Pseudonyms used by Jazz Musicians
cliffw
Dan Lai wrote:
> <snip>
> That got me to wonder, what other musicians
> recorded using a pseudonym and on what album(s)? I'm sure there are many
> examples.
>
> Dan
My personal favorites:
Dizzy Gillespie appeared as "Hen Gates" on at least one Parker session.
Gerry Mulligan used "Sven Coolson".
Charlie Parker used several silly names, but can't recall any right
now.
cliffw
Doug Wamble
Wynton Marsalis records as E. Dankworth, so they say.
Cannonball used Buckshot LeFonque.
Miles wrote Boplicity under his mother's name.
Bird recorded as Charlie Chan.
Doug Wamble records frequently as Derek Bailey....
Michael Fitzgerald
Eric Dolphy was George Lane on Ole Coltrane
Art Farmer was Peter Urban on a Teddy Charles Atlantic album
Charlie Parker also used the Charlie Chan name on the Miles Davis
session with Sonny Rollins.
Woody Shaw was NOT a pseudonym for Freddie Hubbard - although one
early critic thought so.
Of course, Cannonball Adderley was Buckshot LaFunke on Here Comes
Louis Smith
Gigi Gryce wrote under pseudonyms occasionally - Lee Sears and Sam
Finch.
Miles Davis co-wrote Boplicity as Cleo Henry.
I think Stan Getz used one once - don't recall.
Let's not get into the whole Arkestra thing - that's somewhat
different. Same with the spiritual things etc. - Gigi Gryce became
Basheer Qusim, Art Blakey became Abdullah Ibn Buhaina, William Evans
became Yusef Lateef, Herbie Hancock became Mwandishi, Ken McIntyre
became Makonda, Maurice McIntyre became Kalaparusha, Richard Abrams
became Muhal....
McCoy Turner is another separate issue....
Mike
Jeffrey Rzepiela
>My personal favorites:
<snip>
> Gerry Mulligan used "Sven Coolson".
I thought that was Stan Getz's pseudonym. Am I confused?
-- Jeff
*************
Jeff Rzepiela
jef...@execpc.com
Dan Lai
In the past, due to recording contracts and other obligations, artists
recorded as a leader or as sidemen on other labels using an assumed name.
The most famous example is that of Charlie Parker using the name of
Charlie Chan as documented from the Jazz at Massey Hall concert.
I was listening to a King Curtis CD today and "Little Brother" is listed
as the trumpeter. "Little Brother" is Nat Adderley and the notes go on to
say that the name was chosen for then-contractual reasons to disguise the
presence of Nat Adderley. That got me to wonder, what other musicians
Darcy Argue
In article <3379c9ca....@news.eclipse.net>, fitz...@eclipse.net
(Michael Fitzgerald) wrote:
>Miles Davis co-wrote Boplicity as Cleo Henry.
Sorry, that's not the case. "Cleo Henry" is Gil Evans' pseudonym, and
"Boplicity" is a Gil Evans composition, through and through. It's not the
first and not the last time Miles would try to take credit for someone
else's tune.
- Darcy
-------
dar...@po-box.mcgill.ca
Montreal, Quebec
Canada
-------
"Even paranoids have real enemies."
- Delmore Schwartz
Dave Harrison
Art Pepper appeared as Art Salt on some 1950's recordings.
Johnny Hodges appeared as Cue Porter (his wife's name) on an album with
Billy Strayhorn.
Good listening,
Dave Harrison
Martin S. Milgrim
Michael Fitzgerald wrote:
>
> Eric Dolphy was George Lane on Ole Coltrane
> Art Farmer was Peter Urban on a Teddy Charles Atlantic album
> Charlie Parker also used the Charlie Chan name on the Miles Davis
> session with Sonny Rollins.
>
Lee Konitz appeared as "Zeke Tolin" (an anagram of his name) on a Gil
Evans Prestige session
James Moody appeared as "Jimmy Gloomy" on a Tubby Hayes date
J.J. Johnson appeared as "C.C. Siegel" on a Bird Memorial date
Marty
Joseph F. Ustach
Benny Goodman sometimes used Shoeless Joe Jackson.
joeu
Stephan Claassen
Duke Ellington appeared as Duke Brooks on a 44/45 session (although he
doesn't sound as Ellington in my opinion)
Charlie Parker was Charlie Chan on the Massey Hall concert
Count Basie appeared as Prince Charming on a Lester YOung 1944 date.
Cozy Cole appeared as ..... on a Teddy Wilson 37-38 date.
Eric Dolphy appeared as George Lane on Ole Coltrane.
Stephan
S.H.Cl...@kub.nl
tomb...@jhunix.hcf.jhu.edu
In article <3367A1...@sequent.com> cliffw <cli...@sequent.com> writes:
>
>My personal favorites:
> Dizzy Gillespie appeared as "Hen Gates" on at least one Parker session.
I thought that was Getz.
> Charlie Parker used several silly names, but can't recall any right
>now.
Charlie Chan.
I've heard Grant Green playing on Prestige as "Blue Lou" when
he was signed to BN.
cliffw
Jeffrey Rzepiela wrote:
> > Gerry Mulligan used "Sven Coolson".
>
> I thought that was Stan Getz's pseudonym. Am I confused?
>
> -- Jeff
No - i am probably wrong. It's been a while since i saw the album.
mord...@mhv.net
cliffw wrote:
> My personal favorites:
> Dizzy Gillespie appeared as "Hen Gates" on at least one Parker session.
One was Charlie Chan.
jo
Lee M. Cohen
Dan Lai wrote:
>
> In the past, due to recording contracts and other obligations, artists
> recorded as a leader or as sidemen on other labels using an assumed name.
No surprise here, my fav: ART PEPPER/ART SALT
Cheers!
Lee
skip elliott bowman
mord...@mhv.net wrote:
: One was Charlie Chan.
George Duke did sideman work as Dawila Gonga.
Skip, The Artist Formerly Known As Mr. Bowman
BOBVL
Zeke Tolin on Gil Evans's Prestige recordings . Lee Konitz
Jimmy O"heigho (Jimmy Cleveland)
Neophytos Iacovou
dar...@po-box.mcgill.ca (Darcy Argue) writes:
>>Miles Davis co-wrote Boplicity as Cleo Henry.
