Subject: TROMBONE-L Digest - 29 Jan 2003 to 30 Jan 2003 (#2003-30) Date: Friday, January 31, 2003 12:00 AM From: Automatic digest processor Reply-To: "Trombones and related issues forum." To: Recipients of TROMBONE-L digests There are 37 messages totalling 1255 lines in this issue. Topics of the day: 1. Wired Magazine: The Year The Music Dies (6) 2. Band of the Grenadier Guard (2) 3. TuneUp 4. Gardell Simons (4) 5. basstrombone interest! (2) 6. unions, recordings, MPTF was wired article 7. Apt. share available in NYC 8. Yamahorama////bass bone questions 9. 8va ad libs in Grondahl (3) 10. unions, recordings 11. New Randy Hawes CD 12. James Morrison (4) 13. W.T.B.: Edwards Bass Slide & Pipes, Bach Gold Bell Flair 14. Shoutin Liza (5) 15. MPTF 16. taking a risk 17. Shoutin Liza and "Henry - A Reflection" (2) ---------------------------------------------------------------------- Date: Wed, 29 Jan 2003 22:47:55 -0800 From: Andrew Michael Subject: Re: Wired Magazine: The Year The Music Dies At 1:12 PM -0500 1/29/03, BITEensemble@AOL.COM forwarded: >Music >is >not dying. It is just taking another route to the audience. Agreed. >They still want to listen to music, >just not the way we have historically delivered it. Making money from recordings is a rather short part of music history. Recommended reading: today's (Jan. 29) Doonesbury strip. I'm sure it can be found online somewhere. Cheers, Andy ------------------------------ Date: Thu, 30 Jan 2003 08:22:31 -0000 From: Adrian Drover Subject: Re: Band of the Grenadier Guard From: "Roger Carmichael" >>>>>> 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? >>>>>> Now, that all depends on whether or not you like military bands and how much is the admission. I can say that the "Grens" is one of the top regimental bands in the UK. Incidentally, my father was principal cornet with them thru'out the war years up until about 1950. It seems the band is considerably smaller now than it was then, due to government cut-backs in the military budget. I am at present writing for an album that the Coldstream Guards band plans to record sometime later this year. A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ------------------------------ Date: Thu, 30 Jan 2003 01:57:34 -0800 From: Andrew Michael Subject: Re: TuneUp >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. > There is software that can solve this problem. Search for the "Amazing Slower Downer" It allows you to play CD's or files while modifying the tempo and pitch independently. I'm sure there are other choices too. Cheers, Andy ------------------------------ Date: Thu, 30 Jan 2003 08:47:57 -0500 From: "Eiden, Peter" Subject: Re: Band of the Grenadier Guard A couple of people in the Lehman College Community Band I play in saw them last Sunday at Lehman (Bronx, NY) and had nothing but great things to say about them. Great music and musicianship. Tickets were about $35 if I remember correctly, and I didn't hear any regrets. -----Original Message----- From: Roger Carmichael [mailto:pedalnote@PEOPLEPC.COM] Sent: Wednesday, January 29, 2003 8:56 PM To: TROMBONE-L@PO.MISSOURI.EDU Subject: [TBN-L] 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? **************************************************************************** This email may contain confidential material. If you were not an intended recipient, please notify the sender and delete all copies. We may monitor email to and from our network. **************************************************************************** ------------------------------ Date: Thu, 30 Jan 2003 08:12:23 -0700 From: Larry Zalkind Subject: Gardell Simons -----Original Message----- From: Listmonitor Trombone-L [mailto:listm@trombone.org] Sent: Thursday, January 30, 2003 6:28 AM To: larry@zalkindmusic.com Subject: Re: Gardell Simons Larry: You will need to resend the message to the list, and everything should be in order at this point. If you encounter any further problems, please let me know. LM On 1/30/03 12:49 AM, "Larry Zalkind" wrote: > Hi, > I am sorry to bug you with this. I still have the same utah address, > but it no longer sends mail from home. I guess I do want to change it to >> Hi, >> Can anyone direct to me biographical info on Gardell Simons? Thanks. >> Larry Zalkind >> larry.zalkind@utah.edu >> >> > > ------------------------------ Date: Thu, 30 Jan 2003 16:28:00 +0100 From: Ben van Dijk Subject: basstrombone interest! Dear friends, For bass trombone lovers I have 2 interesting new items on my website. The Bassbonegraphy is still growing and will be updated as often as necessary and possible. I also have now a bass trombone only forum on my site and hope those interested to have discussions about basstrombone matters will join the forum quickly to make it an interested recourse for all of us. Go to www.basstrombone.nl and you will find whatever you need. Yours truly, Ben van Dijk Basstrombone Rotterdam Philharmonic Rotterdam Conservatory Royal Northern College of Music, Manchester www.basstrombone.nl ben@basstrombone.nl ------------------------------ Date: Thu, 30 Jan 2003 09:51:00 -0600 From: Eric & Candice Swanson Subject: Re: unions, recordings, MPTF was wired