Subject: TROMBONE-L Digest - 28 Jan 2003 to 29 Jan 2003 (#2003-29) Date: Thursday, January 30, 2003 12:00 AM From: Automatic digest processor Reply-To: "Trombones and related issues forum." To: Recipients of TROMBONE-L digests There are 31 messages totalling 1327 lines in this issue. Topics of the day: 1. LA Times: The music's difficult, so is the life 2. Wired Magazine: The Year The Music Dies (6) 3. Acid Bleeding 4. Big band broadcast (2) 5. bell shaping (4) 6. Pittsburgh Sym Troubles 7. Lawler Trombone website 8. Wanted: Bach 42B Parts 9. MPTF was RE: [TBN-L] Wired Magazine: The Year The Music Dies (3) 10. T-horns? 11. The President's Note Cut Initiative 12. TuneUp (2) 13. MI Trombone Events: Tbns. Costa Rica/McChesney/Kagarices 14. unions, recordings, MPTF was wired article (3) 15. Doug Yeo recital - Feb 15 16. Purviance Mouthpiece 17. Band of the Grenadier Guard ---------------------------------------------------------------------- Date: Wed, 29 Jan 2003 01:27:57 -0700 From: Doug Crane Subject: LA Times: The music's difficult, so is the life ALL THAT JAZZ The music's difficult, so is the life By Don Heckman Special to The Times January 24 2003 The life of a jazz musician is not an easy one. And that, of course, is a sentence that will not exactly be enlightening to any of the practitioners of the improvisational art. But the question of how difficult it can be has always been a matter of anecdotal information: a benefit for this player to cover medical costs; the revelation that a well-known artist from an earlier era has been homeless; the pay scales that haven't changed at anything approaching the rate of inflation. Now, however, some factual information has finally arrived. And it is both disturbing and edifying. "Changing the Beat: A Study of the Worklife of Jazz Musicians" was prepared by Joan Jeffri and the Research Center for Arts and Culture under a cooperative agreement with the National Endowment for the Arts and the San Francisco Study Center. "Volume 1: Executive Summary" has just been published. Volumes 2 and 3 will be available in the spring. The study, conducted in 2000, examined the lives of jazz musicians in four cities: New York, New Orleans, San Francisco and Detroit. (The Detroit results did not match the statistical standards of the others and will be published in a separate volume.) Two surveys provided most of the information. The first was a conventional random sampling of musicians in the American Federation of Musicians (AFM). The second used a kind of referral networking in which jazz musicians referred interviewers to other jazz musicians who then provided further referrals. The study calls this process respondent-driven sampling (RDS). The musicians included in the study were those who answered positively to the question, "Do you ever play or sing jazz music?" That's obviously an extremely broad way to define jazz musicians, but the results nonetheless provide a picture that is for the most part consistent with what happens, day in and day out, in the jazz world. There were differences between the two groups. The union-based musicians were, according to the study, "older, more likely to be white, more likely to be male and earned higher incomes than their RDS counterparts." They were also more likely to be employed full time and have health-care coverage. Although the study does not say as much, the differences also trace to its broad definition of a jazz musician. It seems apparent that the AFM musicians were also more likely -- except for the nationally known artists -- to be part-time jazz artists, balancing their playing in that genre with active schedules of commercial studio work, backup gigs, dance gigs, etc. RDS respondents -- younger on average, with larger percentages of women and African Americans -- appear more directly connected to the music, less plugged into the commercial music world. The differences in income between the AFM and the RDS musicians further underscore the relative security of employment within the union framework. For example, 62% of AFM players reported earning less than $40,000 annually; 91% of RDS players earned less than $40,000. (In San Francisco, nearly 66% of the RDS players earned less than $7,000.) Continuing the pattern, more than 77% of AFM musicians have retirement plans; 57% of RDS players did not have plans. Eighty-eight percent of AFM musicians had some sort of health coverage; more than 66% of RDS players had none. The study offered a more surprising -- if, at the bottom, equally disturbing -- revelation in its description of education levels among jazz musicians. In both the AFM and the RDS groups, more than 40% hold bachelor's degrees or higher. But their earnings, relative to the income of comparably educated workers in the overall population, were considerably lower. Average earnings in 1999 for men with bachelor's degrees was $52,000 annually, considerably higher than the jazz musicians' incomes noted above. So what does all this mean? Despite a generally high average level of education, despite the endless hours of study and practice that are required to succeed in a creatively competitive field, the remuneration is as much as a third below that of other professions. And that's without the security of pensions and health insurance. What's to be done about it? One of the most interesting segments of the study describes some of the suggestions offered by the about 2,700 jazz musicians who were interviewed. A few of those suggestions: "access to affordable health and medical care"; "revitalization of the union, especially those policies that would allow jazz musicians to get pensions"; "more emergency relief agencies like the Musicians Emergency Fund"; "programs to help jazz musicians learn to manage their own careers"; "grants going