>Sorry, that's not the case. "Cleo Henry" is Gil Evans' pseudonym, and
>"Boplicity" is a Gil Evans composition, through and through. It's not the
>first and not the last time Miles would try to take credit for someone
>else's tune.
Miles Davis died several years ago.
--
--------------------------------------------------------------------------------
Neophytos Iacovou University of Minnesota
Academic & Distributed Computing Services 100 Union St. SE
email: iac...@boombox.micro.umn.edu Minneapolis, MN 55455 USA
Jeff Volkman
On 2 May 1997, skip elliott bowman wrote:
> mord...@mhv.net wrote:
> : cliffw wrote:
> : > My personal favorites:
> : > Dizzy Gillespie appeared as "Hen Gates" on at least one Parker session.
> : > Gerry Mulligan used "Sven Coolson".
> : > Charlie Parker used several silly names, but can't recall any right
>
> : One was Charlie Chan.
>
> George Duke did sideman work as Dawila Gonga.
He also played some stuff as Amanda B. Recondwith.
Jack Woker
Lee M. Cohen wrote:
>
> Dan Lai wrote:
> >
> > In the past, due to recording contracts and other obligations, artists
> > recorded as a leader or as sidemen on other labels using an assumed name.
Dizzy Gillespie appeared as B. Bopstein and Izzy Goldberg on some early
sessions.
J.J. Johnson was Hunt Peters on an Elvin Jones album.
Cannonball Adderley was Ronnie Peters on a Milt Jackson album.
Shorty Rogers was Roger Short, and Shelly Manne was Manny Shell on the
"Wild One" soundtrack album.
John Coltrane was Blue Train on a Cecil Taylor album on UA. The album
was later released under Coltrane's name!
Nat Cole was Shorty Nadine on some early JATP releases.
Clifford Scott was Joe Splink on a Richard "Groove" Holmes album.
Charlie Shavers was Chuck Kidde on a Coleman Hawkins album.
Johnny Smith was Sir Jonathan Gasser on a "Jazz Studio" jam session
album.
Carmell Jones was Kansas Lawrence on a Vi Redd album.
jack
Prof. Peter Gibbins
Cleo Henry was Miles Davis's mother, by the way.
(See Ian Carr's biography of Miles Davis, p.39.)
Which isn't to say that she wrote Boplicity.
--
Prof Peter Gibbins
Director, Virtual Centre of Excellence in Digital
Broadcasting and Multimedia Technology Ltd
http://www.dcs.ex.ac.uk/~peter
Richard Bogle
Nat Cole recorded some Jazz At The Philharmonic stuff using the name
Shorty Nadine.
-
RICHARD BOGLE DMR...@prodigy.com
Kevin Bresnahan
Shirley Scott was Little Miss Cott on Stanley Turrentine's
"Dearly Beloved"
Horace Parlan was Felix Krull on Booker Ervin's "That's It"
Wynton Kelly was Joe Scott on Sonny Criss' "At the
Crossroads"
Clifford Scott was Joe Splink on Groove Holmes' "Somethin'
Special" (thanks, Jack)
Later,
Kevin
Darcy Argue
In article <5kd83g$a...@epx.cis.umn.edu>, iac...@itlabs.umn.edu (Neophytos
Iacovou) wrote:
>dar...@po-box.mcgill.ca (Darcy Argue) writes:
>
>>>Miles Davis co-wrote Boplicity as Cleo Henry.
>
>>Sorry, that's not the case. "Cleo Henry" is Gil Evans' pseudonym, and
>>"Boplicity" is a Gil Evans composition, through and through. It's not the
>>first and not the last time Miles would try to take credit for someone
>>else's tune.
>
> Miles Davis died several years ago.
No shit. That's why I said "would try" and not "has tried." Prior to the
Birth of the Cool sessions, Miles attempted to take credit for "Donna Lee"
(and still claims in his autobiography that the tune is his). Following
those sessions, he stole "Solar" from guitarist Chuck Wayne (and Chuck has
the acetate recording to prove it), and a number of tunes from Bill Evans
including "Blue In Green" and "Nardis." Anyone who doesn't think that's
such a big deal should take a look at the publishing and mechanical
royalties generated by those tunes over the years.
H. Loess
dar...@po-box.mcgill.ca (Darcy Argue) wrote:
>In article <5kd83g$a...@epx.cis.umn.edu>, iac...@itlabs.umn.edu (Neophytos
>Iacovou) wrote:
>>dar...@po-box.mcgill.ca (Darcy Argue) writes:
>>
>>>>Miles Davis co-wrote Boplicity as Cleo Henry.
>>
>>>Sorry, that's not the case. "Cleo Henry" is Gil Evans' pseudonym, and
>>>"Boplicity" is a Gil Evans composition, through and through. It's not the
>>>first and not the last time Miles would try to take credit for someone
>>>else's tune.
>>
>> Miles Davis died several years ago.
>No shit. That's why I said "would try" and not "has tried." Prior to the
>Birth of the Cool sessions, Miles attempted to take credit for "Donna Lee"
>(and still claims in his autobiography that the tune is his). Following
>those sessions, he stole "Solar" from guitarist Chuck Wayne (and Chuck has
>the acetate recording to prove it), and a number of tunes from Bill Evans
>including "Blue In Green" and "Nardis." Anyone who doesn't think that's
>such a big deal should take a look at the publishing and mechanical
>royalties generated by those tunes over the years.
Certainly there are numerous examples of Miles apparently appropriating
credit for tunes composed by others, but this is not a particularly
well-chosen list.
Every reference I have ever seen to the composition of "Boplicity" credits
Davis and Evans as co-authors, with Gil's arrangement. "Donna Lee" was
almost certainly Miles' tune; Gil Evans said he first got in touch with
Miles when he was looking to arrange it for the Thornhill band. And Bill
Evans, who did claim "Blue in Green", always acknowledged Miles as the
composer of "Nardis".
As you note, "Donna Lee" was the earliest tune whose authorship controversy
involves Miles (barely pre-dating John Lewis' "Milestones", also recorded
with Bird); one has to wonder whether his subsequent practices in this
regard were at least in part a reaction to this.
--
Henry L.
hlo...@pipeline.com
Darcy Argue
In article <5kgguj$f...@camel4.mindspring.com>, hlo...@pipeline.com (H.
Loess) wrote:
>Certainly there are numerous examples of Miles apparently appropriating
>credit for tunes composed by others, but this is not a particularly
>well-chosen list.
