TROMBONE-L Digest 1638 Topics covered in this issue include: 1) Re: Doug Elliot mouthpieces by "John Jensen" 2) Monette TT5 for sale-cheap! by "P&J Olsson" 3) Edwards tenor tuning slide for sale-cheap! by "P&J Olsson" 4) Monette TT5 large-bore tenor mouthpeice for sale-cheap!! by "P&J Olsson" 5) musical quotes in jazz by "Wessner, John" 6) Re: Brass Band? by Roger Menning 7) Re: Bill Pearce by Scott Moore 8) West Point Regimental Brass by Scott Moore 9) Re: musical quotes in jazz by "Christopher Smith" 10) College Work Load by "Kathy Green" 11) Christian Lindberg Resistance Balancers by Don Wampler 12) Re: musical quotes in jazz by Dennis Clason 13) Bruce Belo by Elisabeth Frederick 14) Re: musical quotes in jazz by ERNIE PAUL LUKAS 15) Alteri double gig bag on Ebay by Chad Horsley 16) Re: Questions by ERNIE PAUL LUKAS 17) Re: Tuning by "Adrian Drover" 18) Re: Tuning by "Adrian Drover" 19) Fall '99 ITA Journal Cover? by "Johnson, Scott (TBS)" 20) Re: Tuning by Dennis Clason 21) Philadelphia Services For Al Grey by Leslie Kilgren 22) UMI Mouthpieces & Chart by "Chuck De Paolo" 23) RE: musical quotes in jazz by "Guion, David" <8guion@jmls.edu> 24) Combine Bach 36/42 - Purchased Conn 88H-O by John Clutcher 25) Trombone recital 3/29/2000 - Denison University, Granville, Ohio by "Moran, Doug - Denison" 26) by David Molter 27) by "Ian Cooper" 28) Fall '99 ITA Journal Cover? by "posaune rex" 29) Re: Bill Pearce by Douglas Yeo 30) Great new microphone -- delete if not interested by "Les Benedict" 31) Coming to Chicago/already there? by Thorplay1@aol.com 32) Brass Conference in NYC, 3/31-4/2 by sabutin@mindspring.com 33) RE: Coming to Chicago/already there? by "Andrew Elms" 34) Re: [TPIN] Shameless Plug/The Brass Bow (NY Brass Conference)3/31-4/2 by "Nanette L. Kappus" 35) GOLD 2B vintage TD Trom on Ebay. by Emil & Cynthia Orth 36) Check out the "rare" mouthpiece! by Earl Needham 37) Re: [JJ-LIST] Who is this? by Earl Needham 38) Re: Check out the "rare" mouthpiece! by "Gary Maxwell" 39) Re: Check out the "rare" mouthpiece! by "Aaron Roth" 40) Re: Christian Lindberg Resistance Balancers by David Oliver 41) Buying a Trombone in L A. area by "Hugo García Sampedro" 42) Re: musical quotes in jazz by "Jeff Albert" 43) GOLD 2B vintage TD Trombone /Tommy Dorsey's Trombone by Harykoz@aol.com From ???@??? Wed Mar 29 07:32:29 2000 Date: Tue, 28 Mar 2000 09:51:58 -0100 From: "John Jensen" To: "David Molter" , Subject: Re: Doug Elliot mouthpieces Message-ID: <007401bf98a4$19562e00$f12caccf@jljbone> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Dave, you're exactly right. Doug does know what he's doing. He possesses a thorough understanding of the mechanics of the brass embouchure and has been successfully using that knowledge to create excellent mouthpieces and also to help brass players all over the world. Listmembers should be aware that Doug is also an excellent trombonist. John L Jensen jljbone@erols.com http://www.welgoss.com/johnjensen (703) 503 8606 ----- Original Message ----- From: David Molter To: Sent: Monday, March 27, 2000 2:37 PM Subject: Doug Elliot mouthpieces > I received my Doug Elliott mouthpieces last week and, after having had a chance to play them in a variety of situations, I can say it was money well spent. I've tried several different sizes and brands of MPs over the last 18 months, and the immediacy and quality of improvementhas never been so dramatic as with this set. > > My setup is using one rim and two different depth cups on four shanks to fit three different horns. Although Doug neither saw nor heard me play, he recommended a combination based on my equipment and a description of my playing style. So far, he seems to have been right on the money. > > I tried Doug's system to minimize the difference between rim sizes when I switch from small to large bore. I had been using a Bach 11C on my small bore and a Bach 5GS on my large bore. > Doug recommended an LT 99 rim that is somewhere between the 2 sizes. I'm using a D cup (slightly larger than the C cup) and an F cup (equivalent to the 5GS). The shanks are tuned to my King 3B, my Bach 36 and a Conn 88. All work great! My sound is fuller and richer with more overtones and my high range is not diminished a bit on any of the cups despite the larger rim. And my sound is more centered. The rim is comfortable and the fit and finish between parts is flawless. All in all, it's exactly the sound I've been looking for but never quite got from stock pieces. > > I know that mouthpieces often seem to work right away but them fall off over time. I'll becurious to see of this happens with the DEs. My initial impression, however, is that they are > worth the money and the wait, which in my case was about three months. However, I ordered seven custom-built parts, and I don't think the wait was out of line given the quality. > > I highly recommend Doug. Fax or call him and he will get back to you with specific recommendations. He knows what he's doing! > > > Doug Elliott Mouthpieces, 13619 Layhill Road, > Silver Spring, MD 20906 > phone: 301-871-3535 fax: 301-598-9094 > > Dave Molter > Pittsburgh, PA > From ???@??? Wed Mar 29 07:32:29 2000 Date: Tue, 28 Mar 2000 09:16:16 -0500 From: "P&J Olsson" To: "Trombone List" Subject: Monette TT5 for sale-cheap! Message-ID: <001201bf98c0$2febf980$e9c444ce@olsson> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Hi out there! I still have a Monette TT5 for sale if anyone's interested. Roughly 5G size, Large shank,Gold plated, heavyweight Mthpc. capable of helping put a seriously big,warm, powerful sound through a large tenor (leaps buildings in a single.........:). Switching to mainly bass so I won't really need it. $235 new, asking $135 You can get more info about it on the Monette website John Olsson From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 09:18:55 -0500 From: "P&J Olsson" To: "Trombone List" Subject: Edwards tenor tuning slide for sale-cheap! Message-ID: <001a01bf98c0$8f1f5000$e9c444ce@olsson> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Hi listers! I have an Edwards yellow ,long, single radius tenor tuning slide for sale. Normally $150 (plus $10 shipping) will sell for $112 (includes shipping). You save $48! This Tuning slide is only 2 months old and in brand new condition (used twice!). John Olsson olsson@tusco.net jolsson@stark.kent.edu ~~~~~~~~~~~~~~~~~~~~~~~~ Instructor of Trombone Kent State University-Stark