article Jeff Albert wrote: > You won't read it in the IM, but MPTF is just about done anyway......... Jeff, I never really made much money off the MPTF anyway, but all the same I'm sure some people will miss the free concerts. Eric ------------------------------ Date: Thu, 30 Jan 2003 10:55:43 -0500 From: "Dr. Carole Nowicke, Applied Health Science" Subject: Re: Gardell Simons On Thu, 30 Jan 2003, Larry Zalkind wrote: > >> Can anyone direct to me biographical info on Gardell Simons? Thanks. Somebody I'm interested in, but know little about. I think Bob Rusk has some additional information about Simons (he's quite well-read on musicians from SW Michigan/N Indiana). Some fine musicians have come from tiny Allegan, Michigan. Born there, played in Wallace Bros. Circus under another Alleganite Chester Z. Bronson (also lead bands in Kalamazoo, was in Sousa Band, etc). [at least some places to start] Simons was in Sousa Band ca. 1910. Principal in Philadelphia in the 'teens, + (don't trust that source). Principal in Cincinnati in '31 (don't have other dates but trust that source). Cleveland and Detroit later in the '30's. Bill Bell had one of Simons' instruments in his collection in the '50's. One of my interview subjects told me about that. Paul Bierley will be publishing sometime in the near future a book with shorter-or-more-extended biographies of "everyone who ever played with Sousa." If someone has written about Simons it's not in the easily-accessible online indexes (but that's what I can get to from the desk). Carole Nowicke cnowicke@indiana.edu ------------------------------ Date: Thu, 30 Jan 2003 10:05:16 -0600 From: Eric & Candice Swanson Subject: Re: Wired Magazine: The Year The Music Dies Eric Swanson wrote: > >What about the MPTF (trust fund gigs), and the Special Payments Fund > >checks? Wouldn't they disappear too? > > > Wayne Dyess wrote: > Hmmmm. That wouldn't be a loss around these parts. It isn't serious > money in this neck o' the woods. Wayne, Around here, the MPTF provides probably hundreds of free public concerts in places like schools, nursing homes, senior citizen centers, and parks. I'm just saying that some of those children and old people will miss their free concerts if the recording industry goes down the tubes. Eric Swanson Dallas/Fort Worth ------------------------------ Date: Thu, 30 Jan 2003 11:08:09 -0400 From: sabutin Subject: Apt. share available in NYC Hi all... I know this is slightly off topic, but since having a reasonably priced place to stay and a place to practice is so difficult for a trombonist or musician in NYC, I thought I'd include it on the list. A good friend of mine, the jazz singer Jane Blackstone, lives about 5 minute's wwalk away from me in this great neighborhood just north of Manhattan...Riverdale. She has a nice 2 bedroom apartment and her roommate is leaving. $700/month...can't beat that in NYC unless you want to live in a war zone, which this area emphatically is not. Jane is a great jazz singer who has a new CD out and is beginning to travel some...she's off to Beirut Sunday, for example...and she wants another musician to share the place. There is a piano, nice kitchen + bathroom, easy parking, safe neighborhood 5 blocks from the 1/9 train, 1/2 hour to midtown...I love it here. Also, I am renting out my Trombone Store space as a practice facility at very low rates, and as I said, it's only a short walk through a great park to get there. Anyone interested, or anyone who knows of someone...doesn't have to be a trombonist or even a musician as long as they're good trustworthy people...email me and we'll see what we can do. Later... Sam Burtis -- (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: Thu, 30 Jan 2003 11:01:01 -0600 From: "D.J. Kennedy" Subject: Yamahorama////bass bone questions hello michael - i am not up to speed on the yamahauler bass bones --still figuring out the 651!!! the illustrious member participants of the TL tlist -for sure ---- will confute --er clear up many missconceptions with perfect perspective ---------and punctuation ----will forward same - Gentlemen [and ladies] ///this is your cue!!!!!!! Michael Lawson wrote: > Yo DJ, > > what is up with the Yamaha basses? > > I love the 622, a teacher of mine sounds beautiful on a 613H. question > - what's the diff between "heavy gauge metal" and "heavy wall > construction". do tell if you got answers. also, where are those cool > 612R II coming form on ebay all the time, I would love to play one in > a big band - seems like a wanna be 62H Conn. while I'm at it, Stanko > tells me the 622 design is "Bach-based". From Yeo? I suppose, and also > that the 613H is "steve norrell's design". True? > > Thanks for any info. > > Mike > > > PLEASE HELP FREE ENSLAVED NUNS AND MONKS IN TIBET. > > > ----------------------------------------------------------------------- > The new MSN 8: smart spam protection and 2 months FREE* ------------------------------ Date: Thu, 30 Jan 2003 11:04:09 -0600 From: "D.J. Kennedy" Subject: Re: basstrombone interest! wiw !!!!!!!!! fantastic !!!!! Ben van Dijk wrote: > Dear friends, > > For bass trombone lovers I have 2 interesting new items on my website. > The