Subject: TROMBONE-L digest 288 Date: Tuesday, January 25, 2005 12:01 AM From: Multiple recipients of list To: Multiple recipients of list TROMBONE-L Digest 288 Topics covered in this issue include: 1) Re: Broadway show instrumentaion by "Chip Tingle" 2) Re: reality was Re: Re: Orchestra Bows: A Survey by James Scott 3) Re: Orchestra Bows: A Survey by BITEensemble@aol.com 4) OTJ Classifieds Update - 1/24/05 by Chris Waage 5) FS: Bass Trombone Mouthpieces - Price Reduced! by Chris Waage 6) Re: reality was Re: Re: Orchestra Bows: A Survey by Jeff Albert 7) Re: JJs sound was Re: Re: Birthday by jazz_trombone@axint.net 8) Re: Quartet music for a memorial by "Charles De Paolo" 9) Re: JJ's Birthday by Earl Needham 10) Instrument Choices by Earl Needham 11) Eric Swanson by 12) Re: Instrument Choices by "Keith Marr" 13) Re: reality was Re: Re: Orchestra Bows: A Survey by ALEX ILES 14) Re: Instrument Choices by Earl Needham 15) Re: reality was Re: Re: Orchestra Bows: A Survey by James Scott 16) What really matters about JJ Johnson by "prbrass@juno.com" 17) Re: Orchestra Bows: A Survey by "Mearl Danner" 18) Al Hibbler by Earl Needham 19) XM Channel 73 by Earl Needham 20) Re: reality was Re: Re: Orchestra Bows: A Survey by "The Millars" 21) Re: XM Channel 73 by "Adrian Drover" 22) Re: Al Hibbler by Michael Shoshani 23) Re: XM Channel 73 by Earl Needham 24) Re: Instrument Choices by "Tom G Tyson" 25) OTJ by Eric Edwards 26) lipsync by Hans du Plooy 27) Re: lipsync by Earl Needham 28) Re: Al Hibbler by "Chris Tune" 29) Caribbean Rapsody for Trombone and Piano by "prbrass@juno.com" 30) Re: OTJ by "Chris Waage" 31) Goldstein's Colloquy by dajohansen@i-55.com 32) Re: Instrument Choices by BJMCHAFFIE@aol.com 33) Re: reality was Re: Re: Orchestra Bows: A Survey by BJMCHAFFIE@aol.com 34) Re: Caribbean Rapsody for Trombone and Piano by bonemstr@america.net 35) City of Angels by "Pat McFarland" 36) Re: Instrument Choices by "Chris Tune" 37) Re: Caribbean Rapsody for Trombone and Piano by "Chris Tune" 38) Re: Caribbean Rapsody for Trombone and Piano by bonemstr@america.net 39) Re: Caribbean Rapsody for Trombone and Piano by "Galen McQuarrie" 40) Re: Caribbean Rhapsody for Trombone and Piano by "Bonemaster" From: Chip Tingle Date: Sun, 23 Jan 2005 23:57:21 -0800 To: Eric & Candice Swanson , Trombone-l Subject: [TROMBONE-L:3692] Re: Broadway show instrumentaion Hi Eric, I'm replying on list because I'm also interested to see the info for shows I haven't done. Those I have played recently are: Hairspray: one bone - mainly R&B tenor w/ some bass doubling, one trumpet....interesting setup makes the pit into a studio-ish environment with everyone in phones & your own personal monitor mix control Peter Pan w/ Cathy Rigby: one bone - tenor w/ limited trigger range bass doubling I played on my .547 tenor; 3 trumpets...felt very naked on this one with no F horn, no 2nd bone...and it sounded empty to our collective ears Producers: 3 bones, 3 trumpets Movin' Out has complete traveling band, including bone, when it played my areas I haven't played On the Record or Wicked Cheers, Chip Tingle SF, CA bay area freelancer 415.898.8381 ----- Original Message ----- From: "Eric & Candice Swanson" To: "Trombone-l" Sent: Sunday, January 23, 2005 2:31 PM Subject: [TROMBONE-L:3680] Broadway show instrumentaion > Gang, > > If anybody is playing or has played any of the National Tours of the > following Broadway shows, I would like to know what the current > instrumentation is, at least the brass. Contact me off-list. > > Thanks, > > Eric Swanson > > Hairspray > Peter Pan > The Producers > On The Record (Songs from the Disney movies and musicals) > Movin' Out (Billy Joel songs) > Wicked > -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.7.2 - Release Date: 1/21/2005 From: James Scott Date: Mon, 24 Jan 2005 01:01:50 -0700 To: Cc: Subject: [TROMBONE-L:3693] Re: reality was Re: Re: Orchestra Bows: A Survey Jeff - Somehow, I thought this thread would wind it's way over to this topic. As a (mostly) orchestral player, I've certainly encountered some people who seem to be chronically unhappy on gigs - I've also met them on commercial gigs, in recording situations, at the university and for that matter, one of them waited on me in the grocery store earlier today. The fact is, that nobody is happy all the time, and complaining about work (whatever it is that you do) is human nature. When you encounter someone who seems to be ticked off at the world, they could just as easily be mad at their mother-in-law, or fuming about their car that keeps dying on them. This started with the idea that fake smiles for the audience could be detected - I would say sometimes yes, sometimes no - but I think making an effort to look appreciative is always worthwhile. At the same time, life is such that