Campus Malone College Mt. Union College West Liberty State College ~~~~~~~~~~~~~~~~~~~~~~~~ Canton Symphony Orchestra Wheeling Symphony Orchestra Sounds of Sousa Band From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 09:22:40 -0500 From: "P&J Olsson" To: "Trombone List" Subject: Monette TT5 large-bore tenor mouthpeice for sale-cheap!! Message-ID: <002401bf98c1$14890f60$e9c444ce@olsson> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Hi out there! I still have a Monette TT5 for sale if anyone's interested. Roughly 5G size, Large shank,Gold plated, heavyweight Mthpc. capable of helping put a seriously big,warm, powerful sound through a large tenor (leaps buildings in a single.........:). Switching to mainly bass so I won't really need it. $235 new, asking $135. You can get more info about it on the Monette website John Olsson olsson@tusco.net jolsson@stark.kent.edu ~~~~~~~~~~~~~~~~~~~~~~~~ Instructor of Trombone Kent State University-Stark Campus Malone College Mt. Union College West Liberty State College ~~~~~~~~~~~~~~~~~~~~~~~~ Canton Symphony Orchestra Wheeling Symphony Orchestra Sounds of Sousa Band From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 09:34:08 -0500 From: "Wessner, John" To: "Trombones and related issues forum." Subject: musical quotes in jazz Message-ID: <38074DD5B6CCD2119C8F0000D11C17BD024C0919@exchange.towson.edu> MIME-Version: 1.0 Content-Type: text/plain What's the take of the jazz players on quoting things in a solo? I kick off: I think it's very iffy and panders to the audience. I've watched guys play incredible swinging stuff to minimal audience response and then bring them to their feet with "pop goes the weasel." It's probably the only thing the crowd understood all night. However, that may just be an example of my distaste for "crowds." Art for art's sake and all that. In Basie's "April in Paris" the genius of the "pop goes . . ." quote is the way it's carried into the subsequent solo. I don't really oppose putting in some really off the wall quote to wake up the other musicians on the stand. A quote or two or three in every solo, though, seems to me to indicate a lack of imagination. What say ye? From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 08:41:58 -0600 From: Roger Menning To: Trombone List Subject: Re: Brass Band? Message-ID: <38E0C4B6.8DBBB4F@email.mot.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I founded the Prairie Brass Band (Arlington Heights, Illinois) three years ago, and played tenor horn during our first year. Now I play tenor trombone and sometimes bass trombone. I love it! Roger Menning Les Benedict wrote: > > Thomas Nelson wrote: > > > > > > I was just wondering how many of us on this list are members of a brass > band? > > Hmmm... I missed this one first time around. I play alto horn with the New > Columbian Brass Band (http://www.gabbf.com/feat1.html) and alto valve > trombone (and sometimes tuba) with the California Gold Rush Band > (http://expage.com/page/goldrushband). I toured from 1977 to '82 with Mr. > Jack Daniel's etc. on euphonium. I, too, am curious about who among us have > (or have had) similar brass band experiences. > > Les Benedict From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 08:45:21 -0600 From: Scott Moore To: Subject: Re: Bill Pearce Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Doug and Listers: So glad to hear about Doug's new CD, and the appearance of Mr. Pearce. He is an amazing fellow who was basically self-taught during WWII, if I remember correctly. What incredible playing, especially that "Joshua Fit de Battle" I remember hearing him play live about 20 years ago! Doug: Is the sheet music you recorded available (Bill had a great series of sacred solo music available in the 70's), and has Mr. Pearce released his "best of" CD set? I'll check your website. Scott Moore Gustavus Adolphus College From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 08:57:10 -0600 From: Scott Moore To: Subject: West Point Regimental Brass Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Just wanted to mention that if you are a teacher looking to bring a great brass quintet to your college/university for a concert the West Point Regimental Brass puts on a fine show. We brought them to Gustavus recently and thoroughly enjoyed the concert. We have the American Brass Quintet coming next fall, so being able to expose my students to another fine group this year was just the ticket, feeding them a steady diet of great brass performances! If you need more info contact Marty Tyce (trombonist) at ym5577@exmail.usma.army.mil. Scott Moore Gustavus Adolphus College From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 15:08:07 GMT From: "Christopher Smith" To: jwessner@towson.edu, trombone-l@lists.missouri.edu Subject: Re: musical quotes in jazz Message-ID: <20000328150807.83967.qmail@hotmail.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed John, Like anything else, quoting can be done with taste and intelligence, or it can be obvious, cliched and "pandering". Most of the time musicians I play with quote other tunes, the audience might not be aware of the quote, and many times the other musicians aren't, either. This is because of the way quotes can be "disguised" by the way they're inserted into the solo: 1) with certain tones changed slightly to fit the changes, 2) with notes values expanded or shortened, 3) with the point in a phrase where a quote begins- the phrase might lay "across the barline", and on and on. The various ways quotes can be "played with" are virtually limitless. When a quote is disguised or inserted with great skill, it can be almost unrecognizable to all but the most sensitive listeners. Also, quotes are sometimes used as private jokes by jazz musicians. Say we're playing a tune when some other musician walks into the club. We can acknowledge their presence in a friendly way by quoting something. I do know musicians whose solos are basically quote upon quote. That does get tiresome. Later, Chris www.geocities.com/~christo ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 07:34:00 -0800 From: "Kathy Green" To: Subject: College Work Load Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Disposition: inline Content-Transfer-Encoding: 8bit In the mid-70's in Texas, the usual practice was to get your Music Ed. degree in four years. This I managed to do despite being in at least 3 ensembles each semester (One semester I was on six.) Perhaps I missed out on something, or perhaps I didn't get all the courses that music schools are offering now, but although it was difficult, I had the time of my life, I graduated with a 3.43 GPA and don't remember being continually wrung out. Now that I'm teaching in Washington, it seems the current practice is for a Music Ed. student to take at least 4.5 or 5 years (the extra time past 4 years being the education stuff and student teaching.) I feel that the students that I've mentored in student teaching received a better preparation for teaching than I did, and that the extra time is truly needed. Now, how to convince the money giving powers that be that we need more than four years to get a music degree? Kathy Green Kent, WA From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 09:57:40 -0600 From: Don Wampler To: "trombone-l@lists.missouri.edu" Subject: Christian Lindberg Resistance Balancers Message-ID: <38E0D674.D35AD04D@americancentury.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I'm sorry if this topic has already been discussed but I don't recall seeing it before. My friendly UMI rep gave me 3 different sizes of the Christian Lindberg Resistance Balancers. In practicing with them, I notice a bit of difference in resonance and tone but can't feel any resistance differences. My question is: why are these called "resistance balancers". I can see using them to decrease bell resonance and thus prevent the horn from "breaking up" at volume, or perhaps subtly change the tone quality, but what do they have to do with resistance? Perhaps the question points out a flaw in my definition of resistance? Thanks. From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 09:20:17 MST From: Dennis Clason To: trombone-l@lists.missouri.edu Subject: Re: musical quotes in jazz Message-ID: <200003281623.JAA110228@nestor.NMSU.Edu> Addressed to: jwessner@towson.edu trombone-l@lists.missouri.edu ** Reply to note from Wessner, John 03/28/00 09:34am -0500 > What's the take of the jazz players on quoting things in a solo? I kick > off: > I think it's very iffy and panders to the audience. I've watched > guys play incredible swinging stuff to minimal audience response and then > bring them to their feet with "pop goes the weasel." It's probably the only > thing the crowd understood all night. > However, that may just be an example of my distaste for "crowds." > Art for art's sake and all that. In Basie's "April in Paris" the genius of > the "pop goes . . ." quote is the way it's carried into the subsequent solo. > I don't really oppose putting in some really off the wall quote to wake up > the other musicians on the stand. A quote or two or three in every solo, > though, seems to me to indicate a lack of imagination. > What say ye? As I tell my students in statistics, there IS a universally correct answer, "It depends...". Of course, to make this any more than a trivial solution you have to know what it depends on. In this case, it's determined by context. Certainly quotation and variation on the melody is fair game -- in fact, I'd rather listen to that sort of improvisation than just showing off. Quoting outside melodic material is another matter. IF I'm going to quote something in a standard, then it's incumbent on me to 1. Make sure that the quotation is appropriate (quoting I Left My Heart In San Francisco in the midst of New York, New York got good laughs. Quoting Polka Dots and Moonbeams in Angel Eyes probably wouldn't work ... but Saint James Infirmary might); 2. Make sure that the quotation fits harmonically; 3. Create whatever aesthetic impression I intend to create. Back when I was playing jazz, I worked out my solos fairly carefully ahead of time, mostly because I'm NOT a great improvisational genius. Quotations are a tool -- like any other tool they can be abused. Used carefully, they can make a metaphoric commentary on standards that the audience can probably follow. Maybe. If they are erudite. It can fall flat on its face, too (quoting "Take Me Back to Tulsa" in "A String of Pearls" didn't work, mostly because Bob Wills and Western Swing are pretty obscure. Or they were in the late 70s.) Of course, there is also the "just showing off" sort of quotation, which can be a real display of genius (see how I can make this melody fit another set of changes). April in Paris is a great example of that. Another good example is the tenor duel between Sam Falzone and John Klemmer on Don Ellis' Electric Bath Album. They quote Bird, Pres, Coltrane and Hawkins back and forth at each other. Quoting cliche melodies (Pop! Goes the Weasal, London Bridge, Saints, etc) may be more questionable, but handled with good taste it's okay with me. Quotation in every solo is excessive, and (to me) symptomatic of hammer syndrome (when the only tool you have is a hammer, everything looks like a nail). Dennis -- Dennis L. Clason email: dclason@nmsu.edu Department of Economics / University Statistics Center New Mexico State University Las Cruces, New Mexico USA From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 08:32:10 -0800 From: Elisabeth Frederick To: "Trombones and related issues forum." Subject: Bruce Belo Message-ID: <38E0DE89.FC255A65@nctimes.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi Everyone, Since my dad reformated his hard drive...I can't go look for my past email looking for Bruce's number. So once again, does anyone have his number? And, I have gotten his home number before, which is kinda embarrassing, could someone please tell me if they have his shop number? Many Thanks, Elisabeth From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 10:40:53 -0600 From: ERNIE PAUL LUKAS To: jwessner@towson.edu, trombone-l@lists.missouri.edu Subject: Re: musical quotes in jazz Message-ID: <38E0E095.23AF532E@bellsouth.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit "Wessner, John" wrote: > What's the take of the jazz players on quoting things in a solo? > However, that may just be an example of my distaste for "crowds." > What say ye? I play in public because I enjoy pleasing and entertaining people I do not know (and people I DO know as well). This makes me happy. If an obvious quote pleases the crowd, I'll do it several more times, maybe in every solo. If the listeners are happy, and waiting on the edge of their seat for my next solo, I'm happy to oblige them with a corny, cheesy, obvious quote in EVERY solo. What's so wrong with making the listeners happy? Why do YOU perform in public? -- ERNIE PAUL LUKAS TROMBONIST, PUBLICIST BARTLETT COMMUNITY CONCERT BAND MEMPHIS, TENNESSEE USA From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 10:46:40 -0600 From: Chad Horsley To: "Trombones and related issues forum." , TboneCentral@onelist.com Subject: Alteri double gig bag on Ebay Message-ID: <38E0E1F0.A2683EDC@mindspring.