Bassbonegraphy is still growing and will be updated as often as > necessary and possible. > I also have now a bass trombone only forum on my site and hope those > interested > to have discussions about basstrombone matters will join the forum > quickly to make it an interested > recourse for all of us. > Go to www.basstrombone.nl and you will find whatever you need. > > Yours truly, > > Ben van Dijk > Basstrombone > Rotterdam Philharmonic > Rotterdam Conservatory > Royal Northern College > of Music, Manchester > www.basstrombone.nl > ben@basstrombone.nl ------------------------------ Date: Thu, 30 Jan 2003 11:26:09 -0500 From: DSlide13@AOL.COM Subject: Re: Wired Magazine: The Year The Music Dies In a message dated 1/30/2003 11:05:16 AM Eastern Standard Time, swan325@earthlink.net writes: > Wayne, > > Around here, the MPTF provides probably hundreds of free public concerts > in places like schools, nursing homes, senior citizen centers, and > parks. I'm just saying that some of those children and old people will > miss their free concerts if the recording industry goes > down the tubes. > > Eric Swanson > Dallas/Fort Worth I don't know about the rest of you, but the last time I played a MPTF gig, I had to wait over a month for the check...and then it was only something like $50 for a 3 hour concert, which they took taxes and dues from before I got it. Doing a MPTF gig has been like doing a free gig and then finding $43 in an old pair of pants. I don't know any musicians who really need the MPTF to survive. There are non-profits out there who do the types of concerts that you're concerned about. My wife is the Managing Director for the Piatigorsky Foundation. Their web address is www.piatigorskyfoundation.org They do concerts around the US in a variety of non-traditional venues for audiences who would otherwise miss out on live music. Check out their site. David Gibson ------------------------------ Date: Thu, 30 Jan 2003 10:46:27 -0600 From: Jeff Oien Subject: Re: Wired Magazine: The Year The Music Dies I used to play a lot of MPTF gigs in the 80s when I was in high school and college. It was a nice but small source of income for me at the time and allowed me to gain quite a bit of experience playing in different ensembles. Plus most of the audiences really enjoyed the performances. Well, except for the jail. One time a guy yelled at us to shut up because Dukes of Hazard was on. Another musician said, "Let's play I'll Be Home for Christmas." Jeff Oien, Milwaukee, WI ------------------------------ Date: Thu, 30 Jan 2003 09:27:23 -0800 From: Andrew Michael Subject: 8va ad libs in Grondahl All, In the Grondahl Concerto for Trombone Palmer Traulsen added a number of 8va sections. Despite the fact that we know Grondahl disliked these, two survived into Per Gade's 1992 edition with notes to the effect that they were added later. These are the measures 53 to the end of the second movement and measures 153 to 156 of the third movement. One reason to play them is that you get to show off your high range (a entire half step above the rest of the piece!), everyone else does it (including the most popular recordings). Obviously, one reason not to play them is that the composer didn't write them and didn't like them. But are the good reasons for him to have disliked them (other than not having written them). So, I'm curious if anyone has more purely musical reasons to play or not play these 8va sections. I'm thinking about how these fit into the overall structure and climax of these movements. For instance, does the use of the 8va at the end of the second movement diminish the decline away from the earlier climax by placing the highest playing near the end. Similarly, in the third movement how does the 8va affect the final climax that comes in measures 157 to the end. So, I'm quite curious to see people's ideas on this topic. Cheers, Andy ------------------------------ Date: Thu, 30 Jan 2003 12:28:16 -0500 From: "Dr. Carole Nowicke, Applied Health Science" Subject: Re: unions, recordings On Wed, 29 Jan 2003, Michael Millar wrote: > "For the Record: The Struggle and Ultimate Political Rise of American > Recording Musicians within their Labor Movement" by Jon Burlingame. > Published 1997. Something I have on my research agenda for "later," much, much, later, is to look into the battle for control between the AFM and the K of L. Don't know about the Knights of Labor? Well, they had their own musician's union. Much fighting between Gompers and K of L in fin de siecle Washington, DC over who could belong to the union and who would represent them. The DC K of L local was called the "Washington Musical Assembly, Local 4308." I talked to the archivist of the George Meany AFL-CIO archives in DC some years back and pretty much ascertained there's not much in the way of documentation of the K of L musical union (there's something over at Catholic U, and a dissertation). I have a a copy of a year's worth of meeting minutes and notations about dues, etc. from 1894-1895. The correspondence of the cornetist I've been researching for eons deals heavily with this--for years, and quite bitterly. K of L was perfectly happy to have military