TROMBONE-L Digest 1921 Topics covered in this issue include: 1) Ken Burns' "Jazz" by Dave Molter 2) In New York by Antonio Henrique Seixas 3) Re: Jazz by "Christopher Smith" 4) Re: Ken Burns' "Jazz" by Walter Barrett 5) Mark Lawrence in Seattle by Peter Ellefson 6) Re: Jazz by sabutin@mindspring.com 7) Re: Attention bass trombonists: Hary Janos question by "Chuck De Paolo" 8) Re: Jazz by Chris Waage 9) Re: Jazz by "Richard Z. Johnson, Jr." 10) Re: Did anyone receive my post "Re: Jazz" this morning? by sabutin@mindspring.com 11) Re: Did anyone receive my post "Re: Jazz" this morning? by "Gary D. Maxwell" 12) Jazz - Ken Burns by "Darren Jukes" 13) Re: Did anyone receive my post "Re: Jazz" this morning? by Earl Needham 14) RE; Jazz by "Guion, David" <8guion@jmls.edu> 15) Louis Armstrong...trombonist? by Douglas Yeo 16) Spacefiller by "Tom Bauer" 17) Re: Louis Armstrong...trombonist? by "Christopher Smith" 18) Re: Louis Armstrong...trombonist? by "Dennis Clason" 19) Louis...trombonist? photo links by "Christopher Smith" 20) Re: Louis...trombonist? photo links by "Joe L. Norcross" 21) More on big bands (was Armstrong) by Douglas Yeo 22) Re: More on big bands (was Armstrong) by "Christopher Smith" 23) Re: More on big bands (was Armstrong) by Bob Koester 24) How to treat a new slide by "Kevan Lomas" 25) Re: How to treat a new slide by "Jac Grimes" 26) Re: More on big bands (was Armstrong) by hanstrombonist@ananzi.co.za 27) Edwards tenor (parts)for sale by "John Olsson" 28) Double Radius Tuning Slides by "Chad Horsley" 29) Re: More on big bands (was Armstrong) by BJMCHAFFIE@aol.com 30) by "Tricky Sam" 31) Re: More on big bands (was Armstrong) by "Adrian Drover" ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 08:11:52 -0500 From: Dave Molter To: trombone-L Subject: Ken Burns' "Jazz" Message-ID: <3A5F0299.78D92392@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I've seen the first four segments of the PBS "Jazz" series and have to say that it is instructional and great fun. Doug Yeo may have hit the nail on the head in his post in which he likened its song snatches to the sound bites used on Sesame Street. But, as with most PBS specials, including Burns' "Baseball" and "The Civil War," these pieces, despite their length, are not meant to be all-encompassing. even at 10 hours, "Jazz" can't tell the complete tale. Indeed, if we believe that art forms are ever changing, there never will be a complete tale. And, like it or not, we are victims of our own need for speed. we want to know it all in just a few hours. "Jazz" is aimed at those who show somewhat more than a mild interest in the art for, yet don't particularly want to digest tome after tome of detailed, well-researched history. I liken "Jazz," "The Civil War " and other such series to a great history teacher: they whet the appetite. If you desire a more detailed approach, you read everything you can get you hands on and, in this case, listen as well. As for highlighting only the most famous players, that, too is a necessary evil, one that Burns used by hitting upon only the most famous Civil War leaders. But, mixed in with the famous are the lesser lights without whom ... I've learned a lot from "Jazz" already. I expect to learn more. Watching it, I can understand why I have a hard time explaining rock music before the Beatles to my 11-year-old son. Dave Molter ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 11:42:54 -0200 From: Antonio Henrique Seixas To: trombonelist Subject: In New York Message-ID: <000901c07c9d$94585320$3b97dac8@default> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dear Listers: >From January 15th to 30rd I will be in New York, studying, watching concerts, and all that kind of stuff. As it is my first time in NY, I would appreciate very much if you could suggest me some places to visit: music stores, Concerts, Big Band Shows. I thank you all and hope to meet some of you there. All the best, Antonio Henrique Seixas - seixas@west.com.br Bass Trombone - Brazilian Symphony Orchestra - www.osb.com.br General Secretary - Brazilian Trombone Association Weril Musical Instruments Artist - www.weril.com.br ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 14:02:51 -0000 From: "Christopher Smith" To: yeo@yeodoug.com, trombone-l@lists.missouri.edu Subject: Re: Jazz Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Douglas Yeo wrote: No other trombonists are featured on the soundtrack set (5 CDs). This should not be a surprise, given the scarcity of trombonists who have been leaders and pioneers in the genre +++++++++ How about, "...given the scarcity of trombonists who have caught on with the general public or wider jazz audience"? but "Jazz" seems to concentrate on leaders of groups and trombone players don't seem to be among those who are considered pioneering enough to rate coverage). ++++++++ Again, I think it's popularity, not pioneering. Though Dorsey was a pioneer in his way as a trombonist and bandleader but not necessarily a jazz musician, aside from some early records as a sideman (Beiderbecke and the Boswells come to mind). I've heard at least one complete track, Louis Armstrong's "West End Blues." +++++++++++ One thing I noticed was that many tunes which seem to be complete have actually been edited so that the beginning and end line up with that of the segment's. I've only seen the first night, but I recall a tune of Jelly Roll Morton's having most of the middle of the tune cut out. One good thing the series is doing is bringing more attention to the music. We had a large group at one of the local jazz clubs Wednesday night who came there specifically because the show had inspired some of them to get out and hear the music live. Later, Chris www.geocities.com/~christo _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 09:55:48 -0500 From: Walter Barrett To: "Trombones and related issues forum." Subject: Re: Ken Burns' "Jazz" Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit on 1/12/01 8:11 AM, Dave Molter at kingbone@earthlink.net sent forth into the cosmos: > Doug Yeo may have hit the > nail on the head in his post in which he likened its song snatches to > the sound bites used on Sesame Street. Dave and Doug- As the parent of a 4 year old, I have an intimate relationship with Sesame Street, and have to disagree with the above statement. True, the Sesame segments are short, but not to the extreme implied above. Aside from the little 20-30 second spots featuring the letter of the day,etc., most of the other segments are a few minutes long each, longer than the advertising world would have us believe is possible. Look at MTV, VH1, or the many all-news radio stations "Give us 22 minutes, we'll give you the world!" (as long as your world consists of 40% trafficandweathertogether, 40% pro sports, and 20% sound bite news, in between ads for Volvos, ambulance chasers, and long distance providers. That's why I listen to NPR news.) Mr. Burns' quick