toward grass-roots efforts [such as] the CETA program in the 1970s and Chamber Music America's jazz ensemble grants"; and "a nonprofit independent music distribution company for artists' recordings." Good ideas, all of them. But they are unlikely to be acted on until an appropriately funded organization is established with a mission to solve the very real problems identified in this valuable study, rather than to produce yet another meaningless awards show. The perpetuation of this art -- an extraordinary American accomplishment -- needs and deserves all the practical help it can get. Volume 1 can be read in its entirety at www.nea.gov/pub/ResearchReports.html. * Riffs Speaking of appropriate funding, the Coca-Cola Co. is donating $10 million to Jazz at Lincoln Center to help build the Frederick P. Rose Hall, a performing arts center designed specifically for jazz. Similar corporate funding for jazz musicians' health and welfare benefits might not have the same PR sizzle as an association with Jazz at Lincoln Center, but it would go along way toward healing some chronic problems.... Live performance DVDs would seem to be a natural for jazz, an opportunity to both see and hear great artists in action. But the industry has been a bit slow in gearing up with product. Naxos/TDK Jazz Club, however, has released a group of four unusually appealing performances from '70s and '80s European concerts: "Art Blakey's Jazz Messengers" (Umbria, 1976), "Gil Evans and His Orchestra" (Lugano, 1983), "Billy Cobham's Glass Menagerie" (Riazzino, Switzerland, 1981) and "World of Rhythm Live" with Herbie Hancock, Ron Carter and Billy Cobham (Lugano, 1983). If you want other stories on this topic, search the Archives at latimes.com/archives. For information about reprinting this article, go to www.lats.com/rights. -------------------------------------------------------------------------------- Copyright 2003 Los Angeles Times ------------------------------ Date: Wed, 29 Jan 2003 01:29:39 -0700 From: Doug Crane Subject: Wired Magazine: The Year The Music Dies Wired Magazine Issue 11.02 - February 2003 The Year The Music Dies Record labels are under attack from all sides - file sharers and performers, even equipment manufacturers and good old-fashioned customers - and it's killing them. A moment of silence, please. By Charles C. Mann Not long before his sudden death from a heart attack, I saw Timothy White at a party in Boston, standing by the bar in his usual bow tie and white bucks. When he waved me over, I was delighted: Timothy was not only the editor of Billboard but a respected music critic and biographer. Even the executives he often took to task conceded, with a wince, that he understood the secretive, confusing business better than almost anyone. "How much you want to bet that the entire music industry collapses?" he asked me. "And I mean soon - like five, ten years. Kaboom!" Truth is, it may happen even sooner. This year could determine whether the music business as we know it survives. In the first six months of 2002, CD sales fell 11 percent - on top of a 3 percent decline the year before. Sales of blank CDs jumped 40 percent last year, while the users of Kazaa, the biggest online file-trading service, tripled in number. Meanwhile, the labels' new legitimate online music services attracted fewer paying customers than the McDonald's in Times Square. As recently as 10 years ago, the media conglomerates that own record labels regarded them as cash cows - smaller than Hollywood but more reliably profitable. Now all five major labels are either losing money or barely in the black, and the industry's decline is turning into a plunge. In the next year, whether together or separately, the labels will have to set about totally reinventing the way they do business, a horribly difficult task for any institution. To leap the hurdles posed by digital technology, the industry must find a way to make money selling downloaded music on a per-track basis, allow in-store CD burning, slash recording costs with cheap software and hardware, and change artists' contracts to reflect the new economic reality. Doing any one of these will be next to impossible. Doing all of them would be one of the more amazing turnarounds in business history. The record labels blame piracy for their woes. And they're right - in part. Before writing this paragraph, I logged on to Kazaa. At 10 on a Monday morning, hardly peak time, 3.1 million people were on the network - more simultaneous users than Napster ever had in its heyday. At least a hundred copies of every song on the Billboard Hot 100 were available for download. So were 13 out of 15 tracks on Mariah Carey's new CD, which wouldn't hit stores for another three weeks. And that's not even counting the discs sold on every street corner from the Bronx to Beijing. The industry rightly believes that if it can make file-swapping more difficult, and legitimate online services easier and less expensive, it can turn the kids on Kazaa into paying customers. Pursuing this two-pronged approach, the companies are spending millions on their own Internet services (pressplay from Universal and Sony; MusicNet from BMG, EMI, and Warner), on lawyers to chase away pirates and peer-to-peer networks, and on anti-piracy ads featuring the likes of Britney Spears. But this won't be enough. To survive, the industry will need the active assistance of friends it doesn't have. The labels may be able to kill Kazaa, but they won't be able to stop even more decentralized networks like Gnutella without help from Internet service providers, cable operators, and telephone companies. All their efforts to get DVD-like protection for CDs ultimately depend on the goodwill of hardware manufacturers and Capitol Hill. The online subscription services