Subject: TROMBONE-L Digest - 3 Mar 2004 to 4 Mar 2004 (#2004-65) Date: Friday, March 5, 2004 12:00 AM From: Automatic digest processor Reply-To: "Trombones and related issues forum." To: Recipients of TROMBONE-L digests There are 27 messages totalling 1271 lines in this issue. Topics of the day: 1. OT - Maybe a Trolling for Victory for Public Broadcasting 2. Victory for Public Broadcasting 3. The good with the bad (8) 4. New Mahler 3 Recording (2) 5. polishing silver? (5) 6. More New Sheet Music 7. Barron, Bolter, Acosta, Yeo in Concert (2) 8. Conn 78H (5) 9. Pneumo thorax (2) ---------------------------------------------------------------------- Date: Wed, 3 Mar 2004 22:41:17 -0800 From: Chris Tune Subject: Re: OT - Maybe a Trolling for Victory for Public Broadcasting I must retract: Debra Silver is a practicing attorney in NYC. She has strong opinions, but is a real person with real opinions. I got the reminder off list, so I thought I'd mention this ON LIST. Still good advice to keep to bone and not take offense. Chris Tune Los Angeles, CA ----- Original Message ----- From: "Chris Tune" To: Sent: Wednesday, March 03, 2004 5:04 PM Subject: Re: [TBN-L] OT - Maybe a Trolling for Victory for Public Broadcasting > I couldn't help but notice just the same phenomenon. Coincidence . . .that > one person is only heard in certain circumstances. > > I remember Harry. . . > > I understood that the incident with DJ was checked out and there was no > troll involved. But the behavior of only sending messages when they are > filled with criticism without temperance or constructive comment, is one > sign of well, TROLL like behavior. > > A couple of constructive suggestions to innoculate against just such a > possibility: > > KEEP TO MUSIC AND TROMBONE! > > This is important. I like an occasional joke (and dig DJ and Sam, etc.) and > the interesting comment or philosophical note and perhaps those are some of > the best threads in the long run, but we've had a few whole threads lately > (I checked and the vast majority ARE trombone and music) where they are > serious threads, but useful for some other forum. The way lists work there > is always a momentum with the possibility that more and more off topic > messages will come in and the OT threads will just go on and on. > > Good idea to think twice before sending messages about: > > New viruses or worms (these are usually proven false anyway. . .this is just > what the maker WANTS you to do) > Political matters (I know this is hard to believe, but we all have different > views. . .that's just the way it is) > Religious matters (remember, GOD wants us to keep sticking to trombone, HIS > favorite instrument! Oh! thanks to whoever got us the cute cartoon with > trombones in heaven and accordians in hell) > Grass roots petitions, etc. > > > IGNORE FLAMES! > > If someone is tasteless enough to get really insulting, there is always a > chance they are doing it on purpose (Troll). Just forget it and don't get > mad. Once again, it is pretty sure strategy to stick to trombone matters > because trombone yack is resistant to being put in hurtful terms (how do you > get someone really angry when discussing silicone lubricants? In-slide > tuning? I think we'd have less DJ, NPR type situations if this were mostly > trombone stuff and the occasional joke). > > Sorry to pontificate like this, but I hate to think of everybody having a > bad time on the list. . . seems maybe there are some who are not of the same > mind. > > Chris Tune > Los Angeles, CA > > ----- Original Message ----- > From: "Gabriel Langfur" > To: > Sent: Wednesday, March 03, 2004 3:00 PM > Subject: Re: [TBN-L] Victory for Public Broadcasting > > > > --- Debra Silver <> wrote: > > > Victory? Not for we American taxpayers that pay for the > > > extrememly biased > > > reporting of NPR. > > > > Debra, if you have something to say about the trombone, > > please share it with us. If not, please take the political > > arguments somewhere else. I can't remember you contributing > > anything trombone-related, ever. I'm sure you must have at > > some point, but I'm also sure it wasn't much and hasn't > > been often. The only posts I can remember from you are this > > one and the attack on DJ Kennedy. > > > > Granted, DJ's original comment was inappropriate at this > > time in history in the culture I, personally, find myself > > living in. And I tried to say that in as gentle and > > comrehensive a way as possible. You simply called him a > > racist and practically demanded that he be removed from the > > list. He ultimately removed himself, and a lot of people > > here miss him. > > > > I couldn't disagree with you more about NPR (and you're > > wrong about the funding), but that's really not the point. > > > > Respectfully, > > Gabe Langfur > > > ------------------------------ Date: Thu, 4 Mar 2004 07:58:56 -0000 From: Adrian Drover Subject: Re: Victory for Public Broadcasting From: "Jeff Oien" > I hope not! I was thinking of trying an experiment where > I would use flammable slide lube instead of the safer > non-flammable. Then playing a hot bebop riff (or whatever > term you jazz musicians like to use {notice I didn't use > the term "jazzer" so as not to offend anybody}) So "jazzer" is now a politically incorrect word too? Geez!, if I have to take any more words out of my dictionary, there won't anything left to write with. > and seeing > if my slide catches on fire. Only problem is I don't have > a digital video camera. Would that keep you on the list? You be careful with that stuff now. It could do serious harm to your spit valve cork. A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ------------------------------ Date: Thu, 4 Mar 2004 02:11:26 -0600 From: musichub@COMCAST.NET Subject: Re: The good with the bad Yep, testify brudda! Now we're talkin bout something worth talkin bout. I finally picked up Turre's One for J recently, and I have to say the guy who got to me most on this great collection of JJ-influenced talent was Mr. Davis. For me, he took