cuts owe more to the techniques pioneered by "Laugh-In" (now I'm really dating myself!), than to anything else. As to our own criticisms of "Jazz", Mr. Burns is preaching to the choir when it comes to OUR reactions. We already know a lot of this stuff, and many of our negative reactions come from Mr. Burns' vision not meshing with our own perspectives. But, as Christo said in his post, the crowd was bigger at a recent gig BECAUSE of watching "Jazz!" That will probably be the biggest legacy of the program, introducing/explaining what goes on when you stomp off a tune to the general public, and making it intriguing enough for them to want more. (I just hope he doesn't mention Kenny G...) Walter Barrett Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 07:10:01 -0800 From: Peter Ellefson To: Trombone List Subject: Mark Lawrence in Seattle Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Just a quick reminder to those listers in the Northwest of "Trombonology", the University of Washington's trombone weekend which begins tomorrow: http://faculty.washington.edu/donimmel/trombonology.html http://faculty.washington.edu/donimmel/schedule.html I hope to see some of you there. BTW, there are a couple of Shires trombones to try/purchase, as well as other instrument displays. Should be fun. Peter Ellefson ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 10:39:54 -0500 From: sabutin@mindspring.com To: trombone-l@lists.missouri.edu Subject: Re: Jazz Message-ID: <200101121541.KAA07898@hall.mail.mindspring.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hi all... Regarding this Ken Burns series, all I've got to say is this... Don't trust history...it's never real. I'm not putting this seriesdown here...it's wonderful to see all the clips and hear the players. wonderful that middle and upper middle class mainstream America (and that's PBS's target audience, make no mistake) is getting a view of the first 50 years or so of the music, and ABSOLUTELY wonderful that every serious young American musician who's interested in jazz is sitting in front of the TV (and you can BET they all are) seeing the real players who were involved w/the birth and growth of the music. BUT...it ain't "the truth". Not even close. This music is NOT the creation of a few superstars...the "great man" theory is a very Eurocentric approach, by the way...but a collective art. Hundreds of musicians in New Orleans, thousands and thousands all over the country COLLECTIVELY invented the music. Stanley Crouch came closest so far in giving this picture of it when he talked about the process Duke went through during the early years in NY...he'd write something; someone else would take it and use it another way; Duke would hear THAT and use it yet again in yet ANOTHER context...that's how the music was formed, and that is largely how it's being formed today. Business interests promoted certain artists and leaders as stars...again, nothing taken away from those that WERE promoted...because they thought those particular people could be hyped easily and therefore make a profit for the companies. They chose by LOOKS, by ACT, by APPEARANCE, not by any musical criteria whatsoever. Armstrong rather than Bechet, Whiteman rather than Beiderbecke or Teagarden, Ellington rather than Fletcher Henderson. This process continues absolutely unabated to this day...Wynton Marsalis is their choice of the moment, as was Miles Davis before him. Forgive me for using this language quite so bluntly, but Charles Mingus (a TOWERING musician and composer who scuffled for enough money to produce his work all his life) was once interviewed in his lower East side, rat infested apartment in the 1960s, and was asked something along the lines of "How do you feel seeing Miles Davis raking in the cash while you can barely find work?" He laughed that laugh that does not mean "HA HA" and kinda dropped these immortal words off to one side... "Ahhh, you know, they choose one nigger..." THAT'S what this show is REALLY about, whether it's about black OR white players. It's hype. "Honorable" hype...that is, its true, heartfelt intent is obviously to pay hommage to "jazz" and the musicians that created it, but the people who made the film are creatures of that very hype machine themselves...they HAVE to be, to get the money to produce it. But still hype. So they round up the usual suspects...commentators, critics, academics etc, all of whom have ALSO bought into this picture big time...and out pops the "official" history of "jazz", in beautiful pictorial form. Only that ain't what happened. There is NO real mention of drugs and alcohol...hell, Louis Armstrong is stoned out of his head in almost every shot from the '30s, I'll guarantee...no real investigation into the TOTAL control gangsters of every race exerted over the music and musicians. (It would be worth your life, but if you dug deep enough behind the front men to the real owners and partners of a number of CONTEMPORARY jazz and latin areas...pop music too, you betcha...you'd find men whose job description largely involves baseball bats and guns even today. Believe it...I know some of them personally. I spent 15 minutes this week w/one of them, his arm draped affectionately around my shoulder as he discussed a new club he's opening.) Listen to Louis Armstrong speak of his influences and see the true love and admiration in his eyes for those players. Hear him say "I never wanted to be no high muckety muck" (a rough rendering of something they quoted last night on the series); listen to the OBVIOUSLY largely improvised "arrangements" of the early Fletcher Henderson and Ellington bands and understand how it really happened. Hundreds of musicians, A COMMUNITY OF NEAR EQUALS, started this music, and it exists and grows to this day in much the same form. The musicians in Miles' bands, in Duke's bands, Basie's, Thad Jones', Gil Evans', Machito's, knew what was happening. They didn't sit in awe looking at the "leader" in a spotlight while they tootled around in the background, they played as his equals. Listen to Tricky Sam Nanton's solo in that little short they showed on "C Jam Blues"...cuts everybody in the house (except maybe Ben Webster) using about 6 1/2 notes !!!! Look at him...you think he didn't know how heavy he was ??? You think Ben Webster thought of himself as "less" than Duke, less important to the music being made ? Look at him in that short film; listen. Naaaahhhhh.... There's a recurring theme in jazz history and criticism etc...the sidemen are jealous of the leader; they unjustly criticize him and accuse him of "stealing" their material and so on. The truth...sure egos get inflamed, especially when money and power are concerned, but EVERYBODY was "stealing" from EVERYBODY. Wynton says something to the effect that "Every note ever played in jazz is just some variation of what Louis Armstrong played." Fact is, every note LOUIS played was "just a variation" on