Some other male vocalists I play: Louis Prima, Louis Jordan, Roy Milton, Cab Calloway, Sunny Boy Williamson and Big Joe Turner.
Serg
Your rules
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John Pizzarelli _After Hourskbuxton wrote: Just realized I have stuff by most of these, I just need to dig through make sure to play them more often. The voices of Mose Allison and John Pizzarelli both just grate on me though. Any suggestions for places to start for Kevin Mahagony, Eddie Jefferson, Ray Nance and Floyd McDaniel since those are the ones I don't have anything of?
John Pizzarelli _My Blue Heaven
Kevin Mahogany _Portrait of Kevin Mahogany
Kevin Mahogany _You've Got What It Takes
Various Artists _Bebop Singers [1999] (Fantasy)
Floyd McDaniel and the Blues Swingers _Let Your Hair Down
Ray Nance, mostly on Ellington recordings, but he shows up in a few other places too http://www.allmusic.com/cg/amg.dll?p=am ... 209#APPEAR
I do the same thing as well. I have to make a concerted effort to play more male vocalists. I have them, but for some reason I don't play them as much.kbuxton wrote:I just realized that most of the vocals I play are female. Anyone have suggestions on male vocalists I should check out?Serg wrote: 3) Lately I like to alternate between a male vocal and a female vocal.
It's probably because I think boys suck.
Tina
"I'm here to kick a little DJ a$$!"
~ Foreman on That 70s Show
~ Foreman on That 70s Show
Sunny Boy Williamson? that's interesting, do you know if it is 1 or 2 ? the first one died in 1947 and the 2nd one copied his name, even before the original died. They were both legendary blues harmonica players. What song's do you use that work for Lindy Hoppers?Serg wrote:Some other male vocalists I play: Louis Prima, Louis Jordan, Roy Milton, Cab Calloway, Sunny Boy Williamson and Big Joe Turner.
Serg
Re: Your rules
Interesting set of guidelines, Roy. I'm sure we all have them...
I have some of the same guidelines, but others of yours I violate on a regular basis. Never say never.
Recently, I've been more sensitive to songs sounding the same, so I really try to make sure the next song contrasts the previous song noticeably, either in style and/or in tempo. But not so much contrast as to be jarring.
I have some of the same guidelines, but others of yours I violate on a regular basis. Never say never.
Recently, I've been more sensitive to songs sounding the same, so I really try to make sure the next song contrasts the previous song noticeably, either in style and/or in tempo. But not so much contrast as to be jarring.
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Petitetonya
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"if DJing late nights after hours of dancing, I mix in more low energy and lower tempos. "
Some of the best moments at late nights, have been really high energy. I used to think that late nights=slower tempo songs but sometimes I think that actually can kill the energy. Man, the late night dancing at ALHC 2002 in the fast lindy room was absolutely amazing. If anyone would have even dared play a low energy tune, they would have been kicked out. I think the ultimate rule is to play to the crowd you are djing for, unless you think that crowd could benefit from hearing something other than their norm...for instance, if it is a neo-swing city, maybe you want to expose them to some old time lindy hop music, etc.
Some of the best moments at late nights, have been really high energy. I used to think that late nights=slower tempo songs but sometimes I think that actually can kill the energy. Man, the late night dancing at ALHC 2002 in the fast lindy room was absolutely amazing. If anyone would have even dared play a low energy tune, they would have been kicked out. I think the ultimate rule is to play to the crowd you are djing for, unless you think that crowd could benefit from hearing something other than their norm...for instance, if it is a neo-swing city, maybe you want to expose them to some old time lindy hop music, etc.