will flounder without cooperation from performers, songwriters, and record stores. And the ability of Britney to change the hearts and minds of music fans depends on public sympathy. That sympathy is in short supply. Rightly or wrongly, record companies are detested by politicians (for corrupting youth), by webcasters (for demanding royalties), and by their customers (for inflating prices). Musicians and songwriters are famous for loathing the labels, and many have resisted licensing their songs to MusicNet and pressplay. (Both are under investigation for possible antitrust violations.) Radio and MTV aren't in the industry's corner; the labels, through "independent promotion" programs, effectively have to pay them to broadcast music. And the electronics industry's attitude toward the labels is summed up by an Apple slogan: Rip. Mix. Burn. Which, a music executive once told me, translates into "Fuck you, record labels." Even the music trade's corporate masters are torn. Until the 1980s, most labels were controlled by eccentric, sometimes thuggish entrepreneurs who had their whole lives bound up with selling albums. In the past two decades, every big label has been swept up into one of five major groups: Universal, Warner, Sony, BMG, and EMI, which together control about 75 percent of global recorded-music sales. Despite their dominance, though, the majors are merely duchies in large media empires with other, often conflicting, priorities. Last year, the Big Five together sold about $20 billion worth of music. Meanwhile, Sony alone saw about $42 billion in electronics and computer sales. If Sony wants to sell MP3-capable cell phones - a big thing in Japan and potentially worldwide - how much attention will it pay to Sony Music's protests? Similarly, AOL Time Warner is desperately trying to resuscitate AOL by selling high-speed Internet access. Yet one of the main uses for high-speed connections is downloading free music - something that Warner Music sees as a deadly threat. Bertelsmann, the German media titan that owns BMG Music, cared so little about its music division that the company invested millions of dollars in Napster, accepting along the way the outraged resignation of its two main music executives. Worse, at a time when bold thinking is required, the industry, once the province of entrepreneurial risk-takers, is increasingly managed by bean counters focused on short-term survival. Too often, the response to problems is throwing lawyers and money at them, then ducking responsibility. Why, when most industries are using technology to slash costs, is Michael Jackson running up $30 million in studio bills? Or, rather, why is Sony Music letting him? Career protection. By using the hottest producers and recording studios, executives can deflect failure ("We got the Neptunes, what else could we have done?") and allay their fears artists will blame them for a flop ("That track would've got some air, but the Suits wouldn't shell out $50,000 to clear the Zeppelin sample"). Because the costs are billed against the musicians, there's little incentive to save money. For years, the safest path to success in the music business has been to hunt the teen market. But by ignoring career artists at the expense of the latest trends, the labels have lost touch with wide swaths of society. Ultimately, Timothy suggested to me that night, the industry as we know it could vanish not so much because of technology but because few people over the age of 30 would care if it did. "I can't believe that the business I've spent my life with could be about to disappear," he said. "And I also can't believe it's happening so fast." If the industry collapsed, as he predicted, would artists and listeners be better or worse off? After a brutally difficult transition musicians and fans might on the whole benefit. The star-making machinery may crumble, but people will still pay for music, whether it's live, licensed, or digitally delivered (at a competitive price). Look at the bluegrass and gospel circuits, which provide long careers and middle-class lives to some of America's greatest performers. Look at the techno bands that are winning an audience by selling their music to advertisers. And look at artists like Phish, Prince, and Wonderlick, who are trying to use the Internet to deal directly with their fans and bypass the middleman. To be sure, today's middleman does a lot of good, too. Fans taught by two generations of rock and roll to loathe the Suits don't appreciate the enormous contributions of producers and A&R executives (think Ahmet Ertegun or Russell Simmons). And the labels perform the invaluable function of backing young performers financially as they begin their careers. But in a post-label world, musicians might find other ways to get this help, from the American Idol model (building recognition as part of a corporate campaign) to the Broadway show model (getting ad hoc groups of small investors to provide funds). Eliminating the big-label overheads could cut the cost of making music, too, enlarging the pool of contenders and democratizing the process. All of these models would produce fewer global superstars and more locally successful musicians. We might not see another Michael Jackson circa 1982, but we also wouldn't see another Michael Jackson circa 2002. Not a bad tradeoff. When I made these suggestions to Timothy, a habitual skeptic about the music industry, he wasn't convinced: He didn't think that the people he talked to every day were up for a revolution. It could happen, I argued. He clapped me on the shoulder agreeably. "In any case," he said, "we're about to find out." ------------------------------ Date: Wed, 29 Jan 2003 09:48:42 -0000 From: Adrian Drover Subject: Re: Acid Bleeding The worst case I have seen of damage