TROMBONE-L Digest 1569 Topics covered in this issue include: 1) child prodigies by richardt@LEE.ARMY.MIL 2) Re: child prodigies by Foreman Ted 3) Yamaha 612R for sale by Douglas Yeo 4) Re: Role Models (was: Auditions etc) by Douglas Yeo 5) RE: child prodigies by richardt@LEE.ARMY.MIL 6) Perspective and Practicing by Douglas Yeo 7) RE: musical antidotes (was musical athletes) by "DOWDY, KENNETH S" 8) RE: Rousseau's Piece Concertante by "Guion, David" <8guion@jmls.edu> 9) Re: Perspective and Practicing by Chris Tune 10) Philharmusica? by "Kevin D. Miller" 11) Re: Trombone/WW Duets (was Re: IAJE) by Dennis Clason 12) Re: child prodigies by "Mr. Maxwell @ Sequoia Middle School" 13) Re: transcription project (my thoughts) by "Adrian Drover" 14) Invitation to a recital-not strictly trombone (but literature!) by ROSEBONE@aol.com 15) cliches by "Christopher Smith" 16) Modular Jazz by Budshcneider@aol.com 17) Re: Bass Trombone by Jim Tempest 18) Re: Bass Trombone by John Capon 19) Re: transcription project (my thoughts) by Neobopr@aol.com 20) New York Philharmonic by "Thomas Smee" 21) Re: Modular Jazz by Chris Waage 22) re-New York by "b.v.dijk" 23) Re: Modular Jazz by "Gary D. Maxwell @ Sequoia Middle School" 24) Re: transcription project - cliche jazz by Mike Coyle 25) Wallace Practice Mute by Mike Coyle 26) Bill Watrous At the Blue Note is now on sale by Nobu Seki 27) New Trombone Method Book by alex iles 28) Orfeo advert by Peter Collins & Sara Wilbur 29) houston by "Adolphus Sprott" 30) Re: Valve trombones by sabutin@mindspring.com 31) Re: Doubling and using different mouthpieces by Earl Needham 32) Re: New York Philharmonic by Posaune9@aol.com 33) Re: New York Philharmonic by Larry White 34) Copyright questions by "Robert Holland" 35) : Re: houston by Corey Cowart 36) Re: Texas All-State tryouts by Eric and Candice Swanson 37) Re: Doubling and using different mouthpieces by "Tom Izzo" 38) Re: Doubling and using different mouthpieces by MikeSuter@aol.com 39) Re: Modular Jazz by "Doug Crane" From ???@??? Fri Jan 14 08:08:47 2000 Date: Thu, 13 Jan 2000 07:49:11 -0500 From: richardt@LEE.ARMY.MIL To: trombone-l@lists.missouri.edu Subject: child prodigies Message-ID: <21E592FA8BA7D311B5B100062B001FE2082EA8@LEE2> > Mr. Yeo's eloquent post really hit the child star on the, um, head. You > listen in amazement to these performances, then after awhile realize they > aren't saying anything. It's not their fault, they just don't have > anything to say yet. > > But there's something even worse. That's when they finish their piece, > and sit down to chat with the late night talk show host. Wow! That's > when you realize how truly one-dimensional they are. Talk about inanity! > > > Then there is the other side of the coin. I heard some high schoolers > who'd won something or other, presumably pretty talented kids, on Public > Radio the other night. The flute player caught my full, rapt attention. > She was playing something simple, no pyrotechnics, in fact she may have > stumbled a bit with the fast parts. But what she played sounded young, > fresh, and joyous. While it did not have the perfection of the jaded pro, > it didn't have any of the boredom that sometimes creeps in also. This was > a case where the choice of piece seemed to match perfectly the performer's > age and personality. The result was good music. It pulled my > concentration away from 'background music mode" to active listening. Some > of the other performances were mechanical, technically solid, but boring, > and my attention quickly tuned out. > > Anyway, there can be an interaction between the age of the performers and > the performance, and (cringing as I type) sometimes younger can be better. > > yours, > tim richardson From ???@??? Fri Jan 14 08:08:47 2000 Date: Thu, 13 Jan 2000 07:11:33 -0700 (MST) From: Foreman Ted To: richardt@LEE.ARMY.MIL Cc: "Trombones and related issues forum." Subject: Re: child prodigies Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Just a brief defense of a child star: This summer I had the pleasure of spending time with and playing with Sarah Chang. She not only was witty and insightful but was full of knowledge about what the entire orchestra was playing. With all of the big stars that come through Aspen during the summer (most of which did not impress me) I have to say that in my professional musical opinion that she definitely had something to say as an artist. She also had the best use of her body of any string soloist that I saw all summer. Whatever may have been in her past, has led to a beautiful and intelligent young woman. Ted Foreman On Thu, 13 Jan 2000 richardt@LEE.ARMY.MIL wrote: > > > > > Mr. Yeo's eloquent post really hit the child star on the, um, head. You > > listen in amazement to these performances, then after awhile realize they > > aren't saying anything. It's not their fault, they just don't have > > anything to say yet. > > > > But there's something even worse. That's when they finish their piece, > > and sit down to chat with the late night talk show host. Wow! That's > > when you realize how truly one-dimensional they are. Talk about inanity! > > > > > > Then there is the other side of the coin. I heard some high schoolers > > who'd won something or other, presumably pretty talented kids, on Public > > Radio the other night. The flute player caught my full, rapt attention. > > She was playing something simple, no pyrotechnics, in fact she may have > > stumbled a bit with the fast parts. But what she played sounded young, > > fresh, and joyous. While it did not have the perfection of the jaded pro, > > it didn't have any of the boredom that sometimes creeps in also. This was > > a case where the choice of piece seemed to match perfectly the performer's > > age and personality. The result was good music. It pulled my > > concentration away from 'background music mode" to active listening. Some > > of the other performances were mechanical, technically solid, but boring, > > and my attention quickly tuned out. > > > > Anyway, there can be an interaction between the age of the performers and > > the performance, and (cringing as I type) sometimes younger can be better. > > > > yours, > > tim richardson > From ???@??? Fri Jan 14 08:08:47 2000 Date: Thu, 13 Jan 2000 09:16:10 -0500 From: Douglas Yeo To: trombone-l@lists.missouri.edu Cc: indigo_world@lycosmail.com Subject: Yamaha 612R for sale Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I received this message from someone who is selling a bass trombone, I pass it on to the list FYI - please respond to him directly (NOT TO ME!). -Doug Yeo ======= From: indigo_world@lycosmail.com Date: Thu, 13 Jan 2000 01:08:33 -0500 (EST) To: doug@yeodoug.com Subject: Bass Trombone for sale Hello, My name is David White. I am a bass trombonist studying at Sam Houston State University under Dr.Henry Howey. I have a Yamaha Bass Trombone 612R (dependent F/E-flat) that I am trying to sell to get a 613H. I am asking $1000.00 for it. Do you know anyone who may be interested or where I could go to post it for sale fast? David White indigo_world@lycosmail.com ======== From ???@??? Fri Jan 14 08:08:48 2000 Date: Thu, 13 Jan 2000 09:51:32 -0500 From: Douglas Yeo To: "Trombones and related issues forum." Subject: Re: Role Models (was: Auditions etc) Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" There's been a bit of discussion about role models and whether or not you should listen to recordings in preparation for your own performance. My 2 cents... We all have (or should have) role models - not just trombone players, but other instrumentalists, artists, authors and people who inspire us to want to do what we can do the very best we can. These role models can affect us powerfully through their live performances, recordings, written words, speeches, or the use of other media. For musicians, listening to recordings is a way to learn about repertoire and to be inspired (sometimes) by a fine artist. Recordings are no substitute for a live concert, but they give you a good idea. I've often listened to recordings and after listening, said, "I'd like to play that." It was after hearing a well known bass trombonist play the Bozza "New Orleans" spectacularly poorly that I wanted to play the piece. Likewise, when I heard Arnold Jacobs play the Tomasi "To Be or Not To Be" I knew right there I wanted to play it. However, when I was working on those pieces myself, I didn't practice with the recordings in my ear - I didn't keep returning to the platter to spin a few bars of another player playing the piece so I could know "how it goes." After hearing the works and deciding to play them, I put the recordings away to I could develop my own sound and style. Several have posted to the list that they don't want to sound like player X or Y or Z - and that is a sensible thought in my mind. If we try to imitate any player, the best we end up is being a parody. When I recorded my "Tribute to George Roberts" I didn't try to sound like George - I tried to sound like Doug Yeo playing music that George played at one time. George provided the inspiration for me to want to play the pieces, Bill Geldard wrote a great arrangement, and I played like me. Now, "ME" is a conglomeration of things - I've been inspired by George, Kleinhammer, Jacobs, Dokshitzer, Ma, Zimmerman, Godard, Aretha Franklin, da Vinci, and a HOST of other artists. But I am not them, and will never be them and never want to be them. But a part of them is inside me. Now and then, I may execute a slur in a way that I first heard done by George Roberts - that has become a part of my expressive language over many years. And the same with others. But there is no conscious effort to "imitate" - just to produce something that is honest but which is reflective of the person I am and the influences which have impacted me. This is an important issue that some people have brought up about the so called child prodigies. Child prodigies don't say much musically at a young age because they haven't experienced much at a young age. Sarah Chang said very little of depth on the violin when she was 10 - that wasn't her "fault" - she was only 10 years old, for crying out loud! That she has matured a great deal in the intervening years is a credit to the fact that she seems not to have believed all the hype her managers and agents were throwing out to the public. She seems to be better balanced than most of her peer prodigies and I like to think it's because she got out of the practice room and started smelling the roses a little. We can only reflect the experience we have had. When I think of artists I consider role models, every one of them has led a very varied and interesting life. Not one has spent every waking moment in a practice room. The ticket to great artistry hasn't changed in hundreds of years - the balanced life and an insatiable curiosity. So, listen to those recordings, go to those concerts - listen to repertoire, find things you want to play. But then, when you go to play it yourself, put away the recording and be honest to yourself. You'll never play like Lindberg, or Taylor, or Alessi, or Yeo, or Kleinhammer or anyone else. Good thing! Hopefully you'll have something special to say in your playing which not one of those "famous" players ever thought of because they haven't lived your life. And then I'll be glad I heard YOUR recital or recording because then YOUR playing will become part of ME. And now you know why I always tell my students that I learn more at their lessons than they probably do. -Doug Yeo ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** From ???