musicians (pretty much Marine Band at that point) belong to the union. They were quite underpaid, and needed to find extra work. Gompers did not want military musicans to belong to the union, and after he succeeded, they wouldn't, until ca. 1970. Others with gov't paychecks were not prohibited from belonging to AFM. That was one of the major frustrations for the very underpaid Marine Band musicians, to note that there were some Treasury Dept., Printing Dept, etc employees who were allowed to belong. Reginald de Koven had his version of a "National Symphony" at the turn of the century and pretty much hired the wind section of the Marine Band. That was deemed unfair (of course) and there was much picketing and protesting. Also much picketing and protesting of the train line which would take passengers out to Chevy Chase, where the Chevy Chase development association engaged part of the Marine Band to provide concerts and dances, nightly, from May-August. After victory, Gompers would try to get the Marine Band to take his (singer) daughter on tour as a soloist as he was trying to help her career. This is from Walter Smith's correspondence, not Marine Band archival sources... I'm not sure if she did more than sing at rehearsals or the barracks. She died in the 1918 flu pandemic, so whatever help exposure with Marine Band did for publicity purposes, it was of no use. Carole Nowicke cnowicke@indiana.edu ------------------------------ Date: Thu, 30 Jan 2003 10:30:18 -0800 From: David Guion Subject: Re: Gardell Simons Larry Zalkind had a horrible runaround trying to post his question about Gardell Simons. Hopefully, finding the information will be easier. If memory serves, there is a brief bio of him in Pioneers in Brass by Glenn Bridges. Lots of libraries have that. I believe you may still find the CD-ROM version for sale somewhere. Another place to look would be in the Heritage Encyclopedia of Band Music by William Rehrig. While you're in the library, the Music Index will lead you to any magazine or journal articles published since 1940, RILM since 1967. Of course, if you really want to go overboard, look in newspaper indexes, Readers' Guide, etc. for stuff that came out during Simons's lifetime! All of that exists on line, if you library subscribes to any of them. -- *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* David Guion Who is General Failure? And why is he reading my hard drive? david@trombone.org *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* -- ------------------------------ Date: Thu, 30 Jan 2003 13:48:41 -0500 From: Brian French Subject: Re: 8va ad libs in Grondahl on 1/30/03 12:27 PM, Andrew Michael at andy@COASTSIDE.NET wrote: > All, > > In the Grondahl Concerto for Trombone Palmer Traulsen added a number > of 8va sections. > One reason to play them is that you get to show off your high range . . . > Obviously, one reason not to play them is that the composer didn't > write them and didn't like them. But are the good reasons for him to > have disliked them (other than not having written them). > > So, I'm curious if anyone has more purely musical reasons to play or > not play these 8va sections. I'm thinking about how these fit into > the overall structure and climax of these movements. For instance, > does the use of the 8va at the end of the second movement diminish > the decline away from the earlier climax by placing the highest > playing near the end. Similarly, in the third movement how does the > 8va affect the final climax that comes in measures 157 to the end. Andy, When I last played this piece, I did both 8va's. I was 20 years old and wanted to show off my high range! Thinking back, though Ü and this is my opinion today and maybe not tomorrow Ü I like the 8va in the second mvt, but maybe not so much in the third. In the second mvt., I feel it more closely matches the sweetness and tessitura of the orchestra, while lending a more direct route to the trigger D-flat (if you're playing it). In the third mvt., it does add some variety to the range (most of this movement is relatively low to middle), but if played imaginatively as written, the 8va isn't as weighty an option. In either case, I don't think these places detract at all from the climaxes . . . I think that in this piece it's the texture and dynamics that provide the climaxes, not the range. --Brian ________________________________ Brian E. French Principal Trombone Winston-Salem Symphony Orchestra valveless@earthlink.net ------------------------------ Date: Thu, 30 Jan 2003 13:50:55 -0500 From: "Moran, Doug - Denison" Subject: Re: Wired Magazine: The Year The Music Dies > Eric Swanson: > > Around here, the MPTF provides probably hundreds of free public concerts > in places like schools, nursing homes, senior citizen centers, and > parks. I'm just saying that some of those children and old people will > miss their free concerts if the recording industry goes down the tubes. I've very interested in this thread, and Eric's remark above kind of sums it up. I grew up playing MPTF gigs, playing my first one when I was 15. Groups I've lead have provided many performances for my community. I did enough of these gigs that