turns which left me pleasantly surprised, all while staying completely within the JJ - Slide - Curtis bag. They obviously all sound good, but he got me, he moved me.... On Wed, 3 Mar 2004 19:57:29 -0500, DSlide13@AOL.COM wrote: >I hear you loud and clear. I was listening to a John Swana cd today. I bought the disc a year prior to moving to NYC. Steve Davis is playing trombone. I listened to Steve weave his way through the changes and play beautiful melodies while manipulating the verbage of the language we call "jazz", and I realized that I had never heard it that way before. I realized that prior to moving to this wonderful city, I was hearing his playing in "black and white". It's easy to hear the tone and attacks and technical playing, but it's hard to hear the message, the music. > >When explaining the importance of vocabulary to my 8 year old daughter, I told her that having a vast vocabulary was like giving someone the ability to read your mind. If you can use the appropriate word at the appropriate time to describe the idea that is in your own mind, you can transfer that idea into the mind of someone who shares your language. Unfortunately, most kids become dependent upon phrases like "you know what I'm saying", or "know what I mean". My answer is, "No, I don't know what you mean. You have to tell me what you mean." > >When I hear Steve play, I feel like I have an understanding of his mind. I'm no more concerned about the sound of the trombone than I am when I hear the sound of Katherine Hepburn's voice in On Golden Pond. "Do I understand the music?" is the question I ask myself. Hepburn won an Oscar for her role in On Golden Pond, and I don't recall anyone having issues with her voice. I'm not saying that Steve's voice isn't pure and beautiful, but only that we often get stuck on any given player's voice instead of their message. > >We as trombones get so caught up in our voice and what timbre of voice is the proper one, and which equipment is the right equipment to achieve that timbre. Even if we achieve this perfect voice, what are we saying. At least there is literature to play, but many times we still get so caught up in our voice that we don't do anything with it. A piece of music should be our script. If we were actors, the majority of us would be out of work because we don't "interpret" the music. We simply play the notes with technical perfection and leave it there. > >And, jazz trombonists are the worst offenders of all. Without a script to guide us, we're left to focus completely on technique and use our powers for the dark side. The dark side would be host to our own fragile egos that need to be propped up with the highest and fastest notes that we can imagine. A good friend of mine, a non-trombonist, asks frequently, "Would you make love to your wife the way you play your instrument?" The real question is, "Would she like it?" I'm guessing that in the majority of cases, she would not. > >When are we, as a community, going to start listening to the music? > >You are now free to flame me too!!! Ouch, that burns....... > >DG > > >In a message dated 3/3/2004 3:07:42 PM Eastern Standard Time, musichub@COMCAST.NET writes: > >> I take the time to wade through so much blather to get to what seems like fewer and fewer thoughtful postings about MUSIC, using this lovely word in its largest definition, perhaps something like Ellington's definition. Where does our instrument of choice fit into MUSIC, and whom out there is making >> compelling MUSIC with our beloved slush pump. ------------------------------ Date: Thu, 4 Mar 2004 07:09:58 -0700 From: Steve Gamble Subject: Re: The good with the bad DG, I have a trombone student whose main interest is drama. My daughter graduated from college with a degree in musical theatre and I attended a few of her classes along the way. We often talked about how music and drama were about the same thing really. I frequently try to explain things to my student using ideas that came up while chatting with my daughter. I don't think I've ever been quite as clear and eloquent as you have been in this post. Gotta love it. Steve Gamble, Librarian Tucson Symphony Orchestra 2175 N. 6th Ave. Tucson, AZ 85705 (520) 792-9155 x118 (520) 792-9314 fax (520) 991-7056 cel sgamble@tucsonsymphony.org -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU] On Behalf Of DSlide13@AOL.COM Sent: Wednesday, March 03, 2004 5:57 PM To: TROMBONE-L@PO.MISSOURI.EDU Subject: Re: [TBN-L] The good with the bad I hear you loud and clear. I was listening to a John Swana cd today. I bought the disc a year prior to moving to NYC. Steve Davis is playing trombone. I listened to Steve weave his way through the changes and play beautiful melodies while manipulating the verbage of the language we call "jazz", and I realized that I had never heard it that way before. I realized that prior to moving to this wonderful city, I was hearing his playing in "black and white". It's easy to hear the tone and attacks and technical playing, but it's hard to hear the message, the music. When explaining the importance of vocabulary to my 8 year old daughter, I told her that having a vast vocabulary was like giving someone the ability to read your mind. If you can use the appropriate word at the appropriate time to describe the idea that is in your own mind, you can transfer that idea into the mind of someone who shares your language. Unfortunately, most kids become dependent upon phrases like "you know what I'm saying", or "know what I mean". My answer is, "No, I don't know what you mean. You have to tell me what you mean." When I hear Steve play, I feel like I have an understanding of his mind. I'm no more concerned about the sound of the trombone than I am when I hear the sound of Katherine Hepburn's voice in On Golden Pond. "Do I understand the music?" is the question I ask myself. Hepburn won an Oscar for her role in On Golden Pond, and I don't recall anyone having issues with her voice. I'm not saying that Steve's voice isn't pure and beautiful, but