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I just placed my double gig bag on Ebay......please pass the word if you know of anyone who is looking......Thanks, Chad Horsley http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=294707335 From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 10:50:37 -0600 From: ERNIE PAUL LUKAS To: jalbert@bellsouth.net Cc: "Trombones and related issues forum." Subject: Re: Questions Message-ID: <38E0E2DD.7D0FFC6E@bellsouth.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Jeff Albert wrote: > > I'm not sure what you mean by impact, but I have a .500 bore Edwards, and it > is far and away the best small horn I have ever played. > I think with time, the small horns, > like the larger ones, will become very popular, if not the industry > standard. YEAH, man, yeah. Right ON!!! (Small bore OLDS) ERNIE PAUL LUKAS TROMBONIST, PUBLICIST BARTLETT COMMUNITY CONCERT BAND MEMPHIS, TENNESSEE USA From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 18:26:05 +0100 From: "Adrian Drover" To: "Trombones and related issues forum." Subject: Re: Tuning Message-ID: <006d01bf98da$f9b5d8c0$46ca01d5@v4v3j2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit > At 07:20 PM 3/26/00 -0500, Stephen Troy wrote: > > He turned to the woodwinds and strings and > >said "I want you to play it just like the trombones." > > > >Why he wanted them to play it loud, obnixious and out-of-tune is beyond me. Ever heard lots of "unison" clarinets playing above the staff? Surely, nothing could be more obnoxious than this. A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk http://www.adios.co.uk From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 18:26:10 +0100 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: Tuning Message-ID: <006e01bf98da$fa900c20$46ca01d5@v4v3j2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit ----- Original Message ----- From: Douglas Yeo To: Trombones and related issues forum. Sent: Sunday, March 26, 2000 10:18 PM Subject: Re: Tuning > Hey, what am I saying, a bass trumpet is a Bermuda Triangle ITSELF!!! Nah, a Bermuda Triangle is always played by the percussionist. They hit it with some kinda stick. And anyhow, Bass Trumpets are made on the other side of the pond in Czechoslovakia (or whatever they call it now). If I'm wrong, I'll eat my Bermuda shorts. A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk http://www.adios.co.uk From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 12:39:57 -0500 From: "Johnson, Scott (TBS)" To: "Trombone-l (E-mail)" Subject: Fall '99 ITA Journal Cover? Message-ID: <5D9A184FEEEDD211A4050000F81FD0E803095FD0@cnncmx04.turner.com> MIME-Version: 1.0 Content-Type: text/plain (Third try sending this to the list... My apologies if you received this more than once. - Scott) -----Original Message----- Hi all! I was just looking again at the Fall '99 ITA Journal cover and noticed that the horn that was being played looked like it had a second bell with a mute (Harmon?) in it. Could this be true? If so, what kind of beastie is this and what is it used for? My guess (if it's not a trick shot of some sort) is a trigger operated small bore bell that swaps out via the valve with the main large bore bell? Curiously, Scott Johnson Conyers, GA USA From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 10:50:39 MST From: Dennis Clason To: trombone-l@lists.missouri.edu Subject: Re: Tuning Message-ID: <200003281754.KAA23370@nestor.NMSU.Edu> Addressed to: slide.rule@adios.co.uk trombone-l@lists.missouri.edu ** Reply to note from Adrian Drover 03/28/00 6:26pm +0100 > > At 07:20 PM 3/26/00 -0500, Stephen Troy wrote: > > > > He turned to the woodwinds and strings and > > >said "I want you to play it just like the trombones." > > > > > >Why he wanted them to play it loud, obnixious and out-of-tune is beyond > me. > > Ever heard lots of "unison" clarinets playing above the staff? Surely, > nothing could be more obnoxious than this. "unison" oboes ... or "unison" piccolos ... It makes you wonder what sort of death wish (or is that tin ear?) Jean Sibelius was possessed by in the Finale of the First Symphony... Dennis -- Dennis L. Clason email: dclason@nmsu.edu Department of Economics / University Statistics Center New Mexico State University Las Cruces, New Mexico USA From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 13:34:07 -0500 From: Leslie Kilgren To: trombone-l@lists.missouri.edu Subject: Philadelphia Services For Al Grey Message-ID: <4.3.1.2.20000328132856.00b97830@lac.jci.tju.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Colleagues, For those of you who want to know, this Sunday, here in Philly, at 5PM, there will be a memorial service for Al at the Brighthope Baptist Church. This information is direct from his family, so should be accurate. The church is essentially on the Temple University campus, at 12th Street and Cecil B. Moore Avenue. I'm not sure whether or not there will be services in New York. From ???@??? Wed Mar 29 07:32:30 2000 Date: Tue, 28 Mar 2000 14:23:15 -0500 From: "Chuck De Paolo" To: "Trombone List" Cc: "David Zimet" , "James Park" , "Kevin Lash" Subject: UMI Mouthpieces & Chart Message-ID: <017b01bf98eb$10b09e10$0200a8c0@ws2> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0178_01BF98C1.27ACCF50"
Hi Folks,
 
I just finished the mouthpiece chart I wrote about on the Trombone-L the other day.  It includes Bach, Stork, Schilke, and Wick, plus all six Lindberg (UMI) models.  In addition, I was able to measure and add the Marcellus, Remington 5, Trudel, Whigham, and Yeo signature models.  It is now posted up at our site, so you don't need any esoteric links to find it.  It's available from our Trombone Catalog page, third column, and is labeled "Mouthpiece Chart".  If you haven't been there yet, here's the address of the catalog: http://www.hickeys.com/newsite/cgi/store.cgi?cart_id=&type=bonecat. 
 
Thanks for your responses regarding this, and I hope the chart helps solve some mysteries!