done by acid bleed I think was in the movie "Alien". Burned through half a dozen decks of the space craft. A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ------------------------------ Date: Wed, 29 Jan 2003 12:26:07 -0000 From: Adrian Drover Subject: Big band broadcast As I was once reprimanded for not keeping the list informed, I thought I'd better let you all know that two of my charts were featured on last Monday's BBC Big Band Special. The BBC Radio Big Band joined forces with the London Session Orchestra accompanying singer Jane Monheit on a live recording. The band and orchestra are directed by trombonist, Jiggs Whigham. You can listen to this programme at any time. Listen especially to British trombonist, Andy Wood. Link follows: http://www.bbc.co.uk/radio2/ Click on "Listen", then "Big Band Special". A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ------------------------------ Date: Wed, 29 Jan 2003 07:41:25 -0500 From: richardt@LEE.ARMY.MIL Subject: bell shaping Walter comments, "Well, my 682 has some bleeds at the rim of the bell, so I'd assume that is soldered. The main reason that they weld the bells (plazuma welding is what they call it) is to make the bell as close as possible to the ideal, which would be a one piece bell, with NO seams. Since that would be impossible/impractical/not cheap, they join the seam with brass, " and a wacko idea smashes through my forebrain. Only fair, it's been a full 8 minutes since the last one. There would appear to be a very easy and possibly economical way to make one piece bells with no seams. Explosive forming, same way we make coins. If it's cheap enough to do a penny, should be economical on trombone bells. And what fun! ------------------------------ Date: Wed, 29 Jan 2003 07:25:08 -0600 From: "Richard Z. Johnson" Subject: Re: Big band broadcast Yes, you should have been reprimanded. Ten lashes with a wet noodle! I'm gonna make a point to listen to it. I don't think that I;ve heard of Andy Wood. Now, Jiggs I've heard of! Does he play any on the program....oops, I mean programme!? -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU] On Behalf Of Adrian Drover Sent: Wednesday, January 29, 2003 6:26 AM To: TROMBONE-L@PO.MISSOURI.EDU Subject: [TBN-L] Big band broadcast As I was once reprimanded for not keeping the list informed, I thought I'd better let you all know that two of my charts were featured on last Monday's BBC Big Band Special. The BBC Radio Big Band joined forces with the London Session Orchestra accompanying singer Jane Monheit on a live recording. The band and orchestra are directed by trombonist, Jiggs Whigham. You can listen to this programme at any time. Listen especially to British trombonist, Andy Wood. Link follows: http://www.bbc.co.uk/radio2/ Click on "Listen", then "Big Band Special". A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ------------------------------ Date: Wed, 29 Jan 2003 07:28:12 -0600 From: "Richard Z. Johnson" Subject: Re: Wired Magazine: The Year The Music Dies I've read this article. I can't say that I feel really sorry for the record industry. Perhaps, this will force them to be fair to the artists. ------------------------------ Date: Wed, 29 Jan 2003 08:30:07 -0500 From: Douglas Yeo Subject: Pittsburgh Sym Troubles Today's New York Times has an articles about the various crises facing the Pittsburgh Symphony: http://www.nytimes.com/2003/01/29/arts/music/29ORCH.html -Doug Yeo -- Douglas Yeo Bass Trombonist, Boston Symphony Orchestra Music Director, The New England Brass Band dyeo@rcn.com /// yeo@yeodoug.com http://www.yeodoug.com <>< ------------------------------ Date: Wed, 29 Jan 2003 05:43:14 -0800 From: Steve Weaver Subject: Lawler Trombone website I wanted to share this website with the group. =20 www.lawlertrombones.com I just bought one from Roy and it's a fantastic horn, both mechanically = and acoustically. I have the .500 bore 7 1/2" bell and brass slides in the satin finish. = It just may be the best horn I've played. It's open and the response is = even through all the registers. The horn is can be dark and warm in the = low register and bright and tight up high. It has the best G above high = C of any horn I've played (in over 35 years of playing). Also, you'll find Roy's advice useful. He believes that a horn vibrates = and responds best when all the parts are made of brass. Braces, outer = slides, etc. =20 It was scary buying a new horn without playing it, but in questioning = Roy about it's design (bell flare, crook bends, lead pipe, etc.) I liked = his ideas and the results are great. Steve Weaver ------------------------------ Date: Wed, 29 Jan 2003 09:41:29 -0400 From: sabutin Subject: Re: Wired Magazine: The Year The Music Dies >I've read this article. I can't say that I feel really sorry for the >record industry. Perhaps, this will force them to be fair to the >artists. =============== Not a chance. They are bottom liners one and all. Big recording has signed its own death warrant by producing almost exclusively bottom line crap for 40 or 50 years. Now it reaps the rewards. Can't wait to see it collapse. Maybe then some kind of system will develop that allows for innovation, self production/distribution of music and live playing that pays well enough to make it viable. Right now that kind attempt is VERY difficult. The routes are clogged w/big recording's crap product. Like cholesterol in the arteries, the crap is now building up to an industry wide heart attack. If today's system had been in place in 1948, there would have BEEN no Charlie Parker. They would have been too busy reviving Paul Whiteman and finding Louis Armstrong clones. Good riddance !!! S. -- (Sam Burtis, author of "The American Trombone" and proud proprietor of The Trombone Store in NYC, featuring only the finest