you can't always feel that way inside 100% every night. Maybe you'll be upset about your own performance, or about a one or more of your colleagues' efforts that night. Or maybe the dog threw up on the new carpet before you left the house. No matter what, I know that I'm lucky to work in my chosen profession and play great music in a nice concert hall, but there have been nights when it's a chore just like any other job. On those nights, you just try to suck up whatever it is that's bothering you, and play as well as you can, and then be pleasant to any audience and colleagues you encounter after the show, because you're a professional. I don't think that orchestral players are any more or less unhappy as a whole, than any other group of people. Since they work together all the time, however, any personality difficulties or problems within the organization can become group problems. When you freelance, you may have a bad gig one night, and the next night you're working a great job with a completely different group of people. The reality is that when you get any group of people together, some will be better at keeping their "issues" out of the job site than others, and you may have met a few who were all having a bad week at the same time and didn't have the sense to not make it everyone else's problem. Jim Scott Calgary Philharmonic Jeff Albert wrote: > > > Chris Tune wrote: > >> That's why a frown is pretty good. . .nobody cares if it's fake or >> real. It produces the same effect either way. . .mostly thoughts of >> ". . ..why are those musicians so unhappy?. . . >> >> Answer. . .they could use some more pay. . .and maybe some better >> benefits. . . > > > If that's what they were looking for, they should have pursued a > different career. I'm not saying that professional musicians > shouldn't insist on respectable pay and working conditions, but if the > driving force of their happiness is financial, then they went into the > wrong business. > > I got to sub with a full time professional orchestra some last year > (most of my work is jazz/commercial stuff). I was in heaven for a few > weeks. We were playing great music that I never get a chance to play, > I was always home before Letterman was over, the gigs were all > indoors, smoke free, and well lit, it was great. Some of these guys > were the grumpiest SOBs I have ever seen. I kept kidding them that > they didn't make enough money not to be happy. > > If the music doesn't make you happy enough to smile while you take > your bow, go get a real estate license. I understand frowning about > the corollary BS before or after the gig, but if you can't get past > that on stage, then move on. > > Jeff > From: Date: Mon, 24 Jan 2005 06:52:54 EST To: , , Subject: [TROMBONE-L:3694] Re: Orchestra Bows: A Survey In a message dated 1/23/2005 6:07:19 P.M. Eastern Standard Time, glangfur@yahoo.com writes: I played as a ringe for a student orchestra recently where the whole orchestra took a group bow led by the conductor. It felt stupid, and I doubt it looked any better than just standing and facing and acknowledging the audience. Gabe I felt stupid too! -W ............................................................ : An attachment to this post has been stripped by: : : plaintext.pl : : Original idea by Phillip Porch (ppp@theporch.com) : : Written by Stephen Modena, AB4EL (shimshon@theporch.com) : : Modifications by Mearl Danner, (jmdanner@samford.edu) : : All rights reserved. : ............................................................ From: Chris Waage Date: Mon, 24 Jan 2005 06:30:34 -0600 To: Trombone-L , brass_list Subject: [TROMBONE-L:3695] OTJ Classifieds Update - 1/24/05 The Online Trombone Journal Classifieds - http://www.trombone.org/classifieds - have been updated as of 6:30 AM CST on January 24, 2004. - - - - - Thank you for using the OTJ Classifieds! - - - - - OTJ Classifieds Frequently Asked Questions http://www.trombone.org/classifieds/faq.asp OTJ Gift Shoppe: http://www.cafepress.com/cp/store/store.aspx?storeid=trombones If you have any questions or comments about the Online Trombone Journal Classifieds, please contact me at chris@trombone.org. Chris Waage From: Chris Waage Date: Mon, 24 Jan 2005 06:59:52 -0600 To: Trombone-L , brass_list Subject: [TROMBONE-L:3696] FS: Bass Trombone Mouthpieces - Price Reduced! 1. Holton 1-1/2G - $20 Mint condition - almost imperceptible scratches on the shank. A Bach 1-1/2G clone. 2. Schilke 60 - $27 Good condition. One minor ding on the inside of the rim, couldn't feel it on the lips. End of shank has very minor damage - easily straightened by a friendly repairman. 3. Stork 1.5S -$35 Mint condition, minor scratches on shank from use. This is the Stork "heavy wall," similar to the Bach Megatone. 