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Jazz Precision Bass

Tips on Collecting Hall of Fame Vintage Guitars

Ever thought that a guitar might be a more lucrative investment than the stock market? Vintage guitars are becoming a hot item in the collectibles market, and there are few icons more recognizable to Americans than a rock star and his guitar. While a few months' savings might have bought a guitar in the 1960s, some of those instruments are selling for big bucks today. Recently, George Harrison's guitar sold for a little under six hundred thousand dollars, for instance. Eric Clapton's favorite Stratocaster from the 1970s, Blackie, sold for nearly a million.

While celebrity collectibles have been a good investment for years, guitars themselves have largely been overlooked. However, the guitar was perfected between the 1930s and the 1960s, depending on the model, and instruments from this period are highly regarded. Some people think that in fifty to a hundred years, guitars from the mid 20th century will be thought of in the same way as violins and cellos from the 17th and 18th century.

The appeal of any guitar grows over time, and there hasn't yet been a period when the market sank. That makes a vintage guitar a great investment choice, as well as a visually and emotionally rewarding collectible.  There's nothing like being able to say that you own the guitar once played by a legend.

Values only continue to go up, too. While a 1959 Fender Sunburst Stratocaster, one of the most famous types of guitar, originally cost about $250, it brought between eight and nine thousand dollars in 1997. Today, you might have to pay seventeen thousand for a model with a slab fingerboard.

Recent stock market unpredictability has meant that people are more interested in guitar collecting. These vintage instruments are a great type of protected investment. For collectors who want to cover all the bases, consider a varied collection - acoustic, electric, exotic, antique, vintage, contemporary and even custom guitars.

Over the past couple of years the vintage guitar market has taken a hit here and there but overall has proven to be a sound investment for most. The experts say that when inflation accelerates and the dollar shrinks collectibles prove to be a good place for your money.

There is a very limited supply and there still seems to be a high demand for these pieces of history which has proven to be a good choice for those who have invested in these instruments, such as the Gibson Les Pauls' and Fender Telecasters and Stratocaster's from the same era. (50's, 60, and 70's).

A good place to start collecting vintage guitars as an investment would be to focus your research on obtaining guitars from the list below.  This list includes that have been inducted into Vintage Guitar Magazine's Hall of Fame. There are, of course, other lists and other guitars worth investing in, but this is certainly a great place to begin.

Over the past couple of years the vintage guitar market has taken a hit here and there but overall has proven to be a sound investment for most. The experts say that when inflation accelerates and the dollar shrinks collectibles prove to be a good place for your money.

You might be asking yourself whether a guitar can really be a good investment. After all, to the untrained eye, most guitars are the same. However, the right guitar can be worth a lot to a collector. Guitars that have been owned by celebrities, or which are rare or unusual, can command very high prices indeed. If you're worried about getting a return on your money, don't be. Vintage guitars have consistently performed with more stability than the stock market. There are a number of reasons that collecting vintage guitars is an excellent strategy.

For one, they're more tangible than a stock or bond. They give you an attractive piece to display, and are fun to collect, too. Guitars also don't lose value over time. In fact, it's just the opposite - vintage guitars consistently gain value as they get older, as long as you take the time to keep them in good condition. They're also usually superior instruments. If you're a musician as well as an investor, you'll appreciate the superior action and tone of a real vintage instrument. The most popular vintage guitar with collectors is probably the Gibson Les Paul.

Here is a small example: Let's say in 1959 you had $100.00 if you were to bury the $100.00 in a coffee can in your back yard or put it in your bank account and let it sit there drawing a couple percent interest inflation would slowly take this $100.00 and if you were to pull it out 50 years later you would find that $100.00 would barely get you a nice dinner for two. However if you would have taken that same $100.00 and gone to your local pawn shop in 1959 and picked up a 1959 Gibson Les Paul Guitar and placed it in the closet instead then you could pull it out of your closet today and it could be worth well over six figures.