 
---Chuck
Hickeys Music
 From ???@??? Wed Mar 29 07:32:31 2000 Date: Tue, 28 Mar 2000 13:50:22 -0600 From: "Guion, David" <8guion@jmls.edu> To: "Trombones and related issues forum." Subject: RE: musical quotes in jazz Message-ID: MIME-Version: 1.0 Content-Type: text/plain Christopher Smith wrote, > Most of the time musicians I play with quote other tunes, the audience > might > not be aware of the quote, and many times the other musicians aren't, > either. This is because of the way quotes can be "disguised" by the way > they're inserted into the solo: > This comment reminds me of something that happened in my undergraduate days, not in a jazz context, but, if I recall correctly, in a John Cage sort of avant garde piece. You know the kind, the ones with the instructions "play some of the pages, all of the pages, or something else entirely". The bass trombonist in the ensemble was well known for playing "The Irish Washerwoman" (I think that's the name of the piece) in first position with his trigger--over and over, day after day. He despised the avant garde piece and told me he intended to play "Irish Washerwoman" during the performance. I didn't hear it, so I asked him if he chickened out. No, he said, that's about all he played, but of course he didn't want to get in trouble. So he played no more than three or four notes and then rested for a few seconds before playing the next few. That way, he had time to play it several times, hiding behind whatever everyone else was making up. Perhaps if I have been able to see him, I would have noticed that he never moved his slide! ^*^*^*^*^*^*^*^*^*^^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ 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 ???@??? Wed Mar 29 07:32:31 2000 Date: Tue, 28 Mar 2000 15:16:57 -0500 From: John Clutcher To: trombone-l@lists.missouri.edu Subject: Combine Bach 36/42 - Purchased Conn 88H-O Message-ID: Mime-Version: 1.0 Content-Type: text/plain Content-Disposition: inline On January 25th, I sent out a note requesting input on combining a Bach 36/42 as well as your recommendations for purchasing a new horn. I would like to take the time to say thanks for the input I received from over a dozen members of the list. On March 18th, one day after hearing The Eastman Trombone Choir play at Lebanon Valley College, I made the decision to purchase a Conn 88H-O with a rose bell. I guess they pushed me over the edge! So far, so good. Thanks again. Original note follows. List price was around $2,400, my cost was $1,395. I liked the response of the Conn over the Bach. > I own a King 3B and use a Bach 6 1/2AL mouthpiece. My 30 year old horn has > seen better days, especially with the slide "dings". > > In considering new horns, I have played both the Bach 36 and 42. Both use > an open wrap (models may be 36BO and 42). I also played the Christian > Linberg model and really liked the f attachment valve. Very little movement > to activate the valve. > > The 42 was great to play in the lower register, very open. The 36 was much > better for the upper range. All of this was expected. > > I have a suggestion from a fellow musician to order a 36 slide and a 42 > bell. This person has this combo. I hope to play it in the near future. > I realize the fitting will need to change to accommodate the size difference > to connect the bell with the slide. One possibility is to have it custom > made at the factory. > > Does anyone have any comments? > Intonation considerations? > F attachment recommendations? > Mouthpiece changes? > Should I consider a light weight slide and why? > Does Bach ever offer this combo.... if no, why? > What case recommendations should I consider? > Is this a good idea to consider? > Do you have any other recommendations? > > I wish I could get a Bach 42 (fulls sound), which played as easy as a 36 > (great upper register) and had the valve which is on Linberg model. > > I consider myself an excellent average trombonist! (ha) I play on the > weekends, teach some private lessons and usually play the 2nd trombone part > with Symphonic music (but sometimes 1st). > > Thanks in advance for your help. This is a big decision for me and your > input is greatly appreciated. John Clutcher Information Technology/Caracas Penn State Geisinger Health System Hershey Medical Center - HS92 PO Box 850, Hershey, PA 17033-0850 (717) 531-8682, Fax: (717) 531-5441 EMail: JClutcher@psghs.edu From ???@??? Wed Mar 29 07:32:31 2000 Date: Tue, 28 Mar 2000 15:23:04 -0500 (EST) From: "Moran, Doug - Denison" To: Trombone Mailing List Subject: Trombone recital 3/29/2000 - Denison University, Granville, Ohio Message-ID: Content-id: MIME-version: 1.0 Content-type: multipart/mixed; boundary="Boundary_(ID_LPHDDuHOHpmRYYk3I7EVRg)" This message is about a free recital at Denison University in Granville, Ohio (USA). Dr. Andrew Glendening, Music Department Chair, will present a recital Wednesday evening, March 29th, in Burke Recital Hall at Denison University. The recital starts at 8:00 PM. For the first half of the program Dr. Glendening will perform solos by Iannis Xenakis, Christopher Cook, Elliot Carter, Arne Nordheim and Bruce Hamilton. The second have of the program will be a trombone quartet (Doug Moran, Tom Evans and Todd Cunningham joining Dr. Glendening) playing the Bruckner "Three Motets" (trans. Sauer), Mozart's Overture to "The Magic Flute" (arr. Hammond), Premru's "Tissington Variations" and Carmichael's "Stardust" (arr. Hughes). Anyone in the central Ohio area that can attend is welcome - this is a free concert. Dr. Glendening came to Denison University this year after teaching a Morehead State University (KY) a number of years. He is a great player and is doing great things for the Denison University Arts program. Anyone needing directions, please send me a note off the list. Thanks, Doug Moran morand@cc.denison.edu From ???@??? Wed Mar 29 07:32:31 2000 Date: Tue, 28 Mar 2000 15:49:29 -0500 (EST) From: David Molter To: trombone-l@lists.missouri.edu Message-ID: <385214855.954276569526.JavaMail.root@web30.pub01> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Fellow listers: I was contacted privately by someone looking for a King Duo Gravis bass trombone. I don't have one, so I volunteered to post the query here. If you have or know of a Duo for sale, please contact German privately at the e-mail listed below. Thanks Dave Molter German: seeking a used King Duo Gravis bass trbn -- NRi7662916@aol.com From ???@??? Wed Mar 29 07:32:31 2000 Date: Tue, 28 Mar 2000 16:43:57 -0500 From: "Ian Cooper" To: "'Trombone-L'" Message-ID: <004501bf98fe$b9c258a0$363a96cd@cooperfh> MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="----=_NextPart_000_0041_01BF98D4.CFBE30E0"
On Saturday, April 1, 2000 at 7 p.m.
The Canadian Staff Band
will be presenting a concert
at
The Salvation Army Simcoe Community Church,
184 Colborne Street North, Simcoe, Ontario
(one hour southwest of Hamilton, one and one quarter hour southeast of London, intersection of #24 and #3 highways).
 
Just a reminder for most of you, perhaps first time information for some of you.  Please forgive me if you think this is spamming, but...
 
Included in the evening will be several solos, including Joshua, performed by Kevin Hayward (Trombone).
 
There will also be 2 world-premiere pieces:
Parakletos by Robert Redhead
Go Down Moses by Len Ballantine
 
Tickets are only $10.00 and are available
by calling (519) 426-5420
or e-mailing me off-list at cooperfh@nornet.on.ca
 
 
Also, "Revelation Hope"  will be the program for Sunday afternoon at 4 p.m.