@??? Fri Jan 14 08:08:48 2000 Date: Thu, 13 Jan 2000 09:58:29 -0500 From: richardt@LEE.ARMY.MIL To: Ted.Foreman@Colorado.EDU Cc: trombone-l@lists.missouri.edu Subject: RE: child prodigies Message-ID: <21E592FA8BA7D311B5B100062B001FE2082EAD@LEE2> Right. Not only do some of the child stars make music, some of the old geezer professionals do not. (on any given night, etc.) Maybe it's not fair to use age at all. Except for two things. Sometimes age alone makes a difference in tone quality, more so for voice than instruments. I have attended a couple of college choir concerts recently and there really is a difference in timbre between good young voices and good old voices. To a certain extent this may apply to wind instruments also. Secondly, young people can have a level of energy, passion, enthusiasm and spirit (and hope) that fades somewhat in us old timers. Fades, and is supplanted by wisdom, understanding, study and learning (and faith) , we hope. But to the extent technique and interpretation allow that difference to show through the music, that difference can be positive for either age group. (and I'll listen to an excited youngster over a bored pro every time, even though they may not have the maturity to really understand the music.) whew, guess I've offended everyone now, yours, tim richardson > -----Original Message----- > From: Foreman Ted [SMTP:Ted.Foreman@Colorado.EDU] > Sent: Thursday, January 13, 2000 9:12 AM > To: richardt@LEE.ARMY.MIL > Cc: Trombones and related issues forum. > Subject: Re: child prodigies > > Just a brief defense of a child star: > > This summer I had the pleasure of spending time with and playing with > Sarah Chang. She not only was witty and insightful but was full of > knowledge about what the entire orchestra was playing. With all of the > big stars that come through Aspen during the summer (most of which did not > impress me) I have to say that in my professional musical opinion that she > definitely had something to say as an artist. She also had the best use > of her body of any string soloist that I saw all summer. Whatever may have > been in her past, has led to a beautiful and intelligent young woman. > > Ted Foreman > > On Thu, 13 Jan 2000 richardt@LEE.ARMY.MIL wrote: > > > > > > > > > > Mr. Yeo's eloquent post really hit the child star on the, um, head. > You > > > listen in amazement to these performances, then after awhile realize > they > > > aren't saying anything. It's not their fault, they just don't have > > > anything to say yet. > > > > > > But there's something even worse. That's when they finish their > piece, > > > and sit down to chat with the late night talk show host. Wow! That's > > > when you realize how truly one-dimensional they are. Talk about > inanity! > > > > > > > > > Then there is the other side of the coin. I heard some high schoolers > > > who'd won something or other, presumably pretty talented kids, on > Public > > > Radio the other night. The flute player caught my full, rapt > attention. > > > She was playing something simple, no pyrotechnics, in fact she may > have > > > stumbled a bit with the fast parts. But what she played sounded > young, > > > fresh, and joyous. While it did not have the perfection of the jaded > pro, > > > it didn't have any of the boredom that sometimes creeps in also. This > was > > > a case where the choice of piece seemed to match perfectly the > performer's > > > age and personality. The result was good music. It pulled my > > > concentration away from 'background music mode" to active listening. > Some > > > of the other performances were mechanical, technically solid, but > boring, > > > and my attention quickly tuned out. > > > > > > Anyway, there can be an interaction between the age of the performers > and > > > the performance, and (cringing as I type) sometimes younger can be > better. > > > > > > yours, > > > tim richardson > > From ???@??? Fri Jan 14 08:08:48 2000 Date: Thu, 13 Jan 2000 10:03:10 -0500 From: Douglas Yeo To: trombone-l@lists.missouri.edu Subject: Perspective and Practicing Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Further to the role model/practicing/recordings issue, I thought I might re-post the following message which I originally posted over a year ago, quoting concert violinist Pamela Frank in comments with which I resonate deeply. -Doug Yeo ======= Date: Thu, 8 Oct 1998 09:13:40 -0400 Reply-To: yeo@yeodoug.com From: Douglas Yeo To: "Trombones and related issues forum." Subject: Perspective and Practicing New England Conservatory President Robert Freeman distributed the following to faculty in a memo this past July. I found it quite thought provoking and resonating strongly with my view of teaching and playing and thought you might find it interesting as well. - Doug Yeo +++++++++++++++++++++++++++ From the 1998 Issue of MadAminA, an article about concert violinist, Pamela Frank, by George Sturm: "It is obvious that Pamela Frank is as articulate verbally as she is expressive musically, that she has thought long and hard about many of the basic and difficult issues facing today's music and those who would make it. What would she say, for instance, to violin teachers if she had a chance to communicate with the? Her response was immediate: "I would say, please don't just teach violin music. Teach that all music is created equal; that it's the music that's great and we who are small; that solo and recital music and chamber music and orchestral music are all essential ingredients of our art. If you're teaching a Mozart concerto, quote a Mozart opera, show the relationship to a Mozart symphony or a string quartet. Use the composer's work as a whole and the particular piece you're teaching as an example. Have a context in which to fit a violin piece, not the other way around. The student should fall in love with the composer, not a violin concerto. In that way, it won't matter where that student ends up in the professional ranks. I feel that music teaching is so compartmentalized, especially in the better schools where there's an elitist mentality that creates disappointment after graduation. We're all told we're going to become soloists. There's something really warped about that. I can honestly say that I would be happy doing anything in music. It's not more glamorous to be in front of an orchestra; it's just one of many aspects of music making. I'd be thrilled to play a Beethoven or a Mahler symphony in the back of a section. I'd advise teachers to treat music as all equally important and to teach humility as a result." "We thought her counsel to music teachers so focused that we asked her to dispense some advice to music students. Again, not a moment's hesitation: "Don't practice ten hours a day. Practice two hours without the TV on, and attack your demon. Don't practice what you already do well. There are people with great tone working on their tone, and people with great intonation practicing scales all day. A lot of people waste a lot of time thinking that sheer number of hours matters, rather than the quality of the practicing. I have honestly never practiced more than three hours a day. I really believe you can undo things you have learned by overpractice and just keeping the fingers moving. Keep your practice time focused and limited, and go do other things when you're done. Play with other people, anybody, better or worse than you. Go to museums, go to movies, go to recreational things - as they say, have a life. Nothing will mean anything if practicing is the only thing you do." +++++++++++++++++++++++++++ ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** From ???@??? Fri Jan 14 08:08:48 2000 Date: Thu, 13 Jan 2000 09:39:22 -0600 From: "DOWDY, KENNETH S" To: "Trombones and related issues forum." Subject: RE: musical antidotes (was musical athletes) Message-ID: MIME-Version: 1.0 Content-Type: text/plain Mike wrote: > The other day I purchased a CD of a trombonist of great repute (an > American non-jazz player). I listened to it all the way through then had > a friend over and we listened to it together. I stopped half way through > and asked, "what's wrong with this? All the notes are there and the sound > is not without some charm, but something is very wrong." My friend, not > being a trombonist, was not hindered by prejudice or the unspoken > deference we feel we should have toward other members of the "corps", > replied, "it is the dullest, most meaningless thing I have ever heard!" > That was it! I was indeed the dullest thing I have ever heard too - every > note was there and each attack was precise and the high register was very > impressive. This person's sound was not, at face value, unpleasant, but > was so consistently unmoving that I wondered why he even wanted to produce > a CD. My friend wondered why he ever wanted to become a musician! My > point is that I was shocked that my own bias (the belief that anyone > capable of winning a major orch. audition must have something important to > say musically) actually made it difficult for me to hear what was wrong at > first. Had it been a pianist or vocalist I would have pin-pointed it > immediately. It was an interesting study in influenced listening. > > As an antidote we listened to Dennis Brain play Mozart :) > > Man, last night I needed an antidote. I watched the NYP on Public > Television. The concert started out OK. I have not listened to Prokiev > all that much, so I was interested in hearing the excerpts from Romeo and > Juliet. The first piece they played was really good. The whole family > enjoyed it (we tried to make watching this concert a family event). There > were several good shots of the trombone section, and that should have > excited some of the people on this list. By the end of the Prokiev music > things had slowed down a bit. When the music stopped, I awoke and noticed > that even the conductor was asleep. He woke up shortly after I did, > smiled at the orchestra, and then everyone started clapping. (BTW, I was > told that the conductor really was not asleep, but was moved by the music. > I'm going to try that one at my next meeting. "I'm sorry sir, I was not > sleeping. I was just moved by your presentation." I'll let you know how > it works out.) > I was really looking forward to the next piece because it came so highly recommended. Boy, what a letdown. I'm sure some people thought it was great, but I certainly did not connect with it. I don't know if the violinist was not properly interpreting the music, or if