I agree, and I think it's a huge shame they are no longer available. I've tried 
to encourage Nick Carter (who owns the rights) to update Bill's fonts (OTF 
format would be best) and make them available for individual a la carte 
purchase.

You can see some examples I did using Bill's fonts here (ChordSym and ChordSuf, 
also Enclosure and Rehearsal) here:

http://homepage.mac.com/djargon/FileSharing30.html
http://homepage.mac.com/djargon/FileSharing19.html

If anyone is interested, perhaps you'd consider emailing Nick and letting him 
know you'd be interested in purchasing some of Bill Duncan's fonts if they were 
updated:

nick carter <[email protected]>

(Nick, I know you are on the list, so please forgive this public encouragement!)

Cheers,

- DJA
-----
WEB: http://secretsociety.typepad.com

On 7 Jan 2010, at 5:27 PM, Eric Dannewitz wrote:

> I agree. I really love the clarity of Bill's fonts. Since discovering them I 
> haven't used Jazz Font at all...
> 
> On 1/7/10 1:15 PM, Chuck Israels wrote:
>> And the one characteristic all imitation hand written fonts share - that 
>> each symbol looks identical every time it appears, and this makes everything 
>> look wrong to a reader who is lead to expect normal human variation.  These 
>> fonts invariably look distracting to my eye, and I fail to see the point of 
>> them.  Good handwriting can be attractive, efficient and even beautiful, but 
>> a computer imitating handwriting produces a disturbing "visual dichotomy."  
>> I am grateful that Bill Duncan took the time to meet with Greg Hamilton and 
>> me, and to consult with Darcy and come up with a set of articulation symbols 
>> that allow jazz charts to be done in Maestro without resorting to combining 
>> Maestro with the clunky Jazz Font scoops and fall-offs.  And his ChordSymbol 
>> and ChordSuffix fonts aren't too shabby either - not only for chords, but 
>> fbut the slashes and rhythmic notation too.
>> 
>> Chuck
> 
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