Ian
 Attachment converted: Macintosh HD:Ian Cooper.vcf (TEXT/ttxt) (00028DF1) From ???@??? Wed Mar 29 07:32:31 2000 Date: Tue, 28 Mar 2000 14:12:41 PST From: "posaune rex" To: trombone-l@lists.missouri.edu Subject: Fall '99 ITA Journal Cover? Message-ID: <20000328221241.52871.qmail@hotmail.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Scott - you're right - it is the "patented" Marcellubone ... Doc had a trumpet bell made to fit his F tuning slide, so that he could pull out the tuning slide and instead send the air through the trumpet bell. So by putting the mute in there, he has a muted sound when he throws the valve and sounds open when the valve is not in use. "For those quick mute changes" ... stacy ESM http://remember.to/practice ================================================================ > I was just looking again at the Fall '99 ITA Journal cover and noticed >that the horn that was being played looked like it had a second bell with a >mute (Harmon?) in it. Could this be true? If so, what kind of beastie is >this and what is it used for? My guess (if it's not a trick shot of some >sort) is a trigger operated small bore bell that swaps out via the valve >with the main large bore bell? > >Curiously, > >Scott Johnson >Conyers, GA USA ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com From ???@??? Wed Mar 29 07:32:31 2000 Date: Tue, 28 Mar 2000 17:49:02 -0500 From: Douglas Yeo To: "Trombones and related issues forum." Subject: Re: Bill Pearce Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 8:45 AM -0600 3/28/00, Scott Moore wrote: > >So glad to hear about Doug's new CD, and the appearance of Mr. Pearce. He >is an amazing fellow who was basically self-taught during WWII, if I >remember correctly. What incredible playing, especially that "Joshua Fit de >Battle" I remember hearing him play live about 20 years ago! Bill Pearce is a remarkable person, in fact, I have dedicated my new album, CORNERSTONE, to Bill because of his inspiration and role modeling to me. I am in the process of finishing a lengthy interview of Bill which will appear on the OnLine Trombone Journal later this spring. Those who know Bill and those to whom he is a "new" name (what a surprise for a man who has 30 trombone albums to his credit over 50 years!) will find Bill has a great deal to say about the trombone and music making (including the little known fact that Donald Reinhardt was one of his first teacher - when Bill was in grade school!). Watch the OTJ and the list for announcements of when the interview with Bill Pearce is online. > >Doug: >Is the sheet music you recorded available (Bill had a great series of sacred >solo music available in the 70's), Many people have asked me about this already. Of the 16 tracks which I recorded on CORNERSTONE, about half of them have music which is available right now. The other half is either of new arrangements which are not yet published or arrangements which are out of print (such as those which Bill Pearce made in the 1960's and 70's). I am in negotiation with the copyright holders of all the arrangements in hopes of putting out a companion music book to CORNERSTONE. The process is going well but will take some more time to get all the permissions, and then typeset the book (in Finale). With all that is going on right now, I would not expect it to be completed before the end of this year, but I am committed to getting it done as quickly as is possible. In the meantime, I have a page on my website with more detailed program notes about the album. At the end of the entry on each track, I give information about the availability of each selection and for those which are in print, addresses and email links to publishers. Go to: http://www.yeodoug.com/cornerstonenotes.html >and has Mr. Pearce released his "best of" >CD set? Yes, Bill Pearce released his 2 CD set of highlights from his 50 year trombone career last year. It is called "A Touch of Gold" and has 50 tracks. It's a terrific set, and is available for $25.00 + $3.00 shipping and handling from: Bill Pearce Nightsounds 6110 Broadcast Parkway Rockford, IL 61111-4488 You can also request a catalog of his available albums (on LP and cassette), and Bill told me last week that his 1965 LP "A Quiet Place" which was originally released on WORD Records has been re-mastered and will be available on CD later this year. Bill Pearce's nationally syndicated radio program, Nightsounds, is heard on hundreds of stations nationwide. You can request a station listing from Nightsounds, or call your local Christian radio station to see if they carry it. Bill Pearce has one of the most soothing voices on the air, and he plays a lot of quality music on his show as well. I was delighted he was willing to be a part of CORNERSTONE - he is a model for us all. -Doug Yeo Bill's nationally ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** From ???@??? Wed Mar 29 07:32:31 2000 Date: Tue, 28 Mar 2000 15:20:04 -0800 From: "Les Benedict" To: "Trombone List" Subject: Great new microphone -- delete if not interested Message-ID: <003d01bf990c$2d3887c0$477f1d26@LesBenedict> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit I remember that microphones were discussed on the list recently, and I want to let everyone know about a new mic which is available at a Great introductory price. (I have no commercial interest; I simply think it's a great bargain.) I've used it a few times and have found it to have a very good sound, and the convenience of having a volume control at your belt, and being able to insert mutes without knocking the mike off the bell are definite plusses. And the price is definitely right. The website is new and incomplete, but if you're interested you can check it out at http://www.cliponmic.com. It's a clip-on, and even thought the website currently shows it for brass, it will be available for virtually every instrument. It's made by J. Sterling, and he's offering it the first month for Only $59 (even though the web page says $79). I've been using it for several years on his band, and I think the stand-alone version is terrific. Here's the scoop: The mic is unidirectional and is a condensor type. Condensors are more sensitive but require power. It uses a 9-volt battery in a case with an automatic switch (turns on when you plug the cable in) and a volume control. They'll sell for around $95 each after the intro month. Comes with a cable and a "gig bag." A friend who is a recording pro tells me that even $95 will be a bargain for this Mic. One year warranty. Other products will be String mics, Sax & flute mics -- tell your friends. There will be submixers that you can plug multiple mics into. Like 4 -5 mics into 1 box. Each mic would have a volume control but there would be just one output. So you could mic a section and output to one mixer channel. Will also have a situation like a boost pedal you could plug in (for solos, etc). Hope you find this info useful. Best, Les Benedict lesbenedict@earthlink.net http://expage.com/page/goldrushband From ???