I was not properly interpreting her interpretation of the music. Maybe the composer did not interpret what he was trying to interpret the same way that I would have interpreted it. Anyway, I should have figured, it was written in the 1930's. I think that there is only so much talent to go around, and during that period God gave it all to the Jazz and Big Band boys. In all, I would say that the second half of the evening's performance was rather moving. It moved my wife to go do some laundry. It also moved my kids to go finish some homework that they had supposedly already finished. Even my rats were nervous. So much for our family night of music. I was finally moved to get up and turn off the TV and put some music on from my CD collection. Jeremy West's "Age of Extravagance" CD was a perfect antidote, and calm and peace returned to the Dowdy household. Even Annabelle and Isabelle (my rats) seemed to calm down. Amazing how different things affect different people. I once asked a pig farmer how he could stand the smell. He told me that if you stand in the stuff long enough, you get used to the smell. I guess that we have not attended enough "high culture" events to be used to them yet. BTW, I read once that rats love music, particularly the flute. Some say that is the basis for the legend of the Pied Piper. I know my rats really love to have my wife play her fife and penny whistle for them, and they seem to enjoy early music. They also act very attentive when I play the recorder for them (It might be that they are just wondering what it would be like to chew on it). They even like to listen to Bertali's violin music. I found it interesting to see how upset they were last night. I promised them that I would not do that to them again, poor girls. From now on, if they have to listen to the violin, it will be Annette Sichelschmidt playing Ciaconna. Ken Dowdy PS - the above is just my opinion, some of it tongue in cheek. If you are offended by any of it, just pretend that the part that offends you is the part that I was being tongue in cheek about. From ???@??? Fri Jan 14 08:08:48 2000 Date: Thu, 13 Jan 2000 09:42:47 -0600 From: "Guion, David" <8guion@jmls.edu> To: "Trombones and related issues forum." Subject: RE: Rousseau's Piece Concertante Message-ID: MIME-Version: 1.0 Content-Type: text/plain Jeff Hettling wrote, > Hi list, > I will be performing Piece Concertante by S. Rousseau and could use some > advice from anybody that is familiar with this piece. I'm looking for > what type of emotion to put in the different parts. I have been unable > to find a recording of this piece either. I heard somewhere that the > Marine Band did it with a guest soloist. I can (as Doug Yeo puts it) > play the ink. It is just about time to put the emotion and musicallity > into it. > Thanks for the help, > Jeff > I don't know the piece, but I can tell you that you're asking the wrong question. You can't "put emotion" into any piece! You have to find what's there and bring it out. The Rousseau, if I recall correctly, is a contest piece written for the Paris Conservatory some time in the first half of the 20th century. Do you know any of the others? (Guilmant/Morceau symphonique, Saint Saens/Cavatina. Barat/Andante et allegro, Ropartz/Piece in e-flat minor, Salzedo/Piece concertante, Gaubert/Morceau symphonique, Stojowski/Fantasie among others--I'm not absolutely sure about all of the titles, but they're close enough). Listen to and play as many of those pieces (and similar music, whether written as a contest solo or not). See how they are similar to (or different from) the Rousseau. Then, when you play the Rousseau, see how many ideas you have for bringing out emotion and interpretation. Then choose what seems to work the best. As Dennis Clason has written, it is not good to lean on someone else's recording when learning a piece. All you can do that way is imitate someone else's musicality (if any) rather than finding your own voice. Strive to make the legato parts smooth and the technical parts crisp and effortless. Pay careful attention to the dynamic contour, carefully observing crescendos and decresendos. Find which notes are dissonances that resolve, and lean on them. Vary the dynamics on long notes. Pay careful attention to tempo changes, ritards, etc. The ink is more than the notes and rhythms. Some times this other ink in one passage will suggest something you can do with another passage. Experiment with judicious use of vibrato. Sometimes it will seem appropriate, sometimes not. These details are where the emotion of a piece will be found. Happy exploring! ^*^*^*^*^*^*^*^*^*^^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ David Guion, Cataloger John Marshall Law School 315 S. Plymouth Ct. Chicago, IL 60604 Voice: (312) 427-2737 x 552 Fax; (312) 427-8307 "Outside of a dog, books are a man's best friend; inside of a dog, it's too dark to read"--Groucho Marx ^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ From ???@??? Fri Jan 14 08:08:49 2000 Date: Thu, 13 Jan 2000 07:59:24 -0800 From: Chris Tune To: yeo@yeodoug.com, "Trombones and related issues forum." Subject: Re: Perspective and Practicing Message-ID: <003901bf5ddf$2c8706c0$ecd9aace@ultrascsi> MIME-version: 1.0 Content-type: text/plain Content-transfer-encoding: 7bit Sorry I missed this the first go around. That is the most fabulous advice I've ever read. This corresponds totally with what I have been saying to anyone who will listen (and I boooore some people, unfortunately, so it has not always been heard, I'm afraid). Practice no more than a few hours a day. BUT make your practice COUNT! Be almost scientific about what is right and wrong in your playing and if necessary make up control lists of what you have been practicing and not been practicing. Don't go over and over the stuff you do best. ATTACK the stuff that you are not yet able to do well. Try new things even if they seem bizarre (e.g. circular breathing. . .at first I thought this would be like juggling. . .something I'd never really learn to do. . .now I can do it!). Also great is the advice about learning to love the MUSIC and the COMPOSER, as opposed to some musical ROLE such as section player, soloist, chamber player, quintet player, etc. [we could extrapolate to other types of music: Jazz soloist, lead trombonist, "screech" trumpeter, band "leader", etc.--Well, maybe band "leader" is genetic, and ingrained. . . I don't know!] Anyway thanks for the enlightenment. Ms. Frank is speaking frankly and profoundly. Christopher R. Tune http://www.christune.com Cell (818) 468-4767 Home (818) 763-9397 ********************************************* There are just two rules in life: 1. Don't tell people everything you know. ********************************************* ----- Original Message ----- From: Douglas Yeo To: Trombones and related issues forum. Sent: Thursday, January 13, 2000 7:03 AM Subject: Perspective and Practicing > Further to the role model/practicing/recordings issue, I thought I > might re-post the following message which I originally posted over a > year ago, quoting concert violinist Pamela Frank in comments with > which I resonate deeply. > > -Doug Yeo > > ======= > > Date: Thu, 8 Oct 1998 09:13:40 -0400 > Reply-To: yeo@yeodoug.com > From: Douglas Yeo > To: "Trombones and related issues forum." > Subject: Perspective and Practicing > > > New England Conservatory President Robert Freeman distributed the following > to faculty in a memo this past July. I found it quite thought provoking > and resonating strongly with my view of teaching and playing and thought > you might find it interesting as well. > > - Doug Yeo > > +++++++++++++++++++++++++++ > > From the 1998 Issue of MadAminA, an article about concert violinist, Pamela > Frank, by George Sturm: > > "It is obvious that Pamela Frank is as articulate verbally as she is > expressive musically, that she has thought long and hard about many of the > basic and difficult issues facing today's music and those who would make > it. What would she say, for instance, to violin teachers if she had a > chance to communicate with the? Her response was immediate: "I would say, > please don't just teach violin music. Teach that all music is created > equal; that it's the music that's great and we who are small; that solo and > recital music and chamber music and orchestral music are all essential > ingredients of our art. If you're teaching a Mozart concerto, quote a > Mozart opera, show the relationship to a Mozart symphony or a string > quartet. Use the composer's work as a whole and the particular piece > you're teaching as an example. Have a context in which to fit a violin > piece, not the other way around. The student should fall in love with the > composer, not a violin concerto. In that way, it won't matter where that > student ends up in the professional ranks. I feel that music teaching is > so compartmentalized, especially in the better schools where there's an > elitist mentality that creates disappointment after graduation. We're all > told we're going to become soloists. There's something really warped about > that. I can honestly say that I would be happy doing anything in music. > It's not more glamorous to be in front of an orchestra; it's just one of > many aspects of music making. I'd be thrilled to play a Beethoven or a > Mahler symphony in the back of a section. I'd advise teachers to treat > music as all equally important and to teach humility as a result." > > "We thought her counsel to music teachers so focused that we asked her to > dispense some advice to music students. Again, not a moment's hesitation: > "Don't practice ten hours a day. Practice two hours without the TV on, and > attack your demon. Don't practice what you already do well. There are > people with great tone working on their tone, and people with great > intonation practicing scales all day. A lot of people waste a lot of time > thinking that sheer number of hours matters, rather than the quality of the > practicing. I have honestly never practiced more than three hours a day. > I really believe you can undo things you have learned by overpractice and > just keeping the fingers moving. Keep your practice time focused and > limited, and go do other things when you're done. Play with other people, > anybody, better or worse than you. Go to museums, go to movies, go to > recreational things - as they say, have a life. Nothing will mean anything > if practicing is the only thing you do." > > +++++++++++++++++++++++++++ > > > ********************************************** > * Douglas Yeo * > * Bass Trombonist, Boston Symphony Orchestra * > * Music Director, The New England Brass Band * > * yeo@yeodoug.com * > * http://www.yeodoug.com * > * <>< * > ********************************************** > From ???