I stand corrected. I'm positive about "Solar" because I've heard Chuck
Wayne's original recording (he called it "Sunny"), and "Blue In Green" is
more or less common knowledge. I guess I should have cited "Dig" instead
-- that's Jackie McClean's head. Or "Sid's Ahead," a shameless rip-off of
Richard Carpenter's "Walkin". (Unless "Richard Carpenter" is a pseudonym
as well -- I've never heard his name come up anywhere else.)
>Every reference I have ever seen to the composition of "Boplicity" credits
>Davis and Evans as co-authors, with Gil's arrangement.
Well, although "Cleo Henry" is the name of Miles' mother, it was _Gil's_
pseudonym. Miles gets composing credit for _Deception_ (also from _Birth
of the Cool_), so I don't see any reason why he wouldn't put _Boplicity_
under his own name as well, or at least list it as a "Davis-Henry"
collaboration, if that was the case. Also, I seem to remember an
interview with Miles when he was asked why no one ever played Gil's
tunes. Miles answered that pieces like "Boplicity" were entirely
dependent on the arrangement -- it didn't work as just a single-line
head. The implication being that "Boplicity" was one of Gil's tunes. (I
could of course be wrong on this...)
>"Donna Lee" was
>almost certainly Miles' tune; Gil Evans said he first got in touch with
>Miles when he was looking to arrange it for the Thornhill band.
Miles also gave him a chart for "Anthropology," which is certainly not his
tune. Just because he had a lead for a tune doesn't mean it's his
composition. Anyhow, I'll agree that "Donna Lee" doesn't exactly sound
like a Bird tune (then again, neither do "Steeplechase," "My Little Suede
Shoes," etc). But it doesn't exactly sound like the Miles tunes from that
period either. I guess what made me most skeptical of Miles' claim to
this tune is that it's so technically difficult -- I doubt if Miles would
be able to _play_ that tune at speed, given that he spent most of the
forties trying to get his chops together. Dizzy had to play some of the
Parker heads _for_ him at recording sessions, remember?
>And Bill
>Evans, who did claim "Blue in Green", always acknowledged Miles as the
>composer of "Nardis".
That I didn't know, although I've heard a number of musicians claim that
the tune is Bill's. Could well have been just a rumour, though.
>As you note, "Donna Lee" was the earliest tune whose authorship controversy
>involves Miles (barely pre-dating John Lewis' "Milestones", also recorded
>with Bird);
Also news to me.
>one has to wonder whether his subsequent practices in this
>regard were at least in part a reaction to this.
Whatever the motivation, he still cheated a number of other musicians out
of their songwriting royalties, just as Irving Mills took a cut out of
Duke's tunes.
steve
In article <336AA4...@ix.netcom.com>, Jack Woker
<ste...@ix.netcom.com> writes
>
On October 20, 1955 Butterfield group recorded as 'Gus Hoo And His Dixie
Stompers'. Billy was Gus Hoo, Lou McGarity was Erskine Tearblotter, Hal
McKusick was Fifi Phonphum, Boomie Richman was Mad Milt Summerblouse,
Moe Weschler was Baldy Wynn, Milt Hinto was Junior Hifitz, and Don
Lamond was Zane Grudge.
--
Steve Voce
Bill Hery
In article <5k8j1r$74o$1...@earth.execpc.com>,
>
>-- Jeff
No, it was Getz. He also used Dju Berriy--ro something like that,
since I'm not sure of the spelling. But if you try to pronouce it, you
will get the name of one of Getz' early influences.
Bill Hery
Bell Labs, Whippany NJ
he...@bell-labs.com
Chad Andrew Wagner
Didn't Cannonball go by "Buckshot LeFonque" once or twice?
Also, what about musicians who changed their names at some point:
My favorites are Fritz Jones (Ahmad Jamal) and Bill Evans (Yusef Lateef).
-Chad
--
H. Loess
dar...@po-box.mcgill.ca (Darcy Argue) wrote:
>>Certainly there are numerous examples of Miles apparently appropriating
>>credit for tunes composed by others, but this is not a particularly
>>well-chosen list.
>I stand corrected. I'm positive about "Solar" because I've heard Chuck
>Wayne's original recording (he called it "Sunny"), and "Blue In Green" is
>more or less common knowledge. I guess I should have cited "Dig" instead
>-- that's Jackie McClean's head.
Actually, Jack Woker offered an alternative explanation (without endorsing
either as the actual composer) in another thread this week, under which this
could have been Miles' tune, later credited to McLean, but my belief is that
it's Jackie's composition (and more properly titled "Donna").
>Or "Sid's Ahead," a shameless rip-off of
>Richard Carpenter's "Walkin". (Unless "Richard Carpenter" is a pseudonym
>as well -- I've never heard his name come up anywhere else.)
Again, this came up in the last couple of weeks, and according to Jack, this
was first recorded by Gene Ammons (under the title "Gravy", but listed as
"Walkin" on all LP issues. Jack suspects this is Ammons' tune (Carpentter
was his manager), and cited Jug's "El Sino" as a close antecedent.
It should be noted that "Sid's Ahead" (more properly titled "Weirdo", as
Miles fist recorded it for Blue Note), besides slightly simplifying the
melodic line, is recast in a minor key, and could be considered a separate
composition, however deeply indebted to "Walkin".
>>Every reference I have ever seen to the composition of "Boplicity" credits
>>Davis and Evans as co-authors, with Gil's arrangement.
>Well, although "Cleo Henry" is the name of Miles' mother, it was _Gil's_
>pseudonym. Miles gets composing credit for _Deception_ (also from _Birth
>of the Cool_), so I don't see any reason why he wouldn't put _Boplicity_
>under his own name as well, or at least list it as a "Davis-Henry"
>collaboration, if that was the case. Also, I seem to remember an
>interview with Miles when he was asked why no one ever played Gil's
>tunes. Miles answered that pieces like "Boplicity" were entirely
>dependent on the arrangement -- it didn't work as just a single-line
>head. The implication being that "Boplicity" was one of Gil's tunes. (I
>could of course be wrong on this...)
Well, I couldn't tell you what the original germ of the idea for "Boplicity"
was, who came up with it, or what the nature of the collaboration was, but
as I said, I have always seen this attributed as joinly composed by Miles
and Gil.
