I think it is doable and enjoyable, probably with members of this group and some violins from the Jazz Violin Academy. Besides being my opinion I also questioned my AI co-pilot and here is what it says : Short answer: yes — a gypsy‑jazz ensemble split between St. Augustine and Boston can be enjoyable, as long as everyone understands the feel will be slightly more relaxed than an in‑person jam. And for gypsy jazz, that’s not a deal‑breaker at all. Let me break down why. 🎸 Why Gypsy Jazz Works Surprisingly Well Online Gypsy jazz has a few built‑in advantages for remote performance: 1. The rhythm is elastic, not rigid La pompe is driving, but it’s not a metronomic pop groove. Players naturally “breathe” around the beat, and that flexibility absorbs a bit of latency. 2. The ensemble is small Usually 2–4 guitars, maybe a bass. Fewer players = fewer timing conflicts. 3. The attack is percussive but forgiving Gypsy picking has a strong transient, but the harmonic rhythm is fast enough that slight timing offsets don’t feel catastrophic. 4. Solos and accompaniment alternate Only one soloist at a time means fewer simultaneous timing dependencies. 🎧 What the latency numbers mean musically From the earlier calculation, a Boydton, VA JackTrip studio gives: - 48–68 ms total round‑trip latency between St. Augustine and Boston. Musically, here’s how that feels: Latency Range Musical Feel < 30 ms Feels almost local 30–50 ms Noticeable but playable with relaxed styles 50–70 ms Playable for swing, bossa, gypsy jazz, folk; not ideal for tight funk > 80 ms Starts to feel like call‑and‑response Your expected range sits in the “playable for swing/gypsy jazz” zone. 🎼 So… will it be enjoyable? Yes — if you approach it like a slightly looser, more conversational jam. Players will adapt quickly: - Rhythm guitar can lean a hair ahead. - Soloists can phrase with a touch more legato. - Everyone listens more intentionally. Gypsy jazz is already conversational by nature, so the slight latency becomes part of the vibe rather than a flaw.

Hey everyone, I have a new single out today! Back in 2020, during the pandemic, I started studying guitar online with Hungarian Gypsy guitarist Csabi Olah 🇭🇺. We only did a handful of lessons, but they were incredibly inspiring and opened a new door for me musically. Around that time, I became deeply interested in Hungarian Gypsy jazz through two records:🎧 Tziganskaïa – Matelo Ferret🎧 Gypsy Guitars – Angelo Debarre, Serge Camps & Frank Anastasio Through this music, I discovered the legendary guitarist Kosta Lukacs, who sadly passed away years ago. His playing revealed an entire jazz guitar world I had never heard before. In 2023, I finally made it to Budapest, spending several days with Csabi and soaking in the local music scene 🇭🇺✨ This piece is a composition by Kosta Lukacs — a beautiful etude he used to teach his students. https://open.spotify.com/track/4nAYbne8JyPwNjhbzXB58Q?si=4d0594615781418f The single is now available on all streaming platforms 🎵Enjoy!

I recently pulled up this waltz I used to play by Wasso Grunholz, known as Valse De Wasso! I've been obsessing over his compositions the last few days. I find it incredible that one guitarist who never recorded anything, still has managed to leave a legacy.

New video release today. One of the less popular musette tunes written by Tony Murena! Would anyone be interested in a course specifically on the musette style? Musette is the style Django started his career playing. He backed up accordion players like Guerino, and many more. Or a workshop in the next few months?