new and used lower brass instruments and accessories. Visit us on the web at [still under construction], email us at , or call us at [718] 796-4413. By appointment only.) ------------------------------ Date: Wed, 29 Jan 2003 07:32:19 -0800 From: Daniel Cloutier Subject: Wanted: Bach 42B Parts Hello, List! I'm looking for two Bach 42B parts. One is the slide receiver with nut (the part on the bell section that the slide goes into), and the other is the slide shank--also possibly called the slide taper--(the part that goes into the bell section). If you have either or both of these parts and wish to part with them, as it were, please e-mail me. Thanks! __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ------------------------------ Date: Wed, 29 Jan 2003 09:52:14 -0600 From: Eric & Candice Swanson Subject: Re: Wired Magazine: The Year The Music Dies sabutin wrote: > Big recording has signed its own death warrant by producing almost > exclusively bottom line crap for 40 or 50 years..... > > Can't wait to see it collapse..... > > Good riddance !!! > > Sam, What about the MPTF (trust fund gigs), and the Special Payments Fund checks? Wouldn't they disappear too? Just wondering, Eric Swanson ------------------------------ Date: Wed, 29 Jan 2003 10:07:00 -0600 From: Jeff Albert Subject: MPTF was RE: [TBN-L] Wired Magazine: The Year The Music Dies > > sabutin wrote: > > > Big recording has signed its own death warrant by producing almost > > exclusively bottom line crap for 40 or 50 years..... > > > > Can't wait to see it collapse..... > > > > Good riddance !!! > > > > > > Sam, > > What about the MPTF (trust fund gigs), and the Special Payments Fund > checks? Wouldn't they disappear too? You won't read it in the IM, but MPTF is just about done anyway. They are in a pretty drastic money crunch, at least that's what a little bird told me. Jeff ------------------------------ Date: Wed, 29 Jan 2003 11:39:53 -0600 From: Eric & Candice Swanson Subject: Re: MPTF was RE: [TBN-L] Wired Magazine: The Year The Music Dies Jeff Albert wrote: > You won't read it in the IM, but MPTF is just about done anyway. They > are in a pretty drastic money crunch, at least that's what a little bird > told me. > Jeff, No doubt because of slipping album sales. Eric ------------------------------ Date: Wed, 29 Jan 2003 10:45:49 -0700 From: Dennis Clason Subject: Re: bell shaping Wow. I like it. And it could work, too : ) For sure, it's going to less energy intensive than electroforming... Dennis > -----Original Message----- > From: Trombones and related issues forum. > [mailto:TROMBONE-L@PO.MISSOURI.EDU]On Behalf Of richardt@LEE.ARMY.MIL > Sent: Wednesday, January 29, 2003 5:41 AM > To: TROMBONE-L@PO.MISSOURI.EDU > Subject: [TBN-L] bell shaping > > > Walter comments, > > "Well, my 682 has some bleeds at the rim of the bell, so I'd > assume that is > soldered. The main reason that they weld the bells (plazuma > welding is what > they call it) is to make the bell as close as possible to the ideal, which > would be a one piece bell, with NO seams. Since that would be > impossible/impractical/not cheap, they join the seam with brass, " > > and a wacko idea smashes through my forebrain. > > Only fair, it's been a full 8 minutes since the last one. > > There would appear to be a very easy and possibly economical way > to make one > piece bells with no seams. > > Explosive forming, same way we make coins. If it's cheap enough to do a > penny, should be economical on trombone bells. And what fun! ------------------------------ Date: Wed, 29 Jan 2003 13:12:33 EST From: BITEensemble@AOL.COM Subject: Re: Wired Magazine: The Year The Music Dies Hello list, This is from Larry Isaacson in Boston. He is not on the list, but I wanted t= o=20 let you hear his thoughts as I agree with much of it. -Wes from Larry: Hi Wes, Thanks for sending this along.=A0=A0 I totally disagree with his premise.= =A0 Music=20 is not dying.=A0 It is just taking another route to the audience.=A0 Change is difficult, but if we are willing to allow it to happen, I don't see that=20 music as an art form will die at all.=A0=A0 We just need to accept the fact that peop= le=20 don't want to go to the store anymore or pay $15 for a CD when they can get it=20 online for free or a few bucks.=A0 If that is the wave of the future, then we must=20 embrace it so as not to alienate our audiences.=A0=A0 They still want to listen to m= usic, just not the way we have historically delivered it.=A0 My 2 cents worth. =A0 =A0 =A0 =A0 -L. ------------------------------ Date: Wed, 29 Jan 2003 14:29:23 -0400 From: Craig Parmerlee Subject: Re: bell shaping At 08:41 AM 01/29/2003 -0500, richardt@LEE.ARMY.MIL wrote: >Explosive forming, same way we make coins. If it's cheap enough to do a >penny, should be economical on trombone bells. And what fun! I can think of some bells I'd like to explode. ------------------------------ Date: Wed, 29 Jan 2003 13:14:26 EST From: AIREV@AOL.COM Subject: T-horns? Greetings everyone, A number of folks have asked if I'd post on our web site program notes for Norman Bolter's new CD "Occurrences," including the answer to the question: "What are those things you call T-horns on the first piece?" And nope, those 'T-horns' are not tenor horns. They're modified trombones! BTW, there's an MP3 sample. For more details about 'T-horns' along with notes on all the pieces found on the "Occurrences" CD, please visit: http://www.air-ev.com/recordings.html Scroll down to "Occurrences" listed alphabetically on that page. We've included some of the background story behind each of the compositions along with some technical notes about what some of the pieces call for from the player(s). This is an 'all trombone' CD. Thanks for your interest and all the best, Carol ************************************************** Carol