As far as "Deception", this is irrelevant to the case of "Boplicity" (though
quite pertinent to your main point), since this was Miles' revealingly
titled arrangement of George Shearing's "Conception". (Miles recorded this
again in 1951, crediting Shearing and using the original title - on the same
sextet date which listed McLean's "Donna" as Miles' "Dig"!)
>>"Donna Lee" was
>>almost certainly Miles' tune; Gil Evans said he first got in touch with
>>Miles when he was looking to arrange it for the Thornhill band.
>Miles also gave him a chart for "Anthropology," which is certainly not his
>tune. Just because he had a lead for a tune doesn't mean it's his
>composition.
I've never heard "Anthropology" mentioned in the context of this story,
although I'd be interested in checking out any reference you have on this.
I've seen the story on "Donna Lee" many times, e.g. in Jack Chambers' book
"Milestones":
" 'Donna Lee' provides the first hint of Davis' growing interest in
composition. The information that he, not Parker, is the composer came not
from either of them but from Gil Evans, who approached Parker and was
directed to Davis when he wanted to pick up the lead sheet for 'Donna Lee'
in order to write an arrangement of it for Claude Thornhill's orchestra. The
suspicion that Davis wrote this piece was felt even before Evans volunteered
this information."
Unfortunately, while the second volume of Chambers' book is footnoted, the
first (at least in my copy) has only a bibliography, so I could not direct
you to the source of this citation.
> Anyhow, I'll agree that "Donna Lee" doesn't exactly sound
>like a Bird tune (then again, neither do "Steeplechase," "My Little Suede
>Shoes," etc).
Agreed about "Steeplechase" - it has always reminded me of Monk's writing,
and I've always wanted to hear a pianist play it as Monk would have had he
indeed written it.
>But it doesn't exactly sound like the Miles tunes from that
>period either.
Somewhat true, but until we can accurately pin down which were and were not
Miles' tunes, this can as easily lead to further confusion as to
clarification. :-)
(See "Milestones" below; Chambers cites musical evidence to demonstrate that
this is Davis' tune, rather than Parker's, when to the best of my knowledge
it is in fact John Lewis'.)
>I guess what made me most skeptical of Miles' claim to
>this tune is that it's so technically difficult -- I doubt if Miles would
>be able to _play_ that tune at speed, given that he spent most of the
>forties trying to get his chops together. Dizzy had to play some of the
>Parker heads _for_ him at recording sessions, remember?
Certainly Miles sounds less comfortable with it than Bird, which has
contributed to the confusion. Remember, though, that he needn't have
*written* it at speed (and that although this is usually played at a
blistering tempo, it was considerably slower on the original recording (I
prefer it fast, myself)).
>>And Bill
>>Evans, who did claim "Blue in Green", always acknowledged Miles as the
>>composer of "Nardis".
>That I didn't know, although I've heard a number of musicians claim that
>the tune is Bill's. Could well have been just a rumour, though.
This came up last September; Malte Rogacki cited an interview with Orrin
Keepnews:
"I always felt that Bill must have had a hand in writing 'Nardis', which
through the years was a permanent part of his trio repertoire, but he
insited that it was entirely Miles' work. On the other hand, Davis
originally claimed sole authorship of the now-standard 'Blue In Green', but
Evans rather angrily instructed me to list him as co-writer on the jacket
of his first first recording of the tune." (american "Keyboard" mag,
Oct.87)
>>As you note, "Donna Lee" was the earliest tune whose authorship controversy
>>involves Miles (barely pre-dating John Lewis' "Milestones", also recorded
>>with Bird);
>Also news to me.
>>one has to wonder whether his subsequent practices in this
>>regard were at least in part a reaction to this.
>Whatever the motivation, he still cheated a number of other musicians out
>of their songwriting royalties, just as Irving Mills took a cut out of
>Duke's tunes.
No argument with that, and there are other instances of this that we haven't
even mentioned. My point was that this is not true of all tunes which have
been variously attributed to Miles and to others, and should not be used to
deny him authorship in those instances where the best available information
supports it.
(One more note, while we're on the subject: Coltrane's blues "John Paul
Jones" was recorded twice by Miles in 1956; on the March 16 quintet date
with Sonny Rollins, it is titled "Vierd Blues" and credited to Miles. On the
May 11 session with the working quintet (including Coltrane), it is listed
as "Trane's Blues" and credited to Coltrane. (Jack Chambers, btw, appears to
have no clue about the tune when discussing either version, although I don't
think this detracts from his credibility vis a vis "Donna Lee", which
apparently draws on an interview with Evans which he had read or heard.)
Coltrane also recorded "John Paul Jones" on a Paul Chambers quartet date in
March '56, although the 1975 Blue Note LP I have does not specify an exact
date (has one been determined since?), so it I don't know if it slightly
pre- or post-dates Miles' first version. I've always assumed it was titled
at that session (after the three members of Miles' working band present),
but perhaps it remained untitled until the album was prepared for release,
possibly after May 11. At any rate, the Chambers date credits "D. Shapiro/M.
Pascal/P. Charig". Does anyone have any idea who any of these three
individuals were, or who came up with the title "John Paul Jones", or when?)
--
Henry L.
hlo...@pipeline.com
Jack Woker
H. Loess wrote:
> > I guess I should have cited "Dig" instead
> >-- that's Jackie McClean's head.
>
> Actually, Jack Woker offered an alternative explanation (without endorsing
> either as the actual composer) in another thread this week, under which this
> could have been Miles' tune, later credited to McLean, but my belief is that
> it's Jackie's composition (and more properly titled "Donna").
It's my belief, too, Henry. I just worded the facts in a way as to be
noncommital!
> (One more note, while we're on the subject: Coltrane's blues "John Paul
> Jones" was recorded twice by Miles in 1956; on the March 16 quintet date
> with Sonny Rollins, it is titled "Vierd Blues" and credited to Miles. On the
> May 11 session with the working quintet (including Coltrane), it is listed
> as "Trane's Blues" and credited to Coltrane.
> Coltrane also recorded "John Paul Jones" on a Paul Chambers quartet date in
> March '56, although the 1975 Blue Note LP I have does not specify an exact
> date (has one been determined since?), so it I don't know if it slightly
> pre- or post-dates Miles' first version. I've always assumed it was titled
> at that session (after the three members of Miles' working band present),
> but perhaps it remained untitled until the album was prepared for release,
> possibly after May 11. At any rate, the Chambers date credits "D. Shapiro/M.