only that we often get stuck on any given player's voice instead of their message. We as trombones get so caught up in our voice and what timbre of voice is the proper one, and which equipment is the right equipment to achieve that timbre. Even if we achieve this perfect voice, what are we saying. At least there is literature to play, but many times we still get so caught up in our voice that we don't do anything with it. A piece of music should be our script. If we were actors, the majority of us would be out of work because we don't "interpret" the music. We simply play the notes with technical perfection and leave it there. And, jazz trombonists are the worst offenders of all. Without a script to guide us, we're left to focus completely on technique and use our powers for the dark side. The dark side would be host to our own fragile egos that need to be propped up with the highest and fastest notes that we can imagine. A good friend of mine, a non-trombonist, asks frequently, "Would you make love to your wife the way you play your instrument?" The real question is, "Would she like it?" I'm guessing that in the majority of cases, she would not. When are we, as a community, going to start listening to the music? You are now free to flame me too!!! Ouch, that burns....... DG In a message dated 3/3/2004 3:07:42 PM Eastern Standard Time, musichub@COMCAST.NET writes: > I take the time to wade through so much blather to get to what seems like fewer and fewer thoughtful postings about MUSIC, using this lovely word in its largest definition, perhaps something like Ellington's definition. Where does our instrument of choice fit into MUSIC, and whom out there is making > compelling MUSIC with our beloved slush pump. ------------------------------ Date: Thu, 4 Mar 2004 09:58:32 -0500 From: DSlide13@AOL.COM Subject: Re: The good with the bad Steve, Thanks for the validation. Sometimes I think I'm crazy, so it's nice to know another crazy person too. I also talk to my students about the purpose of music. Most of them acknowledge the reason that people listen to music is to relax. I try and impress upon them that they don't have to be masters of every technical facet of the music, but only be masters of the requirements of them for a piece of music. It isn't relaxing to hear someone struggle. But, the most important thing that they have to do is CONVINCE ME. I want them to speak to me through their instruments with passion. Even if they do miss every note, I need to be convinced that they know what they're talking about. Many of these kids have gotten through their short lives without committing to anything. I asked one student what their passion was and they were unable to tell me. I then asked them if they had siblings and they replied, "yes." So, I presented with a situation wherein I made disparaging remarks about their sister and asked how they might defend her. The student admitted that it would be a passionate response. So, I asked the student to use that energy when playing Rochut etudes. Most of my students won't be professional trombonists, but they can learn to express themselves through music and I hope gain a greater understanding of music and of themselves. I believe their lives will be much richer for both. DG In a message dated 3/4/2004 9:09:58 AM Eastern Standard Time, sgamble@TUCSONSYMPHONY.ORG writes: > I don't think I've ever been quite as clear and eloquent as > you have been in this post. Gotta love it. ------------------------------ Date: Thu, 4 Mar 2004 10:16:29 -0500 From: "Paul D. Kemp Jr." Subject: New Mahler 3 Recording Dear Listers, OK, here it is---a brand spanking new recording of Mahler 3, on the Telarc label with the New Philharmonia Orchestra. It still might even be on sale for $16.99. I have never heard of Brian Fulcher, the principal trombone, but I can tell you this much, this is the recording that I plan to use to really study this piece. Brian appears to be one of those trombone players in the world who is in the unsung hero class, and the way that he plays the solo is absolutely magnificent. The conductor is Benjamin Zander, and the playing of the entire orchestra is absolutely magnificent. I just listened to the first movement, and IT IS A KEEPER. If any of our friends from the UK can tell us more about Brian Fulcher, I for 1 would be very interested in knowing more about him. Paul Kemp Chattanooga Symphony ------------------------------ Date: Thu, 4 Mar 2004 07:25:09 -0800 From: Chris Tune Subject: Re: The good with the bad Eloquently put. I hope more listers read the entire message. This goes to the difference between craft and art. An artist should have craftsman's skills but an artist's soul. What is the soul? We may never know, but the evidence it exists is in our art. I think of Frank when I think of this stuff. I know he is often considered a "technical player", but I've come to appreciate his ardent desire to "say something" and "communicate" when performing. That is my goal now. I may not make it to the level of J and Frank but I have a goal. . . Chris Tune ----- Original Message ----- From: To: Sent: Thursday, March 04, 2004 12:11 AM Subject: Re: [TBN-L] The good with the bad > Yep, testify brudda! Now we're talkin bout something worth talkin bout. > > I finally picked up Turre's One for J recently, and I have to say the guy > who > got to me most on this great collection of JJ-influenced talent was Mr. > Davis. > For me, he took turns which left me pleasantly surprised, all while staying > completely within the JJ - Slide - Curtis bag. They obviously all sound > good, > but he got me, he moved me.... > > > On Wed, 3 Mar 2004 19:57:29 -0500, DSlide13@AOL.COM wrote: > > >I hear you loud and clear. I was listening to a John Swana cd today. I > bought the disc a year prior to moving to NYC. Steve Davis is playing > trombone. I listened to Steve weave his way through the changes and play > beautiful melodies while manipulating the verbage of the language we > call "jazz", and I realized that I had never