In 1947 Oscar Peterson formed his first trio. On bass at that time was not yet Ray Brown, but Bert Brown, and Frank Gariepy played drums. The trio performed regularly at the Alberta Lounge in Montreal, which was also broadcast by a local radio station. In 1949, Norman Granz discovered him there, and introduced him as a surprise guest at New York’s Carnegie Hall as part of his Jazz-at-the-Philharmonic tour. After that, they toured together for two years through in American concert halls. Finally, in 1952, Peterson formed a new trio with bassist Ray Brown. Initially, Barney Kessel joined on guitar, who was replaced a year later by Herb Ellis – in this line-up the trio became world famous.
In 1949, Evelyn Lambart and Norman McLaren created a remarkable animated film for which the Oscar Peterson Trio (called old-fashioned “Terzett” in the German translation) with Bert Brown and Frank Gariepy contributed the music. Technically interesting, Lambart and McLaren painted and drew directly onto the film stock for this color film, rather than photographing it. The film was produced by the National Film Board of Canada; at the first Berlinale in 1951 it was awarded a silver medal in the Culture Films and Documentaries category.

Hervé Jeanne is not only a diligent string tester and critic, he has also subjected six common clip-on microphones to a comparative test on his YouTube channel.
In a second video, he also tests the BassBall in detail, which I came up with a few years ago.

Marc Myers has published an interesting interview with Chuck Isreals, best know for his collaboration with Bill Evans, at his website JazzWax.

https://www.jazzwax.com/2019/02/interview-chuck-israels.html

Rick Jones, founder of Acoustic Image, has introduced a new speaker cabinet: the upshot. Acoustic Image is best known for their concept of downfiring speakers. This speaker cabinet is the same idea, but reversed: the speaker is upward firing!

I’ve tried this little beast, and what I like best is that it is so small and light. You can even put it in a back pack. But even at this small footprint, the sound is pretty big. And the up firing speaker really helps to hear yourself better.

Bassist Emilio Guarino from New Jersey (USA) has designed an angled endpin, and in order to mass-produce this endpin, he asks for support at Kickstarter:

Angled bass endpins were first adopted by Francois Rabbath and his students, but thanks to their many benefits they are becoming more mainstream every year.
Angled endpins are very popular because they make the bass easier to play. The bass feels as if it is floating. It moves with the motion you need to play the instrument, not against it. Straight endpins balance best when the bass is completely vertical. This position is not ideal for actually playing it. If you’ve ever felt like it was difficult to keep the bass in a comfortable position, you know what I’m talking about. Angled endpins keep the bass in a comfortable position in all ranges of the instrument.

I created The Chromatic Endpin to solve these problems. I wanted a solution that I could use on different basses and allow me to experiment without modifying my instrument. Also, it has the added benefit of being very user friendly. No professional installation is necessary. It takes less than two minutes to assemble and it adjusts even faster.

The Montreal Symphony Orchestra has added a new instrument to their ensemble – an Octobass (3.6 meter tall, 131 kg weight)

The acquisition will make the Canadian orchestra the world’s first to own one of the giant basses.

http://www.cbc.ca/news/canada/montreal

Transcribed by soprano sax player Steve Lacy in a spiral-bound notebook, Thelonious Monk created a primer of do’s and don’ts for club musicians.

Here’s a transcript of the text:

• Just because you’re not a drummer, doesn’t mean that you don’t have to keep time.
• Pat your foot and sing the melody in your head when you play.
• Stop playing all that bullshit, those weird notes, play the melody!
• Make the drummer sound good.
• Discrimination is important.
• You’ve got to dig it to dig it, you dig?
• All reet!
• Always know
• It must be always night, otherwise they wouldn’t need the lights.
• Let’s lift the band stand!!
• I want to avoid the hecklers.
• Don’t play the piano part, I am playing that. Don’t listen to me, I am supposed to be accompanying you!
• The inside of the tune (the bridge) is the part that makes the outside sound good.
• Don’t play everything (or everytime); let some things go by. Some music just imagined.
• What you don’t play can be more important than what you do play.
• A note can be small as a pin or as big as the world, it depends on your imagination.
• Stay in shape! Sometimes a musician waits for a gig & when it comes, he’s out of shape & can’t make it.
• When you are swinging, swing some more!
• (What should we wear tonight?) Sharp as possible!
• Always leave them wanting more.
• Don’t sound anybody for a gig, just be on the scene.
• Those pieces were written so as to have something to play & to get cats interested enough to come to rehearsal!
• You’ve got it! If you don’t want to play, tell a joke or dance, but in any case, you got it! (to a drummer who didn’t want to solo).
• Whatever you think can’t be done, somebody will come along & do it. A genius is the one most like himself.
• They tried to get me to hate white people, but someone would always come along & spoil it.