JSngry

I'm glad there are people here with brains who can help me to remember things like this. Have either of you heard this album? I'm just asking because if you haven't, and are expecting some "typical" Jack Wilson fare, you might be disappointed. It's a good album, but it's a lot more "commercial" than Wilson's other work.

Nineteen Lolita Lola

Pretty sure there's another one where Fred, Wilma, Barney, & Betty are all sitting around burning some butts.

I'm drinking a lot of soda pop these days, and I like both flavors a lot, especially the strawberries & cream. Subtle & well blended, unlike most such attempts.

There might be a couple of people here interested in that album. Count me as one who is definitely interested. That tenor player really worked for me.

I'll check it out. Thanks!

I......don't think so.

Blood Sweat & Tears Chicago Ars Nova

So far...

Because selling two is twice as many sold?

Red Garland George Shearing Milt Buckner

Don the Beachcomber Luke the Drifter Harry the Hobo

I gotta tell ya, this conjures images of an entirely different type of anal fun...

It's a louder world than it used to be. "Loudness ≠ intensity" is a lesson not commonly learned these days. I've heard old bebop cats playing totally unamplified, swinging like hell with plenty of fire, but they were balanced within themselves, and the overall group volume was noticably lower than most younger groups playing the same music. I think it's a matter of "perception" within each player how loud they need to be to speak effectively. But if a horn player's blowing all out, and the drummer's playing a newer-style setup designed for volume & brightness, then the piano's gonna have to be miked, and then what choice does the bassist have? A vicious cycle, that's what it is. Then again, I've seen photos of old bands where the bass was miked, probably to run throught the house system. So using a pickup/amp was the next step, especially since horn players were being miked in clubs a long time ago. Mike one thing, pretty soon you gotta mike everything. Plus, bassists who play w/a lower action for increased speed sacrifice fatness of tone and have to compensate when playing in situations not geared towards that type of tone. Scott LaFaro would most likely have been inaudible in a 70s-era Elvin Jones group if he had played unamped. You gotta pull the sound out of a wood, and pulling is seldom compatable with running. I will say this - I've heard good results coming out of a little bass-specific amp called Contra. Used wisely, it reinforces the sound rather than just amping it up and (dis)color it. Of course, the better the bassist (and the better the bass), the less amplification you need, and the more you can use it simply for reinforcement.

Are you talking live. recorded, or both?

Chico Hamilton Trio on PJ (12" version) - Jim Hall/Howard Roberts paired w/Chico & George Duvivier. Sublime music.

Thunderbolt Greaseslapper KITT My Mother The Car

Art Buchwald Pierre Sallinger Kenny Clarke

Wait a sec - you guys are playing for dancers? Playing your shit and people are dancing? Congratulations! I'm envious. Seriously.

Laverne Baker Andrew Hill Lee Konitz

Well, there you go. The crisis of modern Western society in a nutshell.

Is that a "complete" set of that band's works, or a compilation?

Gilles Peterson is a name that keeps popping up whenever I see a jazz/dance music connection. Who the hell is he?

Now, who the hell is Ski Oakenfull? According to AMG http://www.allmusic.com/cg/amg.dll : This Gilles Peterson guy is a name I keep seeing whenever there's a jazz/dance music connection. I bet there's a story there....