@??? Wed Mar 29 07:32:31 2000 Date: Tue, 28 Mar 2000 20:12:36 EST From: Thorplay1@aol.com To: trombone-l@lists.missouri.edu Subject: Coming to Chicago/already there? Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hi all! All of you in the Chicago area who don't have gigs this Thursday nite (you know who you are...) should come on down to the Elbo Room - 2871 N. Lincoln in Chicago at around 10 pm. You will be treated to the intergalactic-acid-freak-hop stylings of my band Isabelle Haze - featuring not 1 but 2 (that's right) of the baddest bones in Chi-town. It's the perfect way to blow off steam for those of you sticking around after the Civic Orchestra audition...including myself. Speaking of which, my break is up - back to The Ride... Jason Thor thorplay1@aol.com From ???@??? Wed Mar 29 07:32:31 2000 Date: Tue, 28 Mar 2000 22:01:22 -0500 From: sabutin@mindspring.com To: trombone-l@lists.missouri.edu Cc: jjjohnson-list@list.sirius.com Subject: Brass Conference in NYC, 3/31-4/2 Message-ID: <200003290301.WAA24619@granger.mail.mindspring.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hi... The Brass Conference is being held in NYC this weekend, and I will be performing in two tributes to two special trombonists that each had a great effect on me. On Saturday at 2 PM there will be a remembrance of Barry Rogers. Many trombonists don't know about Barry, who died at a tragically early age, but he was the first musician on ANY instrument that I ever heard who treated all idioms w/equal respect. He was the first trombonist to play with Eddie Palmieri's bands, and ALL the latin trombonists playing today are essentially his children. He also was a great arranger and...I don't quite know how to describe him..."facilitator" comes to mind. Somehow he always knew what to do to get the music to happen. Great player, and a good friend. Anyway...his son, the fine trumpet player Chris Rogers, is going to do several of Barry's pieces Saturday afternoon. I believe the band will be myself, Keith O'Quinn, Chris, and Ray Vega plus a first rate NY latin rhythm section. Should be very interesting. That night, at 8PM, there will be a tribute to Britt Woodman. Britt took over Lawrence Brown's chair w/Duke Ellington in the '50s, and has been a living example for three generations of musicians. Art Baron is organizing the event, and there will be a lot of players doing a lot of things. I'm playing a duet w/the pianist Neal Kirkwood, and I'm sure there will be a BUNCH of good players involved...everyone who's ever met Britt has loved him; he's the real thing. Britt's had some health problems recently, but I've been told he'll be there listening. I'm not really familiar w/everyone on the program, but I would like to recommend in particular, besides the above: 5 PM on Friday...Bob Stewart is an amazing musician, and I think Ray Anderson will be playing with him. 8 PM on Friday...Howard Johnson is ANOTHER amazing musician, and whatever he comes up with will be worth hearing. 11 AM on Sunday...Laurie Frink knows more about Carmine Caruso's approach than anyone in the world. She's a great teacher. Check her out. 4 PM on Sunday...salute to Vince Penzarella...Dave Taylor is conducting a brass ensemble...whenever Dave's involved in something, sparks are liable to fly. Later... S. P.S. Come say hello...I'll be wandering around, trying horns and enjoying the proceedings... From ???@??? Wed Mar 29 07:32:32 2000 Date: Tue, 28 Mar 2000 22:06:04 -0500 From: "Andrew Elms" To: , "Trombones and related issues forum." Subject: RE: Coming to Chicago/already there? Message-ID: MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Sorry this is late, but also in Chicago is the Steve Lacy/Roswell Rudd Quartet at the Empty Bottle on Wednesday. They are also playing Friday and Saturday at the Bird of Paradise in Ann Arbor Mich. Again, sorry this is late, but I just found out myself. Both of the clubs have websites if you want directions. Andrew -----Original Message----- From: owner-trombone-l@lists.missouri.edu [mailto:owner-trombone-l@lists.missouri.edu]On Behalf Of Thorplay1@aol.com Sent: Tuesday, March 28, 2000 8:13 PM To: Trombones and related issues forum. Subject: Coming to Chicago/already there? Hi all! All of you in the Chicago area who don't have gigs this Thursday nite (you know who you are...) should come on down to the Elbo Room - 2871 N. Lincoln in Chicago at around 10 pm. You will be treated to the intergalactic-acid-freak-hop stylings of my band Isabelle Haze - featuring not 1 but 2 (that's right) of the baddest bones in Chi-town. It's the perfect way to blow off steam for those of you sticking around after the Civic Orchestra audition...including myself. Speaking of which, my break is up - back to The Ride... Jason Thor thorplay1@aol.com From ???@??? Wed Mar 29 07:32:32 2000 Date: Tue, 28 Mar 2000 22:14:02 -0500 From: "Nanette L. Kappus" To: SchilkeMan@aol.com Cc: BRASSRX@aol.com, tpin@parnassus.dana.edu, trombone-l@lists.missouri.edu, hornlist@elmhurst.edu Subject: Re: [TPIN] Shameless Plug/The Brass Bow (NY Brass Conference)3/31-4/2 Message-ID: <38E174FA.3EE9057A@eznet.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Thanks to everyone who gave me the address!! Nanette L. Kappus BiNaK 493 Musical Instrument Oil SchilkeMan@aol.com wrote: > In a message dated 3/28/2000 6:31:09 AM Central Standard Time, > binak@eznet.net writes: > > << www.thebrassbow.com >> From ???@??? Wed Mar 29 07:32:32 2000 Date: Tue, 28 Mar 2000 21:26:32 -0600 From: Emil & Cynthia Orth To: dTrombones and related issues Subject: GOLD 2B vintage TD Trom on Ebay. Message-ID: <38E177E7.6C83A25E@midsouth.rr.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I don't know if its the same horn but I saw Tommy Dorsey play one that looks like this one at the old Plantation Club back in Houston, Tex about l948 or so..Could be worth checking out! Emil Orth Ebay http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=294748786 From ???@??? Wed Mar 29 07:32:32 2000 Date: Tue, 28 Mar 2000 21:28:49 -0700 From: Earl Needham To: trombone-l@lists.missouri.edu, jjjohnson-list@list.sirius.com Subject: Check out the "rare" mouthpiece! Message-ID: <4.2.2.20000328212759.00c70ba0@127.0.0.1> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Content-Transfer-Encoding: 8bit Hey, all, check out the so-called rare 6 1/2AL with a large shank! http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=291037559 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 ???