man... I still havn't seen NIN. theres no excuse at this point.

I just now realized I could definitely hear a whole pile of bands (Radiohead, Muse,... AIR...) covering 'the day the whole world went away'... big bands need to cover each other more.

From famoustexans.com

Bob Wills hated the hillbilly image associated with country music. But then, this was a different kind of country music anyway. If he hadn't played a fiddle, no one would have connected country to the Playboys' music at all. It was really jazz; jazz that portrayed a dignified South, with flowing fiddles and classy, sometimes brassy, arrangements. Their rags, breakdowns, Dixieland tunes, and swingin' blues were an uplifting beacon of light in otherwise hard, depressed times of the 1930s.

The Playboys usually appeared in cowboy dress attire. No sequins or overalls, this was a sophisticated outfit. Bob's look was that of a well-dressed bandleader, but one from Texas. His cowboy hat, cigar, and fiddle were all part of his trademark appearance.

'Bob was a stylish, western rogue,' says Ray Benson, leader of Asleep At The Wheel, Western Swinging Bob Wills disciples for the past quarter century. 'He danced onstage, he was outrageous. He strutted like a peacock, unheard of back in those days.' In all other respects, he led a Big Band just like Tommy Dorsey, in a presentation that was downright orchestral - except Bob conducted with a fiddle bow.

At the end of the piece, the narrator quotes Judge Alex Kozinski of the Federal 9th Circuit Appellate Court. I've included the extended version of that quote here. His opinions on the "right of publicity" are best summed up in his White v. Samsung Electronics Dissent. The entire opinion is worth reading, but the critical summary is found in the first section which reads:

"Saddam Hussein wants to keep advertisers from using his picture in unflattering contexts. Clint Eastwood doesn't want tabloids to write about him. Rudolf Valentino's heirs want to control his film biography. The Girl Scouts don't want their image soiled by association with certain activities. George Lucas wants to keep Strategic Defense Initiative fans from calling it "Star Wars." Pepsico doesn't want singers to use the word "Pepsi" in their songs. Guy Lombardo wants an exclusive property right to ads that show big bands playing on New Year's Eve. Uri Geller thinks he should be paid for ads showing psychics bending metal through telekinesis. Paul Prudhomme, that household name, thinks the same about ads featuring corpulent bearded chefs. And scads of copyright holders see purple when their creations are made fun of.

Something very dangerous is going on here. Private property, including intellectual property, is essential to our way of life. It provides an incentive for investment and innovation; it stimulates the flourishing of our culture; it protects the moral entitlements of people to the fruits of their labors. But reducing too much to private property can be bad medicine. Private land, for instance, is far more useful if separated from other private land by public streets, roads and highways. Public parks, utility rights-of-way and sewers reduce the amount of land in private hands, but vastly enhance the value of the property that remains.

So too it is with intellectual property. Overprotecting intellectual property is as harmful as underprotecting it. Creativity is impossible without a rich public domain. Nothing today, likely nothing since we tamed fire, is genuinely new: Culture, like science and technology, grows by accretion, each new creator building on the works of those who came before. Overprotection stifles the very creative forces it's supposed to nurture.

The panel's opinion is a classic case of overprotection. Concerned about what it sees as a wrong done to Vanna White, the panel majority erects a property right of remarkable and dangerous breadth: Under the majority's opinion, it's now a tort for advertisers to remind the public of a celebrity. Not to use a celebrity's name, voice, signature or likeness; not to imply the celebrity endorses a product; but simply to evoke the celebrity's image in the public's mind. This Orwellian notion withdraws far more from the public domain than prudence and common sense allow. It conflicts with the Copyright Act and the Copyright Clause. It raises serious First Amendment problems. It's bad law, and it deserves a long, hard second look."

-- Judge Alex Kozinski

some of the best, if ya ever wanna hear/see some technical monsters-Art Blakey, Max Roach, jazz) Terry Bozio, Carl Palmer and Ansley Dunbar (both influenced Neil Peart),
of course theres Buddy Rich, Luis Belson,from the Big Band Jazz days.....

and for simplicity and solid rhythm...Charlie Watts (stones ds.),Elvin Jones, John Bonham and Keith Moon (zeppelin,the who).......

That chick from the White Stripes???.....Faux Drummer, but has the intensity and charm, because of the great song writing and relationship with her beau......True Love-

"....you can dance, you can glide, having the time of your life, oooohhhh".....totally could hear the ABBA he was listening to......

"Then again, when was the last time Mike Patton made any good music?"

Fantomas/Melvins Big Band?

Fantomas? (2005 release was the last on Ipacac.)

Working with Amon Tobin now? Working with Dan the Automator now?

Should I keep going?

I know raven already published this one but my post is a live version and is longer so I thought I'll give it a try.

From wikipedia:
Tank! is the opening song for the anime show Cowboy Bebop. The song, composed by Yoko Kanno and performed by The Seatbelts, has an extensive Alto Saxophone solo, as well as a fil part at the end. The song is a Big Band Style Jazz piece with a rhythm part that combines a bass guitar and conga drums. The beginning of the song features a voice over from the show's main character, Spike Spiegel, which alludes to a heist taking place over the duration of the song.

