JSngry

Hey, scenes are cool, essential even sometimes, but the smart money's on laying the groundwork to keep going once the scene moves on, because it always does.

BT Express Carlos Ward Walter Carlos

Only if they're both over the age of consent. Consult your local statutes.

Aqui!

Maynard G. Krebs Edward G. Robinson Mr. G

Bertha Butt Betty Butt Bathsheeba Butt

I'm like you. It's not a regular view, but when I hit it, it stays on. Good stuff.

True enough. You can find individual horns from any brand that will have that "magic" to them. And you can find "duds" in even the best lines. But most "reputations" of certain brands will hold up over the long haul. Those reputations are based in reality. Also, it's amazing what "tweaking" by a top-shelf repairman (and there's but a handfull of those in the world) can do to even the most mundane horn. I've seen one of them (cat named Ken Beesom) take old pawn-shop horns and make them into true instruments. That guy's a freakin' artist. He's got original facory specs, and his own machine shop to tool parts. He can take a total piece of shit horn and turn it into something special. But he's one of the few, and he works neither fastly nor cheaply. Danielle, you gotta realize that when you're talking top-quality instruments & top-shelf instrument maintanence/repair, it's not gonna come cheap (unless you luck into a freaky kind of deal, and that certainly does happen. Just can't count on it.). But if you're serious about this being your life's work, it's time to start thinking of that as a "fact of life" and getting used to the idea. It might not be possible to start at the top when it comes to this stuff, but you should definitely aim for that level of equipment/performance. Start thinking about themost you can afford right now, add what you can get if you make some sacrifices, and go with that as your final answer. Repeat as necessary. Again, Chuck's right, it's not just about the brand, it's about haveing your instrument - any instrument - in the best condition it can possibly be in. When you get "well-seasoned", you learn how to work around shit when it gets funky. But it's a helluva lot easier when you don't have to, and at your stage of developemant, you want to experience the full potential of the possibilities before you fall into the rut of having your first line of attack being "compensation". That breeds bad habits, which, like weight, are far easier to obtain than to lose.

Probably Selmer.

Top-line is Selmer is still the shit, afaic. But "vintage" is even moreso. But - $$$$ Below that, I'm not qualified to comment on. I've played older Selmers most of my life, except for a few King Super 20s here and there. They've been "good", but not great. Duke City, where are ya'?

...and "Maple Leaf Rag" See above.

You should be.

Roy Porter?!?!?!?!?!?!?!?

Vanessa Rudy Theo

Here's one (and a great one): http://www.dustygroove.com/browse.php?kwfi...1&incl_cs=1 Keep an eye on Da' Bastids. Braxton/Arista vinyl is not uncommon there.

Yeah, I tend to not care for the "new swing" thing too much myself (having layed in a few bands who did it, it seems to be all about "style"), but when you enter the realm of pop music, you gotta be ready for that. What I found interesting was how the whole thing seemed to be about combining three older styles (jump band/rockabilly-surf/Rat Pack) into one, sort of the musical equivalent of clearing up space on your hard drive by compressing old files you don't use much any more.

Bobbi Humphrey Lee Morgan Morgan Fairchild

No idea what this means, but it's on the net, so hey!

How much better is the Japanese remaster? Do you have the LP to comapre it to? I ask because the American CD is "ok", but David Lee's cymbals & George Cables' Rhodes on "Poinciana" sound "clean", but dull and lifeless. I still go back to the LP for that album, simply because those two sounds have a "life" there like few things on record, ever. Lee's cymbals in particular still give me the goosebumbs.

Bill Henderson, that's who's on the Horace thing.

Me too. That was the beginning of the upsurge. Before then, the label was a disoriented mess.

It's first and foremost a vocal album. Soloing (by anybody) is a secondary consideration throughout. It's "pleasant". I've heard worse by better.

Easy generalization, more complicated reality. My kids hate most of the newer stuff I've been checking out. They think it's weird and not cool. Then again, they dig the Beach Boys and have friends who wear Led Zepplin t-shirts and shit. I actually bitched out a 16 year old girl for wearing a Zep T. Told her that htey had broken up before she was even born, so what's she doing listening to her parent's music? She was all like "What EVER. It was a great band!" There's some nostalgia for ya'. I don't like too much, hardly any, in fact, of what the kids listen to. I think it's monodimensional and boring. And if "kid's music" was so damn interesting, you'd think I could find at least one radio station (or MTV video) that holds my interest for more than 30 seconds. No luck. Hell, one of the most interesting things I've heard lately is something that Dusty Groove doesn't even carry any more because it didn't sell well for them. I think you should make a distinction between "children" and "young creative talent". There's a gazillion of the former, and they rule the bizness, even/especially those marketed/hyped as "underground" (more of the same, that bunch is). Far fewer of the latter, and they are way, waaaaaay undergrond. And they're not "children", unless you look at anybody old enough to be your offspring as a "child". Dangerous game that is.... I know what kids listen to & enjoy, and have for several decades now. When you get grandkids, you probably will too. And like me, you in all liklihood will not be impressed. At all. Until then, easy generalization, far more complicated reality.