> That said though, I really get into Mr. Bungle's records and I've never seen them live. They edit and otherwise manipulate their stuff a lot though and work on making the recording pretty exciting, unlike Brotzmann, Bailey, and other improvisors who use the recording more like a document. I was surprised to find that they executed many of the bizarre dynamic, melodic, and rythymic flash cuts from their recordings with as much or more effect live. With a super loud top volume their dynamics were quite visceral... and scary. Patton and co. lull you with some lush vocal harmony and then sledgehammer you with brutal ring modulated shrieking and shred metal guitar and synth noise... They're the best I've ever seen at that level of integration. > So anyway, what I've found is that the "pure" approach works best live and the studio is good for tweaking so things sound good without that live improvisational element, which probably isn't capturable on record. I'm interested in how other people approach this. Like I said earlier... Bungle's records, while interesting, aren't quite the experience of them live. And they definitely push the limits of what transfers from the studio to the stage. Miles Davis and Teo Macero did a pretty nice job of taking live moments and "studioizing" them. Fred Frith is another who seems to capture his live "spirit" on tape fairly well. Guitar Solos is a walk on the razors edge... Nels Cline Trio is also quite a ride... It's surprising how much interplay there is in that ensemble and how well it translates to a studio document. I'd love to see them live... They do some pretty radical flash-cut transitions live as well... Also... is anybody else thinking that Bill Frissells laid back stuff just ain't getting there anymore? (Just an opinion... to his credit, he's still throwing loops out there. 8-b) Best Regards, Miko Biffle, firstname.lastname@example.org "Running scared from all the usual distractions..."