4. Yamaha Doug Yeo Signature - $62 24k gold rim and inside cup. Backbore has been opened to match a Greg Black 1G. 5. Bach 1-1/4G Megatone - $50 Beautiful almost brand new mouthpiece. 6. Bach 1-1/4GM - $30 Near mint condition. Shipping is $4 per mouthpiece - multiple purchases will save on shipping. Outside of the US, e-mail for shipping quote. Paypal preferred. -- Chris Waage, Bass Trombonist The Online Trombone Journal www. trombone.org From: Jeff Albert Date: Mon, 24 Jan 2005 07:26:15 -0600 To: Cc: Subject: [TROMBONE-L:3697] Re: reality was Re: Re: Orchestra Bows: A Survey James, You are right, and I didn't mean to imply that this was a phenomenon that I only encountered on that orchestra, or even in the classical scene in general. I work with chronically grumpy musicians just as much in the freelance scene, and they don't make enough money not to be happy either. I wasn't talking about any given cat having a bad night or two, I was really talking about a few people who I have known for years, and it seems have always been mumbling under their breath about the conductor or the 4th horn player or the coffee back stage or whatever. My main point is that as much as we strive to be artists, our jobs all include the role of entertainer as well, at least to the point of presenting live performances of our art in a somewhat pleasant manner. To the audience, and even to those that share our workplaces, that's no less important than playing in tune. Jeff James Scott wrote: > Jeff - > > Somehow, I thought this thread would wind it's way over to this topic. > As a (mostly) orchestral player, I've certainly encountered some > people who seem to be chronically unhappy on gigs - I've also met them > on commercial gigs, in recording situations, at the university and for > that matter, one of them waited on me in the grocery store earlier > today. The fact is, that nobody is happy all the time, and complaining > about work (whatever it is that you do) is human nature. When you > encounter someone who seems to be ticked off at the world, they could > just as easily be mad at their mother-in-law, or fuming about their > car that keeps dying on them. > > This started with the idea that fake smiles for the audience could be > detected - I would say sometimes yes, sometimes no - but I think > making an effort to look appreciative is always worthwhile. At the > same time, life is such that you can't always feel that way inside > 100% every night. Maybe you'll be upset about your own performance, or > about a one or more of your colleagues' efforts that night. Or maybe > the dog threw up on the new carpet before you left the house. No > matter what, I know that I'm lucky to work in my chosen profession and > play great music in a nice concert hall, but there have been nights > when it's a chore just like any other job. On those nights, you just > try to suck up whatever it is that's bothering you, and play as well > as you can, and then be pleasant to any audience and colleagues you > encounter after the show, because you're a professional. I don't > think that orchestral players are any more or less unhappy as a whole, > than any other group of people. Since they work together all the time, > however, any personality difficulties or problems within the > organization can become group problems. When you freelance, you may > have a bad gig one night, and the next night you're working a great > job with a completely different group of people. The reality is that > when you get any group of people together, some will be better at > keeping their "issues" out of the job site than others, and you may > have met a few who were all having a bad week at the same time and > didn't have the sense to not make it everyone else's problem. > > Jim Scott > Calgary Philharmonic > > Jeff Albert wrote: > >> >> >> Chris Tune wrote: >> >>> That's why a frown is pretty good. . .nobody cares if it's fake or >>> real. It produces the same effect either way. . .mostly thoughts of >>> ". . ..why are those musicians so unhappy?. . . >>> >>> Answer. . .they could use some more pay. . .and maybe some better >>> benefits. . . >> >> >> >> If that's what they were looking for, they should have pursued a >> different career. I'm not saying that professional musicians >> shouldn't insist on respectable pay and working conditions, but if >> the driving force of their happiness is financial, then they went >> into the wrong business. >> >> I got to sub with a full time professional orchestra some last year >> (most of my work is jazz/commercial stuff). I was in heaven for a >> few weeks. We were playing great music that I never get a chance to >> play, I was always home before Letterman was over, the gigs were all >> indoors, smoke free, and well lit, it was great. Some of these guys >> were the grumpiest SOBs I have ever