@??? Wed Mar 29 07:32:32 2000 Date: Tue, 28 Mar 2000 22:05:27 -0700 From: Earl Needham To: trombone-l@lists.missouri.edu, jjjohnson-list@list.sirius.com Subject: Re: [JJ-LIST] Who is this? Message-ID: <4.2.2.20000328220410.00bf3a20@127.0.0.1> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Content-Transfer-Encoding: 8bit At 09:20 PM 3/28/00 -0700, Earl Needham wrote: > Hey, all, take a look at > http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=290878958 > > Is this a well-known player somewhere? Or just somebody that was > handy when they took the picture? > > Earl Thanks, all. Got two replies already -- Ed Nuemister. E. 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 ???@??? Wed Mar 29 07:32:32 2000 Date: Tue, 28 Mar 2000 21:16:45 -0800 From: "Gary Maxwell" To: , "Trombones and related issues forum." Subject: Re: Check out the "rare" mouthpiece! Message-ID: <000701bf993d$fb2935e0$5400a5d1@maxwells> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit > Hey, all, check out the so-called rare 6 1/2AL with a large shank! > > http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=291037559 Wull gee Earl, whut da ya spect from a handle lak "slowhand"? (:>)), and for being so rare he has a bunch of them. If I put a 6-1/2 into my .562 I think I might blow the bell right off, 'cause of all the back-pressure. I do get to sleep with a smile on my lips tonight. Gary Maxwell From ???@??? Wed Mar 29 07:32:32 2000 Date: Tue, 28 Mar 2000 21:31:40 PST From: "Aaron Roth" To: trombone-l@lists.missouri.edu Subject: Re: Check out the "rare" mouthpiece! Message-ID: <20000329053140.88115.qmail@hotmail.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed >Wull gee Earl, whut da ya spect from a handle lak "slowhand"? (:>)), and >for being so rare he has a bunch of them. > >If I put a 6-1/2 into my .562 I think I might blow the bell right off, >'cause of all the back-pressure. > >I do get to sleep with a smile on my lips tonight. > >Gary Maxwell > 6 1/2AL: the bass trombone mouthpiece for those bass trombonists desiring a comparatively bright sound, an accessible high range, a great deal of resistance, and no "bass". There's the opposite end from the Schilke 60, all right! -Aaron Roth Bass Trombonist?? ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com From ???@??? Wed Mar 29 07:32:32 2000 Date: Tue, 28 Mar 2000 22:07:59 -0800 From: David Oliver To: don_wampler@americancentury.com Cc: "Trombones and related issues forum." Subject: Re: Christian Lindberg Resistance Balancers Message-ID: <38E19DBF.134896A3@accessnetusa.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I saw Christian Lindberg demonstrate these in Boulder, Colorado (at Colorado University) a little over one year ago. I thought that "resistance balancers" was an odd term, but it was likely used more for marketing reasons than anything else. As you stated, they simply dampen the bell response to give you a different tonal quality. They come in 3 lengths, wrapping around the bell near the brace. The "Lindberg" Conn flyer notes that they "allow you to adjust your sound to any performance environment". David Oliver Westminster, Colorado USA Trombone, Denver Concert Band Don Wampler wrote: > I'm sorry if this topic has already been discussed but I don't recall > seeing it before. > > My friendly UMI rep gave me 3 different sizes of the Christian Lindberg > Resistance Balancers. In practicing with them, I notice a bit of > difference in resonance and tone but can't feel any resistance > differences. > > My question is: why are these called "resistance balancers". I can see > using them to decrease bell resonance and thus prevent the horn from > "breaking up" at volume, or perhaps subtly change the tone quality, but > what do they have to do with resistance? > > Perhaps the question points out a flaw in my definition of resistance? > > Thanks. From ???@??? Wed Mar 29 07:32:32 2000 Date: Wed, 29 Mar 2000 03:29:05 -0300 From: "Hugo García Sampedro" To: "Trombone-list" Subject: Buying a Trombone in L A. area Message-ID: <01bf9948$14c345e0$LocalHost@workstation> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Hello A friend will be traveling to the USA in a month or so. He will be attending business matters there in Los Angeles, and as he is a trombone player he would like to take advantage of his travel to purchase a new horn (perhaps two) there. The problem is that he will stay there just for one week, not enough time to do a "personal search" of stores and dealers. So, he is looking for advise concerning which are the really good stores there in L.A. , where he can try and buy trombones. Thanks a lot -Hugo From ???@??? Wed Mar 29 07:32:32 2000 Date: Wed, 29 Mar 2000 01:51:49 -0600 From: "Jeff Albert" To: jwessner@towson.edu, "Trombones and related issues forum." Subject: Re: musical quotes in jazz Message-ID: <200003290756.CAA27273@mail0.mco.bellsouth.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Dexter Gordon made great use of quotes, and I don't think he lacked imagination. -- Jeff Albert jalbert@bellsouth.net http://www.musiciansvillage.com/jeffalbert From ???@??? Wed Mar 29 07:32:32 2000 Date: Wed, 29 Mar 2000 06:14:12 EST From: Harykoz@aol.com To: eorth2@midsouth.rr.com, trombone-l@lists.missouri.edu Subject: GOLD 2B vintage TD Trombone /Tommy Dorsey's Trombone Message-ID: <32.2f4314e.26133f84@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 3/28/00 9:27:10 PM Central Standard Time, eorth2@midsouth.rr.com writes: << I don't know if its the same horn but I saw Tommy Dorsey play one that looks like this one at the old Plantation Club back in Houston, Tex about l948 or so..Could be worth checking out! Emil Orth >> Emil, The King 2B that is being offered on eBay is not the model of trombone that Tommy Dorsey played on. The trombone that is advertised on eBay is a standard, production King 2B. King offered many different options in regard to finish back in the mid 1940s. The King 2B on eBay has the optional deluxe engraving and the gold burnish finish. This was a production horn. (Still pretty neat, though.) Tommy Dorsey's trombones were hand made by King and were made without a slide lock and without a slide section to bell section lock. There were intricately engraved and were gold burnished. Tommy had a number of these trombones made and was known to give these horns to special friends and colleagues. Here is a question that I have for the list. I own a Dorsey Model King 2B as described above. The horn was produced in the very early 1950s. On the bell, within the elaborate engraving, the name "Charles" is engraved. Does anyone on this list have any idea who Charles might be? Perhaps a trombonist that played on Tommy Dorsey's band? A friend that Dorsey admired? Any ideas? Hary Kozlowski