> Pascal/P. Charig". Does anyone have any idea who any of these three
> individuals were, or who came up with the title "John Paul Jones", or when?)
Actually, it is common practice for titles to be assigned after the
fact, sometimes by someone other than the artist. It is possible that
the record companies may have been responsible for these titles, perhaps
ignorant of the fact that these tunes existed on other recordings. Since
these three sessions were all made very close to one another, it seems
likely that neither of the first two versions had been issued yet at the
time that each was being prepared for release. "John Paul Jones"
(credited to John Coltrane on the CD reissue, btw) is obviously named
after three of the participants, but by who? Miles' May 11 version was
part of the marathon sessions in which Miles seems to have recorded a
large portion of his book to fill out his contract with Prestige. A
number of the tunes waxed at these sessions had already been recorded
for Prestige (and Blue Note) with earlier lineups. Did Bob Weinstock
(Prestige) intentionally retitle the tune for the "Workin'" album, which
was not issued until 1960, so as to hide its identity, or is it possible
that he was actually unaware of its existence as "Vierd Blues" or "John
Paul Jones"?
As to authorship, I think its safe to assume that the three names to
which JPJ is credited are erroneous, probably a mistake made by whoever
was assigned to determine authorship for publishing purposes in 1975. I
wonder if anyone has the original Jazz West LP to check, although it's
possible that there was no credit on the original, hence the screwup in
1975.
jack
Martin S. Milgrim
Jack Woker wrote:
>
>
> > (One more note, while we're on the subject: Coltrane's blues "John Paul
> > Jones" was recorded twice by Miles in 1956; on the March 16 quintet date
> > with Sonny Rollins, it is titled "Vierd Blues" and credited to Miles. On the
> > May 11 session with the working quintet (including Coltrane), it is listed
> > as "Trane's Blues" and credited to Coltrane.
>
> > March '56, although the 1975 Blue Note LP I have does not specify an exact
> > date (has one been determined since?), so it I don't know if it slightly
> > pre- or post-dates Miles' first version. I've always assumed it was titled
> > at that session (after the three members of Miles' working band present),
> > but perhaps it remained untitled until the album was prepared for release,
> > possibly after May 11. At any rate, the Chambers date credits "D. Shapiro/M.
> > Pascal/P. Charig". Does anyone have any idea who any of these three
> > individuals were, or who came up with the title "John Paul Jones", or when?)
>
> fact, sometimes by someone other than the artist. It is possible that
> the record companies may have been responsible for these titles, perhaps
> ignorant of the fact that these tunes existed on other recordings. Since
> these three sessions were all made very close to one another, it seems
> likely that neither of the first two versions had been issued yet at the
> time that each was being prepared for release. "John Paul Jones"
> (credited to John Coltrane on the CD reissue, btw) is obviously named
> after three of the participants, but by who? Miles' May 11 version was
> part of the marathon sessions in which Miles seems to have recorded a
> large portion of his book to fill out his contract with Prestige. A
> number of the tunes waxed at these sessions had already been recorded
> for Prestige (and Blue Note) with earlier lineups. Did Bob Weinstock
> (Prestige) intentionally retitle the tune for the "Workin'" album, which
> was not issued until 1960, so as to hide its identity, or is it possible
> that he was actually unaware of its existence as "Vierd Blues" or "John
> Paul Jones"?
> As to authorship, I think its safe to assume that the three names to
> which JPJ is credited are erroneous, probably a mistake made by whoever
> was assigned to determine authorship for publishing purposes in 1975. I
> wonder if anyone has the original Jazz West LP to check, although it's
> possible that there was no credit on the original, hence the screwup in
> 1975.
> jack
Your point is well taken about titles being arbitrarily given by
producers after the fact. This story may be apocryphal but I heard many
years ago that the title "Vierd Blues" came about simply because
producer Bob Weinstock's father spoke with a pronounced German Jewish
accent and suggested to the group that they play one of their "vierd
blues" pieces. Sounds crazy but can anyone figure out something more
plausible as to how the word "vierd" came about?
Marty
Ranjit Bhagwat
iac...@itlabs.umn.edu (Neophytos Iacovou) writes:
>dar...@po-box.mcgill.ca (Darcy Argue) writes:
>>>Miles Davis co-wrote Boplicity as Cleo Henry.
>>Sorry, that's not the case. "Cleo Henry" is Gil Evans' pseudonym, and
>>"Boplicity" is a Gil Evans composition, through and through. It's not the
>>first and not [etc., etc.]
You people are all full of shit. Read the Miles Davis
autobigraphy. Cleo Henry is the name of Miles' mother. Gil and Miles
worked TOGETHER on the whole B.O.T.C. project, and they authored this
song. Read the autobiography -- it's on there.
Ranjit Bhagwat
>-Chad
>--
Joke?
Jack Woker
> This story may be apocryphal but I heard many
> years ago that the title "Vierd Blues" came about simply because
> producer Bob Weinstock's father spoke with a pronounced German Jewish
> accent and suggested to the group that they play one of their "vierd
> blues" pieces. Sounds crazy but can anyone figure out something more
> plausible as to how the word "vierd" came about?
Actually, this makes perfect sense, and in many ways typifies the
arbitrary nature of many aspects of artistic creation. What was a
simple one-off whimsical decision becomes canon, and has several guys
sitting at their computers trying to figure it all out forty years
later! :-)
jack
Piddipat
george duke has appeared on albums as dawili gonga
frank zappa has appeared as obdewl'l x
--sure they're not REALLY "jazz," but . . .
piddipat
JFR
Harley.Davidson
Ranjit Bhagwat wrote:
> You people are all full of shit. Read the Miles Davis
> autobigraphy. Cleo Henry is the name of Miles' mother. Gil and Miles
> worked TOGETHER on the whole B.O.T.C. project, and they authored this
> song. Read the autobiography -- it's on there.
I would not believe everything you read, especially if it comes out of
the Miles Davis autobiography.
-Nils
BASSCLIFFE
a buddy came up with a good approach --
1.) take the name of your first pet as a child;
2.) take your mother's maiden name;
3.) slap'em together - there "you" are.
how does The Fido Colson Septet sound?
GJuke
How about Turtle Rannucci???? (prounounce the "ch")
GJ
Andy Jack
Well, if non-jazz entries are eligible for this game, I distinctly
remember Buddy Guy doing some moonlighting as "Friendly Chap".