Viera, Ph.D. Owner, Air-ev Productions (R) Co-Director, Frequency Band (R) Endeavour E-mail: airev@aol.com/ Website: http://www.air-ev.com/ ************************************************** ------------------------------ Date: Wed, 29 Jan 2003 13:21:30 +0000 From: Walter Barrett Subject: Re: bell shaping Thus spake, not Zarathustra, but Craig Parmerlee > At 08:41 AM 01/29/2003 -0500, richardt@LEE.ARMY.MIL wrote: >> Explosive forming, same way we make coins. If it's cheap enough to do a >> penny, should be economical on trombone bells. And what fun! > > I can think of some bells I'd like to explode. ...and we can get Paolo Esperanza to be our Technical Adviser! Walter Barrett "What exactly is wrong with inmates running the asylum? It seems to me they're in the ideal position to know what's needed." -George Carlin Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ------------------------------ Date: Wed, 29 Jan 2003 12:48:31 -0600 From: Bill Dinwiddie Subject: The President's Note Cut Initiative An important message from President 43 about music in our nation: PRESIDENT ANNOUNCES PLAN FOR NOTE CUT INITIATIVE Crawford, TX, August 29 (AP)--In an effort to reach out to constituencies outside his traditional power base, President George W. Bush today announced a new "note cut" initiative, intended to appeal to classical musicians. Speaking from his ranch in Crawford, Texas, the President prefaced his remarks with some general observations. "Music is a good thing. I like music because I like good things, and music is good for America. It's fundamentalistic to the American spirit." "Classically-orientated musicians--the ones that play in orchestras, in the churches of this great country of ours, in polka bands, and on the telephone when you're put on hold while calling any one of our Fortune 500 companies--are especially important, because they play a whole lot of notes. And these are good, American notes, that haven't been genetically altered, which Laura and I prize very highly. As I like to say, what you don't know you have can't hurt you if you're not there." The President went on to explain the reasons for his new initiative. "For too long these good musical Americans have been playing lots and lots of notes, and haven't been getting anything in return. These notes belong to the American people, and it's time to give some of them back." The administration's plan calls for a one-time refund of 3,000 notes to tax-paying and note-playing American classical musicians. Chamber musicians who play sonatas together in long-standing legal or church- sanctioned relationships are entitled to a refund of 6,000 notes. String quartets will receive a one-time refund of 10,000 notes, as follows: 5,000 for first violinists, 3,000 for second violinists, 1,500 for cellists, and only 500 for violists. Already this arrangement has generated considerable controversy, since it clearly favors the upper instruments. Pianists are entitled to a 15,000-note refund, because in the words of the President, "they play lots and lots and lots of notes. Their fingers must be really well oiled. Those digits can really add up, musicologistically speaking." Back in Washington, Democrats are already gearing up for a fight. They point to the plan's inequitable distribution of notes. Citing the latest figures from the music division of the General Accounting Office, they also claim that Bush's initiative is musically irresponsible. Noting recent reports indicating the President's tax refund, in conjunction with the sliding economy, has now effectively erased any budget surplus, they find parallels in Bush's note-cut initiative. They warn ominously that his plan threatens the all-important Musical Security Hemi-, Demi, and Semi-Quaver Reserve. On Friday. Representative Richard A. Gephardt painted a grim picture of what, in Democrats' eyes, the future holds. "Giving musicians notes back doesn't mean they're going to use them wisely, and it won't help the nation's musical health. We'd run the very real risk of running out of notes." "Imagine," Gephardt continued, "a Brahms symphony petering out in performance for a lack of notes. First thing you know, musicians will be leaving out all the fast movements because they don't have enough notes to get through them. Mendelssohn will suffer the most, especially the last movement of the octet." Apprised of Gephardt's remarks on the way to a pig roast at his ranch, President Bush responded, "Nope. Not gonna happen. I intend to be the defense, education, and fast-movement president. If Congress minds its musical matters, we'll have enough left for Brahms and the Mendelssohn Octagon, too." (via Jeremy Geffen, Artistic Administrator New York Philharmonic) Bill Dinwiddie bill752d@attbi.com ------------------------------ Date: Wed, 29 Jan 2003 19:02:55 +0000 From: alan partis Subject: TuneUp Folks, A couple weeks ago we were challenged to use the TuneUp CD and report our findings back to the group. I accepted the challenge and have begun my work. Having been idle as a player for much of the last 15 years, my intonation has suffered and that has become increasingly evident as I practice now. I let you know in a couple weeks if I'm getting any better. So far, my only comments regarding the TuneUp CD itself are more about what I find missing from it: a tuning note at the beginning so I can be sure that at least our B flats agree; and as a first time user, I'd like a few tracks that go quite a bit slower so that I have time to really listen to a note, get it in tune, and listen to it there before moving on the next note/interval. Anyone else have a similar experience? ______________________________________ alan partis, amateur bonehead louisville, ky ------------------------------ Date: Wed, 29 Jan 