seen. I kept kidding them that >> they didn't make enough money not to be happy. >> >> If the music doesn't make you happy enough to smile while you take >> your bow, go get a real estate license. I understand frowning about >> the corollary BS before or after the gig, but if you can't get past >> that on stage, then move on. >> >> Jeff >> > > > > > -- Jeff Albert P.O. Box 8645 Mandeville, LA 70470 (504) 782-5835 www.jeffalbert.com jeff@jeffalbert.com From: Date: Mon, 24 Jan 2005 07:09:51 -0700 (MST) To: Subject: [TROMBONE-L:3698] Re: JJs sound was Re: Re: Birthday I love J.J's sound. Especially when he does a ballad. I like that it pretty much remains consistent regardless of what register or volume level he is playing at. J.J was an innovator of the bop trombone sound when no one else was doing it. Happy Bday JJ! From: Charles De Paolo Date: Mon, 24 Jan 2005 09:37:24 -0500 To: Trombone List Subject: [TROMBONE-L:3699] Re: Quartet music for a memorial A few additional suggestions, in addition to the Premru: Bach: Ari from Suite No 3 [Air on the G String] (McCarty) Beethoven: Drei Equali Brahms: Warum ist das Licht gegeban (Hartman) Mendelssohn: Die Nachtigall (Levin) Saint-Saens: Adagio Tchesnokov: Salvation is Created - (Holland) Victoria: O Vos Omnes (Myers) Wagner: An Weber's Grabe (Williams) --Chuck ----- Original Message ----- From: David Shriver To: TROMBONE-L@server5.samford.edu Sent: Friday, January 21, 2005 4:59 PM Subject: [TROMBONE-L:3645] Quartet music for a memorial Hello everyone, My trombone quartet has been asked to play at the memorial service for a long time member of the Marshall University music faculty. Dr. Balshaw had been on the faculty at Marshall for 40 years. After serving in just about every position possible (chairmen of the department, dean of the college, professor, conductor, mentor) he returned to the teaching faculty to conduct the orchestra and teach advanced analysis and music history. Our student trombone quartet will be playing at his memorial service and we need some appropriate music to play. I would prefer classical selections since that was Dr. Balshaw's love. Does anyone have any recommendations? Clear Skies, Dave Shriver "Slick Dave and the Sliders Trombone Quartet" ............................................................ : An attachment to this post has been stripped by: : : plaintext.pl : : Original idea by Phillip Porch (ppp@theporch.com) : : Written by Stephen Modena, AB4EL (shimshon@theporch.com) : : Modifications by Mearl Danner, (jmdanner@samford.edu) : : All rights reserved. : ............................................................ From: Earl Needham Date: Mon, 24 Jan 2005 07:55:09 -0700 To: Subject: [TROMBONE-L:3700] Re: JJ's Birthday At 02:24 PM 1/22/2005, Bill Dinwiddie wrote: >Happy birthday, JJ, you beautiful cat, who opened my ears and gave me a >lifelong challenge. I miss you, man. Earl Earl Needham, KD5XB, Clovis, New Mexico DM84jk http://kd5xb-2.no-ip.info From: Earl Needham Date: Mon, 24 Jan 2005 08:11:58 -0700 To: Subject: [TROMBONE-L:3701] Instrument Choices At 09:00 PM 1/23/2005, Paul Kemp wrote: >I would like to bring up something here that goes hand in hand with I've >just said. I see this happening in the orchestral audition world more & >more. I had a conversation recently with a graduate student that told me >that he felt that the reason that he wasn't getting advanced in auditions >was because he didn't play an X brand of trombone, and that he didn't study >with X. He indicated that the student's that come out of this particular >player's studio all sounded like the teacher---or if you will, clones of >that teacher. > >I told this gentleman to stick to his convictions, to learn as much as he >could from as many people as possible, and to play an instrument that truly >suited him. I would bet that the reason that this person wasn't getting >advanced was because of something faulty in his PREPARATION. Why should >everyone play the exact same thing? Some people drive Fords, some drive >Chevrolets, some drive Dodge, some drive Toyota, some drive Mitsubishi, some >drive Mercedes. Every one of those cars will do basically the same thing: >provide dependable transportation from point A to point B. Except for one thing -- and I'm not saying this was the case in Paul's example, but -- You don't see many 88H's in use today, at lease I don't. What I see is an overwhelming movement towards the Edwards, Shires, and Greenhoe trombones with such a huge bore size. All the college students I have spoken with recently want an Edwards "cannon", they have no thought of using a .525 horn, or even an other brand. Shucks, I know of one case where a student played an Edwards Bass Trombone, except he used a Conn as his "marching horn" for the football. I can't remember what model