@??? Fri Jan 14 08:08:49 2000 Date: Thu, 13 Jan 2000 10:41:08 -0600 From: "Kevin D. Miller" To: "TBONE LIST" , "Tuba List" Subject: Philharmusica? Message-ID: <006901bf5de4$ff2366a0$0300a8c0@kevin> I am in need of contact information for Philharmusica Corp. Anyone who has this info please email me privately. Thank You. Regards, Kevin Miller Tulsa Band Instruments 5433-B South Mingo Rd. Tulsa, OK. 74146 printmusic@tulsaband.com lowbrass@tulsaband.com tubakev@msn.com (918)663-3210 1(800)564-1676 From ???@??? Fri Jan 14 08:08:49 2000 Date: Thu, 13 Jan 2000 10:07:05 MST From: Dennis Clason To: trombone-l@lists.missouri.edu Subject: Re: Trombone/WW Duets (was Re: IAJE) Message-ID: <200001131707.KAA276486@nestor.NMSU.Edu> ** Reply to note from Beth Lewis 01/13/00 12:14am -0500 Or if you've really good high chops and a "pretty" upper register, you can read the horn part in WW 5tets. This helps you learn to sight-transpose F - parts, too. Dennis > Frank, > > If you don't mind "borrowing" from other instruments' repertoire, > try to find some woodwind duets involving bassoon and play the bassoon > part. I don't know very much about that repertoire, but maybe someone else > could step in and suggest a few trombone-friendly ones to you. > > Beth L. > > On Wed, 12 Jan 2000 FOpal@aol.com wrote: > > > Hello guys its me again. I was wondering if anyone could suggest some > > awesome sounds trombone/other woodwood duet? We dont really have a lot of > > strong brass players but we have a ton of good woodwinds. I would like one > > that sounds very musical and not too easy... I am quite musical and technical > > so pick accordingly. Any questions EMail me . THanx!! > > > > Frank Opal > > > > Dennis L. Clason email: dclason@nmsu.edu Department of Economics / University Statistics Center New Mexico State University Las Cruces, New Mexico USA From ???@??? Fri Jan 14 08:08:49 2000 Date: Thu, 13 Jan 2000 09:21:27 -0800 From: "Mr. Maxwell @ Sequoia Middle School" To: richardt@LEE.ARMY.MIL Cc: "Trombones and related issues forum." Subject: Re: child prodigies Message-ID: <387E0996.959D77DA@bcsd.k12.ca.us> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit On 13 January, richardt@LEE.ARMY.MIL wrote: > Right. > Not only do some of the child stars make music, > some of the old geezer professionals do not. (on any given night, etc.) > Maybe it's not fair to use age at all. > > Except for two things. Sometimes age alone makes a difference in tone > quality, more so for voice than instruments. I have attended a couple of > college choir concerts recently and there really is a difference in timbre > between good young voices and good old voices. To a certain extent this may > apply to wind instruments also. > > Secondly, young people can have a level of energy, passion, enthusiasm and > spirit (and hope) that fades somewhat in us old timers. Fades, and is > supplanted by wisdom, understanding, study and learning (and faith) , we > hope. But to the extent technique and interpretation allow that difference > to show through the music, that difference can be positive for either age > group. (and I'll listen to an excited youngster over a bored pro every > time, even though they may not have the maturity to really understand the > music.) > whew, > guess I've offended everyone now, +++++++++++++++++++++++++++++++++++++++++++++++ No offense taken here, Tim. I'm thinking that some "gut" reactions are taking place on this topic and I'm going to stick my neck out here a bit. In attempts to bolster String Programs and create continuing interest in string instruments, I believe, teaching/learning programs have been developed that have been hugely successful, but to a high degree have developed "technicians" of the instrument not musicians at the same time. I have seen demonstrations of 30, 40, 50 little tikes, all at the same time playing difficult selections to such perfection that if you would close your eyes you would swear that only one instrument was being played. I have then had some of these youngsters show up on my door step as 7th graders with the intent of signing up for orchestra in my school. Don't get me wrong. They have been great additions to my sometimes meager groups, but to a person, they could not pass an introductory musicianship, written test. They simply did not know terms, dynamics, phrasing, style, etc., but boy could they play the sounds that come out of a string instrument. IMMHO, they were little 'robots'. On the other hand, I have encountered youngsters from other parts of the world, (BTW on other instruments than strings), who not only knew/know their instruments inside and out but are also musicians first class. A couple names come to mind: Sergei Nakarjakov (Trumpet), Robert and Nick Childs (Euphonium), Alain Trudel (Trombone), also older than before mentioned at time of first notoriety, and presently Charlotte Church (Voice). Something is going on, really right, in some parts of the world that is actually producing phenomenal musicians that is not happening with far too many of the string "wonder children". I would tend to guess 1:1 ratio as opposed to mass production, added with more restrained "media". I'm sure family values, parenting and all could be thrown into the mix also, but I'm trying to get this done before my DRUMMERS show up for class. (:>)) I hope I made some sense here and I know I hit on some generalities that can certainly be questioned. Just one lowly middle school teacher's take. Oh, BTW, I'm really taken with Vannesa Mae. She, to me seems to be really part of her instrument and her music. I think that is partly because she has a life other than music. Am I wrong? All the best, Gary Maxwell Bass Trombone Bakersfield Symphony Orchestra > From ???@??? Fri Jan 14 08:08:49 2000 Date: Thu, 13 Jan 2000 06:34:48 -0000 From: "Adrian Drover" To: "Trombones and related issues forum." Subject: Re: transcription project (my thoughts) Message-ID: <000001bf5df0$7ae49c40$f1b701d5@v4v3j2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit If anyone decided to publish a book of famous trombone solos, but failed to state who's solos they were, I doubt very much whether the soloist would recognise them as being his own. After all, an improvised solo is only played once, unless it is recorded. The next time the soloist improvised on the same changes, it would be completely different. An improvised solo is just a bunch of cliches stuck together, the same cliches that thousands of other soloists have used before, though maybe in a different style, and how do you transcribe a style or a feeling. I would even go as far to suggest that if you showed the transcription to the artist it was taken from, it is quite possible that he/she would be unable to play it at sight. Now, who would wish to buy a book of transcriptions without knowing who's solos they were. You need to put a big name or names on the cover before it would be important enough to sell. So, whether improvisations are copyright or not does not really matter. What matters now is, that the artist's name has been used to sell the book, and it would be most unfare if that artist did not profit from the publication. A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk http://www.adios.co.uk From ???@??? Fri Jan 14 08:08:49 2000 Date: Thu, 13 Jan 2000 13:30:38 EST From: ROSEBONE@aol.com To: trombone-l@lists.missouri.edu Subject: Invitation to a recital-not strictly trombone (but literature!) Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I would like to invite everyone in the SE TX/SW Louisiana area to a group of 2 recitals I'm doing - Thurs., Jan. 27, 8pm at McNeese State University Lake Charles, LA and Mon., Jan. 31, 6 p.m. at Steven F. Austin State University (1 p.m. master class) Nacogdoches, TX The recital will be an evening of French Tuba (6-valve, C) music on an instrument owned by Vince Simonetti, president of the Tuba Exchange in Durham, NC. These recitals are made possible by his *extremely* generous loan of this very valuable instrument. The recital program (in no particular order): Promenade and Bydlo from Pictures at an Exhibition, Mussorgsky/Ravel Sonatine, Casterede Suite Marine, Defaye Etre ou ne pas Etre!, Tomasi (alt. Danse Sacree, Tomasi) Piccolo Suiter, Dubois Barcarolle et Chanson Bachique, Semler-Collery Preparing this recital, with a body of literature that I have been somewhat familiar with from bass trombone and euphonium studies, is quite different. Playing these pieces on this horn seems to be leading me to different choices, musically. The instrument is pitched a step higher than the usual Bb Euphonium, and the fingerings are quite different (both because of the change of pitch, and the specific tunings of the 3rd, 5th and 6th valves). If you would like more information about times and locations, or directions on how to get to each performance, please feel free to contact me at school (337-475-5032) or Dr. Mark Thompson at SFA. I'm looking forward to seeing anyone who's interested there. Thanks! Bill Rose McNeese State University Lake Charles, LA rosebone@aol.com From ???@??? Fri Jan 14 08:08:49 2000 Date: Thu, 13 Jan 2000 13:31:47 -0500 From: "Christopher Smith" To: trombone-l@lists.missouri.edu Subject: cliches Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Disposition: inline Content-Transfer-Encoding: 8bit >>> "Adrian Drover" 01/13 1:34 AM >>> An improvised solo is just a bunch of cliches stuck together, the same cliches that thousands of other soloists have used before, though maybe in a different style, and how do you transcribe a style or a feeling. ++++++++ No. Some people play this way, but not all. In jazz, as with every art form, there are original and creative artists, and then there are those who methodically imitate and regurgitate the work of the creative. The above generalization reminds me of the time I saw an interview with Dudley Moore in which he was asked about his "astonishing" command of the piano in both classical and jazz styles. He talked about how jazz was in fact quite easy, once a person learned that there are only about 12 licks to master. Chris http://www.geocities.com/~christo From ???@??? Fri Jan 14 08:08:49 2000 Date: Thu, 13 Jan 2000 13:42:27 EST From: Budshcneider@aol.com To: trombone-l@lists.missouri.edu Subject: Modular Jazz Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit In a message dated 1/13/00 12:33:09 PM Central Standard Time, cdsmith@path.med.umich.edu writes: << Some people play this way, but not all. >> I disagree with cdsmith. There are no original jazz artists anymore. Everything has been done. I do agree with Adrian. Everything that I hear now days seems to have been selected off the menus of those who have done it previously. Pick your licks from your favorite artists and WALLA, you are an improviser. It is nothing but Modular Jazz these days. Bud From ???@??? Fri Jan 14 08:08:49 2000 Date: Thu, 13 Jan 2000 10:52:03 -0800 From: Jim Tempest To: , "Trombones and related issues forum." Subject: Re: Bass Trombone Message-ID: Mime-version: 1.0 Content-type: multipart/alternative; boundary="MS_Mac_OE_3030605523_232881_MIME_Part" Re: Bass Trombone Eric,
   Here is an exercise I picked up from Ian MacDougal in a workshop several years ago.  I think it originally comes from Louis Maggio's method book.