what the people HE heard played, people who never got NEAR a microphone. trombonists, tuba players, singers, streetside washboard players, all of them. Again, none of this is meant to disparage either the PBS series or the wonderful musicians who ARE featured in it. I am as awed by Armstrong's and Ellington's music, genius and the sheer mass of their production as any real player must be...but THEY WERE NOT ALONE. They were just the tip of an enormous iceberg, and I want to alert whoever I can that this iceberg continues to float in our cultural seas to this day, as big and strong as ever. This music is STILL a collective art, and it STILL exists in much the same form as it did in the 1920s...different cast of characters, different racial mixture, different business picture...but there are STILL kids coming up from the ghettoes and the suburbs, from the cities and the farms, there are STILL stars and sidemen, and there is STILL very little difference (if any) between the sidemen and the stars in terms of talent or achievement other than those differences that the financial possibilities inherent in stardom confer upon those so chosen by the parasites that largely run things. Remember this while you watch this series, and try to look and listen behind the hype. If Duke had had a crooked nose or one eye all droopy, if Pops had been a shy man, if either ONE of them had been too principled to deal intimately w/murderers on a business level...would they have been any less a "genius"? Or would they have been one of those shadows we now see behind the "star", plying their art on just as high a level, night after night ? " One never knows, do one?" (Fats Waller, some time in the 1930s.) Stop, look, and LISTEN. "Jazz" is a MUCH MUCH MUCH MUCH larger entity than this (or any) series can capture. This series is a sketch, a cartoon. Dig in, find the real stuff. It's out there, in a club near you, waiting to be heard... Later... S. ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 10:58:03 -0500 From: "Chuck De Paolo" To: , "Trombone List" Subject: Re: Attention bass trombonists: Hary Janos question Message-ID: <00a001c07cb0$722b9100$0200a8c0@ws2> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Jen, Assuming you're talking about the 4th movement, "Battle & Defeat of Napolean" -- according to my handwritten part (I wrote it out from the score in the library many years ago), rehearsal [5] is at the Poco Meno Mosso, which itself is 16 measures after rehearsal [4]. Rehearsal [4] is the "Gliss-to-hi-Ab-and-lip-trill-while-praying" bit in the 4th movement. There are four measures rest right at rehearsal [5] and in the 5th measure is where the big bass trombone solo starts "Gliss low G to trigger C etc." Rehearsal [6] occurs 20 bars after [5] and is where this same tune moves into B major, starting on B top of the staff. If instead you're talking about the 6th movement, "Entrance of the Emporer and his Court," then [5] is where you play Gb top space in the rhythm "dotted quarter - 2 16ths" for 3 measures at forte. [6] occurs 4 measures later and is the same rhythm except now the dotted quarter is marked with a tenute instead of an accent. If you want to hear a good recording of this, refer to the Baltimore/Commissiona recording on Vox from about 12 - 15 years ago. I think Doug's playing on that disc. Hope this helps! (please quote this message if you reply) In Music, ---Chuck General Manager & Webmaster Hickey's Music Center 104 Adams Street Ithaca, NY 14850 607.272.8262 (Phone) 607.272.2203 (Fax) chuck@hickeys.com (E-Mail) http://www.hickeys.com (Website) http://www.weather.com/weather/us/zips/14850.html (Weather) ----- Original Message ----- From: To: "Trombones and related issues forum." Sent: Thursday, January 11, 2001 6:23 PM Subject: Attention bass trombonists: Hary Janos question > > I am practicing. Oh yes, I am practicing, and one of the excerpts on the > list for this upcoming audition gives specific rehearsal numbers for the part > of the excerpt they want. Problem is that the rehearsal numbers on my part > stop at #4 but they are asking for something around #s 5 and 6. I know which > part of the piece is most commonly asked for but I don't know exactly what > they want. I was hoping that someone could assist me in assigning the > missing rehearsal numbers. HELP!@#? > > > Jennifer Wharton > Aspiring musician and professional basket weaver. > > ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 09:58:00 -0600 From: Chris Waage To: Trombone-L Subject: Re: Jazz Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" The funniest thing is that everybody keeps acting like music is a concrete thing, like a building . . . "These men created it...." To me, it's a river. Yep, it starts somewhere, but everything that touches it alters it in some way, for better or worse. It goes faster, slower, shallower, deeper, but no matter what, it keeps moving. Chris Hi all... Regarding this Ken Burns series, all I've got to say is this... Don't trust history...it's never real. I'm not putting this seriesdown here...it's wonderful to see all the clips and hear the players. wonderful that middle and upper middle class mainstream America (and that's PBS's target audience, make no mistake) is getting a view of the first 50 years or so of the music, and ABSOLUTELY wonderful that every serious young American musician who's interested in jazz is sitting in front of the TV (and you can BET they all are) seeing the real players who were involved w/the birth and growth of the music. BUT...it ain't "the truth". Not even close. This music is NOT the creation of a few superstars...the "great man" theory is a very Eurocentric approach, by the way...but a collective art. Hundreds of musicians in New Orleans, thousands and thousands all over the country COLLECTIVELY invented the music. Stanley Crouch came closest so far in giving this picture of it when he talked about the process Duke went through during the early years in NY...he'd write something; someone else would take it and use it another way; Duke would hear THAT and use it yet again in yet ANOTHER context...that's how the music was formed, and that is largely how it's being formed today. Business interests promoted certain artists and leaders as stars...again, nothing taken away from those that WERE promoted...because they thought those particular people could be hyped easily and therefore make a profit for the companies. They chose by LOOKS, by ACT, by APPEARANCE, not by any musical criteria whatsoever. Armstrong rather than Bechet, Whiteman rather than Beiderbecke or Teagarden, Ellington rather than Fletcher Henderson. This process continues absolutely unabated to this day...Wynton Marsalis is their choice of the moment, as was Miles Davis before him. Forgive me for using this language quite so bluntly, but Charles Mingus (a TOWERING musician and composer who scuffled for enough money to produce his work all his