A similar jazz one was James Moody appearing as "Jimmy Gloomy" on a
Tubby Hayes session.
Andy
------------------------------------------------------------------------
Cripps Computing Centre, RFC-822: Andy...@nottingham.ac.uk
University of Nottingham, X.400: G=Andy;S=Jack;O=Nottingham;P=UK.AC;C=GB
Nottingham NG7 2RD, UK Phone: +44 115 951 3328
Harley.Davidson
GJuke wrote:
>>> how does The Fido Colson Septet sound?<<<<
>
> How about Turtle Rannucci???? (prounounce the "ch")
How about Snuggles Casem?
-Nils
GJuke
Although I thought it _was_ pretty well-known that Cleo Henry was Miles'
mother's maiden name...
GJ
Steve Guattery
hlo...@pipeline.com (H. Loess) writes:
> dar...@po-box.mcgill.ca (Darcy Argue) wrote:
> > Anyhow, I'll agree that "Donna Lee" doesn't exactly sound
> >like a Bird tune (then again, neither do "Steeplechase," "My Little Suede
> >But it doesn't exactly sound like the Miles tunes from that
> >period either.
>
> Somewhat true, but until we can accurately pin down which were and were not
> Miles' tunes, this can as easily lead to further confusion as to
> clarification. :-)
Lawson Stone has posted a couple of times about Douglass Parker's " 'Donna Lee' and the
Ironies of Bebop", from "The Bebop Revolution in Words and Music", ed. Dave Oliphant.
It's well worth checking out for Parker's interesting conclusion about why the "Donna
Lee" line doesn't really sound like Davis or Parker: Davis based it on a phrase from
Fats Navarro's solo on "Ice Freezes Red".
Steve Guattery
s...@icase.edu
John Purves
On 9 May 1997 22:00:40 GMT, s...@icase.edu (Steve Guattery) wrote:
>hlo...@pipeline.com (H. Loess) writes:
>> dar...@po-box.mcgill.ca (Darcy Argue) wrote:
>> > Anyhow, I'll agree that "Donna Lee" doesn't exactly sound
>> >like a Bird tune (then again, neither do "Steeplechase," "My Little Suede
>> >Shoes," etc)...
>> >But it doesn't exactly sound like the Miles tunes from that
>> >period either.
>>
>> Somewhat true, but until we can accurately pin down which were and were not
>> Miles' tunes, this can as easily lead to further confusion as to
>> clarification. :-)
>
>Lawson Stone has posted a couple of times about Douglass Parker's " 'Donna Lee' and the
>Ironies of Bebop", from "The Bebop Revolution in Words and Music", ed. Dave Oliphant.
>It's well worth checking out for Parker's interesting conclusion about why the "Donna
>Lee" line doesn't really sound like Davis or Parker: Davis based it on a phrase from
>Fats Navarro's solo on "Ice Freezes Red".
>
> Steve Guattery
> s...@icase.edu
>
Yeah, I have to say on the evidence of Miles improvising at the time,
and really even later, I don't think there is any way he could have
written Donna Lee. It must have come from somewhere else. Even though
it's not a typical Parker head it smells pretty strongly of his genius
It's such a well thought out line. I would really like to hear "Ice
Freezes Red" if it's been recorded with the phrase that supposedly DL
was based on.
jp
Richard Tabnik
According to Max Roach, Miles did indeed compose Donna Lee. He said also that
Bird's tunes had much different rhythmic patterns.
Best wishes for a happy life in a peaceful world.
Sincerely,
Richard Tabnik, Jazz Alto Saxophonist
e-mail: <rcta...@inch.com>
WWW Page: <http://www.inch.com/~rctabnik>
"The Jazz Musician's function is to feel."-Lennie Tristano
J. Reinschmidt
> Lawson Stone has posted a couple of times about Douglass Parker's " 'Donna
> Lee' and the
> Ironies of Bebop", from "The Bebop Revolution in Words and Music", ed. Dave
> Oliphant.
This isn't the Douglass Parker who taught Ovid to me in the Dept. of
Classics at U Texas at Austin, is it? That would be too much to believe.
*** Do not reply to header address!!! REAL ADDRESS below ***
J. Reinschmidt
jrei...@geocities.com
"Play vanilla," Lester Young is said
to have said to a piano player
comping too elaborately behind his solo...
--Clayton Eshleman, from "Foo to the Infinite"
Michael Fitzgerald
On Sat, 10 May 1997 21:31:45 GMT, john...@orban.com (John Purves)
wrote:
>Yeah, I have to say on the evidence of Miles improvising at the time,
>and really even later, I don't think there is any way he could have
>written Donna Lee. It must have come from somewhere else. Even though
>it's not a typical Parker head it smells pretty strongly of his genius
>It's such a well thought out line.
OK, it seems to me that you aren't a musician, or you wouldn't make
the assumption that one must be able to play and improvise something
that one writes. The two are *completely* unrelated. Charlie Parker
had more facility on the instrument than Miles did. That he played the
line better than Miles is proof of that. It's not proof that he wrote
it. That Parker improvises better on "Indiana" changes is not proof
that he wrote Donna Lee.
Compare Donna Lee with other Parker tunes and you won't find the
non-stop rhythmic activity. Compare it with Miles tunes of the period
and you'll note the similarity.
Mike
John Purves
>On Sat, 10 May 1997 21:31:45 GMT, john...@orban.com (John Purves)
>wrote:
>>Yeah, I have to say on the evidence of Miles improvising at the time,
>>and really even later, I don't think there is any way he could have
>>written Donna Lee. It must have come from somewhere else. Even though
>>it's not a typical Parker head it smells pretty strongly of his genius
>>It's such a well thought out line.
>
>OK, it seems to me that you aren't a musician,
Gimmie a break!
>or you wouldn't make
>the assumption that one must be able to play and improvise something
>that one writes.
Wrong in both instances. By what someone improvises you can tell how
deep a thinker he/she is and also a great deal about how one phrases
lines. If not, I wonder what would be interesting about listening to
different people play on the same changes. This point IMO is
especially significant concerning DL given it's uniqueness of longer
lines with less syncopation, more like a solo than say, Scrapple. I
know that solos are different than compositions, obviously, look at
Parker's solos compared to his compositions. Parker didn't solo like
the Confirmation head, in fact no one does. I was arguing that you
could tell Miles wasn't a bop master enough to be able to write DL out
of thin air. Hell, if Max says Davis wrote it or brought the chart to
the date ( I haven't actually seen or heard this before Richard's
posting) I'm not going to argue it. One thing to keep in mind though
is the history of other tunes Miles grabbed from someone else and
used. I'm inclined to lean to the Fats Navarro possibility or
something similar.