heard it that way before. I > realized that prior to moving to this wonderful city, I was hearing his > playing in "black and white". It's easy to hear the tone and attacks and > technical playing, but it's hard to hear the message, the music. > > > >When explaining the importance of vocabulary to my 8 year old daughter, I > told her that having a vast vocabulary was like giving someone the ability > to read your mind. If you can use the appropriate word at the appropriate > time to describe the idea that is in your own mind, you can transfer that > idea into the mind of someone who shares your language. Unfortunately, > most kids become dependent upon phrases like "you know what I'm saying", > or "know what I mean". My answer is, "No, I don't know what you mean. You > have to tell me what you mean." > > > >When I hear Steve play, I feel like I have an understanding of his mind. > I'm no more concerned about the sound of the trombone than I am when I hear > the sound of Katherine Hepburn's voice in On Golden Pond. "Do I understand > the music?" is the question I ask myself. Hepburn won an Oscar for her > role in On Golden Pond, and I don't recall anyone having issues with her > voice. I'm not saying that Steve's voice isn't pure and beautiful, but > only that we often get stuck on any given player's voice instead of their > message. > > > >We as trombones get so caught up in our voice and what timbre of voice is > the proper one, and which equipment is the right equipment to achieve that > timbre. Even if we achieve this perfect voice, what are we saying. At > least there is literature to play, but many times we still get so caught up > in our voice that we don't do anything with it. A piece of music should be > our script. If we were actors, the majority of us would be out of work > because we don't "interpret" the music. We simply play the notes with > technical perfection and leave it there. > > > >And, jazz trombonists are the worst offenders of all. Without a script to > guide us, we're left to focus completely on technique and use our powers > for the dark side. The dark side would be host to our own fragile egos > that need to be propped up with the highest and fastest notes that we can > imagine. A good friend of mine, a non-trombonist, asks frequently, "Would > you make love to your wife the way you play your instrument?" The real > question is, "Would she like it?" I'm guessing that in the majority of > cases, she would not. > > > >When are we, as a community, going to start listening to the music? > > > >You are now free to flame me too!!! Ouch, that burns....... > > > >DG > > > > > >In a message dated 3/3/2004 3:07:42 PM Eastern Standard Time, > musichub@COMCAST.NET writes: > > > >> I take the time to wade through so much blather to get to what seems > like fewer and fewer thoughtful postings about MUSIC, using this lovely > word in its largest definition, perhaps something like Ellington's > definition. Where does our instrument of choice fit into MUSIC, and whom > out there is making > >> compelling MUSIC with our beloved slush pump. > ------------------------------ Date: Thu, 4 Mar 2004 12:31:44 -0500 From: DSlide13@AOL.COM Subject: Re: The good with the bad The point is to have "something" to say. Curtis Fuller and I have talked about this at length. Curtis mentioned what an eloquent speaker Benny Golson is, but he acknowledged that you don't have to have the most sophisticated vocabulary to communicate with someone. What I took from our conversation was this: Even a toddler, with their limited vocabulary, can make you feel something. They have something to say, and they struggle to make you understand it. You don't have to be Faulkner to communicate. You can be Steinbeck, or Dr. Seuss even. The bottom line is that you have a message you want to pass along to a listener. You're goal should be to communicate your own message. No one can do that better than you. If someone else set their goal to communicate your message, then they would fail. You can succeed at that which no one else can. Be yourself. Speak for yourself. And, have something worthy to say. DG In a message dated 3/4/2004 10:25:09 AM Eastern Standard Time, crtune@ADELPHIA.NET writes: > I think of Frank when I think of this stuff. I know he is often considered> a "technical player", but I've come to appreciate his ardent desire to "say> something" and "communicate" when performing. That is my goal now. I may> not make it to the level of J and Frank but I have a goal. > . . ------------------------------ Date: Thu, 4 Mar 2004 10:53:21 -0800 From: Gabriel Langfur Subject: polishing silver? Hi folks, I'm having a really hard time polishing some tarnished sliver-plated mouthpieces. Suggestions? ===== Gabe Langfur Boston, MA ------------------------------ Date: Thu, 4 Mar 2004 14:06:15 -0500 From: Erik Tkal Subject: Re: polishing silver? Gabriel Langfur wrote: >I'm having a really hard time polishing some tarnished >sliver-plated mouthpieces. > >Suggestions? > What is happening? Is it not looking like silver any more? Does it look ruddy or brassy? Is it possible the silver plate is worn through? Erik ------------------------------ Date: Thu, 4 Mar 2004 13:13:05 -0600 From: Jeff Oien Subject: Re: polishing silver? Joe Stanko suggested toothpaste in the past and it works really well. Just use fingers, no tools needed. It may work better without water. If you get black all over the place and want to rinse it off, try drying it and starting over to get more off. Jeff Oien Gabriel Langfur wrote: > Hi folks, > > I'm having a really hard time polishing some tarnished > sliver-plated mouthpieces. > > Suggestions? > > ===== > Gabe Langfur > Boston, MA > > ------------------------------ Date: Thu, 4 Mar 2004 14:22:04 -0500 From: Bruce Guttman Subject: polishing silver? Gabe: Tarnish is a chemical reaction between the silver plating and either sulfur or oxygen from the air. You can also get black deposits if the copper in the brass migrates through the plating to the outside. Shallow