People are starting to realize how much these instruments from the 50's 60's, and 70's really meant to our culture.

There is a very limited supply and there still seems to be a high demand for these pieces of history which has proved to be a good choice for those who have invested in these instruments, such as the Gibson Les Pauls' and Fender Telecasters and Stratocaster's from the same era. (50's, 60, and 70's).

A good place to start collecting vintage guitars as an investment would be to focus your research on obtaining guitars from the list below.  This list includes that have been inducted into Vintage Guitar Magazine's Hall of Fame. There are, of course, other lists and other guitars worth investing in, but this is certainly a great place to begin. Two great sites to begin your search for these exquisite instrument are Bob's Vintage Guitars at http://www.bestguitaronline.com and the Best Guitar Shop at http://www.best-guitar-shop.

In the coming weeks, I will be featuring each of the exquisite instruments in detail. This information will prove useful in your search for vintage guitars that will provide a good return on your investment.

     
Gibson SG Standard
Inducted in 2009
By 1960, declining sales of the Les Paul model had Gibson looking to revamp the guitar. So the company gave it a radically redesigned, much thinner (and lighter!) body intended to better compete with Fender's Strat. But the things that made up its very heart and soul - {especially|particularly|in particular} its humbucking pickups - remained. Today, the early-'60s version is a true classic. 

 
Gibson Les Paul Model (Goldtop)
Inducted in 2008
Les Paul tried for years to convince Gibson it needed a solidbody in its line. Finally, Ted McCarty brought a single-cut {experiment|experimentation} guitar to Les for his approval. Though its origianl bridge/tailpiece was far from perfect, the instrument served as Gibson's test bed through the '50s. Eventually, it reached the pinnacle among guitars and today sits among the top collectibles.
 

Gibson J-45
Inducted in 2007
Martin's "dreadnought" flat-tops were big and dominated the guitar market of the 1930s. By the early '40s, Gibson knew it needed a big flat-top to compete, and he J-45 ("J" for Jumbo, "45" indicating its price in dollars) was it. A 16" round-shoulded flat-top, even in the tough times of its launch, it received a very warm welcome and has ever since remained one of - if not the - most popular Gibson guitars.

Fender Jaguar
Inducted in 2006
Jumping on the speeding Fender bandwagon in 1962, it helped the company stay on top throughout the decade, with its fancy new vibrato tailpiece, sophisticated electronics, and (usually) a funky custom color. If you played instrumental rock at the time, you either had one of these or you were probably ignored!
 

Gibson ES-5
Inducted in 2006
One of the first guitars built after Ted McCarty took charge of Gibson, it helped solidify the company's position as the world's preeminent electric archtop maker. Today, its late-'50s variant with three PAF humbuckers and Switchmaster tone control is one of the most collectible of its ilk.

          
National Tri-Cone series
Inducted in 2005
Its warm, sustaining tone emanates from three aluminum "resonators" designed to help guitarists stand out in big-band or orchestra settings. But, soon after being introduced, Nationals were adopted by Hawiian and blues players. Today, the Tri-Cone produces what many consider the ultimate acoustic blues tone.
 
  
PRS Custom
Inducted in 2004
The first production instrument from a company that has become the guitar's preeminent modern success story.

Gretsch White Falcon
Inducted in 2004
Like many great guitars, it has evolved through several versions. But it has been a classic since day one, for both it sound and utterly unique aesthetic.
 
  
The 1954-'56 Gibson Les Paul Custom
Inducted in 2003
Can you say "Black Beauty?" Though Gibson didn't give it the name, Les Paul himself chose black as the secondary color for the guitar bearing his moniker. Gibson did, however, use it to experiment with a three-pickup configuration and to introduce its {famed|celebrated|famous|renowned} Alnico-magnet pickup.
    
      
Fender Jazzmaster
Inducted in 2002
Designed and marketed by Leo to cut into Gibson's jazz market, it supplanted the Strat at the top of Fender's line in 1958. And though its sound kept it from catching on with jazzers, garage surf bands of the day ate it up. It is one of the most copied solidbody designs of all time.