life) was once interviewed in his lower East side, rat infested apartment in the 1960s, and was asked something along the lines of "How do you feel seeing Miles Davis raking in the cash while you can barely find work?" He laughed that laugh that does not mean "HA HA" and kinda dropped these immortal words off to one side... "Ahhh, you know, they choose one nigger..." THAT'S what this show is REALLY about, whether it's about black OR white players. It's hype. "Honorable" hype...that is, its true, heartfelt intent is obviously to pay hommage to "jazz" and the musicians that created it, but the people who made the film are creatures of that very hype machine themselves...they HAVE to be, to get the money to produce it. But still hype. So they round up the usual suspects...commentators, critics, academics etc, all of whom have ALSO bought into this picture big time...and out pops the "official" history of "jazz", in beautiful pictorial form. Only that ain't what happened. There is NO real mention of drugs and alcohol...hell, Louis Armstrong is stoned out of his head in almost every shot from the '30s, I'll guarantee...no real investigation into the TOTAL control gangsters of every race exerted over the music and musicians. (It would be worth your life, but if you dug deep enough behind the front men to the real owners and partners of a number of CONTEMPORARY jazz and latin areas...pop music too, you betcha...you'd find men whose job description largely involves baseball bats and guns even today. Believe it...I know some of them personally. I spent 15 minutes this week w/one of them, his arm draped affectionately around my shoulder as he discussed a new club he's opening.) Listen to Louis Armstrong speak of his influences and see the true love and admiration in his eyes for those players. Hear him say "I never wanted to be no high muckety muck" (a rough rendering of something they quoted last night on the series); listen to the OBVIOUSLY largely improvised "arrangements" of the early Fletcher Henderson and Ellington bands and understand how it really happened. Hundreds of musicians, A COMMUNITY OF NEAR EQUALS, started this music, and it exists and grows to this day in much the same form. The musicians in Miles' bands, in Duke's bands, Basie's, Thad Jones', Gil Evans', Machito's, knew what was happening. They didn't sit in awe looking at the "leader" in a spotlight while they tootled around in the background, they played as his equals. Listen to Tricky Sam Nanton's solo in that little short they showed on "C Jam Blues"...cuts everybody in the house (except maybe Ben Webster) using about 6 1/2 notes !!!! Look at him...you think he didn't know how heavy he was ??? You think Ben Webster thought of himself as "less" than Duke, less important to the music being made ? Look at him in that short film; listen. Naaaahhhhh.... There's a recurring theme in jazz history and criticism etc...the sidemen are jealous of the leader; they unjustly criticize him and accuse him of "stealing" their material and so on. The truth...sure egos get inflamed, especially when money and power are concerned, but EVERYBODY was "stealing" from EVERYBODY. Wynton says something to the effect that "Every note ever played in jazz is just some variation of what Louis Armstrong played." Fact is, every note LOUIS played was "just a variation" on what the people HE heard played, people who never got NEAR a microphone. trombonists, tuba players, singers, streetside washboard players, all of them. Again, none of this is meant to disparage either the PBS series or the wonderful musicians who ARE featured in it. I am as awed by Armstrong's and Ellington's music, genius and the sheer mass of their production as any real player must be...but THEY WERE NOT ALONE. They were just the tip of an enormous iceberg, and I want to alert whoever I can that this iceberg continues to float in our cultural seas to this day, as big and strong as ever. This music is STILL a collective art, and it STILL exists in much the same form as it did in the 1920s...different cast of characters, different racial mixture, different business picture...but there are STILL kids coming up from the ghettoes and the suburbs, from the cities and the farms, there are STILL stars and sidemen, and there is STILL very little difference (if any) between the sidemen and the stars in terms of talent or achievement other than those differences that the financial possibilities inherent in stardom confer upon those so chosen by the parasites that largely run things. Remember this while you watch this series, and try to look and listen behind the hype. If Duke had had a crooked nose or one eye all droopy, if Pops had been a shy man, if either ONE of them had been too principled to deal intimately w/murderers on a business level...would they have been any less a "genius"? Or would they have been one of those shadows we now see behind the "star", plying their art on just as high a level, night after night ? " One never knows, do one?" (Fats Waller, some time in the 1930s.) Stop, look, and LISTEN. "Jazz" is a MUCH MUCH MUCH MUCH larger entity than this (or any) series can capture. This series is a sketch, a cartoon. Dig in, find the real stuff. It's out there, in a club near you, waiting to be heard... Later... S. -- _________________________________________ Chris Waage chris@trombone.org Associate Webmaster The Online Trombone Journal http://www.trombone.org ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 11:34:14 -0600 From: "Richard Z. Johnson, Jr." To: "Trombones and related issues forum." Subject: Re: Jazz Message-ID: <002801c07cbd$e5c61100$70cf4fd8@computer> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Damn, Sam!!! Totally awesome post.....and completely true also. There is really nothing that I can add to it. However, I especially appreciate your mentioning that jazz was and is remains a collective effort of more than a few brilliant people. Music companies do promote by looks, act and appearance.....and not necessarily talent. I hate to diss my fellow Louisianaian/homegirl, Britney Spears, but I am sure that every one on this list can think of many other people who have lots more talent but weren't born with the right "pretty" genes to make it big. That being said, some of her songs aren't bad.....in extreme moderation. There is no way to justify Miles becoming an icon and Mingus having to struggle financially. As far as the flaws of our heroes, history rarely if ever tells us about them. But then, should it? Does Louis Armstrong smokng marijuana all the time take away from his musical brilliance? Does Grant's drunkeness take away from his military brillance? As far as the thugs are concerned, there is really no difference in the criminals that controlled the music industry in Armstrong's time than the criminals such as Suge Knight that controlled Death Row Records (a prominent rap level for my more main stream