrong person wrote it.   A project begging to be done by some smart soul with time on his or her hands is to make note of all the errors and put them together on a website.   (Ed. Note - That will NOT be me!)

5.15) What's the deal with digipacks?

Digipaks are those cardboard things that labels like Impulse, Verve, Enja,  CTI, even Sony/CBS have been issuing CDs in (as opposed to the more common plastic jewel box). There is a great deal of polarization regarding this issue, with some people actually "boycotting" the digipaks (no one has ever gone on record as boycotting the jewel boxes).

Digipak cons:

• Do not hold up and show wear easily (scratches, bent corners, worn edges)
• Impossible to refurbish (you must buy another entire CD - if it's still in print) - important with used CDs
• The artwork and packaging are inseparable
• More costly than jewel boxes (this is theoretically passed on to the consumer)
• Broken spokes (which hold the CD)

Digipak pros:

• Nostalgia - more like the original Lp issue (if the album originally came out prior to CDs)
• More biodegradable?

Jewel box cons:

• Cracked front/back panels
• Broken spokes (which hold the CD)
• Broken hinges (which hold the front panel on)
• Less biodegradable?

Jewel box pros:

• Easy to replace packaging only - which effectively creates a mint condition package
• Inexpensive to replace - check for computer stores who sell these at 10 for $2.99
• Protect the artwork/booklet better - the packaging is separate from the

artwork
• Less costly than digipaks (this is theoretically passed on to the consumer)

Certainly the packaging has no real bearing on the actual CD - you can put a great (or poor) quality CD in either. The digipak and the jewel box are both the same size, so storage issues do not come into play. Good reissues in jewel boxes can supply excellent artwork, original covers, notes, etc. but in a more modern protective case.

Frequent responses to this discussion have been "Why worry about the packaging - it's the music that matters," but for some, having a more Lp-like package (digipak) or one that allows for cheap and easy refurbishment (jewel box) is definitely important. Occasionally, CDs are released in BOTH forms, giving the consumer a choice. If all digipak companies released jewel box editions, those who are holding out would welcome them with open wallets.
 

5.16) Does Mosaic Records have a web page, can I order online or can I contact them via email?
 
Jazz Central Station has a portion of their store set aside for Mosaic and contains descriptions of portions of their catalog.  The URL is http://www4.jazzcentralstation.com/newjcs/vinyl/mosaic.asp.
Mosaic itself has an email address <mosrec@ix.netcom.com>, but no website of their own as of yet, though one may be in the works.  Here is their other contact information:

Mosaic Records
35 Melrose Place
Stamford, CT 06902-7533
Tel: 203-327-7111
Fax: 203-323-3526
 

5.17) What is the address/phone number for Cadence?  Do they have email or a method for ordering online?
 
Their website can be found at:
http://www.cadencebuilding.com/Cadence/CadenceMagazine.html
 
5.18)  Is anyone familiar with an LP titled Jazz Immortals featuring Charley
     Christian, Dizzy Gillespie and Thelonious Monk recorded in the early 1940's?

Jack Woker <stereo@ix.netcom.com> says:

"This live material (released on Everest 1233) was recorded in 1941 (when Diz was 24) at Minton's in Harlem by a young college student named Jerry Newman who owned an early portable recording unit.  Not all of the tracks feature all three of the musicians, and there has been considerable speculation as to whether or not Monk is present.  Two tracks, Swing to Bop (aka Charlie's Choice) and Stompin' at the Savoy were issued on 78rpm album sets in the late 40's.  Some of the material has seen issue on CD as "Charlie Christian - Swing to Bop" (Natasha 4020)."
 

5.19) Who is playing the other saxophone at the end of the "Psalm" movement of John Coltrane's A Love Supreme?
 
The following is quoted from page 248 of John Coltrane: His Life and Music, by Lewis Porter:

"If you listen closely to the stereo separation at the very end of "Psalm," you will hear that another saxophonist joins Coltrane.  This has puzzled me for years -- Bob Thiele and Archie Shepp told me they were unaware of it, and no writer had ever mentioned this.  Rudy Van Gelder, after some thought, offered the following: He distinctly recalls that Coltrane overdubbed those notes himself.  This would not be the only time Coltrane overdubbed -- some of his saxophone playing with Johnny Hartman was added later, and on "Living Space" in 1965 he overdubbed tenor and soprano on the theme.  But the second saxophone here sounds like and alto, playing with a big vibrato.  And he only plays an octave, but has trouble reaching the upper note -- hardly typical of Coltrane.  Still, Van Gelder's is certainly the best and most authoritative answer we will get."

(Ed. note: As for the other possibilities for who could have overdubbed the note, Lewis says, "I didn't ask [John] Tchicai, but he listed the times he worked with Trane and that was not one. Pharoah [Sanders] may have still been in NY then (before going back to San Francisco for a year) so he's perhaps possible; Marion Brown is the other who comes to mind-- I haven't asked.")

 

5.20) What books that are considered good, standard "references" for jazz?
 