>The two are *completely* unrelated. Charlie Parker
>had more facility on the instrument than Miles did. That he played the
>line better than Miles is proof of that. It's not proof that he wrote
>it.
Neat, I never said anything about how well the head was played.
>That Parker improvises better on "Indiana" changes is not proof
>that he wrote Donna Lee.
I guess that sort of depends on how good or badly someone improvises.
After unfortunately hearing Kenny G improvise, I think I could fairly
well say he didn't write it. I'm not comparing Miles to KG (Miles said
he liked KG didn't he, unbelievable) just stretching the example to
make my point.
>Compare Donna Lee with other Parker tunes and you won't find the
>non-stop rhythmic activity. Compare it with Miles tunes of the period
>and you'll note the similarity.
I can't think of any off hand, I'd be interested in some tunes you
think are good examples. In fact, one of the things that's interesting
about DL is how it stands apart as a tune from most Bop. Don't you
think Miles could have got the line somewhere else and turned it into
DL. But I guess that would open up a big discussion on where the line
between composing and borrowing are.
>
>Mike
>
I'm not denying Miles genius, just interested in the history of some
of these tunes.
jp
Prof. Peter Gibbins
For what it's worth, I think Donna Lee *was* written by Miles -
it's *over-composed*, like all the tunes written by Miles at
the time (like the original Milestones, Sipp' at Bells, even
Half Nelson). A case of Miles compensating in composition for
his lack of virtuosity as a trumpet-player.
--
Prof Peter Gibbins
Director, Virtual Centre of Excellence in Digital
Broadcasting and Multimedia Technology Ltd
http://www.dcs.ex.ac.uk/~peter
Ralph Jungheim
That's funny. Charlie Parker holds the copyright.
On 12 May 1997 19:29:34 GMT, Prof. Peter Gibbins
Lawson G. Stone
Ralph Jungheim wrote:
> =
> That's funny. Charlie Parker holds the copyright.
> =
> On 12 May 1997 19:29:34 GMT, Prof. Peter Gibbins
> <10156...@CompuServe.COM> wrote:
> =
> >For what it's worth, I think Donna Lee *was* written by Miles -
> >it's *over-composed*, like all the tunes written by Miles at
> >the time (like the original Milestones, Sipp' at Bells, even
> >Half Nelson). A case of Miles compensating in composition for
> >his lack of virtuosity as a trumpet-player.
> >
Such matters as these are not finally matters of impressions, either by
players or non players. They are matters of documentary, historical
scholarship and meticulous, note by note musical criticism. The
documentary evidence that Miles wrote Donna Lee has been assembled and
presented. The musical analysis has also been done that shows how Miles
wrote the melody by employing phrases from a variety of sources,
including a solo on the the tune "Ice Freezes Red" by Fats Navarro.
The question of course is why, on the recording date, did Miles play so
poorly? The answer is that he intended the song to be played at a medium
tempo, and Bird immediately launched into a much faster tempo and wanted
unison melody lines. It took four takes to get the head right, and
Miles' solos limp along for several takes. =
There are some things only a player really knows firsthand; and there
are some things only a skilled scholar and historian can "know"
firsthand. Questions of authorship are ultimately resolved by appeal to
documentary evidence. One "plays" evidence very much like one works
changes on a solo, and the historian's "chops" are just as important
here as the player's chops are on the bandstand. This seems to have been
well done in the work I cited last year. Miles wrote "Donna Lee." We
don't have to like it. But it's history and it doesn't care whether we
like, or even believe it. Facts are just that way. Sort of like "Donna
Lee."
-- =
//////////////////////////////\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
Lawson G. Stone=97Asbury Theological Seminary=97Wilmore, KY 40390
\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\///////////////////////////////////
"You know, a long time ago, being crazy meant something. Nowadays,
everybody's crazy." Charles Manson
Tom Benton
Eric Dolphy appeared on Coltrane's "Ole" as George Lane, though I'm sure
that one's been brought up before.
I hear that Wynton Marsalis has released a couple of records under the
name Buckethead...
Dave Harrison
John Dankworth used to use the pseudonym Virgil Nameless(!)
Dave Harrison
Prof. Peter Gibbins
> That's funny. Charlie Parker holds the copyright.
You're right, he does *seem to*. I have an old copy of
an album called Charlie Parker Memorial (volume 2)
issued on a UK label called 'Realm' in the 60s. The
album is numbered RM-121. The *disc* has Parker as
the composer.
But then again, bopsters were notoriously careless
when assigning property rights. So who really knows.
Ralph Jungheim
On 16 May 1997 12:00:33 GMT, Prof. Peter Gibbins
<10156...@CompuServe.COM> wrote:
>> That's funny. Charlie Parker holds the copyright.
>Atlantic Music Corp. "seems to" really know." They hold the copyright. 1947, renewed 1978.
tomb...@jhunix.hcf.jhu.edu
Bud Shank appears as "Bud Legge" on a June Christy record,
which is probably an inside butcher reference.
GJuke
>>>>Bud Shank appears as "Bud Legge" on a June Christy record,
which is probably an inside butcher reference.<<<<
Wade Legge was a purty good pi-ana player...
GJ
JFR
In <5l7r2u$nso$1...@mhadf.production.compuserve.com> Prof. Peter Gibbins
<10156...@CompuServe.COM> writes:
>
>For what it's worth, I think Donna Lee *was* written by Miles -
>it's *over-composed*, like all the tunes written by Miles at
>the time (like the original Milestones, Sipp' at Bells, even
>Half Nelson). A case of Miles compensating in composition for
>his lack of virtuosity as a trumpet-player.
>
>Prof Peter Gibbins
>Director, Virtual Centre of Excellence in Digital
>Broadcasting and Multimedia Technology Ltd
>http://www.dcs.ex.ac.uk/~peter
Good theory. ANother possibililty is that none of those songs were
written by him, which could account for the similarities and may be
consistent with his behavior.
Dennis C. Owsley
In article <5ln2qv$f...@dfw-ixnews8.ix.netcom.com>,
jre...@ix.netcom.com(JFR) wrote:
Also check out Gil Evans' story. When he wanted a lead sheet of "Donna
Lee" from Charlie Parker, Bird directed him to Miles.