collegues.) Suge is currently in jail and alledgedly forced Tupac Shakur to sign a music contract or face immediate death. Tupac signed the contract and was still killed by unknown assailants....go figure.) Times change bit somehow things always remain the same! ----- Original Message ----- From: To: "Trombones and related issues forum." Sent: Friday, January 12, 2001 9:39 AM Subject: Re: Jazz > Hi all... > > Regarding this Ken Burns series, all I've got to say is this... > > Don't trust history...it's never real. > > I'm not putting this seriesdown here...it's wonderful to see all the > clips and hear the players. wonderful that middle and upper middle class > mainstream America (and that's PBS's target audience, make no mistake) is > getting a view of the first 50 years or so of the music, and ABSOLUTELY > wonderful that every serious young American musician who's interested in > jazz is sitting in front of the TV (and you can BET they all are) seeing > the real players who were involved w/the birth and growth of the music. > > BUT...it ain't "the truth". > > Not even close. > ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 13:11:53 -0500 From: sabutin@mindspring.com To: trombone-l@lists.missouri.edu Subject: Re: Did anyone receive my post "Re: Jazz" this morning? Message-ID: <200101121813.NAA16831@mclean.mail.mindspring.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Well, a coupole of people have just quoted it to me, so it must have gotten through. Sorry... S. ===================== >Date: Fri, 12 Jan 2001 13:09:00 -0500 >To: trombone-l@lists.missouri.edu >From: sabutin@mindspring.com >Subject: Did anyone receive my post "Re: Jazz" this morning? > > Hi all.. > > Did anyone receive my post "Re: Jazz" this morning? Kinda long? > > It didn't appear in my mail... > > If it got lost, I'll resend it. > > S. > ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 10:58:08 -0800 From: "Gary D. Maxwell" To: sabutin@mindspring.com Cc: "Trombones and related issues forum." Subject: Re: Did anyone receive my post "Re: Jazz" this morning? Message-ID: <3A5F53C0.B59F46FC@bcsd.k12.ca.us> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit It got through, and what post it is. I suggest you add it to the next edition of your "Method" book. (:>)) GREAT POST. Gary Maxwell Bass Trombone Bakersfield Symphony Orchestra ============================================== sabutin@mindspring.com wrote: > > Well, a coupole of people have just quoted it to me, so it must have > gotten through. > > Sorry... > > S. > > ===================== > > >Date: Fri, 12 Jan 2001 13:09:00 -0500 > >To: trombone-l@lists.missouri.edu > >From: sabutin@mindspring.com > >Subject: Did anyone receive my post "Re: Jazz" this morning? > > > > Hi all.. > > > > Did anyone receive my post "Re: Jazz" this morning? Kinda long? > > > > It didn't appear in my mail... > > > > If it got lost, I'll resend it. > > > > S. > > ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 14:01:47 -0500 From: "Darren Jukes" To: "Trombones and related issues forum." Subject: Jazz - Ken Burns Message-ID: <002301c07cca$1da0f660$9c70d1d8@b1gsur79> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0020_01C07CA0.34030A80" List, I recently heard an interview on the CBC (Canadian Broad. Corp) with Ken Burns. Very interesting and i wish all of you could have heard it (Check out www.cbc.ca) He seemed to have approached this series with a simple, child like curiosity. He was not an expert on jazz when he began this documentary. Ken also clearly stated that it was not his intention to present an encyclopedia of the genre. It's obvious that this would be an impossible project - so lets not even discuss it. So instead he tried to present some milestones of artistry (the first, last etc..) and place. I think Ken's motivation for the series was to reintroduce jazz or introduce it to someone who may be totally unfamiliar with jazz. It seemed to me that he would consider it a triumph if only one person walked away from the series and straight into the record store. The last thing he said in the interview was how happy he was that the interviewer played the clips Ken brought in their entirety. He said it made is day. My 2 cents Darren Jukes ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 12:03:50 -0700 From: Earl Needham To: trombone-l@lists.missouri.edu Subject: Re: Did anyone receive my post "Re: Jazz" this morning? Message-ID: <4.2.2.20010112120048.00aa5830@127.0.0.1> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 10:58 AM 1/12/01 -0800, Gary D. Maxwell blasted the following out into the ether: It got through, and what post it is. I suggest you add it to the next edition of your "Method" book. (:>)) My first thought was "I'll just print it out and put it in the back of the method book myself". Then I realized -- I've been saving posts from several people for quite some time. I have over 1,000 from Sabutin, and over 1200 from Doug Yeo! I even 146 from JJ Johnson and 149 from Eliezer Aharoni. Perhaps I should print them all out, in 4 chapters, and have them published! Seriously, just kidding, but the DO make a wonderful read... Earl Earl Needham, KD5XB mailto:KD5XB@AMSAT.ORG Clovis, New Mexico DM84jk N34d 25.446m W103d 12.700m (or so) Pet peeve: breath is a noun, breathe is a verb (When you take a breath, you breathe...) ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 13:23:33 -0600 From: "Guion, David" <8guion@jmls.edu> To: "'trombone-l'" Subject: RE; Jazz Message-ID: MIME-Version: 1.0 Content-Type: text/plain I'm forwarding this post from another list, as it relates to one of our current threads. ^*^*^*^*^*^*^*^*^*^^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ David Guion, Cataloger John Marshall Law School 315 S. Plymouth Ct. Chicago, IL 60604 Voice: (312) 427-2737 x 552 Fax; (312) 427-8307 Should part-time band directors be called semi-conductors? ^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ > ---------- > From: Rebecca J Littman[SMTP:rlittman@CSD.UWM.EDU] > Reply To: Rebecca J Littman > Sent: Friday, January 12, 2001 1:13 PM > To: MLA-L@LISTSERV.INDIANA.EDU > Subject: NYTimes Editorial > > There is an interesting editorial by Robert Hurwitz, president of Nonesuch > records, about the position of jazz and classical music in the music > industry. > > You need to have a logon with the Times to read the article, but it's a > free logon. The direct URL for those who are signed up is: > > http://www.nytimes.com/pages/opinion/index.html > > -Rebecca > > =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- > Rebecca J. Littman, Head ][ phone: 414/229-5529 > Music & Sound Recording Collection ][ email: rlittman@uwm.edu > Golda Meir Library ][ web: http://www.uwm.edu/Library/Music > University of Wisconsin, Milwaukee ][ fax: 414/229-5687 > =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- > > ************************************************************************* > To leave MLA-L, send the command SIGNOFF MLA-L to > LISTSERV@LISTSERV.INDIANA.EDU or send an e-mail message to > MLA-L-request@LISTSERV.INDIANA.EDU. To suspend mail temporarily, send the > command SET MLA-L NOMAIL to LISTSERV@LISTSERV.INDIANA.EDU. The MLA > homepage is located at http://www.musiclibraryassoc.org/ > ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 14:51:36 -0500 From: Douglas Yeo To: "Trombones and related issues forum." Subject: Louis Armstrong...trombonist? Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Last night I purchased the 5 CD "soundtrack" to the Burns "Jazz" series on PBS. The price was good, the collection is interesting, but I also bought it for the pictures in the book inside. If anyone else on the list has bought it (it was $39.99 at Tower in Boston), turn to page 3 of the book. There, at the top of the page, is a photo (not dated) of "King Oliver's Creole Jazz Band." All the usual suspects are there, including Louis Armstrong, who happens to be kneeling on the floor with a trombone in his hand. That's right, a trombone. I can't figure the instrument out for the life of me, it looks like a very small instrument, but certainly not an alto trombone, but much smaller in overall length and size than the trombone held by Honore Dutrey. So, I went looking through my bookshelves and I found the same photo on page 62 of "LOUIS: The Louis Armstrong Story" by Max Jones and John Chilton. Then, on page 59 of THAT book, there is another photo with the same trombone, but it rests on the floor in front of a seated Armstrong (with a mute that looks like it fits in that horn - very strange instrument, very small, like a slide trumpet in the shape of a trombone - but not a historic slide trumpet shape). What's the instrument? Did Armstrong actually PLAY trombone at any time? The photo credits in the back of the book say it is from the "Frank Driggs Collection." Any clues? Wondering... -Doug Yeo ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 15:11:22 -0500 From: "Tom Bauer" To: Subject: Spacefiller Message-ID: MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="----=_NextPart_000_001A_01C07CA9.EC678B60" I like Spacefiller Blue for Thayer valves, but I'm out and having a hard time finding anyone with it in stock. Does anyone know why its in such short supply, and where I can find some. Thanks, Tom Bauer tombauer@netzero.net ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 20:19:54 -0000 From: "Christopher Smith" To: yeo@yeodoug.com, trombone-l@lists.missouri.edu Subject: Re: Louis Armstrong...trombonist? Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Doug, It's some sort of a slide trumpet/slide cornet. Louis never made a recording with it, and there's no testimony that anyone ever heard him play it. It was likely just something they did to liven up the photos. You'll notice in a lot of those band photos of the period, the guys seem to have every instrument and mute they ever owned in a pile up there on the bandstand. I don't have the documentation on this info, but I know it's the facts. I play with a group (James Dapogny's Chicago Jazz Band) in which half the guys are jazz scholars as well as excellent players, and they've confirmed the Louis/slide instrument story for me at some time in the past. Louis DOES take a slide whistle solo on a tune I can't recall (it's in those reissued sessions you just bought) and that's quite nice. I'm sure if he ever tried to play slide trumpet/trombone it would have been very enjoyable to hear. That Creole Jazz Band photo is a very famous and oft-reprinted one. I used to wonder about it and still get asked about it quite often on gigs. Chris www.geocities.com/~christo _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 13:24:53 -0800 From: "Dennis Clason" To: , "Trombones and related issues forum." Subject: Re: Louis Armstrong...trombonist? Message-ID: <007b01c07cde$1ad49fe0$0d2b7b80@nmsu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > All the > usual suspects are there, including Louis Armstrong, who happens to > be kneeling on the floor with a trombone in his hand. That's right, > a trombone. I can't figure the instrument out for the life of me, it > looks like a very small instrument, but certainly not an alto > trombone, but much smaller in overall length and size than the > trombone held by Honore Dutrey. So, I went looking through my > bookshelves and I found the same photo on page 62 of "LOUIS: The > Louis Armstrong Story" by Max Jones and John Chilton. Then, on page > 59 of THAT book, there is another photo with the same trombone, > What's the instrument? > Any clues? Doug, Louis was credited as playing 'slide cornet' on several King Oliver recording dates. My stuff about Louis isn't here -- they're on loan to my brother, so I can't check the dates and cuts, but I do remember that much. I've seen the pictures you're referring to in Jones and Chilton. My best guess is that it's a soprano trombone that Louis picked up somewhere. They were made then (as now) as novelty instruments. On another note, watching Burns has led me to wonder what the trumpet is that Louis was playing while he was with Henderson. I've not seen one with the valves mounted that far forward before. Dennis ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 20:40:38 -0000 From: "Christopher Smith" To: yeo@yeodoug.com, trombone-l@lists.missouri.edu Subject: Louis...trombonist? photo links Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hi again, Here's some links to photos of Armstrong with the sliding brass instrument: with King Oliver (instrument is only partially discernable): http://www.redhotjazz.com/kingocjbinfo.html with Fate Marable's riverboat group: http://www.redhotjazz.com/fateinfo.html and the first picture Doug saw (also with Oliver): http://www.riverwalk.org/profiles/oliver.htm Later, Chris www.geocities.com/~christo _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 12:25:23 -0800 From: "Joe L. Norcross" To: , "Trombones and related issues forum." Subject: Re: Louis...trombonist? photo links Message-ID: <013b01c07cd5$cc4ab420$3137a5d1@computer> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit In the third shot, you can clearly see a cornet at Armstrong's feet Joe L. Norcross Tuba: Visalia CA Sequoia Winds, Visalia Brass Band Tuba and Announcer: Kingsburg City Band joetuba@lightspeed.net ----- Original Message ----- From: "Christopher Smith" To: "Trombones and related issues forum." Sent: Friday, January 12, 2001 12:40 PM Subject: Louis...trombonist? photo links > Hi again, > > Here's some links to photos of Armstrong with the sliding brass instrument: > > with King Oliver (instrument is only partially discernable): > http://www.redhotjazz.com/kingocjbinfo.html > > with Fate Marable's riverboat group: > http://www.redhotjazz.com/fateinfo.html > > and the first picture Doug saw (also with Oliver): > http://www.riverwalk.org/profiles/oliver.htm > > Later, > > Chris > www.geocities.com/~christo > _________________________________________________________________ > Get your FREE download of MSN Explorer at http://explorer.msn.com > > > ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 15:54:51 -0500 From: Douglas Yeo To: trombone-l@lists.missouri.edu Subject: More on big bands (was Armstrong) Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Thanks, Dean, Chris, Dennis, all - good thoughts on Armstrong and the slide cornet. Sure would be fun to find a recording of him playing it.... All very interesting. Now, next question - it seems that nearly EVERY big band photo you see from the 20's and 30' (and some later) always have a BASS saxophone. You saw it on the latest installment of "Jazz" in the segments on Bix Beiderbecke and Frankie Trumbauer - photos of them had Trumbauer with this monster of a bass sax mouthpiece right near his head. I've seen and heard this instrument before (Richard Strauss wrote for a quartet of saxophones - soprano, alto, baritone and bass - in his "Sinfonia Domestica"). Ellington also had one. But were they actually PLAYED in the bands, or are they just impressive props? Did it possibly have to do with recording needing a heavier bass sound? Still wondering. -Doug Yeo ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 21:13:55 -0000 From: "Christopher Smith" To: yeo@yeodoug.com, trombone-l@lists.missouri.edu Subject: Re: More on big bands (was Armstrong) Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Doug, Yes, bass saxes were played quite extensively as a bass instrument and probably to a lesser extent as a solo instrument. Until the amplification of the string bass made it a more flexible and less strenuous bass instrument, the tuba (usually sousaphone or recording tuba) and bass sax were the bass instruments of choice in dance bands. The bass sax especially has a penetrating textural sound and fills a large ballroom quite easily. A friend of mine owns TWO bass saxes and pulls one out every now and then. They're lots of fun until you have to move them........ Go to www.redhotjazz.com and check out Adrian Rollini, considered the paragon of bass saxists. He also played some other wacky instruments including the "goofus" and the "hot fountain pen". There are numerous recorded examples of Rollini's playing on that site. Rollini was a brilliant musician and I try to play the sousaphone like he played the bass sax. Vince Giordano and Scott Hamilton, in NYC, are two modern-day musicians who play the bass sax regularly. I think Robinson was also called to play a contrabass sax at a special event in NY in the past few years. On a gig we were both on a couple of years ago in Pennsylvania, Vince drove from NYC with his string bass, tuba AND bass sax to to the concert. We managed to work in solos for him on all three instruments on one tune! Gotta run to my gig now, Chris www.geocities.com/~christo _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 15:42:30 -0600 From: Bob Koester To: yeo@yeodoug.com Cc: TROMBONE-L@LISTS.MISSOURI.EDU Subject: Re: More on big bands (was Armstrong) Message-ID: <3.0.1.32.20010112154230.006ec6d4@mail.spidertel.com> MIME-version: 1.0 Content-type: text/plain; charset="us-ascii" At 03:54 PM 1/12/2001 -0500, you wrote in part: > >Now, next question - it seems that nearly EVERY big band photo you >see from the 20's and 30' (and some later) always have a BASS >saxophone. But >were they actually PLAYED in the bands, or are they just impressive >props? Probably both although there have been some notable bass saxophonists...Trumbauer and Adrian Rollini coming immediately to mind. It would not have been completely uncommon to find them as a tuba substitute, or even in some cases a string bass substitute. Two of our local reed players here in Kansas City own them and use them on dixieland jobs. Both tell me that their research indicates that the bass sax was much more widely used than we might think. Their reasoning is that as bands travelled and people moved in and out, there were always enough reed players to go around so someone could play the bass sax. That way, the low horn part was covered if they were short a tuba player, or the bass player didn't double tuba...by the way that used to be extremely common. I vaguely remember hearing about Joe Tarto writing for the bass saxophone & tuba in much the same way as we now think about the baritone sax & bass trombone relationship. Another idea that might support some level of bass sax use would be that as I recall, baritone saxophones of the '20's & '30's didn't have low A keys. So, any concert C would have to be played on something else. If that note was an essential part of the voice leading of a particular section, the bass saxophone would likely have gotten the call. However, since everything has it's limitations, it's hard to imagine the bass saxophone either (a) being paraded around as part of a half-time show; (b) being the 5th "Brother"; or (c) getting through more than about a bar-and-a-half of Donna Lee without being a mile behind. Best to all. Bob Did it possibly have to do with recording needing a heavier >bass sound? > >Still wondering. > >-Doug Yeo > ********************************************** > * Douglas Yeo * > * Bass Trombonist, Boston Symphony Orchestra * > * Music Director, The New England Brass Band * > * yeo@yeodoug.com * > * http://www.yeodoug.com * > * <>< * > ********************************************** > > > _______________________ bob koester mediation services, inc. bkoester@fixbusinessdebt.com ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 22:54:56 -0000 From: "Kevan Lomas" To: "Trombone List" Subject: How to treat a new slide Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Hello to the list The second trombone player in my concert band was lucky enough to have a Conn 8 for Christmas from her husband. The slide seems to be taking a while to loosen up. Any advice members of the list can give with regard to cleaning the slide and initial treatment will be most gratefully received. If this has been covered before please reply off list Thanks and a belated happy new year to all Regards Kevan Lomas Bass trombone Warrington England kevan.lomas@virgin.net Nil significat nisi oscillat ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 18:49:06 -0500 From: "Jac Grimes" To: , "Trombones and related issues forum." Subject: Re: How to treat a new slide Message-ID: <005901c07cf2$407f7a80$a8c65818@triad.rr.com> MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Kevan et all, When I picked up my King 3b it had been sitting in a closet for 15 years. After cleaning it with dish detergent, it still had a "sticky" spot at about 5th position. I checked the slide for dents, none. I checked the alignment of the inner tubes, straight to the eye. So here's what I did. I polished the chrome of the inner slides with Brasso. Brasso will leave a gritty and somewhat oily residue, no