2003 19:25:43 GMT From: John Reifel Subject: MI Trombone Events: Tbns. Costa Rica/McChesney/Kagarices The Western Michigan Univesity trombone studio is proud to be hosting three outstanding trombone events over the next two months. On Thursday February 6, Los Angeles jazz great Bob McChesney will be the featured guest artist with the Western Jazz Orchestra in an 8:15 p.m. concert. On Wednesday evening, February 12, at 8:15 p.m., the Trombones de Costa Rica will make their only Michigan appearance. The Trombones de Costa Rica is highly regarded as one of the outstanding chamber ensembles of the Americas and was one of the highlights of the 2001 International Trombone Festival. Don't miss this concert! Both of these events will be held in the Dalton Center Recital hall at WMU and a nominal fee will be charged. And then on Saturday eveneing, March 22, Vern and jan Kagarice from the University of North Texas will give a clinic presentation at 7:00 p.m. in Rehearsal Room C. If you have questions, or if you need directions to Western Michigan University in Kalamazoo, please contac! t Steve Wolfinbarger at wolfinbarger@wmich.edu. I hope to see you at one of these events. ------------------------------ Date: Wed, 29 Jan 2003 12:30:53 -0700 From: James Scott Subject: Re: TuneUp Alan - To get a long B flat for tuning your instrument to the TuneUp CD, try using the interval study in B flat (track 11, I believe), and turn the volume on your stereo all the way to the one channel that plays the opening B flat - it lasts about 45 seconds. That should give you a long enough time to get in tune with the disc. I also occasionally do this with other keys (tracks 1-12) and play scales or arpeggios against a "drone tone". Very useful application as well, and it might be a way to address your second concern. I have one complaint - the opening drone is on a different channel depending on which track you're playing, so it requires going over to the stereo and adjusting the settings. It's a minor annoyance, but it would be more convenient to have it always be either right or left channel consistently. Jim Scott alan partis wrote: > > Folks, > > A couple weeks ago we were challenged to use the TuneUp CD and report our > findings back to the group. I accepted the challenge and have begun my > work. Having been idle as a player for much of the last 15 years, my > intonation has suffered and that has become increasingly evident as I > practice now. I let you know in a couple weeks if I'm getting any > better. > > So far, my only comments regarding the TuneUp CD itself are more about > what > I find missing from it: a tuning note at the beginning so I can be sure > that at least our B flats agree; and as a first time user, I'd like a few > tracks that go quite a bit slower so that I have time to really listen > to a > note, get it in tune, and listen to it there before moving on the next > note/interval. > > Anyone else have a similar experience? > > ______________________________________ > alan partis, amateur bonehead > louisville, ky ------------------------------ Date: Wed, 29 Jan 2003 13:48:57 -0600 From: Jeff Albert Subject: unions, recordings, MPTF was wired article > Jeff Albert wrote: > > > You won't read it in the IM, but MPTF is just about done anyway. They > > are in a pretty drastic money crunch, at least that's what a little bird > > told me. > > > > Jeff, > > No doubt because of slipping album sales. > > Eric As I understand, it is a couple of things, slipping album sales being one. Fewer CDs are making the 50,000 unit sales threshold that makes MPTF payments kick in. More CDs are being made by smaller non-signatory companies. MPTF can't afford to audit the existing signatory companies to make sure the proper payments are being made. Well, it's not that they can't afford it, but it financially isn't worth spending $100,000 on an audit to get $35,000 in unpaid fees. I guess MPTF has done some good things, but it all began as a way to disburse recording royalties to all of the part time union members throughout the heartland that were Petrillo's political base. It never should have happened, all of that money should have been paid to the recording musicians like the special payments fund or in a similar fashion. There is a book by George Seltzer called "Music Matters: The Performer and the American Federation of Musicians." You can get them from the union, but it doesn't always paint a pretty picture, at least to me. There is another book that I can't remember the name of that recounts the history of the RMA (Recording Musicians Association, which is a sub-group of the AFM)that is also quite interesting. Jeff Albert www.jeffalbert.com ------------------------------ Date: Wed, 29 Jan 2003 14:50:26 -0400 From: sabutin Subject: Re: Wired Magazine: The Year The Music Dies >Hello list, > >This is from Larry Isaacson in Boston. He is not on the list, but I wanted to >let you hear his thoughts as I agree with much of it. > >-Wes > > >from Larry: > >Hi Wes, > >Thanks for sending this along. I totally disagree with his premise. Music >is >not dying. It is just taking another route to the audience. Change is >difficult, but if we are willing to allow it to happen, I don't see that >music as >an art form will die at all. We just need to accept the fact that people >don't >want to go to the store anymore or pay $15 for a CD when they can get it >online >for free or a few bucks. If that is the wave of the future, then we must >embrace >it so as not to alienate our audiences. They still want to listen to music, >just not the way we have historically delivered it. My 2 cents worth. > -L. ============== Exactly. If you consider everything that happens in life as at the very least an attempt at growth, at evolution...and I do...then you can approach