Dennis Owsley
"Jazz Unlimited" 90.7 KWMU FM, St. Louis
Ralph Jungheim
On 18 May 1997 14:13:51 GMT, jre...@ix.netcom.com(JFR) wrote:
>In <5l7r2u$nso$1...@mhadf.production.compuserve.com> Prof. Peter Gibbins
><10156...@CompuServe.COM> writes:
>>
>>For what it's worth, I think Donna Lee *was* written by Miles -
>>it's *over-composed*, like all the tunes written by Miles at
>>the time (like the original Milestones, Sipp' at Bells, even
>>Half Nelson). A case of Miles compensating in composition for
>>his lack of virtuosity as a trumpet-player.
>>
>>--
>>Prof Peter Gibbins
>>Director, Virtual Centre of Excellence in Digital
>>Broadcasting and Multimedia Technology Ltd
>>http://www.dcs.ex.ac.uk/~peter
>
>Good theory. ANother possibililty is that none of those songs were
>written by him, which could account for the similarities and may be
>consistent with his behavior.
>
Any more good theories?
The fact is the tune is coprighted by Charlie Parker, composer, and
Atlantic Music Corp. Check BMI.com for confirmation and a list of all
the people who have recorded. If the author was anyone but Bird they
would have certainly staked their claim on the mechanical royalties by
now.
Ralph
Marc Sabatella
>The fact is the tune is coprighted by Charlie Parker, composer, and
>Atlantic Music Corp. Check BMI.com for confirmation and a list of all
>the people who have recorded. If the author was anyone but Bird they
>would have certainly staked their claim on the mechanical royalties by
>now.
Certainly not. Miles probably agreed to sign over rights to the tune to
Bird - perhaps not with a signed contract, but implicitly, by agreeing
to play on the session when it was probably clear from the beginning
that, as was the custom, Bird would appear as composer.
If this event happened in 1970, I think Miles would not have agreed so
quickly. But to a new artist, there probably didn't seem like much he
could do without losing his big break.
I don't think there is any real remaining doubt that Miles wrote the
tune.
--
Marc Sabatella
--
ma...@outsideshore.com
http://www.outsideshore.com/
William W. Schonbein
Tom Benton (ran...@ccwf.cc.utexas.edu) wrote:
: Eric Dolphy appeared on Coltrane's "Ole" as George Lane, though I'm sure
: that one's been brought up before.
: I hear that Wynton Marsalis has released a couple of records under the
: name Buckethead...
Not the same buckethead appearing on e.g., death cube K with bill laswell?
That buckethead plays guitar.... If this were the case, i would be
surprised (not for the first time, of course).
whit
Lawson G. Stone
Marc Sabatella wrote:
> =
> In article <33804f77...@news.beachnet.com>, bam...@beachnet.com =
(Ralph Jungheim) wrote:
> =
> >The fact is the tune is coprighted by Charlie Parker, composer, and
> >Atlantic Music Corp. Check BMI.com for confirmation and a list of all=
> >the people who have recorded. If the author was anyone but Bird they
> >would have certainly staked their claim on the mechanical royalties by=
> >now.
> =
> Certainly not. Miles probably agreed to sign over rights to the tune t=
o
> Bird - perhaps not with a signed contract, but implicitly, by agreeing
> to play on the session when it was probably clear from the beginning
> that, as was the custom, Bird would appear as composer.
> =
> If this event happened in 1970, I think Miles would not have agreed so
> quickly. But to a new artist, there probably didn't seem like much he
> could do without losing his big break.
> =
> I don't think there is any real remaining doubt that Miles wrote the
> tune.
> =
Marc is certainly right. Almost all music historians agree that Miles
wrote Donna Lee. Remember also that Miles was only 19 years old when the
first Savoy sessions took place, and probably only about 20 when "Donna
Lee" was recorded. Plus, he was a completely new face and sound, still
finding his own voice in music. Reviewers of the earlier "Nows the Time"
sessions didn't even know his name. All this seems to me to help explain
how the tune could have been attributed to Bird instead of its true
author. =
Isn't it funny how a guy who was accused of having no chops and not
being able to play fast, gave to jazz a tune that has been the speed
nightmare of jazz players ever since? Bird lives, but Miles smiles!
Ben Axelrad
In article <5lq3cc$ijp$1...@newsreader.wustl.edu>, wwsc...@artsci.wustl.edu
(William W. Schonbein) wrote:
I guess that's the real reason behind the mask...
Ben
Peter Moeller
Marc Sabatella (ma...@outsideshore.com) wrote:
: I don't think there is any real remaining doubt that Miles wrote the
: tune.
I agree. In an interview 1990 Miles told about how he met Gil Evans for
the first time. He was saying that he met Gil in 1947 and that Gil had
asked *him*, if he could do an arrangement on 'Donna Lee'. --Peter
JFR
In <5lpuur$un6$2...@cactus.verinet.com> ma...@outsideshore.com (Marc
>
>>The fact is the tune is coprighted by Charlie Parker, composer, and
>>Atlantic Music Corp. Check BMI.com for confirmation and a list of
all
>>would have certainly staked their claim on the mechanical royalties
by
>
>Certainly not. Miles probably agreed to sign over rights to the tune
>to play on the session when it was probably clear from the beginning
>that, as was the custom, Bird would appear as composer.
>
>If this event happened in 1970, I think Miles would not have agreed so
>quickly. But to a new artist, there probably didn't seem like much he
>could do without losing his big break.
>
>I don't think there is any real remaining doubt that Miles wrote the
>tune.
>
The official published one may have included some input from Bird, for
all we know, so it may not be so clear. It could in reality be a 25%
Bird / 75% Miles or maybe 25% Bird / 75% Bill Evans compostion, :)
Ed Marchewicz
> Dan Lai wrote:
> >
> > In the past, due to recording contracts and other obligations, artists
> > recorded as a leader or as sidemen on other labels using an assumed name.
My favourites are Dizzy Gillespie recording under the names
Izzy Goldberg and B. Bopstein.
Also Charlie Parker recording as Charlie Chan (with Miles Davis).
Ed
+-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+
! Ed Marchewicz e.marc...@bgs.ac.uk Tel: +44 115 9363108 !
! British Geological Survey, Keyworth, Notts, NG12 5GG, U.K. !
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