tarnishes can be removed using the usual suspects; my favorite is Wright's, but Gorham's is also good. Deeper tarnishes can be dealt with by putting a film of the paste on a wet surface and leaving it for a while. Don't do this too often; the way a tarnish remover works is to dissolve some of the plating along with the tarnish (that's the black goo you wipe off on a cloth). If the tarnish is too deep, it may be necessary to chemically strip the plating and reapply. The solution for silver plating is cyanide based, and this is not something to try at home!!! Hope this helps a little. Bruce Guttman ------------------------------ Date: Thu, 4 Mar 2004 20:00:18 -0000 From: Howard Smith Subject: Re: New Mahler 3 Recording Glad you liked the recording. The first thing to know about "Brian" is that he is called Byron. I was chatting to him last week after a lunchtime concert given by a brass quintet from the Philharmonia. He told me that they had misspelt his name on the CD notes. I have not heared the CD, but I had previously heard him play the solos live in January 2003 with the Philharmonia and Zander. I can say that if they are anywhere near as good on the recording, then they will be brilliant. I asked Byron about the recording and his typically modest response was that they had perhaps not chosen the best of the takes for the final version. He had absolutely no idea that people on the internet (Mahler Forum, OTJ etc.) were talking about him in such glowing terms. Yes, he was pleased, but also a little amazed. He is a really nice guy. ----- Original Message ----- From: "Paul D. Kemp Jr." To: Sent: Thursday, March 04, 2004 3:16 PM Subject: [TBN-L] New Mahler 3 Recording > Dear Listers, > OK, here it is---a brand spanking new recording of Mahler 3, on the > Telarc label with the New Philharmonia Orchestra. It still might even be on > sale for $16.99. I have never heard of Brian Fulcher, the principal > trombone, but I can tell you this much, this is the recording that I plan to > use to really study this piece. Brian appears to be one of those trombone > players in the world who is in the unsung hero class, and the way that he > plays the solo is absolutely magnificent. The conductor is Benjamin Zander, > and the playing of the entire orchestra is absolutely magnificent. I just > listened to the first movement, and IT IS A KEEPER. If any of our friends > from the UK can tell us more about Brian Fulcher, I for 1 would be very > interested in knowing more about him. > > Paul Kemp > Chattanooga Symphony > ------------------------------ Date: Thu, 4 Mar 2004 13:12:39 -0700 From: Frank Darmiento Subject: Re: More New Sheet Music ---------- Original Message ---------------------------------- From: Adrian Drover Reply-To: Adrian Drover Date: Wed, 3 Mar 2004 23:34:54 -0000 >From: "Robert Elkjer" >> >> Mozart Rondo Alla Turk. Arranged for trombone and piano. > > >Mozart? Is that by any chance the same tune as the Dave Brubeck piece in >9/8 (3/4 + 3/8)? Nah, can't be. Mozart never messed around with time, did >he? > >A. > >Adrian Drover >ADIOS, Scotland www.adios.co.uk >Personal email: adrian@adios.co.uk Probably not Blue Rondo a la Turk (the Brubeck thing). It sounds like the third movement of the Mozart Piano Sonata Number 11. The third movement of this piece is often referred to as the Turkish March, or Rondo Alla Turca. -- Frank T. Darmiento Scottsdale, Arizona frank@darmiento.com www.SackbutMusic.com --------------------------- Frank Darmiento's new jazz CD "Sudden Impact" is now available from Summit Records at: http://www.summitrecords.com/product.tmpl?SKU=339 -- ------------------------------ Date: Thu, 4 Mar 2004 12:35:39 -0800 From: Gabriel Langfur Subject: Re: polishing silver? --- Jeff Oien wrote: > Joe Stanko suggested toothpaste in the past and it works > really well. Just use fingers, no tools needed. Thanks for the suggestions. This is actually what I ended up doing, after a little internet poking around. What I was looking at was definitely tarnish, and some of it happened after a failed attempt with Tarn-X, which, when not used correctly, clearly makes matters worse! ===== Gabe Langfur Boston, MA ------------------------------ Date: Thu, 4 Mar 2004 14:38:49 -0600 From: musichub@COMCAST.NET Subject: Re: The good with the bad I'm enjoying this conversation immensely! Thanks to all of you, especially DG, for rolling with this one. Storytellers with stories worth telling and worth listening to. Those are the musicians, and artists in general, whom I seem to react to most deeply. One of the faves mentioned so far - Rosolino - one of my favorite aspects of his playing, something many times neglected when I hear people talk about him, is his take on ballads. Damn, what a storyteller. One of the many times I caught Wynton was at Boston Symphony Hall with LCJO maybe ten years ago. The night was solid with many things to admire and take in, but the moment that got me most was a duet at the end of the night between Wynton and Eric Reed, I believe it was on Embraceable You. Wynton's chops were fried (one of the few times I've heard him dealing with this dillema), and it was as if he had to reach into another less technical part of his mind to not only physically make it through the tune, but to deliver his story in a different way than he was technically used to. It was one of the most moving stories I've had the opportunity to hear Wynton deliver, much more moving and memorable to me than his studious arrangements and compositions over the course of the night, as solid as they were. I'm off to try for at least one good story today. Cheers, Chip ------------------------------ Date: Thu, 4 Mar 2004 16:50:23 -0500 From: Bob Osmun Subject: Barron, Bolter, Acosta, Yeo in Concert This is a multi-part message in MIME format. ------=_NextPart_000_00C1_01C40208.C951C630 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable =20 BSO Trombone Section Gives Concert=20 The Newton Free Library will present "Music for Trombones: Old and New" = with the trombone section of the Boston Symphony Orchestra: Ronald = Barron, Norman Bolter, Darren Acosta and Douglas Yeo, and pianist Vytas = Baksys on Sunday, March 21, 2:00PM. This program of solos, duos, trios = and quartets will feature the premiere of "Sky Dreams," written by = Bolter for Barron's upcoming alto trombone CD "Return of the Alto." Also = included in the concert will be music by Daniel Speer, G.P. Telemann, G. = F. Handel, Alfred Hornoff and Bela Bartok.