   Those of you familiar with the method can confirm this for me.  I call it the "expanding scale".  

  1. Start by playing a long tone on the F in the bass clef.  Make it the most beautiful sounding note you can.  Make it last one complete breath.
  2. Take a breath and articulate another F.  Gliss down to an E, back to the F, up to a G and back to the F.  There should be no breaks or articulation and the tone should be as rich as the single F throughout.  The entire group of notes should last one complete breath and be as smooth and connected as possible.  
  3. Repeat this process, adding one note of the F scale in each direction.  
  4. Keep going, until you can comfortably doing the pattern up and down an octave without any breaks in the sound.  THEN, starting adding notes in the second octave in both directions!  As every group is supposed to last one complete breath, you will gradually speed up until you are blazing through the scale!
   
   Ian demonstrated this on a King 2B with a Bach 11C or 12C (ie "small" equipment).  He easily did four octaves in a single breath (that's up to F at the top of the treble clef and down to Pedal F below the bass clef) and despite the incredible speed, it was easy to hear each note of the scale.  
   A couple of points.  Ian posited that most trombonists use several different embouchure "sets" to play and that the "dead spot" we sometimes encounter while playing is actually a spot where a set doesn't work.  He stressed that the object this exercise is to train the embouchure to play in all registers by joining all of a player's "sets" together into a continuim.  It's not really designed to make you use a single set, rather it will train you to "sew" your various embouchure sets together.  If the buzz is continuous, there will be no opportunity to make a large adjustment in your chops; it will have to be a gradual transition from one to another.  Don't worry if a note doesn't speak at first, just keep going through the pattern.  Eventually, as your chops figure out what it is you're trying to do, they will start to respond.   If you find you are running out of air, break the pattern in two at the starting point. Play up (or down) as far as you can and back to the F, take a breath, and do the opposite end of the pattern.
   Ian said it had taken him several years to make the entire four octaves, but that the rewards had been well worth the effort.

   With regard to your equipment, you are using pretty standard stuff.  You can futz about with stuff (the Achilles heal of Bass trombonists, I might add) or live with what you have and make the best of it.  I think the solution to your "problem" is simply practice.
-----------------------------------------------
Jim Tempest
Tenor & Bass Trombone
Performance & Instruction
(604) 837-2872
(604) 872-4323

From: "Eric" <eang18@pacific.net.sg>
Reply-To: <eang18@pacific.net.sg>
Date: Thu, 13 Jan 2000 12:11:59 +0800
To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: Bass Trombone


I'm playing a Bach 50BO Bass Trombone - Bach 1.5G Mouthpc, but after a few years of playing while my lower notes gets fuller and deeper, my high notes gets weaker and not so focused.  Its there anyway to train to be a all-rounder, rather than only me able to play the bass register?
Anybody can recommend a Bass Trombone from Vincent Bach Series, which will make a better bass trombone then the one i'm using now, or perhaps another models, rather than Yamaha or Besson.
Best Regards,
Eric Ang
Email me at admin@eric-ang.bn3.com
or eang18@pacific.net.sg  
PG:  92594459
ICQ: 18995426
Check me out at IRC #virtual_world [^gReenPea]
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From ???@??? Fri Jan 14 08:08:50 2000 Date: Thu, 13 Jan 00 10:58:44 -0700 From: John Capon To: , "Trombones and related issues forum." Subject: Re: Bass Trombone Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" > >I'm playing a Bach 50BO Bass Trombone - Bach 1.5G Mouthpc, but after a few >years of playing while my lower notes gets fuller and deeper, my high notes >gets weaker and not so focused. Its there anyway to train to be a >all-rounder, rather than only me able to play the bass register? Eric, Bass Trombone, IMNSHP, is a mis-nomer(sp?). The Bass Trombone as we know it, is a big tenor. Bass Trombone players, especially in symphonic situations, are expected to play in the tenor range. ie., Tannhauser, Lohengrin, Coppelia, Franck Symphony in D minor, etc. So, what I do is play out of the tenor study books, ie. Rochut, Blume, and play the studies as written and down one or two octaves. (Rochut is fun down two octaves, Blume is fun down one octave) I also play the J.S. Bach Suites as written and down one octave. I love practicing various arpegios and scales over the full range of the instrument. Take a major arp. in two octaves starting on low Bb up two octaves and then proceed to repeat it desending chromatically until you run out of chops. Now try a diminished arp. Fun!! John From ???@??? Fri Jan 14 08:08:50 2000 Date: Thu, 13 Jan 2000 13:54:57 EST From: Neobopr@aol.com To: trombone-l@lists.missouri.edu Subject: Re: transcription project (my thoughts) Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit In a message dated 1/13/00 2:04:38 PM, slide.rule@adios.co.uk writes: <> I don't find this to be true for me. Because of the mastering process in recording, you hear the final solo over and over and over. Simply said, I know, nearly by heart, every recorded solo I've ever done. Also, careful with the reference to improvisers playing lots of "cliches." The jazz world calls them "licks." I'm sure that most of us would find the cliche thing offensive. Great improvisers definitely are not cliche but quite innovative and fresh when they play. Notice that I used the phrase "great improvisers." If they aren't great, why transcribe their solo? :-) As far as transcribing a style or a feeling goes: transcribed solos are meant to be a written reference to be used in close conjunction with the recording. Therefore the style should be "in your face" so to speak, from just listening to it. I agree with your conclusion though. We can't sell a book of transcribed solos without some mention of whose they are and some profit for those soloists. Yamaha Artist/Clinician-Jeff Adams From ???@??? Fri Jan 14 08:08:50 2000 Date: Thu, 13 Jan 2000 14:18:46 -0500 From: "Thomas Smee" To: Subject: New York Philharmonic Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Disposition: inline Thanks to whoever notified us of last night's NYP televised concert. It was great to hear the Romeo & Juliet excerpts and the Berg and Sibelius violin excerpts. Don Harwood looked to be playing quite an unusual instrument (it was definately not the monstrosity with the screw bell and the C attachment or an Edwards, which are two instruments I have known him to play in the past). After a while, I concluded that it might be a Thein bass trombone with Haagman valves and a small kranz on the bell. Any 'New Yawkers' out there who know? From ???@??? Fri Jan 14 08:08:50 2000 Date: Thu, 13 Jan 2000 13:24:30 -0600 From: Chris Waage To: Trombone-L Subject: Re: Modular Jazz Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" One of my favorite players in jazz today is Christopher Smith - I've heard him live and listened to two different CDs. While I'm not an "expert" in the idiom, I have been listening to jazz for over 20 years, and he definitely doesn't rely on cliches or licks copied from other players. I, on the other hand, really can't improvize my way out of a paper bag. It all ends up sounding like Bb blues. Good in Bb, but not good in E . . . ;-) Chris >In a message dated 1/13/00 12:33:09 PM Central Standard Time, >cdsmith@path.med.umich.edu writes: > ><< Some people play this way, but not all. >> > >I disagree with cdsmith. There are no original jazz artists anymore. >Everything has been done. I do agree with Adrian. Everything that I hear now >days seems to have been selected off the menus of those who have done it >previously. Pick your licks from your favorite artists and WALLA, you are an >improviser. It is nothing but Modular Jazz these days. > >Bud _____________________________________________ Chris Waage basstbn@waageworks.com Visit The Mouthpiece Exchange at http://www.waageworks.com _____________________________________________ From ???@??? Fri Jan 14 08:08:50 2000 Date: Thu, 13 Jan 2000 20:56:14 +0100 From: "b.v.dijk" To: "trblists" Subject: re-New York Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Hi Tom, You have a good eye. Yes, it was a Thein basstrombone Don was playing. I can proudly say it is the model the Theins and myself developed. Indeed it has Haagmanvalves on it and I can tell you it is a great horn. The NY Phil has a complete set of Thein trombones now from alto to bass trombone. As a Thein player I am very happy to see you Yankees are getting more and more interested in European instruments wich, in my opinion, will make the sound of the orchestra's, with all respect, less Starwars like. Greetings Ben van Dijk Bass trombone Rotterdam Philharmonic (Brass) http://people.a2000.nl/dijkbvan From ???@??? Fri Jan 14 08:08:50 2000 Date: Thu, 13 Jan 2000 11:57:58 -0800 From: "Gary D. Maxwell @ Sequoia Middle School" To: basstbn@waageworks.com Cc: "Trombones and related issues forum." Subject: Re: Modular Jazz Message-ID: <387E2E45.6D7E3DF6@bcsd.k12.ca.us> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Chris Waage wrote: > I, on the other hand, really can't improvize my way out of a paper bag. It > all ends up sounding like Bb blues. Good in Bb, but not good in E . . . ;-) haha, I love it! or - How about my case? Give me an 8 bar improv and I'll have that sucker played perfectly and off the stage in a bar or so. All notes, clichŽs, original musical thoughts, complete and outa there! Gee, is that what we call PANIC? Gary Maxwell From ???