    
Gibson SJ-200
Inducted in 2002
A landmark amongst acoustic flattops, the SJ-200 was designed for cowboy guitarist Ray Whitley, and any cowboy worth his salt played one. Its popularity carried over to other genres, and never faded. From its jumbo-sized, sunburst-finished body to its ultra-fancy pickguard, bridge, and headstock, it was considered the consummate flat-top. Just ask Emmylou!

Gibson ES-150
Inducted in 1999
Gibson's first electric Spanish guitar was also the first good-quality electric to hit the market. Favored by Charlie Christian, it housed Gibson's first pickup, which is still in high demand and considered a classic.

 

Martin D-45
Inducted in 1998
Originally the fanciest of Martin's {innovative|forward-looking} dreadnought line. If you had one of the 96 made in the 1930s and early '40s, your net worth would be considerably higher than it is now.
 

Rickenbacker 360/12
Inducted in 1997
It was good enough for George Harrison and gave us the "jingle jangle" of Roger McGuinn. That's more than enough for the 360/12 to be the only 12-string in the VG HoF.
      
          
Gibson Flying V
Inducted in 1996
One of the most distinct guitar designs ever created, but it wasn't a hit when it came out in 1958. Rock and rollers {discovered|observed} it the late '60s and the V still makes a unique statement today.

Gretsch 6120
Inducted in 1996
If you play rockabilly, you better have one of these! Introduced as the Chet Atkins Hollowbody in '54, the 6120 soon shed the "G" brand and western inlays of the early versions, but never lost the Western Orange finish or the cool twang.

 
Fender Jazz Bass
Inducted in 1995
With its two specially designed pickups, offset waist, and slimmer, narrower neck, the Jazz Bass was intended to be the more tonally {diverse|versatile}, slicker-playing descendant of the Precision. The fact it was available in Fender custom colors (often with matching headstock) makes it all the more cool.
      
    
Gibson L-5
Inducted in 1994
Introduced in 1922 and with a design guided by the legendary Lloyd Loar, the L-5 was the first modern archtop guitar. Initially a non-cutaway acoustic, the L-5 went through many changes, ultimately becoming a single-cutaway with two humbuckers.
 
   
D'Angelico New Yorker
Inducted in 1993
George Gruhn said of it in the March 2000 issue of Vintage Guitar, "The New Yorker is significant due to its superb quality and aesthetic artistic appeal," and is "one of the finest guitars in the history of the instrument."
 

Gibson Super 400
Inducted in 1993
Introduced in 1934, with its 18" body and deluxe features, the Super 400 was the largest and most expensive guitar in the Gibson line. Its influence was soon apparent in the designs of many of the great archtops built by others. Whether the earlier non-cutaway acoustic version or the later double-pickup cutaway, it remains a true work of art.
 
 
Fender Precision Bass
Inducted in 1992
The first bass in the VG Hall, and why not, it only forever revolutionized how the bass was played. One of the most innovative ideas in modern music history.
 

Gibson ES-335
Inducted in 1992
Born during Gibson's "golden era," the semi-hollow body ES-335 wedded archtop looks with solidbody performance. Whether it has dot inlays or blocks, it remains one of the coolest designs in guitardom.

Martin D-28
 Inducted in 1991
The first acoustic in the VG Hall, the D-28 launched Martin's line of incredible big and loud dreadnoughts in 1931. The D-28 has inspired many guitarists and builders, and remains one of Martin's most popular models.
 
   
Fender Telecaster
Inducted in 1991
Leo Fender's timeless classic is about as simple as an electric guitar can be, but still has the magic to appeal to guitarists playing just about any style of music. Every guitar player has a Telecaster (or should). Along with the Strat and Les Paul, the Tele is among the most popular designs around.
 