that Conn was, but maybe 62H or something. it had tuning in the hand slide, two valves, and I thought it sounded GREAT. Oh well. I know of another case where the college jazz band was performing. During the rehearsals before the event, all the players were on small horns -- Conn 6H, etc., even a King Silvertone! But one of the players refused to use that small equipment, saying,"this sounds BAD, I'm going back to my big Edwards". I guess we've become bigoted towards the "tuba on a stick". Ouch. >Why is it then that this garbage is being propagated that if you don't play >X brand of instrument, then you'll never enjoy any kind of success? It's >really strange. I've NEVER heard a player SAY that, but that seems to be >idea that is going around. Well, I DID hear of a student back in the '70's. He had bought a Duo Gravis, but when he went in for his first lesson, his instructor threw him out! And told him that when he got a Bach he could return. Ouch again. Earl Earl Needham, KD5XB, Clovis, New Mexico DM84jk http://kd5xb-2.no-ip.info From: Date: Mon, 24 Jan 2005 10:33:57 -0500 To: Subject: [TROMBONE-L:3702] Eric Swanson Paging Eric Swanson - what's your e-mail address? J.c.S. From: Keith Marr Date: Mon, 24 Jan 2005 15:35:44 -0000 To: Subject: [TROMBONE-L:3703] Re: Instrument Choices > From: Earl Needham > You don't see many 88H's in use today, at lease I don't. What I > see is an overwhelming movement towards the Edwards, Shires, and Greenhoe > trombones with such a huge bore size. All the college students I have > spoken with recently want an Edwards "cannon", they have no thought of > using a .525 horn, or even an other brand. > > I guess we've become bigoted towards the "tuba on a stick". Ouch. > Bravo for pointing this out. As a bass trombonist of some 35 years I have to say I deplore the move towards "tuba on a stick" or "slide Euphonium" basses. I play orchestra and big band and used a King Duo Gravis until about four years ago when I got a second-hand Holton 181. I liked the horn but found that all those years of playing a dependent system meant that I was really using the second valve of the Holton on it's own at any stage. So when I came to choose a new horn at the end of last year I went for a dependent system and chose the Rath R9DST. It's a superb horn with a proper trombone sound and blows so easily that I reckon I can hold long tones for a good few beats longer than previous. Notwithstanding this ease of blowing the sound comes through the orchestra and yet blends beautifully with the rest of the section. It's got everything, why use a bazooka instead! Let's all try and get this macho idea out of students' heads. The biggest isn't necessarily the best. Keith in Bb/F/D -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.302 / Virus Database: 265.7.2 - Release Date: 21/01/2005 From: ALEX ILES Date: Mon, 24 Jan 2005 07:38:15 -0800 To: Cc: , Subject: [TROMBONE-L:3704] Re: reality was Re: Re: Orchestra Bows: A Survey Jeff, Jim and all, Indeed there are what I call "The Jaded" in EVERY work/music situation. The musicians I know that avoid that label are the ones who are into this crazy career to CREATE and PLAY music, regardless of what is happening in their "gig" at any particular moment. Too many people I know begin to think of music as their "job" all the time and they eventually enter the dark land of.... "The Jaded". The musicians--REGARDLESS of their "type"--who maintain a great attitude and focus have balanced lives where music remains primarily a big, mysterious, joyful experience. This is not easy, but I think one of the joys of music is SHARING this joy of creating it. In a way that IS our job!! Not only nailing the high Db's on Bolero, not just hitting all the changes on "April In Paris", not just figuring out which mouthpiece sounds great on a Shires. Yes, those are the microscopic things we take into account as professionals to make better music and to do our jobs better. What I am talking about is something more fundamental. This is our responsibility as music teachers, players, colleagues, artists, customers, retailers...HUMANS!! We SHARE what we have. I had a teacher tell me years ago that one important key to being happy as a musician is to never let yourself get too far from the things that made you take it up in the first place. Before having or not having a "gig" was so important!! I think back to my public school days and how much excitement I felt the first time someone played me an Urbie or JJ recording, the first time I heard Woody's Band or the LA Phil live, the first time I played a concert, the first time a student played a REAL phrase in a lesson. You get the idea. There are many players "with great gigs" who end up this Jaded. No matter how "successful" you are in music you can become this