I took over as the trust fund coordinator for our local. (Our local is gone now, part of the effort by the AFM to trim the number of small locals.) Live music in general has really slowed down in our community. Part of it is due to the same problems the Elks, Eagles, Grange hall and other organizations are facing - younger generations are not joining these orgs. Another part of it, IMHO, is the lack of live music, of all levels of ability, being performed on a regular basis. We used to have 30+ projects in our county per year, and we did not do a good job of meeting the minimum % of funds spent in nursing homes, schools, etc. I still find playing in nursing homes the most rewarding, helps you put things in perspective in our busy lives. BTW - the $$$ that the MPTF gigs pay is dictated by the local. Last I knew, MPTF wanted a 65% co-sponsorship for each gig as well. If the Local scale is not high enough, get it raised. Each project is submitted to MPTF as a complete cost based on these scales set locally. MPTF went to a state-funded approach instead of a local approach a few years back as well. Also, I never tried to pay the bills with MPTF gigs. But when something unexpected happened, it was nice to have a handful of those checks to cover it. The real shame is that the Film Funds Trust Fund went away, or at least quit offering their fund for performances. I liked how they worked a little better. Disclaimer - I have not played an MPTF gig in two or three years, and that is also when I stopped being the MPTF coordinator, so my information is a little dated. Doug ------------------------------ Date: Thu, 30 Jan 2003 14:25:48 -0500 From: "Dr. Carole Nowicke, Applied Health Science" Subject: Re: Gardell Simons On Thu, 30 Jan 2003, David Guion wrote: > Hopefully, finding the information will be easier. If memory serves, > there is a brief bio of him in Pioneers in Brass by Glenn Bridges. Lots > of libraries have that. I believe you may still find the CD-ROM version > for sale somewhere. That's the source I don't trust. i think of that as a starting place... > > Another place to look would be in the Heritage Encyclopedia of Band > Music by William Rehrig. And Paul Bierley (came home for lunch were Vol I and II were)... Simons' entry lists 10 works and cites Bridges as reference. Other reference is Jacobs Band Monthly, January 1918, September 1923. Paul Bierley will be coming out with a CD version of the Encyclopedia soon... > course, if you really want to go overboard, look in newspaper indexes, > Readers' Guide, etc. for stuff that came out during Simons's lifetime! Yeah, that's the serious stuff. If NY Times online is available, will do name searches too. Carole Nowicke cnowicke@indiana.edu ------------------------------ Date: Thu, 30 Jan 2003 15:19:32 -0500 From: Chuck De Paolo Subject: New Randy Hawes CD Folks, We get a lot of new items in here every day, and sometimes within all that there's some decent trombone related stuff. And then there is the exceptional. Recently, we received one of those items, one that is bound to have an impact and deserves more exposure. That being said, Randall Hawes, bass trombonist of the Detroit Symphony, has released a solo CD. Yes, it's finally happened. Many bass trombonists (myself included) have been waiting for years for him to do a recording. Keep in mind, previous to this CD, I've never heard him play. Just heard the rumors and legends. Well folks, the stories are true, the CD's out and it's a keeper. What's interesting is that for the most part, it's not a "rep" CD. Randy does the three Lebedevs (Concerto in One Movement; Concerto No 2; Concert Allegro) and the Shostakowich Four Preludes, but everything else is transcriptions of works by Tchaik, Rimsky, Shos, Prokofiev, Rachmaninoff & Mussorgsky. The CD's called "Melodrama - Romantic Music from Russia for Bass Trombone & PIano." Here's the contents: << With Kathryn Goodson, piano. Includes TCHAIKOWSKY Melodrama, from Snow Maiden; LEBEDEV Concerto in One Movement (Concerto No 1); Concerto No 2; Concert Allegro; RIMSKY-KORSAKOV Four Songs; SHOSTAKOVICH Four Preludes; Sonnett 66; RACHMANINOFF All Once I Gladly Owned; Lied; In the Silence of the Secret Night; PROKOFIEV Five Melodies; MUSSORGSKY Serenade, from Dances of Death. >> As many of you know, I despise advertising on the list. But, from time to time there's a new product that hits the market that just needs to be announced. Forgive me, while an announcement like this one might also be seen as an ad, please know this is not my intention. You can buy this from us or anyone else who carries classical instrumental CDs. Just be sure to get it. In Music, ---Charles De Paolo 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/local/14850 ------------------------------ Date: Thu, 30 Jan 2003 15:34:16 -0600 From: Pete Soukup Subject: James Morrison I don't remember seeing any discussion of this Australian musician. If you haven't heard of him, he plays trumpet, trombone, sax, piano, and some of his recordings are of all him playing all the parts in a big band, except the rhythm section. He's on a Lalo Shiffren CD that I have with the London Philharmonic playing