    
Fender Stratocaster
Inducted in 1990
The VG Hall of Fame was started in 1990 and we had little doubt the Strat would be among the first instruments selected for inclusion by our readers. Three single-coils, a vibrato (usually), and that great contoured, offset-double-cutaway body. Some 50 years after its introduction, it is still one of the most popular designs.

  
Gibson Les Paul Standard ('Burst)
 Inducted in 1990
Also an easy first-year selection, LP Standard was introduced with a sunburst finish in 1958, and the '58 to'60 models are the most valuable vintage solidbody guitars. The Les Paul Standard is a classic no matter what finish it bears.

About the Author

The writer operates several onliine guitar stores. Bob's Vintage Guitars, at http://www.bestguitaronline.com, featuringing the whole range of vintage guitars, Fender Vintage Guitars, at www.vintageguitarbargains.com, and Gibson Vintage Guitars, at www.vintageguitarclassics.com. He also has a store featuring new guitars, Best Guitar Shop at http://www.best-guitar-shop.com. All of these sites have reviews and a great deal of information about guitars.

Could someone with experience please tell me the difference between a jazz and a precision bass?

I'm looking to buy one for a beginner. I've never played.. i'm completly starting fresh. When I was at Guitar Center here's what the salesman basically told me: jazz bass is a better bet for a beginner because there's a bigger neck and you can adjust the tone or whatever.
[ps. i'd be playing rock music]

Other than body style and pick-ups is this: The Jazz bass is narrower at the "nut" ( Just below the tuning key's) than the P-Bass. The Jazz bass is supposedly easier to play for people with smaller hands. The P-Bass has a wider neck.

Fenix Jazz / Precision Bass

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Fender Electric Bass Guitars: Fender Jazz Bass, Fender Precision Bass, Fender Bass Vi, Fender Jaguar Bass, Fender Mustang Bass $17.99 Purchase includes free access to book updates online and a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Fender Jazz Bass, Fender Precision Bass, Fender Bass Vi, Fender Jaguar Bass, Fender Mustang Bass, Fender Telecaster Bass, Fender Roscoe Beck Bass, Fender Mark Hoppus Jazz Bass, Fender Performer Bass, Fender Aerod...

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Leo Fender: Greek American, Fender Musical Instruments Corporation, Music Man (Company), Marshall Amplification, Les Paul, Fender Stratocaster, Fender ... Fender Precision Bass, Fender Jazz Bass $49.00 Clarence Leonidas Fender (August 10, 1909 ? March 21, 1991), also known as Leo Fender, was a Greek-American inventor who founded Fender Electric Instrument Manufacturing Company, now known as Fender Musical Instruments Corporation, and later founded MusicMan and G&L Musical Products (G&L Guitars). His guitar, bass, and amplifier designs from the 1950s continue to dominate popular mus...

Strobe Pick

What I Know and Remember About Baseball – the Eyes Have it

Eating carrots to develop good eye sight is sound advise. Unfortunately there is a little more to developing how your eyes move in relation to playing Baseball. Albeit there are many persons with natural ability use their eyes in tracking there target, still the normal reaction is to move the entire head and in the worst case, the entire body.

Sit for a moment and pick two objects 5 to 10 feet away from you about 6 to 10 feet apart. You should be able to comfortably see both at the same time. Now pick one to focus on. As quick as you can, turn your head to the second object and note the time it takes to select it. Now, start with your original target, hold your head still and move your eyes only to the second target.

Unless you have quick twitch muscles throughout your body like a Barry Bonds, you should have noticed that it takes much less time to move your eyes than it does your head. That is because your eyes can move up to 5 times faster than your neck.

The speed at which you tract a target relates to your brain how much information you gather about the target and the perceived speed of the target. Occasionally experts will discuss how great baseball hitters and fielders see the ball well enough to slow it down. By allowing your eyes to make the most of the movement you gather more information and the perceived speed slows down. You now have the information to react sooner, get into position quicker and let your developed eye - hand coordination complete the desired result.