@??? Fri Jan 14 08:08:50 2000 Date: Thu, 13 Jan 2000 14:37:16 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Subject: Re: transcription project - cliche jazz Message-ID: <200001132037.OAA04041@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 12:34 AM 1/13/00 , you wrote: >If anyone decided to publish a book of famous trombone solos, but failed to >state who's solos they were, I doubt very much whether the soloist would >recognise them as being his own. After all, an improvised solo is only >played once, unless it is recorded. The next time the soloist improvised on >the same changes, it would be completely different. An improvised solo is >just a bunch of cliches stuck together, the same cliches that thousands of >other soloists have used before, though maybe in a different style, and how >do you transcribe a style or a feeling. For that matter how do you convey "feeling and style" in any printed music? You don't, but we have all become accustomed to certain conventions of notation and this is why every player of a piece, no matter how faithful he tries to be to the printed page, is an interpretter. I think bad jazz players string together a bunch of cliches but I think the truly inspired players weave a solo line that is no less coherent and original than the intricate lines written by great composers. You could, I suppose, make the argument that ALL music is just a string of cliches strung together in different ways by different composers (god knows that's true with Vivaldi and Telemann). There are some truly gifted players who have huge names, and who I love to hear play that do in fact use some cliches - Miles Davis once said that Oscar Peterson sounded like he had to "learn" to play the blues. Oscar is a good example of someone who plays some pretty hackneyed lines but does it with such energy and charm that his playing still feels great (sometimes :) As for a transposition book conveying feeling and style - of course it cannot do that, nor is it intended to. No more than a map can convey the grandeur of a mountain range or the beauty of a river. However, seeing the lines in print does give one the opportunity to observe some things that you might not appreciate when just listening. It is certainly not a substitute for hearing the original solo, but the map can reveal some interesting stuff about the style of the player. I don't do transcriptions to play, I do them as a way of studying the inherent development and construction of a players solo style. Is this a valuable tool? Too subjective to answer - as with any tool, it's value is all in the hands of the user. > >Now, who would wish to buy a book of transcriptions without knowing who's >solos they were. You need to put a big name or names on the cover before it >would be important enough to sell. So, whether improvisations are copyright >or not does not really matter. What matters now is, that the artist's name >has been used to sell the book, and it would be most unfare if that artist >did not profit from the publication. Actually, to me it is not the "bigness" of the name, it is the level of musical artistry that makes music worth hearing or seeing or playing. There are lots of big names out there who I think are pretty mediocre in comparison to some folks with smaller names who really play! Some big names are worth it, others just attained "stardom" somehow - fate is a fickle affair! ;) There's a jazz trumpet player I know who actually has very little jazz in him, he is all about freakishly high playing - it is a freak show, not a jazz concert - but people flock to see him as if they were witnessing the second coming of Christ. Many years ago I heard a pianist who was the best jazzer I'd ever heard - no cliches in his playing- no one knew Benny Green then, but thank god he made a name for himself now! When I hear music, I wanna hear great music, I don't care who plays it. As to who would buy a compilation of transcribed solos if they did not know who had played them: very few people. But, people want to look at solo written by people whose playing impresses them. When I wanted to see what Bud Powell was about looking at transcriptions really helped me because I didn't yet know that much about jazz. Is it the best way to learn jazz, definitely not, but it still has its place. There was a TV ad many years ago for Starkist Tuna. An animated fish named "Charlie the Tuna" tried to impress Starkist with his "good taste" in art and music in the hopes that he would be choosen to be a Starkist Tuna (why he would desire this is beyond me - he'd just be processed and eaten, but, let's suspend disbelief for the sake of argument!). One commercial had him playing music and concentrating on the note A. He was asked what he was doing and replied "making music, this is an A, Mozart used it lots of times". The voice over replied, as it always did (it was the Starkist Slogan) "Charlie, Starkist is not looking for tuna with good taste, we're looking for tuna that taste good!" Well, as regards the "big name", "I'm not looking for music with a big name, I'm looking for music that tastes good!" ;-) Mike >A. > >Adrian Drover (ADIOS Scotland) >Personal: adrian@adios.co.uk >Business: studio@adios.co.uk >http://www.adios.co.uk > From ???@??? Fri Jan 14 08:08:51 2000 Date: Thu, 13 Jan 2000 14:46:12 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Subject: Wallace Practice Mute Message-ID: <200001132046.OAA04820@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hi kids, As promised to those people who wanted to know about the Wallace practice mute when I received it, here goes: I LOVE IT! it is by far the best I have ever tried. The others I have tried, Jo-Ral, Wick, et al. were impossibly stuffy and added so much resistance that I think it could have a bad influence on one's playing over time. The Wallace is small, very quiet, feels almost like you're playing an open horn and I can play across the whole range, even trigger notes and pedal tones! Intonation is not too far out either, slightly sharp, but nothing I can't deal with. I highly recommend it! The only one I can tolerate is the old stone-lined one that I have so heavily modified it is unrecognizable. I got mine from a fellow on the list who had one for sale. I do know places where they can be bought in the UK though - if interested let me know. Thanks to Christof Schmidt, Simon Hogg, Jeff Bonk and others who corresponded with me about this Mike From ???@??? Fri Jan 14 08:08:51 2000 Date: Thu, 13 Jan 2000 16:52:17 -0500 From: Nobu Seki To: TROMBONE-L Post Mail , JJ Johnson list Subject: Bill Watrous At the Blue Note is now on sale Message-ID: <012801bf5e10$784c0980$777dd6d8@tp560> MIME-version: 1.0 Content-type: text/plain; charset="iso-2022-jp" Content-transfer-encoding: 7bit Hi lister, I ordered newly released Bill Watrous Quartet "Live At the Blue Note" on Jan.11th after reading someone's post on JJ list and it has been shipped. It looks like issue is not cancelled but delayed a day or so. Just FYI. Nobuaki Seki -----Original Message----- $B:9=P?M(B : orders@amazon.com $B08@h(B : noseki@attglobal.net $BF|;~(B : 2000$BG/(B1$B7n(B12$BF|(B 11:17 $B7oL>(B : Your Amazon.com order (#102-2670151-0184029) >Greetings from Amazon.com. > >We thought you'd like to know that we shipped your items today, >and that this completes your order. > >Thanks for shopping at Amazon.com, and we hope to see you again soon. > >The following items were included in this shipment: >--------------------------------------------------------------------- >Qty Item Price Shipped Subtotal >--------------------------------------------------------------------- >1 Live at the Blue Note $12.99 1 $12.99 > >--------------------------------------------------------------------- > Item Subtotal: $12.99 > Shipping & Handling: $2.99 > Total: $15.98 >-------------------------------------------------------------------- From ???@??? Fri Jan 14 08:08:51 2000 Date: Thu, 13 Jan 2000 15:15:15 +0100 From: alex iles To: "Trombones and related issues forum." Subject: New Trombone Method Book Message-ID: <387DDD92.E76A25AF@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Hi all , This is an unsolicited plug about a new trombone method book co-written and edited by the fine trumpeter/composer Keith Snell and one of the most respected trombone teachers on the West Coast [also my former teacher], Roy Main. It is called, "Graded Studies on the Fundamentals of Scales for Two Trombones/or Trumpets." It is available in bass or Bb treble clef. The book is great for giving students a clear and structured way to learn the various keys and scale types. For this book, the authors stick to major and three families of minor. The book is written in a two-line duet format which may be played by student and teacher together. Roy says that many of his students also meet to practice these exercises together. A teacher may also assign both parts to a student for a lesson so that a student can work on several important playing fundamentals [scales, pitch, articlation, etc] at once. It is organized into fifteen different scale patterns that help students hear and feel intonation of each scale. The exercises are written to leave little room for pitch discrepancies between the two players. Students develop confidence as they learn to hear and play each new key/scale. I like to work out of it too to reinforce slide/pitch consistency. It basically never leaves my music stand!!! Keith has also included a large section of previously unpublished "Recreational Duets" which cover many styles and help to illustrate the lessons learned from