this thing as if it has real possibilities. The fact is...the recording scene is tired. It is incestuous, full of nepotism and financial politics, and just plain lame. Much like the upper echelons of business, academics + politics in this country, it is fading through non-achievement. So, it dies. Music doesn't die. There's LOTS of real music out there. The recording industry simply hasn't been recording it. Have you got any idea how many grams of coke it takes to win a Grammy? (Why do you think they're called "Grammys"?) R.I.P. RCA. S. -- (Sam Burtis, author of "The American Trombone" and proud proprietor of The Trombone Store in NYC, featuring only the finest new and used lower brass instruments and accessories. Visit us on the web at [still under construction], email us at , or call us at [718] 796-4413. By appointment only.) ------------------------------ Date: Wed, 29 Jan 2003 13:42:48 -0700 From: Michael Millar Subject: Re: unions, recordings, MPTF was wired article > > Jeff Albert wrote: There is another book that I can't remember the name of that recounts the history of the RMA (Recording Musicians Association, which is a sub-group of the AFM)that is also quite interesting. "For the Record: The Struggle and Ultimate Political Rise of American Recording Musicians within their Labor Movement" by Jon Burlingame. Published 1997. Michael Millar Michael W. Millar, D.M.A. Entrepreneurship Center for Music University of Colorado at Boulder 301 UCB Boulder, CO 80309-0301 (303) 735-1272 FAX:(303) 492-5619 Michael.Millar@colorado.edu www.colorado.edu/music/entrepreneurs ------------------------------ Date: Wed, 29 Jan 2003 16:47:37 -0600 From: Corliss Subject: Re: MPTF was RE: [TBN-L] Wired Magazine: The Year The Music Dies I was told that this is a local factor. The availability of funds depends on where you live. I do almost entirely volunteer work at rest homes and the VA hospital, and I think it was the union leader who tried to sell me on joining the union because there was lots of money available locally from the Fund for doing this kind of thing. I didn't join. ----- Original Message ----- From: "Jeff Albert" To: Sent: Wednesday, January 29, 2003 10:07 AM Subject: [TBN-L] MPTF was RE: [TBN-L] Wired Magazine: The Year The Music Dies > > > > sabutin wrote: > > > > > Big recording has signed its own death warrant by producing almost > > > exclusively bottom line crap for 40 or 50 years..... > > > > > > Can't wait to see it collapse..... > > > > > > Good riddance !!! > > > > > > > > > > Sam, > > > > What about the MPTF (trust fund gigs), and the Special Payments Fund > > checks? Wouldn't they disappear too? > > > You won't read it in the IM, but MPTF is just about done anyway. They > are in a pretty drastic money crunch, at least that's what a little bird > told me. > > Jeff ------------------------------ Date: Wed, 29 Jan 2003 19:42:49 -0500 From: Douglas Yeo Subject: Doug Yeo recital - Feb 15 I have been invited to be a "Visiting Artist in Residence" at Lexington Christian Academy in Lexington, Massachusetts, next month. I will be interacting in various classes, speaking with students, working with music groups, speaking in chapel and such. The end of the residency will be a solo recital I will be giving which is open to the public. The details are below for those interested. For more information, visit the Lexington Christian Academy website at http://www.lexchristian.org -Doug Yeo =========== Lexington Christian Academy 48 Bartlett Avenue Lexington, MA 02420 http://www.lexchristian.org Visiting Artist Recital Saturday, February 15, 2003 2:00 PM Admission: $5.00 at the door Douglas Yeo, Bass Trombone with Delvyn Case, Piano and Linda Yeo, Bass Trombone Program: Jazz Gospel Credo (David Fetter) Six Studies in English Folksong (Ralph Vaughan Williams) Sonata in f minor (Georg Phillip Telemann) Concerto for Bass Trombone - Andante expressivo (Eric Ewazen) Sonatine for Trombone - Andante sostenuto (Jacques casterede) New Work - world premiere (Delvyn Case) Sonata (Biagio Marini) - 2 bass trombones Canonic Sonata No. 3 (Georg Phillip Telemann) - 2 bass trombones Second Base Blues (Gordon Bowie) - 2 bass trombones Jesus the Very Thought of Thee/Be Thou My Vision (arr. Wes Ross) -- Douglas Yeo Bass Trombonist, Boston Symphony Orchestra Music Director, The New England Brass Band dyeo@rcn.com /// yeo@yeodoug.com http://www.yeodoug.com <>< ------------------------------ Date: Wed, 29 Jan 2003 16:42:35 -0800 From: Steve Mynett Subject: Purviance Mouthpiece I came across mouthpiece that is stamped with "C.M. Purviance Los Angeles 4*1" I believe that Bob Reeves studied with Purviance but beyond that I don't know anything about the mouthpiece. It's well made and I like it (although it doesn't beat out my Laskey) I haven't measured it but it feels a little narrower rim than a 12C but a little deeper. A friend of mine played it and mentioned similarities between it and a Stork. Anyone know anything about these? --------------------- Steve Mynett smynett@shaw.ca ------------------------------ Date: Wed, 29 Jan 2003 18:58:08 -0600 From: Barry Green Subject: Re: unions, recordings, MPTF was wired article It's a nice gesture to bring music and work to other players but I agree recording musicians generally got the short end of that stick. Here in Nashville we pay the majority of the work dues too. Barry Green ------------------------------ Date: Wed, 29 Jan 2003 20:56:01 -0500 From: Roger Carmichael Subject: Band of the Grenadier Guard Has anyone seen a performance of the Band of the Grenadier Guard on = their tour of the US? Is it worth what is being charged for admission? ------------------------------ End of TROMBONE-L Digest - 28 Jan 2003 to 29 Jan 2003 (#2003-29) ****************************************************************