Focus on the object, in our case a baseball, is easier and far more comfortable when you have given some time to teach your eyes what you expect of them. Active vision training is not difficult. As players progress and the speed increases, active vision is essential for the next phase, prediction.

When a pitcher hurls the ball at 90+ mph there is only a fraction of a second with which to pick up the ball and determine where to swing the bat. Some have theorized that the last two one hundredths of a second, when the ball meets the bat, even the best players cannot see that moment. So how do they hit it? The information presented by their vision helps their body predict where the ball will be. More information, better prediction, better batting average.

Baseball vision training does not have to be a grueling process. Simple exercises such as sitting still and tossing a ball in the air and catching it while keeping your head still is an excellent beginning. Then move on to standing with the baseball going higher. Mix it up with left to right movement bearing in mind to track the ball with your eyes only.

An advanced drill that is a lot of fun is to place a ball on three feet of string. Have your player lie flat on their back in a room where you can control the light. As a pendulum, swing the ball back and forth and give the catch command at which point your player grasps the ball quickly with both hands. To add difficulty, swing the ball then have your player close their eyes for a swing or two then give the command. Need more challenge, turn off the light and add a strobe light, laughter will ensue, but it really does work.

Vary the challenges of the drills and the speed of the strobe lights.

For those of the practical persuasion, visit a batting cage. Stand outside the net and mid length of the cage and have your player track the baseball from the machine to the plate. You can see how the longer flight to follow enables a longer task to work from.

Baseballs, batting cages, rain dripping off the gutter even house flies; the act of being still and letting your eyes do the work will develop the players vision. The more they see, the easier everything becomes.

About the Author

what to wear to school dance?

we're having a back-to-school dance at my high school. it's called "space jam." basically there with be lots of black lights and a few strobe lights. i'm wearing a white tank top with neon paint splattered on it (so i glow in the black lights) but i can't pick for what to wear for bottoms. some kind of shorts cause its always hot. maybe with bright tights? don't know. any ideas will help. thank you!!!

I think neon leggings with white flats would look adorable!

Good luck<3

PICK A PIPER - Rooms (filmed in Iceland and Canada)

Tone Humbucker

An Archtop Guitar, also known as the cello guitar, is a steel stringed acoustic or semi acoustic guitar with a full body and a uniquely arched belly. Its sound is associated more with jazz and blues music. It came into existence in the 1890s, invented by Orville Gibson the founder of the Gibson Guitar Corporation.

This type of a guitar has the following characteristics:

Two F-holes similar to members of the violin family.

A single cutaway, which allows access to the upper frets

Humbucker pickups

The top or the belly of the guitar is carved out of a block wood or heat pressed by using laminations. The lower parts of the two F-holes are partly covered by a scratch plate raised above the belly to prevent damping its vibration. They have thicker strings such as higher gauged round wound and flat wound, different from the conventional acoustic guitars specially suited for blues and jazz players. The guitar has an extra strength to allow and support thick strings.

Most Archtop guitars have a rich tone unamplified, and they have some microphone or pick up system inbuilt to it and are intended primarily to tone the sound. This is the same with semi-acoustic guitars. The pickups of a modern kind are placed in the bridge and or at the neck positions.

They also have tremolo arm system and Bigsby the type of vibrato device used in Electric guitar. This device allows musicians to bend the pitch of notes or the entire chords with pick hand to create different effects. Most tremolo systems cannot be fitted to the guitar as to install it you need to cut large holes in the belly to accommodate the system. But Bigsby and long tailpiece versions of the Gibson Vibrola can be both easily fitted to it.

Such guitars, be it acoustic or electric, can look very similar. The only distinguishing feature is that the latter has an electromagnetic pickup. Electric ones use thick steel strings, which adds tone and creates a unique resonance. Although these guitars are usually referred to the hallow body form, some Solid Body Electric guitars are also considered as archtop guitars based strictly on the body and shape of the electric guitar. They have a distinct sound compared to the other electric guitars.

