Teasing the Korean

I do. Stereo, all the LPs, CDs, books, and toys on shelving. Sadly, I don't spend as much time in there as I'd like, because I'm usually in the tiki room.

I love most everyone who has been mentioned (I don't know a few), but I still think Sinatra is tops among male singers.

Regarding the classic jazz and pop song stylists who sang the Great American Songbook: When it comes to female vocalists, there are so many that I love - Billie Holiday, Peggy Lee, Ella, June Christy, Julie London, Anita O'Day, Dinah, Jo Stafford, the list goes on. There are so many good ones that it is hard if not impossible for me to rank them in any kind of meaningful order. However, when it comes to male vocalists, I easily place Frank at the VERY top, and think there is a really steep drop until you hit the next level. I don't mean to knock any of the other male singers; I love Tony Bennett, Mel Torme, many others, but I think Frank is in a class all by himself. Some would say Tony is a close second. I think he's nearly as good at the rhythmic, uptempo stuff, but as a ballad singer, I don't think he's half as great as Frank. Not trying to create a let's-trash-male-vocalists thread; I just think this is an interesting dichotomy.

I would love to find that Arabian Nights album in a thrift store. Or anyplace else, for that matter.

My parents were group singers, and Bob Davis of the Honey Dreamers (who are on this LP) was a good friend who used to sing with them. I have one of his narrow 60s neckties. He was a great vocal arranger. I have great memories of us hanging out with them socially and listening to the Hi Los, Singers Unlimited, etc.

But it's not on Crown.

Respectfully, your ratios are way off. There is a lot of very interesting, varied, well-arranged electronica that is not just for dancing, much more than 1%.

Noj's theory is interesting, but it does not (unless I missed this detail) take into account the popularity of instrumental electronica and all of its sub genres. I have known people into electronic who were not necessarily jazz listeners. Still, I think there is some truth to what he is saying.

He had me right up until the "Postmodern New Orleans Music" part and then I lost interest.

It doesn't sound anything like Enable Java to me. I say Junior Cook.

The bridge changes are completely wrong. Stay away from that Webiste.

I knew her when summer was her crown. And autumn sad, how brown her eyes. I knew her when winter was her cloak. And spring, her voice she spoke to me.

"Life-changing." I used a banned review cliche in my eulogy.

The Bill Evans recordings with Scott LaFaro and Paul Motian were life-changing records for me. RIP.

I can't answer yes or no to the poll's question. If there had options between to the two, I could have responded.

You need to work both the high and low range to extend the extremes. It may sound paradoxical, but that's how it works. You need to gently extend your vocal register in both directions. Also, don't push the low notes. Let them resonate. Sing them at a medium volume and let them build naturally. If you try to push them, you'll end up like a broadway singer with a single loud medium octave and no high or low notes. Let me know if this is not clear. It's late and I've been drinking.

Heard the sad news via Facebook. I'll post an article when I find one.

Dennis Coffey - Goin' For Myself - Sussex

______ is an essential part of any serious _________ collection.

Lester Young - The Aladdin Sessions - Blue Note 70s twofer.

Elisabeth Waldo- Maracatu - Barbary Coast Records (mono).

Love his stuff from the pre-disco era. As with lots of stuff, all bets are off after 1975 or 1976.

I had no idea that such an unlistenable sub-genre even existed.

Jimmy McGriff - Black Pearl - Blue Note (blue and white label)