the exercises. The book is good for players at any level, but is especially good for advancing high school and undergraduate college students. This is actually the first in a series of books by Roy and Keith. They will also be writing separate books of chord, rhythmic, and interval/flexibility studies too to be released over the next year or so. to order... Keith's web site [ http://home.earthlink.net/~calbrass/] currently doesn't have any on-line ordering capability so the only way to order the book from him is by sending a check for $25.00 + $2.31 for postage for each book to: The California Brass Ensemble, Inc. 930 East Tujunga Avenue Burbank, CA 91501 Be sure to specify bass or Bb treble versions.... It can also be ordered on-line from from Balquhidder music [they are selling the book at a discount this month--see below]. Here is the sales info directly from Balquhidder Music Publishing: ====================================================== The book sells for $25 each. Since the production cost is pretty high, the "discount" will be in the form of free shipping. To place your order: **Reply before February 1, 2000** E-mail us here at balqmusic@earthlink.net giving your name, phone number, shipping address and the music you wish to order. Specify which clef (treble or bass) Allow 2 - 4 weeks for delivery. Payment upon receipt, by check or credit card. For credit card purchases, fax or mail your Visa or Mastercard number with expiration date. (E-mail is not secure). Please forward this offer to anyone else you think might be interested. Rob Roy McGregor, Balquhidder Music PO Box 856 Montrose CA 91021 USA Tel/Fax: 818-957-1726 balqmusic@earthlink.net Web Site: http://home.earthlink.net/~balqmusic ================================================== Bright Moments and Happy Practicing! Alex Iles From ???@??? Fri Jan 14 08:08:51 2000 Date: Thu, 13 Jan 2000 18:14:26 -0500 From: Peter Collins & Sara Wilbur To: "Trombones and related issues forum." Subject: Orfeo advert Message-ID: <387E5C52.E0132652@total.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hello list, A bit of a shameless plug for a unique concert coming up in February. Apollo's Fire (The Cleveland Baroque Orchestra) will be performing Monteverdi's "Orfeo" in collaboration with Opera Atelier of Toronto. The performances are as follows: Friday, February 11, 7:30pm Cleveland Art Museum Saturday, February 12, 7:30pm Cleveland Art Museum Sunday, February 13, 3:00pm Cleveland Art Museum Tuesday, February 15, 8:00pm Oberlin (should I be more specific than that?) As far as this pertains to trombones and the trombone-l: There are, in fact, 5 sackbuts used in this performances along with 2 cornettos. The sackbut section will be Dominique Lortie, Paul Ferguson, Dan Stillman, Mack Ramsey, and me, Peter Collins. It should be quite a sound! I have performed this work a few times before and it is worth it to see a performance such as this. Everything will be from the period; music, dance, instruments, vocal style. Actually a bit of a rarity to have all the forces together for an opera such as this. If anyone on the list does come to any of the performances, please do not be shy but come up and introduce yourself. I will be playing bass sackbut and will be the tall one with very short red hair and a beard. (Another rarity: there are actually two bass sackbuts on this gig, Mack Ramsey is the other one.) Also, does anyone know of anything trombone related that is going on in Cleveland from February 7-16. Those are the dates that I am in Cleveland and will have my modern instrument with me as well. Are there any trombone choirs that would be open or anything of the sort. Does anybody know the Cleveland trombone section and what they are doing that week? Contact me off the list if there is anything of interest. I will have some time when I am down there and would love to do some playing. Thanks for your time and looking forward to hearing from you. cheers Peter Collins From ???@??? Fri Jan 14 08:08:51 2000 Date: Thu, 13 Jan 2000 19:23:50 -0600 From: "Adolphus Sprott" To: "Trombone-L" Subject: houston Message-ID: <001401bf5e2e$0e71aa60$c4e0490c@default> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0004_01BF5DFB.B8AD41C0"
Does anyone know who won the Houston Symphony job?
 
 From ???@??? Fri Jan 14 08:08:51 2000 Date: Thu, 13 Jan 2000 20:56:11 -0500 From: sabutin@mindspring.com To: jeanvaljean@ntsource.com Cc: trombone-l@lists.missouri.edu Subject: Re: Valve trombones Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 10:46 PM 1/6/00 -0600, you wrote: >> It might also interest you to know that Juan Tizol, the valve trombonist >> in the Ellington band, played a valve trombone in C. I'm not sure what >> the bore was on it, but it was definitely shorter than a Bb horn. I >> don't know what Sam plays. You could e-mail him if you wanted to know. >> > >If memory serves, I believe SAm's is a modified Conn (bell section & valve >section were not originally from the same instrument). ================================ It's a 6H (5H, officially, I believe...500 bore, anyway) valve section from the late '40s/early '50s, and a bell from an early '30s red brass 40 H...a .500 bore slide tuning instrument w/a 7" bell. Small...but VERY open, w/the right m'pce, and if not forced, it has a very beautiful sound. W/valve trombones...w/ANY trombone, really...you have to be ready to surrender, at least to some degree, to what the horn wants to do. If you do that, and it's a fine sounding horn...then there you are. Most slide trombonists are so nonplussed by the added resistance and the slightly more nasal quality of a valve trombone, and especially by the chop adjustments necessary to play them in tune, that they say "Ahhh, this sounds TERRIBLE" and put them down. Brookmeyer, Tizol, the HUNDREDS of valve trombonists who played in Southern European style bands in the 19th and early 20th century...they couldn't ALL sound terrible...y'just gotta surrender to the horn, and find a good one... Later... S. ---snip--- From ???@??? Fri Jan 14 08:08:51 2000 Date: Thu, 13 Jan 2000 07:27:53 -0700 From: Earl Needham To: trombone-l@lists.missouri.edu Subject: Re: Doubling and using different mouthpieces Message-ID: <3.0.5.32.20000113072753.0085f420@127.0.0.1> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit At 08:54 AM 1/13/00 +0100, r.neeracher@bluemail.ch wrote: >Tom Izzo once wrote me that he plays the SAME RIM on trumpet, trombone, >tuba, watering-can and everything else he has in his collection. > >I still can't imagine how THAT works but maybe he can explain to the >list. > >Ruedi I've been wondering the same thing, as Tom wrote the same thing to ME. I've sometimes wondered if I misunderstood, as the thought of a trombone rim on a trumpet cup just confuses me. Tom? Earl Earl Needham, KD5XB mailto:KD5XB@AMSAT.ORG Clovis, New Mexico DM84jk N34¼25.446' W103¼12.700' (or so) Pet peeve: breath is a noun, breathe is a verb (When you take a breath, you breathe...) From ???@??? Fri Jan 14 08:08:51 2000 Date: Thu, 13 Jan 2000 21:50:21 EST From: Posaune9@aol.com To: TSMee@dwb.com, trombone-l@lists.missouri.edu Subject: Re: New York Philharmonic Message-ID: <34.413a06.25afe8ed@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit The horn that Don Harwood is playing is the German made Tyne (sp?) I believe. Ryan Johnstone Curtis Institute of Music Philadelphia, PA (215) 496-9266 From ???@??? Fri Jan 14 08:08:51 2000 Date: Thu, 13 Jan 2000 19:42:54 -0800 From: Larry White To: TSMee@DWB.COM Cc: "Trombones and related issues forum." Subject: Re: New York Philharmonic Message-ID: <387E9B3E.A4D743B8@telus.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Seconded out here in Vancouver! Our TV Times never puts in the listings what is on, and most times I do not even turn on the TV instead opting out for a C D. It was great to see the concert however. I missed about the first 15 mins and when I first turned on the T V Maestro Mauser (sp) was right into it! I said to my wife that the way he looked that it seemed as though he might have been paralysed but then observing him in other movements and subsequent pieces it was just the way he was 'into the music'. The brass as our good friend Doug Yeo sure got a good work out. I too was interested in what kind of instrument the bass bone player was playing. No evidence of any marking to be seen on the shots I saw on the telly. We lack much of this in our world now adays. That is a good live recording of a great piece of music by a great music esemble. Please keep us informed via the list of similar programmes coming up if you are aware that they are to be broadcast. Sadly we do not get much of the BSO. Larry White Vancouver BC Canada Thomas Smee wrote: > Thanks to whoever notified us of last night's NYP televised concert. It > was great to hear the Romeo & Juliet excerpts and the Berg and Sibelius > violin excerpts. > From ???@??? Fri Jan 14 08:08:51 2000 Date: Thu, 13 Jan 2000 22:44:44 -0600 From: "Robert Holland" To: "Trb. List" Subject: Copyright questions Message-ID: <200001140349.3265700@mail.chicagonet.