jazz, also. IMHO, the guy is a monster... Pete Soukup Drive-by trombone soloist Pete Soukup psoukup@mindspring.com ------------------------------ Date: Fri, 31 Jan 2003 09:15:51 +1100 From: hlmswlkr@OZEMAIL.COM.AU Subject: Re: James Morrison G'day all, I feel very honoured to say that I owe where I am today, to a large degree, to having met James Morrison when I was about 14 years old. James at the time was in his early 20's, and blowing up a storm. At the music camp where I met him, he decided that he wanted to learn sax. He borrowed a horn, and about an hour later was improvising on it! He plays everything with the same fluidity, and flair. I've seen piano players stand looking on in awe at his keyboard skills. The guy truly is a freak (in the best meaning of the word!) Also at the same camp, we used to have free time of an afternoon. Now the food wasn't great, so James used to pile (literally) a group of us 14 15 year olds into his VW Combi van and take us to McDonalds. He would sit down to 3 Big Macs, 2 large fries, a cheeseburger, then a dessert or 3. You didn't get near him when he was eating for fear of losing a body part!. He wasn't overweight though, he was/is so active, he just burns everything he eats. I also had the chance of living out a 15 year old dream just recently. At the above mentioned music camp, James and his brother John (GREAT drummer) presented their "Morrison Brothers Big Bad Band" I sat in the audience thinking "wow it would be great to play in a band like that". Fast forward 15 or so years later, I'm on long service leave from the Opera. John Morrisons band "Swing City" needs a replacement bass bone, and he asks me. Here I am sharing a stand with the same guys I sat there listening to in awe as a teen-ager. Yes it was great to play in a band like the "Big Bad Band". James played a number of the Swing City gigs too, and I was still sitting there with my jaw on the floor. He is one in a million. Cheers Matthew Walker Bass Trombonist, Opera Australia Walker's Instrument Repair, "The Brassery" First call casual bass bone, Swing City Big Band. This message was sent through MyMail http://www.mymail.com.au ------------------------------ Date: Thu, 30 Jan 2003 18:47:39 -0500 From: Dave Burch Subject: Re: Wired Magazine: The Year The Music Dies ----- Original Message ----- From: "Eric & Candice Swanson" > Sam, > > What about the MPTF (trust fund gigs), and the Special Payments Fund > checks? Wouldn't they disappear too? On the one hand...In this area, most of the people who do the trust fund gigs are part of an old-timers club. I suspect that if they stopped getting paid, most of them would keep showing up out of habit. There's no serious money involved for anybody, and we play for fun. On the other hand...The handful of young faces that are drawn in probably come for the money initially. I worry about the future of these groups, with or without the trust fund. Finally...The trust fund is such an anachronism that it's bound to disappear sooner or later, regardless of the music industry's coming upheaval. Dave Burch Hamilton-Fairfield Symphony Orchestra (Ohio) Mt Auburn Brass Fellowship ------------------------------ Date: Thu, 30 Jan 2003 18:58:04 -0500 From: Randy Campora Subject: W.T.B.: Edwards Bass Slide & Pipes, Bach Gold Bell Flair Dear Listers: If anyone has an Edwards bass dual bore slide for sale, please contact me, I am helping some students find some stuff they are looking for. Heavy weight or normal weight both OK. Looking for Edwards bass leadpipes: brass, normal length #2 and #3. Also looking for a Bach 50 Gold Brass bell flare, normal weight. Thanks, ~Randy Campora Baltimore Symphony ------------------------------ Date: Thu, 30 Jan 2003 18:31:49 -0600 From: Mike Switzer Subject: Shoutin Liza I found a recording of Shoutin Liza Trombone by Fillmore floating around, and now I can't get it out of my head... anyone know where I can find music for this piece? Mike Switzer "Seek and learn to recognize who and what, in the midst of the inferno, are not inferno, then make them endure, give them space." -Italo Calvino ------------------------------ Date: Thu, 30 Jan 2003 18:41:28 -0600 From: Eric & Candice Swanson Subject: Re: James Morrison Pete Soukup wrote: > I don't remember seeing any discussion of this Australian musician. If you haven't heard of him, he plays trumpet, trombone, sax, piano, and some of his recordings are of all him playing all the parts in a big band, except the rhythm section. > IMHO, the guy is a monster... > Pete, I agree. He's under-rated as a trombonist, and he's one of my favorite trumpet players. He writes all the charts too!!!! Buy his albums! Eric ------------------------------ Date: Thu, 30 Jan 2003 19:21:07 -0600 From: Bill Dinwiddie Subject: MPTF My feeling on the MPTF gigs is this. In Chicago the average MPTF or "Trust Fund" gig pays about $100 for two hours work. They are almost always in the daytime, which means they don't conflict with evening gigs. A fair amount of them are large ensemble gigs, either big band or orchestral. They are an important source of income to people who are still trying to make it in the full time music business (a precious