matter how much you polish it, so I cleaned the inner slide with rubbing alcohol to remove all the oil and grit. I use superslide cream and water as follows. Rub a little on the end of your finger and grease up the lower stockings only. Work the outer slide against it to transfer the cream, then lightly clean the cream off the entire inner slide. It will leave a little but shouldn't appear white. Put a drop of accelerator on each inner slide and work the outer slide back and forth. Finally spray with water and enjoy. I'm putting on flame proof shorts but I stand on the conviction that in two years the only slide I have found slicker was a new Shires Bass using tromboline. -Jac ----- Original Message ----- From: "Kevan Lomas" To: "Trombones and related issues forum." Sent: Friday, January 12, 2001 5:54 PM Subject: How to treat a new slide > Hello to the list > > The second trombone player in my concert band was lucky enough to have a > Conn 8 for Christmas from her husband. The slide seems to be taking a while > to loosen up. Any advice members of the list can give with regard to > cleaning the slide and initial treatment will be most gratefully received. > > If this has been covered before please reply off list > > Thanks and a belated happy new year to all > > Regards > > Kevan Lomas > > Bass trombone > Warrington > England > > kevan.lomas@virgin.net > > Nil significat nisi oscillat > > > ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Sat, 13 Jan 2001 02:29:28 +0200 From: hanstrombonist@ananzi.co.za To: "Trombone-L" Subject: Re: More on big bands (was Armstrong) Message-ID: <004401c07cf7$e5a5f980$7340ef9b@win98pc> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Now I'm just wondering what happened to that instrument - where could it be? Hans ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 21:44:12 -0500 From: "John Olsson" To: "Trombone List" Subject: Edwards tenor (parts)for sale Message-ID: <020901c07d0a$b84a5cc0$06fc3218@wre.adelphia.net> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Listers! I have an Edwards Tenor for sale. Valve section (Thayer type) $900 (this valve section was re-assembled by a local craftsman, the same guy who re-assembled and tweeked the horn of the new Principal trombone of the Montreal Symphony prior to the recent audition). The best playing EdwardsThayer valve I've ever played. Orchestral Weight slide-$525 Excellent action Short Yellow Tuning slide $105 I don't currently have a bell to sell but a friend of mine may have one if you need one. John Olsson jolsson@adelphia.net ~~~~~~~~~~~~~~~~~~~~~~~~ Instructor of Trombone Kent State University-Stark Campus Malone College Mt. Union College West Liberty State College ~~~~~~~~~~~~~~~~~~~~~~~~ Canton Symphony Orchestra Wheeling Symphony Orchestra Sounds of Sousa Band ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 20:24:02 -0600 From: "Chad Horsley" To: Subject: Double Radius Tuning Slides Message-ID: <008801c07d07$e5a34720$3996fea9@nch1> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0085_01C07CD5.9A8A3140" I just wanted to get everyones opinion on Double Radius Tuning Slides. They usually help you in the upper register and compact your sound a little. Thanks ---------------------------------------------------- Chad Horsley tbneplyer@mindspring.com AIM....tbneplyer ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 22:10:39 EST From: BJMCHAFFIE@aol.com To: hans@ananzi.co.za, trombone-l@lists.missouri.edu Subject: Re: More on big bands (was Armstrong) Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hans it could be screwed to the wall somewhere in a restaruant as that is now the rage in decoration. beldon wade ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Fri, 12 Jan 2001 23:22:01 -0500 From: "Tricky Sam" To: "Trombone-L" Message-ID: MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="----=_NextPart_000_0002_01C07CEE.78587E60" I recently damaged the slides on both of my trombones, and I canÕt find anyone in my area who can do the repairs cheaply and quickly and competently (itÕs the old engineerÕs saw, you can only pick two). I was wondering about the possibility of fixing the slides myself until I can have someone attend to it. If I were to take a properly sized piece of metal (aluminum, brass?) stock, rounded on one end and tapped on the other for easy removal, would I be able to insert it into the inner slides without damage? If so, can I find the specifications for my horn somewhere, or do I have to find some ID calipers? The method I would employ: 1: Determine inner diameter of inner slides 2: Purchase stock about .002 in smaller. 3: Round and tap stock. 4: Insert lubricated stock into inner slides. 5: With stock in, replace outer slide. 6: Work outer slide back and forth. 7: Remove stock. 8: Clean trombone. Will this get me by for a month or so? Is there anything I need to be aware of, like special coatings that could be damaged by this process? Tips on how to do it if this method wonÕt work? Cstrickland ----__ListProc__NextPart____TROMBONE-L__digest_1921 Date: Sat, 13 Jan 2001 10:35:11 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: More on big bands (was Armstrong) Message-ID: <004701c07d4c$b2b27440$238368d5@q9y6f8> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Douglas Yeo" To: "Trombones and related issues forum." Sent: Friday, January 12, 2001 8:54 PM Subject: More on big bands (was Armstrong) > Now, next question - it seems that nearly EVERY big band photo you > see from the 20's and 30' (and some later) always have a BASS > saxophone. You saw it on the latest installment of "Jazz" in the > segments on Bix Beiderbecke and Frankie Trumbauer - photos of them > had Trumbauer with this monster of a bass sax mouthpiece right near > his head. I've seen and heard this instrument before (Richard > Strauss wrote for a quartet of saxophones - soprano, alto, baritone > and bass - in his "Sinfonia Domestica"). Ellington also had one. But > were they actually PLAYED in the bands, or are they just impressive > props? Did it possibly have to do with recording needing a heavier > bass sound? In the early jazz bands, I believe the bass sax was frequently used as a rhythm instrument, playing such lines that would otherwise be found on the sousaphone, and later, string bass parts. It was able to play more colourful and florid bass lines than the other bass instruments and I have certainly heard it played as an impro instrument (Adrian Rollini). The last band I know of that used the bass sax was Stan Kenton's. Here tho', it was used to give more depth to the sax section. One good example track is "Rueben's Blues" (I forget which album). It was later replaced by a 2nd baritone sax with low A (concert C) extension. Pity really, I think the bass is great for that gutsy Kenton style sax writing. A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk www.adios.co.uk ----__ListProc__NextPart____TROMBONE-L__digest_1921--