The only problem with the hollow bodied guitar is that when played amplified they tend to generate feedback. This is the main reason on why semi-archtop guitar is developed. The renewed interest in rockability (a form of popular music combination of rock n roll and bluegrass) music has led to the introduction of a rockability model electric archtop guitar with humbucking pickups.

Though factory production of acoustic archtop has died out but the L-7C acoustic one is still available from the Gibson Custom Shop. The existence of these guitars are likely to remain in the production in some form as long as the interest in jazz guitars and rock n roll music persist.

Victor Epand is an expert consultant for guitars, drums, and synthesizers. You can find the best marketplace for guitars, drums, and synthesizers at these sites: archtop guitars, semi-archtop guitars, and drums, drum sets.

Can you wire a 2 Humbucker 2 volume 1 tone guitar WITHOUT the three way switch?

What is the difference between the middle position of a three way switch where both pups are engaged, and just wiring it without the switch? If I do this with one volume it works fine, if I wire it with 2 volumes, if either volume pot is turned down, it shuts down the system, not like the middle position where if one pickup is turned down, the other pup still goes.

Yes,you can,and it will work just fine!!!!Put the humbuckers outputs on the middle connection of the pot. and the output jack on one extreme of the pot. so if you cut one pick. the other still work!!!!

DiM. Eric Johnson Humbuckers-Clean tone

Pickguard Jazz

Taking the pickguard off of a Fender Jazz Bass?

If it take the pickguard off of this bass;

http://www.guitarcenter.com/Fender-Standard-Jazz-Bass-501169-i1434654.gc

will you be able to see all the electronics? i want to take the pickguard off when i get it but i wont if you can see the electronics.
if i did this, would it look like jaco pastorius' bass where you cannot see the electronics even though the pickguard is off? thanks

No, you would not be able to see any of the electronics of the bass. The pickguard only covers up the wood. So when you take it off, it will look like Jaco's bass.

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Jazz Chorus

How To Enjoy Playing Music In A Makeshift Jam Band

Have you ever play or sing with a jam band? A jam band is a makeshift band and the musicians probably played together for the first time unrehearsed either in an impromptu performance or in a Jam music bar. Jam bands usually play jazz or blues both these genre of music have fixed music chord progressions and free form personal interpretation can be weaved into the chord sequence.

Since most jam bands play to a small audience, there is usually no sound technician to balance the sound produced by the bands and thus the musicians have to be 'sound sensitive' and able to detect unbalanced sounds and adjust their volumes and timbre themselves.

So how to play good and balanced music when you play with a jam band? Here are some pointers.

a) Listen to the lead singer
If you cannot hear the singer's voice and the lyrics, then the musicians should turn down the volume of their instruments immediately so that the singer can be heard clearly by the audience. If a fellow musician is unaware, do not be afraid to remind him to play softer. Even if the singer is too soft and shy, it is always the duty of all musicians to play softer so that the singer can be heard.

b) Be attentive to the song
Certain parts of a song are sung softly and sweetly,perhaps the introduction, or the first verse, or at the emotional part. The singer will usually take the lead. If these parts of the song are supposed to be quieter, then play softly. If the chorus is more energetic, then play louder during the chorus. But once the next verse arrives, we tone down for the softer verse.

Whenever we have such alternating dynamics of loud and soft, the listener will be captivated, moved and thus sing with more emotions and feelings. There will thus be 'expression' in the music, as opposed to having just one full volume all the way. If you listen and pay attention to the whole performance, you will automatically know when to go softer and when to let down your hair and rock away.

c) Bass player should listen to the volume of the kick drum
There is always a tendency for bassist to play too loud. The volume of the bass guitar should be at the same volume as the kick drum. If you cannot hear the kick drum, then bring down the volume of the bass.