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit It would seem that copyright questions come up with some regularity. Unfortunately, they're often not very easy to answer succinctly. However, for those interested, if you point your browsers to http://lcweb.loc.gov/copyright/ you can get all the information from the horse's mouth, so to speak. They have all their circulars prepared for download in Adobe Acrobat form (.pdf files). It's a lot to wade through, but it's all there. Unlike the Patent and Trademark Office, the Copyright Office, housed at the Library of Congress, is really intended for the lay person so that the assistance of a lawyer shouldn't be necessary. Alternately, you can write the Copyright Office at Copyright Office, LM-455 Library of Congress Washington, D.C. 20559-6000 or call a Copyright Specialist at (202) 707-3000 to request forms. They will send out a whole batch of goodies at no charge. The circulars read pretty well; the actually Copyright Act is tough going. The short story on registering a musical work, published or unpublished, is that it costs $30, two copies of the work in its best form, and form PA filled out according to their directions. They indicate the process takes about 16 weeks, but the backlog is large and the interval is probably longer. Robert Holland Briar Music Press briar@chicagonet.net http://members.aol.com/EnsPub/briar.htm From ???@??? Fri Jan 14 08:08:51 2000 Date: Thu, 13 Jan 2000 22:54:03 -0600 From: Corey Cowart To: trombone-l@lists.missouri.edu Subject: : Re: houston Message-ID: <200001140454.XAA20604@smtp10.atl.mindspring.net> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit > > At 07:23 PM 1/13/00 -0600, >> >> Does anyone know who won the Houston Symphony job? >> Ê > > > They didn't take anyone. > -Corey From ???@??? Fri Jan 14 08:08:51 2000 Date: Thu, 13 Jan 2000 23:44:42 +0000 From: Eric and Candice Swanson To: "Trombones and related issues forum." Subject: Re: Texas All-State tryouts Message-ID: <387E6367.A2C60D1@worldnet.att.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Posaune9@aol.com wrote: > > By the way, here are some Texans who play trombone in professional > orchestras/bands > > Off the top of my head---- > > Stefan Sanders--Bass trombone, Buffalo Phil. > Steve Lang--Asst. Prin St. Louis > Chris Clark--President's Own Marine Band > Phil Graham--Second trombone, Dallas Symphony > Jimmy Clark--Principal Dallas Opera and Dallas Wind Symphony > and if I'm not mistaken, Ron Barron--Principal BSO and Eric Swanson--Bass > trombone, Dallas Opera > Ryan, I'll have you know I grew up in Missouri, not Texas. We didn't even have all-state band when I was in high school there. We never had marching band competitions either, but somehow I managed to get pretty good without them. And, my band director was a viola player! Eric Swanson From ???@??? Fri Jan 14 08:08:52 2000 Date: Fri, 14 Jan 2000 01:41:19 -0600 From: "Tom Izzo" To: , "Trombones and related issues forum." Subject: Re: Doubling and using different mouthpieces Message-ID: <004401bf5e62$c00014e0$1475dfd0@oemcomputer> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Hi Ruedi & Earl & all, > At 08:54 AM 1/13/00 +0100, r.neeracher@bluemail.ch wrote: > > >Tom Izzo once wrote me that he plays the SAME RIM on trumpet, trombone, > >tuba, watering-can and everything else he has in his collection. > > hahahhahaha cute. > >I still can't imagine how THAT works but maybe he can explain to the > >list. > > > >Ruedi > > I've been wondering the same thing, as Tom wrote the same thing to ME. > I've sometimes wondered if I misunderstood, as the thought of a trombone > rim on a trumpet cup just confuses me. > I'm mainly a Bass Trombonist, so I start "there". The Mouthpiece I use on Bass Trombones, Symphonic Tenor (large bore), & Euphonium, is a Custom made dupe of a Mt Vernon 1.5G. For everything else (except Tuba & CB Trb), I use a Doug Elliot combination. Rim is a #108 (closest size to a 1.5 rim). So I have DE equivalents to 7C, 11C, & 15C cups. I have shanks to fit Piccolo Trumpet & Trombone, Sopranino Trumpets & Trombone, Soprano Trumpets, Trombones, & Cornets, Alto Horn, "F" Horn, Alto Trombones, Small bore Tenors ("peashooters"), Bass Trumpet & Baritone Horn. For Bass Tuba & Contrabass Trombone, I use a Custom made dupe of a Mt Vernon #25, tho I "could" theoretically use the 1.5. If I'm playing Soprano Trombone or Trumpet & I'm NOT required to double on the gig, then I use the Schilke 24, but only if I'm not doubling. Do these combinations make a Piccolo Trumpet sound different? You bet! More like a Cornet, but as far as protecting my face (prolonging my career/not burning out/etc), it DOES the job. Now I'm not the first call Piccolo Trumpeter, not by a long shot. But if I need to pick up a Picc for a number, then later on an Alto Horn, while still doing moist of the job on Bass Trombone, nothing feels foreign on my face. I've been "doubling" all brass instruments (plus percussion, many woodwinds & some strings), for over 35 years, & as recently as 5 years ago I was using 12 different mouthpieces, but that was taking it's toll. Now I'm much more comfortable crusing the spectrum. > Tom? > > Earl Hope that answered your questions. Now if I could only find a "magic" mute so I didn't need the 94 I need now.... :-) Tom > From ???@??? Fri Jan 14 08:08:52 2000 Date: Fri, 14 Jan 2000 01:57:10 EST From: MikeSuter@aol.com To: jeanvaljean@ntsource.com, trombone-l@lists.missouri.edu Subject: Re: Doubling and using different mouthpieces Message-ID: <3a.34b51b.25b022c6@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hi Guys, <> Ah yes. Tom Izzo. The only person I know who has a mute truck. MS From ???@??? Fri Jan 14 08:08:52 2000 Date: Fri, 14 Jan 2000 00:36:48 -0700 From: "Doug Crane" To: Subject: Re: Modular Jazz Message-ID: <010c01bf5e62$213b3ec0$62d95da6@998> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Bud: Don't you think you're being just a little bit harsh? To say that there are no original jazz artists anymore is a painting things with a pretty broad brush. To so casually dismiss the talents of today's jazz musicians is something that, by and large, they do not deserve. And what's wrong with today's jazz musicians performing tunes or soloing in styles that portray the history of the music, regardless of the era? I think many of us would be very interested in knowing what, in your view, constitutes jazz be it a specific time period, style or the musicians performing it. Let's be fair, the history of jazz is not dotted with many innovators on the trombone. It's a short list and we all know pretty much who's on it. To be frank, I listen to more pianists and saxophonists than I do trombone players. Bill Evans' music is and will remain timeless. Johnny Hodges, Charlie Parker, Phil Woods, Cannonball Adderley, Michael Brecker, Eric Alexander, Jesse Davis and Art Pepper are but a very few of the saxophonists that I enjoy. I still wonder why so few jazz fans have bothered to check out trumpeter Woody Shaw's recordings. He's been dead for over ten years. I'd be hard pressed to name another jazz musician that plays in a style remotely close to his, regardless of the instrument. Renee Rosnes, Benny Green and Brad Mehldau are emerging as a major voices on piano, likewise tenor saxophonist David Sanchez, organist Larry Goldings and drummers Bill Stewart, Brian Blade and Leon Parker. If you have not paid much attention to the recent trombone work of Conrad Herwig, Andy Martin, Steve Turre, Wycliffe Gordon, Francisco Torres, John Allred, Ray Anderson, Ed Neumeister, Hal Crook and Steve Davis to name but a few, you should do so before condemning an entire genre of music and its current crop of musicians as if it/they were yesterday's news. I thought that Terence Blanchard and Charles Lloyd had a couple of the strongest CD releases of 1999 that go a long way in disproving your theories about the death of jazz. Blanchard's CD features some nice work by Steve Turre. A performance I attended by drummer Gerry Hemingway featuring Ray Anderson a couple years ago was certainly not jazz as you may know it but was truly revelationary. I don't deny that there is a lot of cookie-cutter jazz out there today. Much of it is boring, treads water and does not deserve to be recorded. The same can be said of just about any music regardless of the style or era. Our only hope is that time will be kind to the best of whatever music is vying for the attention of the musical consumers of today. Hopefully jazz historians will be checking out Sidney Bechet and Jack Teagarden in the future and not Kenny G. and others of that ilk. Why is it that jazz and its practitioners must be forced to reinvent itself/themselves generation after generation? Do we bother to reinvent the wheel or light bulb? Can there still be innovation? Absolutely! And there is if only you and others choose to listen for it. If one were to use your jazz "logic" in reference to the classical repertoire, why should we be bothering with new performances of the works of Brahms, Bach, Prokofiev, etc? Should we cancel any and all musical celebrations marking the 100th anniversary of Copland's birth just because it's all been heard before? Interpretation should be something just as important in a well-honed jazz group as it is in a symphony orchestra. BTW, I'm very much looking forward to a jazz concert in about 10 days that features trombonist Dan Barrett, Harry Allen, Rebecca Kilgore and John Sheridan just to name a few of the artists. It's mainstream jazz and will no doubt feature a lot of "old" tunes. That's just fine by me. I still enjoy hearing them. There's enough "new" there for me. 'Nuf sed! Doug Crane Volunteer Jazz DJ KUVO Denver 89.3 FM dcrane@rmi.net ----- Original Message ----- From: To: Trombones and related issues forum. Sent: Thursday, January 13, 2000 11:42 AM Subject: Modular Jazz > In a message dated 1/13/00 12:33:09 PM Central Standard Time, > cdsmith@path.med.umich.edu writes: > > << Some people play this way, but not all. >> > > I disagree with cdsmith. There are no original jazz artists anymore. > Everything has been done. I do agree with Adrian. Everything that I hear now > days seems to have been selected off the menus of those who have done it > previously. Pick your licks from your favorite artists and WALLA, you are an > improviser. It is nothing but Modular Jazz these days. > > Bud >