Info about The Seatbelts: http://en.wikipedia.org/wiki/The_Seatbelts

morsedillon> Here's the track list from the CD. Some of the songs aren't on the video though, but i guess it should be helpful enough

I'm too lazy to do a better list, hope you won't mind a bit of spam.

1. Ashura Benimaru Ito - Opening Theme of MARIO (FAMILY COMPUTER: "SUPER MARIO Bros.") (2:23)
2. The Big Band of Rogues (Tokyo Cuban Boys Jr.), Shigeo Nukita - SUPER MARIO 64 Opening Theme ~ Overworld Theme (4:40)
3. The Big Band of Rogues (Tokyo Cuban Boys Jr.), Koji Kondo - Medley of SUPER MARIO Bros. (4:24)
4. The Big Band of Rogues (Tokyo Cuban Boys Jr.), Seiko - MARIO Scat Version (NINTENDO GAMECUBE: "SUPER MARIO SUNSHINE") (2:06) not in the video
5. The Big Band of Rogues (Tokyo Cuban Boys Jr.), Seiko, Shigeo Nukita - GO GO MARIO (FAMILY COMPUTER: "SUPER MARIO Bros.") (3:36)
6. The Big Band of Rogues (Tokyo Cuban Boys Jr.), Shigeo Nukita - SUPER MARIO Bros. 3 Ending Theme (2:42)
7. Yoshihiro Arita with his band - Theme of Athletic (SUPER FAMICOM: "YOSHI'S ISLAND") (4:17)
8. Kazumi Totaka/Yoshihiro Arita - YOSHI on the beach (NINTENDO64: "YOSHI'S STORY") (3:13)
9. Yoshihiro Arita with his band - THE LEGEND OF ZELDA -Windwaker- Title Theme (7:27)
10.Yoshihiro Arita with his band - Theme of Dragon Roost Island (NINTENDO GAMECUBE: "THE LEGEND OF ZELDA -Windwaker-") (4:21)
11.The song of EPONA (NINTENDO64 - ''THE LEGEND OF ZELDA OCARINA OF TIME'') (4:06)
12.Theme of The DOLPHIC TOWN (NINTENDO GAMECUBE - ''SUPER MARIO SUNSHINE'') (4:27)
13.The Zora Band (NINTENDO64 - ''THE LEGEND OF ZELDA MAJORA'S MASK'') (4:42)
14.Theme of Goron City (NINTENDO64 - ''THE LEGEND OF ZELDA OCARINA OF TIME'') (3:52)
15.Theme of The Shop (NINTENDO64 - ''THE LEGEND OF ZELDA OCARINA OF TIME'') (3:18)
16.Medley of THE LEGEND OF ZELDA (FAMILY COMPUTER DISK SYSTEM - ''THE LEGEND OF ZELDA'') (4:32)
17.Ending Theme of SUPER MARIO SUNSHINE (4:29)
18.Encore (Slider) (NINTENDO64 - ''SUPER MARIO 64'') (6:38)

OK this is probably the most enjoyable big band performance I have ever been witness to, recorded or otherwise. As one of those 25-35 year olds who grew up with Super Mario Brothers, Legend of Zelda, and subsequent sequels, this brought back a lot of cool memories.

I recognize most of these, but some - while familiar - I can't place from where they came. I searched for about 20 minutes for a complete set list in English, but was unable to locate one. Is there a Japanese speaker out there, or perhaps someone who is ultra-versed in the Mario/Zelda universe, that can provide a complete set list?

(Shamelessly) stolen from the google video page :

The "Mario & Zelda Big Band Live" concert was held on September 14th, 2003, at the Nihon Seinenkan Hall in Tokyo, Japan. The DVD recording of this event was bundled with the Japanese gaming magazine "Nintendo Dream" vol. 101.

Mario & Zelda Big Band Live was, as the name suggests, live performances of Mario and Zelda music arranged into jazz, Latin, country, and bluegrass. The host, Ashura Benimaru Itoh, started off the concert with an awesome guitar arrangement of the Super Mario Bros. "main theme" and "underworld theme." The performances that followed were divided almost evenly between the Tokyo CubaBoys Jr. (The Big Band of Rogues) and Mr. Yoshihiro Arita (with his band).

Not included is "Mario Scat Version" (Super Mario Sunshine bonus level theme), which finally surfaces as track 4 on the M&ZBBL CD.

After every performance or two, the host talked to the guests a little bit, presumably about the music they just heard and the game it was from.

Short version: It's Mario & Zelda music, intertwined with various interviews with people from Nintendo, including Shigeru Miyamoto.

Tracklist includes musics from the original Super Mario Bros, Super Mario 64, Super Mario Sunshine, Yoshi's Island, The Legend of Zelda, The Legend of Zelda : Ocarina of Time and The Legend of Zelda: WindWalker.