d) Pianist must take the lead role in controlling musical dynamics
The pianist should listen attentively to the singer and know what kind of style and emotion the singer wants to portray in the songs. When the pianist softens, then the drummer, guitarist and bassist should follow suit. When the pianist starts to crescendo, then the rest of the band can rock and roll along.

e) Singer should feel free to guide the band and tell them to play softer, louder, faster or slower. The musicians must remember that your main job is to back the singer, to help make the singer sound good. So please oblige the singer while on stage and let him have it his way. Do not oppose the singer no matter how bad he or she is. If a musician wants to take the limelight and be a star, then wait for your turn to do your solo.

f) Listen to the soloist
If a soloist is playing, all other instruments should not be louder such that the soloist is drowned. When the soloist is soloing, do not compete with him by playing all sorts of fancy stuff on your instrument that is totally unrelated to his solo. Just play some back up chords will do.

g) Give everyone a chance to solo
One of the reasons why many musicians do not play dynamically in a jam band is because they are eager to show off and be heard. We as musicians all want to be heard and noticed, so there is a tendency for us to make sure that we are loud so that the whole world can hear us. I believe one reason is because the musicians are not given ample opportunity to solo and be a star of the moment.

Perhaps this is the reason why jazz musicians seldom have problems with dynamics. Jazz musicians always seem to know when to play soft, when to play simple, when to play harder etc. This is because they have already been given ample opportunity showcase their talents during their solos so there is no more need to fight to be heard and noticed.

Keep these pointers in mind when you play or sing with a jam band the next time and have a rollicking good time.

About the Author

Chris Chew plays with impromptu jam bands regularly.Read his blogs at
Singapore night entertainment
and
Singing contests

What should I sing in chorus?

Does anyone have a suggestion that I could use for my choral class? Of course, we are young (7th grade) so we need some up-beat, 2-3 part songs. Maybe some Disney? We love solos in our chorus, so...

We have considered:

I won't say im in love (hercules)
a whole new world (aladdin!)
i hope you dance
and all that jazz (chicago)
ordinary miracle (sarah mclaughlin)

Any suggestions?

sing i wont say im in love

or this one

http://www.youtube.com/watch?v=ybjKY5q6lSE

Roland JC-120 Lindy Fralin Stratocaster A blues

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Arvo Part: Te Deum / Kaljuste, Estonian Philharmonic Chamber Choir $10.07 Though these pieces are typical of Pärt's style, they seem less bleak than those on previous discs. The Te Deum, while often in a minor tonality and sometimes imposing, has a suitable extroverted quality; the Magnificat, with its hushed intensity, does seem solemn, but its cadences are striking, typically resolving from a tonal chord to a shimmering major-second dissonance. The Berliner Messe inc...

Classic Wynton $5.45 Wynton Marsalis may not have an easily recognizable or even particularly handsome tone, but this erstwhile jazz trumpeter is an amazing virtuoso with a fine sense of classical style. If you've never owned/heard any of his classical CDs, and you love (mostly baroque) trumpet music, this compilation--a sort of "greatest hits"--is for you. From such cruddy, sensationalistic works as Carnival of Veni...

Karl Jenkins Requiem $15.49 Karl Jenkins, the mastermind of the Adiemus project and The Armed Man (A Mass For Peace) has the gift of composing music that speaks to a very wide audience. This is a highly interesting work that draws on Western and Oriental traditions. Requiem is a mass for the souls of the dead set to texts in both Latin and Japanese, highlighting the cyclical nature of life, death and rebirth. EMI Classics. 2...

Been Rich All My Life $12.52 Using archival film and photos, tells the story of the Silver Belles, five African American women who started as a chorus and dance group in Harlem in...

Jazz Style & Improvisation for Chorus $23.91 This exceptional new DVD is designed to assist your students in achieving a comfort level with the performance of jazz style and improvisation techniques within your choral program. Subjects and techniques include chords within the blues style, use of scat syllables, improvising on three notes, trading fours, listening and learning, and putting it all together. Featuring three performance selectio...

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