=20 Barron has presented several concerts at the Library in previous = seasons, each time with different first-class musicians. He has been = principal trombonist of the BSO since 1975 and has played with the = Boston Pops Orchestra for seventeen seasons. Sunday, March 21, 2004 =20 2PM Newton Free Library 330 Homer Street, Newton Center, MA, USA www.ci.newton.ma.us/library Jim Battell Osmun Music jbattell@osmun.com http://www.osmun.com (web site) (781)646-5756 (Phone) (781)646-2480 (Fax) (800)223-7846 (Toll Free in U.S.) ------=_NextPart_000_00C1_01C40208.C951C630 Content-Type: image/jpeg; name="trombone.jpg" Content-Transfer-Encoding: base64 Content-Location: http://www.ci.newton.ma.us/library/Newsletter/images/2004_img/mar04/trombone.jpg /9j/4AAQSkZJRgABAgAAZABkAAD/7AARRHVja3kAAQAEAAAAPAAA/+4AJkFkb2JlAGTAAAAAAQMA FQQDBgoNAAAGqQAACQ4AAA4aAAAVq//bAIQABgQEBAUEBgUFBgkGBQYJCwgGBggLDAoKCwoKDBAM DAwMDAwQDA4PEA8ODBMTFBQTExwbGxscHx8fHx8fHx8fHwEHBwcNDA0YEBAYGhURFRofHx8fHx8f Hx8fHx8fHx8fHx8fHx8fHx8fHx8fHx8fHx8fHx8fHx8fHx8fHx8fHx8f/8IAEQgAYQCWAwERAAIR AQMRAf/EANoAAQADAQEBAQAAAAAAAAAAAAACAwQFAQYHAQEAAwEBAQEAAAAAAAAAAAAAAwQFAgEG BxAAAwEAAQQBBAIDAQAAAAAAAAECAxEgEhMEEDBAFAUhIjEyI0ERAAECAgYGBwcFAQAAAAAAAAEA AiEDETFBEhMEMFGBkSIyYXGx4UJSUxBAwdGCoiPw8WJDJGMSAAEDAgYCAgMAAAAAAAAAAAABESEw IhBAMVECEmGhUCNBgUITAQACAQIEBgMBAQEAAAAAAAEAESExQVFhcYEQIPCRobEwwdFA4fH/2gAM AwEAAhEDEQAAAf1QAAAAAAA88c2tJmpy6eHT2awAAA8c+e8x94895eeuJeNVs2cuhz5gzZvb3HY0 64AHjmvqGiSrR3Wq6rw6ijFZ5Gdsu4fobMEqWlRTsdC/Fon5AB5T3XzSUc3dTHJVo7qygu8ajtwk odvuh55PCtodG1x0urGqO7752AeZpKeObOyTZ2SWhb8F+hcKa15sfO9Lc+RjVve5+rHRydE8exZ2 Q6W2HR0R3D0VdV8c2bimzcc2bnkqasb6HJQ0/Nv51na0dTGvp6uZxO9l9DqbbDp7YNLVFf8AXQo7 q45s3HNnY5s6jup5Tvwzdxo406WlW8s1cP2WG/izsh0tsOlsh0ruLIEPYsk2fkloY+a/Op2lrPPI 1rtmljSnrWcy6I7eqK/ri0NkWhbxYPQBRzFxa3MbFSE1DNWsWaGT7aoy87u5sXx29MdzTFdv4ty8 7AEePeXSllJ5fNHz67Rbp2W6EOuPfEvJLebF3Fi3mb3zsADHQlze+7LHHNrSa5+OhYjPPHj3x576 9PQAABz82fP0um56VqIAAAAAAAczPsdDQgm8AAAAAAAA/9oACAEBAAEFAvrtpGnuonP2b17GtPoc ncjvR5DvHrCL/Zqrj1N9TGJnOtMsSY9tR08jseo9R6nlPL/Wv2nkqfS02MuzOdPdzzFn7Oxj6+OK 6asrQ7+W95HsiuZh/se9/h1q8GlVbKDu31MM8syaE+mqKoqyrNpi4fsftp2/BmrG0lxbiZ4ItE0S yX0UymUyn8YPkdu22kmrcqEhV2Fx3rLOM1BBJ/58WWWV8c8Dp01CT8qR2t/MyTJMkz0UikVJfCHV Udn8ukji2JJfCgnMmCYJjq07JT3vY/D/AJ0qJPHpYsUjxHjFmLMnMnMS6XSS/MrVz6So39j18Vx7 fsEepnmeM8Z4zxiyFmcLq02vuXpeR6bY4T5fc9kw9LHL54RwjhfSzucytva2MfQyh/Ye3/tn/p9j /9oACAECAAEFAvsK14G3T7OK+lwcHAytDtbMl/VJSKX18HBwcHBVJF6ixYs0i9khZUyc1PVwcD/g XA2keVFatk4Nm2SUX7Eo8d2Tkp+hwcHB7EOKz1lTnjdkQpNPZmT++j7IyU13LqQhC+Pdy7p9H1TT 2Jg/vo88Zg20TPDVkZqUxj6EIQvjXaZJWlrLCYNtl3eG7JhT9S9VJ36aGfrzJp7EyePTQjNT8cnJ ycnPU7SPJdEYpF7zJ/00M85g5OTk5OTnqb4PI6JxK0UnN0Z5qTk5OTk5Oeu9XzORVqTmqJzS+utJ g76onJL7Hf7P/9oACAEDAAEFAvsFPxz9Hk7jvPId4mdpyM/ycrq5HY9B6D1PKRNUTgkP2keXkhNn chvqdlWd3LvuR/ZkepbJ9eM1r+xPX3daZevbPLnA93RNCfTVFUVY7PX274aN/fUl6VTx9S7F48pe um1VLipZLJfRTKZTKfx+v24r9h7Dkx9W9DjLFa+xehh67lflRmabPRyST0UUUV8Y4Xb0rKHt7V6H r+s+38nPIvSqZMkyTJK6KRSKkWLo8OWRt7d0Y+nVnmyyNdqv4Uk5kwTBM9XZyeKUaasn1ao/55G1 3oeM8YsxZizJzEurtO47OTtlGjdHjPGeM8YsxQcdSk7jjk4SHXzwcHH0muThIdfYx9n/AP/aAAgB AgIGPwLIsqsdHhchMYbnb+q0wQbqTCEVGJggiVLoQip5LrU9kDaqNytQcer2U8jLahBGpdVkZLeP vBOs8i/TYipJFqG6jaqXQmxFSS2EH1XCbUIq2jrK4bJWbjqXSuGyZBXIhMkmT//aAAgBAwIGPwLJ Pk2qyW1oQmB+RYXfk2Qi5aj4NxlR1H0Q7cb1GGWo250Q8DpevokfnHFT60/ajrUtH5X8/R4F7xxU +tJ3UdakF1y7DaIPohZdy3UmrcMkJhF3ImrOO9ePmP/aAAgBAQEGPwLTxV2S3FmalTPnXdUptXes K9wuGmisPKtxn2ltQ+qpU5p8D/W3sJV1gu2K7zv8rYmlPnGgzjys1D9tIXVNFbjADarmTYcwbX8s sfVbsX+2biD0WcLNuvarrAGtFgVHM6xorXEcGWfAObeuBtHToKFX7MSaRKl2vfBEZKUZ9mNM4ZW6 sq9nJhzBFTKpY6moNqbVQuLcq8Jn3dy4RG11ujEygcR4j2p8qRlpcto5cw6MNaxM1MOam2F/IOpv spMFebwxjrUIu11lQNPVpDLNT+1EeFvaqTAJrm8prJr3Kmt3mNaiKbw5VdJLWmsNPxV1gut1DSU1 UWrhFFNp+SprdrKLK6bAo7hpYwX4xDzmr5lUuif1UulRgOitQ0lLjQF/mbeHqOg3vV6acR43bAun UFHgGq1Q0lJNCu5Vt/8A6eEbVezLsZ2rw7lxGg2NFe5QGDL+5QEdZ0tyU2lyvZl2J/Dw964iGgVB UShgS/UdXsCvc8y2Y6J07g/mV3Li431HfBX3/lm+d3uI6k3q9y//2gAIAQEDAT8h/OBaolpdkKYD qwzeVtf77ntNbm48Tfpt+GnGMmVIGAqqrWX+FjJ636blvvS9CnqH65RSCt4Ecrwdd1Z4dWEOiO2K WXx8xBBPGOZGEiE1eOqVBEQLwOi4vPY7zL5q/oRnvQk0YBRKJWvFqZ3XCuXXZ2lILi3PV8q1KPAV Q1dIjQTiJbBerr23YXOVRPKGh15XtXHvAWYKjAdph1ToalrgawHVm6LPr5Tis1MrqufBs8i0eT5b xrAMVBQYbqGjX+ylq+0AzbP8BTYNAwBgOhL00cF79DV7SoemCTHghkL5wVqTdk7uYjQo02ss1089 3xeF8XjBs9j6S8DdWdxxl+TiP1KAy2jgm18c8+0bsrarfu/k4AaDXk8DvEfVAApwTTneqhAoaAB8 TZNk/Wfp47oNYNYfnwwZ06Fd41a+SWLeGC95cK966GwciB2FizIiaM3WvRr/ACABQUGgQL/B9bni hJUAy3ipkbVye0/gTGw7a6HRoTGa7AjrXK/Zt6zD6FEBYj5B6PMlkDdlsbI95p17PeAq/SXgvs++ Y/S3tyPtNV6J7QWh18BPL8mgnlqyHFjfHYvH7naO8UXKPTf3mN+hnLkCcY+7lHTaEaz1zLHwSSeR AIF5rip6roRbbwHB6mvdjlAtbUP0EVe7ZwdsX8Yfzx5HhcqUfhvEgq1MtFfqOodzN7DWXBW1y68D Q/w/NT4T/F//2gAIAQIDAT8h/PcBUZeE7A0195uCq9clc/xV5AqlGDX5m/U+ffbtMwMOYrWrluzL ZyHLzkEnk4Za+DL69XE/o17vrrCcI1R0CXeo29euU0p5iCMFxosZqCEdvMUpl4E17Tgf3+e8xLVN z4RE3blH79dppyJE8oQggh/rTB156czI9Bu77QejRGPYnrES7WGhv3grSq94QjeJEieYHiyhqQDj 7TFOeA1l88VGqdYHhUoDMtlS5brgG3OVIvv+QAXnrtu9p/YE9emaIZ47zYA2OHWalVwP36YVQo8F ixYvkIMGB2qn3K6zP9xjnsSbjy379dofQrxMMMPmG2qmxcx17HrpH7dRmNcvAlfAd/XqoZh/fHZZ ZYvymLWiOEMcX+QB9wmoT0a5oWvHfy++FfmwNe52Jur6IFnE2/7PXq5ndXj43Ll/iYDpu4aXzGZB y8/8P2f4/wD/2gAIAQMDAT8h/wAJgLC5kcR+GkpKykDLIcUqaR5mYeg8zTyujGlmIDbhcDv/AMl9 UEtwSjTLFfKvjOk4xJSI9IW0j2nqx9pfg6sIwO7/AD10hSy5HvNXwbsPl3b16uak+DZ5Fry+dFFs 97TY/suTbBPcswjQ1bodvXWFrXe2xGGser/I9VZLp9oZupl5cJlAridI0Nlq9jEcuxp7RkoSkdX/ AL8wwc28MdbqvJ9vJMMPhjzTfY7xjtGNmPX8mMWuA0nczPHZCOBd6VeiXptgfj6xH6FxyHyWnf12 nwrIFbrs2P2Dt67xO3cCK/iFXYjk5ciJOwE0nBxZWk5jpFM+23hPLeBPKFyhDw4lp61NS04R8WeN QnmCrY9KCjcZYr40lZSV+FNE3kV0wf4j/i//2gAMAwEAAhEDEQAAEJJJJJJJJ3FJJJJ0z3hppJJ0 J2faO5JFFRHWSVjJFoQO0NzY7J325wTtQHpNhFw9ljBJJ7BN2sn6bJICvl+IPJJN6kHH5TJJHt7L