There are many wonderful books available.  Following is a wholly arbitrary listing of quality efforts:

General jazz overviews:
E=+1>The Jazz Book - Joachim Berendt
Jazz: From its Origins to the Present - Lewis Porter

For early jazz figures and styles, check the following:
In Search of Buddy Bolden: First Man of Jazz - Donald Marquis
Brass Bands and New Orleans Jazz -William Schafer
Satchmo:My Life in New Orleans -Louis Armstrong
Sidney Bechet:The Wizard of Jazz -John Chilton
New Orleans Style -Bill Russell

Other styles:
The Big Bands - George Simon
West Coast Jazz: Modern Jazz In California, 1945-1960 - Ted Gioia

Two volumes on Duke Ellington are indispensable if one is seriously interested in jazz history:
Beyond Category: The Life and Genius of Duke Ellington - John Hasse
The Duke Ellington Reader, edited by Mark Tucker
(One shouldn't ignore Duke's autobiography, Music Is My Mistress, but be warned that he took care to say nothing that would offend anybody, so take it all with a grain of salt.)

If bebop is your thing, three books are very important:
Swing to Bop: An Oral History of the Transition in Jazz - Ira Gitler
To Be Or Not To Bop - Dizzy Gillespie (autobiography)
Miles: The Autobiography - Miles Davis w/Quincy Troupe.  Yes, much is covered beyond bebop, and parts of the book were lifted from other books without credit, but it's still one of the more informative books on the bebop era ever published.

Other important biographies:
John Coltrane: His Life and Music - Lewis Porter
Space Is The Place: The Lives and Times of Sun Ra - John F. Szwed
Pee Wee Russell: The Life of a Jazzman  - Robert Hilbert
Lush Life: A Biography of Billy Strayhorn - David Hajdu

For even more information, go to your local library and see if they have the New Grove Encyclopedia of Jazz, which is chock full of enough to keep you reading for weeks.

Naturally, if you read a great book on a musician or aspect of the music, be sure to post to the newsgroup to tell the rest of us about it.
 

5.21) What tunes are considered "standard" jazz tunes?
 
Esa Onttonen's website has an excellent list of standards, by category:

http://amadeus.siba.fi/~eonttone/standard.html

Consult Dejanews also, as this topic has come up twice on the newsgroup, with good discussions on both occasions.
 

 6) Where can I find a listing of local jazz record stores/clubs/radio stations?

The WNUR Jazzweb site has lists of these.  The lists of clubs and stores are maintained by Bill Hery <wjh@sonapub.wh.att.com>:

Jazz Clubs Around the World: http://www.nwu.edu/jazz/lists/clubs.html
Jazz Music Stores Around the World: http://www.nwu.edu/jazz/lists/stores.html

Charles Saxe (chassaxe@interaccess.com) maintains the International Listing of Jazz Radio Stations and Syndicated Programs:  http://homepage.interaccess.com/~chassaxe/jazzweb/

7) Are there mailing lists for particular jazz artists?

A list of jazz mailing lists appears at
http://www.dragonfire.net/~msnyder/mailinglists.htm
 

Check the DejaNews archive of Usenet postings (http://www.dejanews.com). This is an extremely valuable resource and it should be taken advantage of.  Before posting on a particular topic or question, it would be wise to check Dejanews first to see whether it has been discussed before, thereby saving yourself and the newsgroup wasted time and bandwidth. Note that at present, Dejanews has postings dating only as far back as 1995.
 

 Rec.music.makers.guitar.jazz often has discussions of interest to non-guitarists, alt.music.big-band and rec.music.ragtime are self-explanatory, if you speak Italian there's it.arti.musica.jazz, and if you speak Polish there's pl.rec.muzyka.jazz.

It is posted to rec.music.bluenote once a month, and can also be found on my website at http://www.dragonfire.net/~msnyder/rmbfaq.htm

Rec.music.bluenote has been and should be a fantastic place for the worldwide jazz community to come together to learn from and educate one another.  That model has been threatened over the past few years by corporate interests and by the habit of too many individuals to ignore basic Usenet etiquette and the group memory of r.m.b. itself.  Just as we all respect the music, we should all respect one another and try to step above the silly flame wars that hobble so much of Usenet.  Furthermore, we should all encourage new users to read this FAQ and lurk for a while before posting.  They'll get the most out of the group, and chances are that the group will get the best out of them when they do post.

Thanks to the following for contributions, additions, corrections, and updates:

Jeff Beer <jbeer@or219a.e1.iit.edu>
Tom Brown <tombrown@jhunix.hcf.jhu.edu>
Nou Dadoun <dadoun@cs.ubc.ca>
Walt Davis <wdavis.irss@mhs.unc.edu>
Michael Fitzgerald <fitzgera@eclipse.net> http://www.eclipse.net/~fitzgera
Joe Hellerstein <hellers@cs.wisc.edu>
Paul Heroy <Paul.Heroy.pheroy@nt.com>
Bill Hery <wjh@sonapub.wh.att.com>
Garth Jowett <com10i@rosie.uh.edu>
Bill Kenz <kenz@mhd1.moorhead.msus.edu>
Glenn Lea <Glenn_Lea@avid.com>
Gord McGonigal  <mcgonig@mbnet.mb.ca> http://www.mbnet.mb.ca/~mcgonig
Sandeep Mehta <smehta@lehman.com>
Lewis Porter <73300.2264@compuserve.com>
R. Lynn Rardin <rardin%orion@binah.cc.brandeis.edu>
Marc Sabatella <marc@outsideshore.com>  http://www.outsideshore.com/
Marcel Franck Simon <mingus@eclipse.net>
Dale Smoak <dales@shore.net>
Jack Woker <stereo@ix.netcom.com>