few these days). They bring a lot of LIVE music to people, many of whom are elderly and would not be able to get out to see concerts, let alone afford a ticket. They expose younger children to LIVE music, often of a different type than they would usually otherwise hear on CDs or on the radio. They are usually no worse a musical experience than your average Saturday night wedding. I mean, it's pretty hard to find something bad about the MPTF. OK, so the pay isn't so great and they are pretty late with the check. But I can live with that. Besides, it gives me an opportunity to see guys who I may not have seen in months. In short, I hope the MPTF doesn't fold. In spite of the cynical comments that many of us have made about the "Green Sheet" gigs, the fund has put a lot of money into musician's pockets over the years, and brought a lot of LIVE music to people who might otherwise not had a chance to hear it. Bill Dinwiddie Chicago bill752d@attbi.com ------------------------------ Date: Thu, 30 Jan 2003 17:49:40 -0800 From: Jim O'Briant Subject: Re: Shoutin Liza Mike Switzer wrote: > I found a recording of Shoutin Liza Trombone > by Fillmore floating around, and now I can't > get it out of my head... anyone know where > I can find music for this piece? The original quickstep-size (march-size) edition from Fillmore Music House (later acquired by Carl Fischer) is out of print. Carl Fischer currently has two concert band editions of the piece in print, however. One is arranged by Robert Foster and retails for $75.00; the other is arranged by Johan DeMeij, and retails for $50.00. After reading your e-mail, it took me all of two minutes to find this information on the JWPepper website at www.jwpepper.com. Their site is VERY useful, as their search will often bring up information about pieces that are long out-of-print, information that is often unavailable elsewhere precisely because the pieces are out-of-print. Jim O'Briant Bayside Music Press Gilroy, CA www.baysidemusicpress.com ------------------------------ Date: Thu, 30 Jan 2003 19:48:08 -0600 From: s76lewis Subject: Re: Shoutin Liza Mike, It is available at Hickey's Music, arranged for brass quintet by Marco Katz. There are Sally Trombone, Lassus Trombone, Bull Trombone, Shouting Liza, and Miss Trombone. We have some old Fillmore Lassus parts for Band but the coda's are confusing. Sandy Lewis ----- Original Message ----- From: "Mike Switzer" To: Sent: Thursday, January 30, 2003 6:31 PM Subject: [TBN-L] Shoutin Liza > I found a recording of Shoutin Liza Trombone by Fillmore floating around, > and now I can't get it out of my head... > anyone know where I can find music for this piece? > > Mike Switzer > > "Seek and learn to recognize who and what, in the midst of the inferno, are > not inferno, then make them endure, give them space." > -Italo Calvino ------------------------------ Date: Thu, 30 Jan 2003 20:00:53 -0600 From: "Monte B. Price" Subject: Re: Shoutin Liza Henry Fillmore's Jazz Trombonist (Dixieland Slurring Techniques) Fillmore Music House a Division of Carl Fischer, Inc. You can call Alpha Music in Austin, TX at 512-477-5009 to special order. Ask for Jim and say "Monte sent me." Won't get you anything but a laugh, but it might get me a beer..... http://www.alphamusicaustin.com Example of a Dixieland Slur: "You're playing that thang like you have a mouthful of grits and gravy!" ------------------------------ Date: Thu, 30 Jan 2003 21:53:52 -0500 From: Alan Partis Subject: taking a risk Ladies and gentlemen, At the risk of asking an extremely boring question, is there any difference between a new Conn 5G mouthpiece and a Bach 5G? I think I heard someone say recently that Bach mouthpieces are now being stamped with the Conn name. Is this true? Thanks. __________________________________________________ alan partis, amateur bonehead louisville, ky ------------------------------ Date: Thu, 30 Jan 2003 19:06:14 -0800 From: Larry White Subject: Re: James Morrison I wrote about him just about a week ago, when one of the listmembers was enquiring what type of music would be suitable for a proficient special guest came to their camp. He is phenomenal, and I don't always like jazz.... but that is another story. Larry White Pete Soukup wrote: > I don't remember seeing any discussion of this Australian musician. If you haven't heard of him, he plays trumpet, trombone, sax, piano, and some of his recordings are of all him playing all the parts in a big band, except the rhythm section. > > He's on a Lalo Shiffren CD that I have with the London Philharmonic playing jazz, also. > > IMHO, the guy is a monster... > > Pete Soukup > Drive-by trombone soloist > > Pete Soukup > psoukup@mindspring.com ------------------------------ Date: Thu, 30 Jan 2003 22:48:29 EST From: ALFORDMB@AOL.COM Subject: Re: Shoutin Liza It is also available in a solo trombone and piano version in a collection of Fillmore "rags." Entitled - approximately - Lassus Trombone and 15 other Trombone RAgs" or something like that. Published by Karl Fischer I believe. ------------------------------ Date: Thu, 30 Jan 2003 20:48:30 -0800 From: Andrew Michael Subject: Re: 8va ad libs in Grondahl At 1:48 PM -0500 1/30/03, Brian French wrote: >When I last played this piece, I did both 8va's. I was 20 years old and >wanted to show off my high range! Thinking back, though - and this is my >opinion today and maybe not tomorrow - I like the 8va in the second mvt, but >maybe not so much in the third. An interesting point. A lot of people probably play this piece when they are young. I know around here it is getting used in youth concerto competitions with good results. However, as an amateur I have the advantage of approaching the piece from an older perspective and have less to gain by proving my high range. Actually, I sort of wish I had done this piece in high school rather than the Mozart Horn Concerto I competed with senior year as it fits me better. But, I hadn't heard of it. > >In the second mvt., I feel it more closely matches the sweetness and >tessitura of the orchestra, while lending a more direct route to the trigger >D-flat (if you're playing it). I would play the low Db if I do the 8va ad lib. I agree it leads to it quite nicely although you get there without it too. I will try this both ways with the orchestra to compare how it sounds against their accompaniment. So far, I 've only done it with the orchestra once and did the 8va then. > >In the third mvt., it does add some variety to the range (most of this >movement is relatively low to middle), but if played imaginatively as >written, the 8va isn't as weighty an option. > Agreed. Without the 8va, playing that many middle C's in a row requires real attention to the interpretation. Doing the octave jump almost makes it easier to sell to the audience, but the middle C's have more weight. Thanks for your thoughtful reply. Cheers, Andy ------------------------------ Date: Thu, 30 Jan 2003 23:05:58 -0600 From: Fred Hudson Subject: Re: Shoutin Liza and "Henry - A Reflection" ---- Original Message ----- From: "s76lewis" > Mike, > It is available at Hickey's Music, arranged for brass quintet by Marco Katz. > There are Sally Trombone, Lassus Trombone, Bull Trombone, Shouting Liza, and > Miss Trombone. > We have some old Fillmore Lassus parts for Band but the coda's are > confusing. > Sandy Lewis But what happened to "Slim", "Bones" and "Teddy" who, if I remember correctly, occupied equal space in the original "Trombone Family" Band Book. If the list will forgive the reminiscences of an old man, as a high school trombonist in Miami in the late forties I played "Shoutin' Liza" and "Lassus' many times under the direction of Henry Fillmore and many of his marches as well . It seems ironic that he seems to be remembered more for these novelty tunes than for his tremendous contribution to the development of school bands. He undoubtedly composed, arranged and published more marches than anyone before or since his time, under his own name and his many pseudonyms. Under the name Harold Bennett he wrote marches for young bands. his Al Hayes and Will Huff band books were aimed at intermediate bands and he signed his own name to marches and compositions for more advanced bands. He was a "fixture" at all high school football games in Miami and naturally was invited to conduct a number or two so we had to have a full repertoire of his marches ready. We usually got a story about how he decided to compose the one he chose to conduct. He had a particulary close relationship with Fred McCall, our Band Director, and wrote a couple of fight songs for our school. McCall left to become Director of the University of Miami Band so Henry wrote a couple of fight songs for them. He could write a march at the drop of a hat. One of the most often played marches by high school bands in the area was "Men of Ohio". Somebody asked him one day why, since he lived in Florida, didn't he write one named "Men of Florida". So he did - in a period of a few weeks. He asked our band to read the proof which resulted in the final revision. He was indeed a flamboyant showman which caused many to not take him seriously, but personally I feel privileged to have had the association with a great contributor to the encouragement of school band musicians. Fred Hudson ----- Original Message ----- > From: "Mike Switzer" > To: > Sent: Thursday, January 30, 2003 6:31 PM > Subject: [TBN-L] Shoutin Liza > > > > I found a recording of Shoutin Liza Trombone by Fillmore floating around, > > and now I can't get it out of my head... > > anyone know where I can find music for this piece? > > > > Mike Switzer > > > > "Seek and learn to recognize who and what, in the midst of the inferno, > are > > not inferno, then make them endure, give them space." > > -Italo Calvino > > ------------------------------ Date: Fri, 31 Jan 2003 00:23:31 -0500 From: "Dr. Carole Nowicke, Applied Health Science" Subject: Re: Shoutin Liza and "Henry - A Reflection" Great story Fred! I'd like to put in a plug for Paul Bierley's biography of Henry Fillmore "Hallelujah Trombone." Even explains all of Henry's aliases! Carole "Paul will buy me ice cream for this" Nowicke cnowicke@indiana.edu ------------------------------ End of TROMBONE-L Digest - 29 Jan 2003 to 30 Jan 2003 (#2003-30) ****************************************************************