ilJJJJOpJJJJJJJAJJJJJJJJJ//aAAgBAQMBPxD86kgZV5TPusmsHaoztrUb2SEl7xNQvWjhAiTC xLC8MU7dH8KOogd4Dw1yoGF7qOLW0XKzCK4Pg93lNWOaYhwInAqGLZRIpChrlDeSSwJGq6cWwOjD VLidag7a+bUntNMqcyc6D6f+QdbnrzgQdass1XYu1VMXDNBI1MImreVecWgXUoIA5EQXS085rAfu WaEZ1belzae6WHrt21VaZXygLYNgxU1C4YTJWW+x3lyq2S9zZjNC3gBuCqtoNLwNJymTttLcTsWu pNXVjdJRVbMHTZAgEoAYIlly0lapDtdoCsTQeCrz8zmQCx1krXVvWmlnT3IZ5+QrGIXnT1RFznT4 mpmuP/ZqRppxiBAsZU0Wb3ZElNBqA4sUtaJzL/FFcoOjr7S8AB0wA2DAdIWC622XAhXkGWakiTRW SBnTZOBLEK0VV7XcoK0aKFxQuxYlMTjf7ImM6fJFNNsnSXi9tfGq+T5Y5fL7Y5fpbHL5fbFttg7t BykyOF6S3tYgB1jTY+4pKWr6LdBurwLZgoQrfYGBZVmwy3gZbatDlQ5R7CIDqRLS6ymFnK5XwCkZ lvAhWGppFeuAe7A+xga6IXHLKU47/wAeIfcMS+xi3zZI6vJjt4JZBAqQLbLfhB0JXhr11w50HJih zKXEHIDkgJRwEWoENja2pRti3bI1eBNPXDqw8Y1AoCIqCJiy7+Y2564RcWdf5Nx03/nksPY9I/DJ 8ku/T+oDolUAG6uAgpbm5XepVg09xhRIm6vREOxnnFi1nFL2/cRTT8mVO+m3LMVvb261i1crzZoB c1qaJU45ORAAuIAFGDymBa1QrnmO1u5K0UoChy1yR+UxXz4VLnW3NM6lgVr0QplbTSrWb3ZRjChb a3Xit5ZbhM+nr58Fp4nIlO1c5s9vlbAOqAYzMwreVxxo25WYIyMF565Fw64ODpsCLMhpEQ6zdlEr RbnHVlxdeeK/qLw+48YfE5Pr2nL9fHhNYmkF+YVQhaqx1eRx+4hUtW2o3gqI0+AIKGAfxAiUyhRv 59lixmTkrq3TkeCDqX4TkeAD0D8J64JBpbYG7UnWaFE4wsdwLpMjcO80u3Bj/D6DxJ6Bw/xf/9oA CAECAwE/EPzoC2ZpLsy+39qOqFcJn9O2ZvzzYLbga/DTBwcvFwNbL242M+zbqsHXyAz3aOj3QtDU XvfF4yyOZrepr1oXlC5xAcC1p3633fMF+RAknU23gesd4tC0tbjfwRm1ThkvTtcUCj7erv3ny7D3 dumvKWJXbRr66wRucd/f9aeUPExbS6hICdYFZHNCFL72h7v6GZG0c/v/AFQlK+8ffbzBDWiljrhy rqtcYEGTW/rxdD75RYvobLV70QHVHPfw6PIF+ToUhEIu3xevzr7kXEd5bh22g1yuzQ5/oz0ldn3c 11XmynL6293TuzyhLKg1hwfsY6MBgA13cjm7BL8gGjqcnz1CDwB4YGPRXzjosDova2OfWMW92/46 tQXfDxE4/aq7yolxO/vEcfNR17Jroc44jjZJ3Cr964xU6FvK8+jyDfyFFF4JwsOf0N9OcKWZc7F/ HaB9beswNM7WoK1Hk1xdbwf6d6s+mKlb32dXd6xfwfz8b6PQ1XoGWGAe7PoaHy8yOY8XM/MpS+tv fh98oZnuC9X99koi+z1YsQfi/qsB6049oYPot/0jNBdcjMod0f8Anebxbs1nXn26pRKnd1Xf9aeB 8oDU+WnLiOJoy4LHb+vZl3Hj/oaEOyzwNfXxNr+//PjqzLnrZ938h4DD4BlT5lqvam7x4vKWveWj oTIJwH8IaDznVC3uWvr58bS0tL/DcUtUciGnHSp+xieh67RzueX+HVA/xf/aAAgBAwMBPxD84LFc uCB3STaiz8KG8TiHgIm3JjvAjhi/r2jVXJFy6HOIQd/PzBqhGk5s585ngIFxxOD6z2uMdMXnABrj f1iaoOb9enSC7d+viVQ5rOSU118oBbK9PBERacDrtGXBy0VwXATF9B559j9pBlwPd5GnwvOWfr+3 9MYyXl5MY0M8IopzrxmOA5frnCQ6r9P+QreLht7eFU8gC2UeJNeHMAJzo8nf1wiPK1wuXZmg/Q4v jrL0+d+tg5EtQN/GVyNX65xOAOtZ2Tg4JeYQKswMc6jY3Wa+b2TYdY/iN4vxo7SqVdoh2iy3fh+n E+QhBKtb1tB135VPjk3Zx7TVYF1UAXHfGvUhUZNsXYNe9sYYVDU0o2Dk15IJk9QeQWUe3SB8RoFY z/YXELjpDp0lfHxOs1o+Y738DCmXLR9jlbHKH0NQBzNufREOS8X/AF37VEnQw20g1DuN1ZpAHE6d Ts/8cmXJ879GgdIjpE8V4vksLj+Fb/xcDvpFPha6v77ofSujlc3f4OUwy3ceOIb/AAc42j2SdGPi uqWvrhsdDQiOk1TyFU5YFeV8Bcyhb0XKvds+YhY7If8AZeur6F5GntfUlguDQYHY+22XnLnK8Dl+ cRVQQyV2I1UaQ0h3mtT6fXvMcuhp7eC8kOXw+XBNfPGY6PuVFCnzHsZm7cj165TE6HDwQZypyJyo E2/CIIxNzt4EwnYf4dLNb/i//9k= ------=_NextPart_000_00C1_01C40208.C951C630-- ------------------------------ Date: Thu, 4 Mar 2004 16:51:24 EST From: Dslide13@AOL.COM Subject: Re: The good with the bad You're the man for waking us up! DG In a message dated 3/4/2004 3:40:00 PM Eastern Standard Time, musichub@COMCAST.NET writes: I'm enjoying this conversation immensely! Thanks to all of you, especially DG, for rolling with this one. ------------------------------ Date: Thu, 4 Mar 2004 17:01:13 EST From: ALFORDMB@AOL.COM Subject: Re: The good with the bad In a message dated 3/4/2004 3:40:00 PM Eastern Standard Time, musichub@COMCAST.NET writes: between Wynton and Eric Reed, I believe it was on Embraceable You. Wynton's chops were fried (one of the few times I've heard him dealing with this dillema) Not surprising. Wynton has indicated that this is a special piece for him. Likewise, his rendering of "Do You Know What It Means To Miss New Orlean in Blues Alley was the most thoughtful I've ever I've ever heard of that simple but pretty tune. I guess that is what it takes. Connect with the story in the tune and then tell it to others. There's going to people who relate. Formula for success. Mike Alford ------------------------------ Date: Thu, 4 Mar 2004 17:13:53 -0500 From: Bob Osmun Subject: Barron, Bolter, Acosta, Yeo in Concert (This time with no HTML!) BSO Trombone Section Gives Concert=20 The Newton Free Library will present "Music for Trombones: Old and New"=20 with the trombone section of the Boston Symphony Orchestra:=20 Ronald Barron, Norman Bolter, Darren Acosta and Douglas Yeo,=20 and pianist Vytas Baksys on Sunday, March 21, 2:00PM. This program=20 of solos, duos, trios and quartets will feature the premiere of=20 "Sky Dreams," written by Bolter for Barron's upcoming alto trombone CD=20 "Return of the Alto." Also included in the concert will be music by=20 Daniel Speer, G.P. Telemann, G. F. Handel, Alfred Hornoff and Bela = Bartok.=20 Barron has presented several concerts at the Library in previous = seasons,=20 each time with different first-class musicians. He has been principal=20 trombonist of the BSO since 1975 and has played with the Boston Pops=20 Orchestra for seventeen seasons. Sunday, March 21, 2004 =20 2PM Newton Free Library 330 Homer Street, Newton Center, MA, USA www.ci.newton.ma.us/library Jim Battell Osmun Music jbattell@osmun.com http://www.osmun.com (web site) (781)646-5756 (Phone) (781)646-2480 (Fax) (800)223-7846 (Toll Free in U.S.) ------------------------------ Date: Fri, 5 Mar 2004 01:02:59 GMT From: Dan Seager Subject: Conn 78H All, I've seen some talk lately of 88Hs, but have a question regarding its younger sibling. My regular horn is a 2B w/ 7C, and that combination seems to work well. I inherited my dad's 78H last year, and because (to me) that's a HUGE horn, I've been content using that and a 5GS for church gigs and local civic light opera gigs. I actually feel quite comfortable with taht setup. Any thougts? Also, I haven't seen anyone else play a 78H. Are they hiding? Dan ------------------------------ Date: Thu, 4 Mar 2004 19:40:49 -0600 From: Jeff Albert Subject: Re: Conn 78H I have a 78H that I love...it isn't my regular horn right now, but I still love it. I play a 6.5 AL on it. If I could only own one instrument, it would be that (or maybe a new custom version of that). Jeff Albert www.jeffalbert.com -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU] On Behalf Of Dan Seager Sent: Thursday, March 04, 2004 7:03 PM To: TROMBONE-L@PO.MISSOURI.EDU Subject: [TBN-L] Conn 78H All, I've seen some talk lately of 88Hs, but have a question regarding its younger sibling. My regular horn is a 2B w/ 7C, and that combination seems to work well. I inherited my dad's 78H last year, and because (to me) that's a HUGE horn, I've been content using that and a 5GS for church gigs and local civic light opera gigs. I actually feel quite comfortable with taht setup. Any thougts? Also, I haven't seen anyone else play a 78H. Are they hiding? Dan ------------------------------ Date: Thu, 4 Mar 2004 20:10:36 -0800 From: Karl Hinterbichler Subject: Pneumo thorax A trombone student here at the University of New Mexico recently came down with pneumo thorax. His doctor told him it was partially caused by his playing and that he would have to stop until at least the end of the semester. Possibly it could end his career. Does anyone on the list have any experience with this lung condition? Karl Hinterbichler University of New Mexico ------------------------------ Date: Thu, 4 Mar 2004 20:40:06 -0700 From: James Scott Subject: Re: Conn 78H Dan - I have an old 78H that I bought on ebay (from the '30s). It's a beautiful horn, both physically and in how it plays. I don't use it that often, but it's a great solo horn, orchestral 1st trombone for lighter music, 2nd trombone for the Classical Period (our 2nd player borrowed it for a Beethoven 9th when I was playing alto, and our Bass player used a symphony tenor/bass combo set-up), and I've used it on 3rd in a Big Band. Very versatile horn. Mine is silver with a combination of bright and satin finish, and with very ornate engraving. Enjoy your 78H, they are wonderful instruments with lot's of "character" to the sound. Jim Scott Dan Seager wrote: >All, > >I've seen some talk lately of 88Hs, but have a question regarding its younger sibling. > >My regular horn is a 2B w/ 7C, and that combination seems to work well. I inherited my dad's 78H last year, and because (to me) that's a HUGE horn, I've been content using that and a 5GS for church gigs and local civic light opera gigs. I actually feel quite comfortable with taht setup. Any thougts? > >Also, I haven't seen anyone else play a 78H. Are they hiding? > >Dan > > ------------------------------ Date: Thu, 4 Mar 2004 22:45:08 -0500 From: walter barrett Subject: Re: Pneumo thorax On 3/4/04 11:10 PM, Karl Hinterbichler smote the keyboard with... > A trombone student here at the University of New Mexico recently came down > with pneumo thorax. His doctor told him it was partially caused by his > playing and that he would have to stop until at least the end of the > semester. Possibly it could end his career. > Does anyone on the list have any experience with this lung condition? > > Karl Hinterbichler > University of New Mexico There's some info here... http://www.nlm.nih.gov/medlineplus/ency/article/000087.htm I'm guessing, but it seems most likely to be a "Tension pneumothorax", caused by excess of tension in the chest. (Pneumothorax is when air is outside the lung, between the lung and chest wall. It can also be caused by a punctured lung- Traumatic pneumothorax) Ending his career would be bad, but it sounds like it could kill him, too. If it is a tension type, at the very least, he'll need to take a hard look at his approach to breathing and tone production. If Jake were still with us, I'm sure he'd have some ideas, mayhaps Brian Frederickson will chime in? Walter Barrett "...you don't want a mouthpiece the size of a latte mug!" -Dr. Carole Nowicke Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ------------------------------ Date: Thu, 4 Mar 2004 23:58:34 -0500 From: sabutin Subject: Re: Conn 78H Great instruments. They were the mainstream orchestral tenor for about 30 years. Until the 88H came around, really. I played one for years and have really designed my Shires .525 to play like one. John Mosca of the Vanguard Orchestra plays one, and he sounds incredible. Lead, jazz... Great all around horns. Sam -- Sam Burtis is a NYC freelance trombonist and composer, the author of "The American Trombone" and proud proprietor of The Trombone Store in NYC. Visit us on the web at and/or , email us at , or call us at [718] 796-4413. The actual store in NYC is by appointment only. PLEASE VISIT THE OPEN HORN,A WEB FORUM Lots of interesting discussions going on every day. An introduction to the site is available at ------------------------------ Date: Thu, 4 Mar 2004 21:18:15 -0800 From: Price Taylor Subject: Re: Conn 78H To echo Jeff's comments about that 6 1/2AL -- I have read from several sources that it was designed for the Conn 78H -- this would also include the Bach 36B but a lot of folks (like me) use them on a 3B. Price -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU]On Behalf Of Jeff Albert Sent: Thursday, March 04, 2004 5:41 PM To: TROMBONE-L@PO.MISSOURI.EDU Subject: Re: [TBN-L] Conn 78H I have a 78H that I love...it isn't my regular horn right now, but I still love it. I play a 6.5 AL on it. If I could only own one instrument, it would be that (or maybe a new custom version of that). Jeff Albert www.jeffalbert.com -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU] On Behalf Of Dan Seager Sent: Thursday, March 04, 2004 7:03 PM To: TROMBONE-L@PO.MISSOURI.EDU Subject: [TBN-L] Conn 78H All, I've seen some talk lately of 88Hs, but have a question regarding its younger sibling. My regular horn is a 2B w/ 7C, and that combination seems to work well. I inherited my dad's 78H last year, and because (to me) that's a HUGE horn, I've been content using that and a 5GS for church gigs and local civic light opera gigs. I actually feel quite comfortable with taht setup. Any thougts? Also, I haven't seen anyone else play a 78H. Are they hiding? Dan ------------------------------ End of TROMBONE-L Digest - 3 Mar 2004 to 4 Mar 2004 (#2004-65) **************************************************************