Bilbo

Phelan Burgoyne Trio

Mine is always 'there', just needs managing. Flares up a little now and then. Part of growing older.

Another great thing about reading music is that there is always something else that you can access that can break any impasse you find yourself in. And so much written music is available on-line now that you don't even have to be able to pay for it.

I remember doing a big band gig 100 years ago at a RAFA club. It was a heady Jazz Orchestra but, as it was a special occasion, we did some Glenn Miller. The old folks all got up to dance as they had done during the war. It was deeply moving and made me realise that it isn't always about the music.

Had this a few times. Takes up to two years to go. Just try not to aggravate it.

I sold my ES175 on Facebook but it ended up going to a friend two streets away so I am not sure that it counts.

http://www.youtube.com/watch?v=YnQZ5AHUk2U http://www.youtube.com/watch?v=24HAnouM9Tk http://www.youtube.com/watch?v=Ns3auTamMBc I learned the guitar solo on this one when I was a kid and can still sing the whole thing.

http://www.youtube.com/watch?v=Bxu0x43d-W0 http://www.youtube.com/watch?v=NpqmGx7meQw http://www.youtube.com/watch?v=-tDDL1RxXRc

I just also heard a different version of Moondance by Van Morrison. Unbelievably, it is even worse than the original.

I have had a great days gutiar practising today (the wife is away ) and my hands are feeling a little sore (am working on Astor PIazzolla's 'Ausencias', Al Di Meola's 'Enigma of Desire', Chick Corea's 'Spain' and Ravel's 'Pavanne Pour Un Infante Defunte' all from dots - I a, working on reading treble clef in multiple voices. It makes bass clef reading feel like a piece of piss ). I was, consequently, sitting flicking channels and caught a few minutes of The Voice UK before moving on and finding 'Sounds of the Seventies' on Yesterday. It was lovely to hear Neil Young, James Taylor, Joan Armatrading, Janis Ian, Carole King etc again - it has been a long time. What was clear to me was that most of these 70s legends would never have got through on The Voice or the X Factor or Britains Got Talent. One has to wonder how many other great voices (and great songs) have been missed because the business is homogenising. Or is it just that these voices didn't have the benefit of auto-tune?

Nik Kershaw is an absolute genius composer. The album Radio Musicola is wall to wall quality.

As an aside, Pete, I think Ovations came into their own in a live situation in the 70s as they nailed the feedback issue once and for all. It certainly opened up acoustic guitar for Rock bands in a way that other mic/pick up set ups couldn't.

I don't disagree at all. I just like Ovations. When I was 17, I used to roadie for a Prog band called Multi Story and the singer, Paul Ford, had two, a twelve string and an Adamas 6. I spent a lot of time with these two guitars and loved them so have always wanted one. I had an Adamas myself a while back but swapped it for a rig on here because I needed something decent for double bass gigs. I have missed it ever since. I have played quite a few good acoustics; Taylor, Takamine etc but keep coming back to the Ovations. It's OK. I am allowed

Played a quartet gig last Sunday with Sara Dowling, Kate Williams and Mark Cecil. It's a hell of a job but someone has to do it.

I have hundreds of Jazz books and this one has passed me by. I guess I should give it a go.

I don't care. I want one. It's a long held dream. End of. Don't be getting all rational on me! And, while I am at it :-D, I keep reading on here about how great a 1957 Fender Jazz is or how great Wals are etc. Why does 'improved' technology have to mean that the technology that has gone before has to be dispensed with? Vinyl vs. downloads? I want my Ovation Custom Legend. You young upstarts can kep your 'advances'.

£1600. I am reliably informed that there are different ranges of ES175s and mine was the budget model. I know the purchaser well and he knows his guitars.

Have sold it. Ovation Custom Legend here I come!!

You guys need to join a Jazz band. The audiences are never big enough for us to NEED a PA or soundman.

No idea :-D

A close run all the way. Paul and I were both only one vote each away from a four way tie. What this says to me is that, whatever gear is available to us, it is the ideas that matters and that, with a little thought, anyone can come up with a credible composition. Well done all.

My set up is essentially an old version of Cubase SX, Sibelius 2, some Vst instruments I can barely use, an audio interface, a mic, five guitars, two electric basses and a double bass. I increasingly find I am leaving the VSTs alone and just recording real acoustic and electric instruments. The IT based stuff just takes me so long to bear fruit compared to a straight guitar.

I used to run a Jazz jam session at the Four Bars Inn years ago. It moved to the Sandringham Hotel but I don't know if it is still running. Why not approach the Cardiff music shops and ask if they know of any sessions?

Different tune every gig.

What gear do you all use? Whatever I can find. Do you use a pro studio at work, or is it done at home on a studio held together with string and chewing-gum? The string and chewing gum model in my case. How long do you spend on it? It varies but usually several hours. What's the creative process and how do you put it together? I walk around for days mulling over ideas until something plausible presents itself and I then try and manufacture something that sounds like my original idea. How can somebody do this on a shoe-string budget? Guerilla Recording. I have submitted everything from one take on a Zoom H1 to stuff I emailed to a friend to add real drums on HIS home studio. SKol has gone international at times. It's all part of the fun.