way. I think that citizens of the land of "The Jaded" mistakenly base too much of their attention on what they HAVE or DON'T HAVE, while the Un-Jaded SHARE what they DO. They tend to smile at the audience without having to be told. Have a great week, Alex =================== On Jan 24, 2005, at 5:26 AM, Jeff Albert wrote: > James, > > You are right, and I didn't mean to imply that this was a phenomenon > that I only encountered on that orchestra, or even in the classical > scene in general. I work with chronically grumpy musicians just as > much in the freelance scene, and they don't make enough money not to > be happy either. I wasn't talking about any given cat having a bad > night or two, I was really talking about a few people who I have > known for years, and it seems have always been mumbling under their > breath about the conductor or the 4th horn player or the coffee back > stage or whatever. > > My main point is that as much as we strive to be artists, our jobs all > include the role of entertainer as well, at least to the point of > presenting live performances of our art in a somewhat pleasant manner. > To the audience, and even to those that share our workplaces, that's > no less important than playing in tune. > > Jeff > > James Scott wrote: > >> Jeff - >> >> Somehow, I thought this thread would wind it's way over to this >> topic. As a (mostly) orchestral player, I've certainly encountered >> some people who seem to be chronically unhappy on gigs - I've also >> met them on commercial gigs, in recording situations, at the >> university and for that matter, one of them waited on me in the >> grocery store earlier today. The fact is, that nobody is happy all >> the time, and complaining about work (whatever it is that you do) is >> human nature. When you encounter someone who seems to be ticked off >> at the world, they could just as easily be mad at their >> mother-in-law, or fuming about their car that keeps dying on them. >> >> This started with the idea that fake smiles for the audience could be >> detected - I would say sometimes yes, sometimes no - but I think >> making an effort to look appreciative is always worthwhile. At the >> same time, life is such that you can't always feel that way inside >> 100% every night. Maybe you'll be upset about your own performance, >> or about a one or more of your colleagues' efforts that night. Or >> maybe the dog threw up on the new carpet before you left the house. >> No matter what, I know that I'm lucky to work in my chosen profession >> and play great music in a nice concert hall, but there have been >> nights when it's a chore just like any other job. On those nights, >> you just try to suck up whatever it is that's bothering you, and play >> as well as you can, and then be pleasant to any audience and >> colleagues you encounter after the show, because you're a >> professional. I don't think that orchestral players are any more or >> less unhappy as a whole, than any other group of people. Since they >> work together all the time, however, any personality difficulties or >> problems within the organization can become group problems. When you >> freelance, you may have a bad gig one night, and the next night >> you're working a great job with a completely different group of >> people. The reality is that when you get any group of people >> together, some will be better at keeping their "issues" out of the >> job site than others, and you may have met a few who were all having >> a bad week at the same time and didn't have the sense to not make it >> everyone else's problem. >> >> Jim Scott >> Calgary Philharmonic >> >> Jeff Albert wrote: >> >>> >>> >>> Chris Tune wrote: >>> >>>> That's why a frown is pretty good. . .nobody cares if it's fake or >>>> real. It produces the same effect either way. . .mostly thoughts >>>> of ". . ..why are those musicians so unhappy?. . . >>>> >>>> Answer. . .they could use some more pay. . .and maybe some better >>>> benefits. . . >>> >>> >>> >>> If that's what they were looking for, they should have pursued a >>> different career. I'm not saying that professional musicians >>> shouldn't insist on respectable pay and working conditions, but if >>> the driving force of their happiness is financial, then they went >>> into the wrong business. >>> >>> I got to sub with a full time professional orchestra some last year >>> (most of my work is jazz/commercial stuff). I was in heaven for a >>> few weeks. We were playing great music that I never get a chance to >>> play, I was always home before Letterman was over, the gigs were all >>> indoors, smoke free, and well lit, it was great. Some of these guys >>> were the grumpiest SOBs I have ever seen. I kept kidding them that >>> they didn't make enough money not to be happy. >>> >>> If the music doesn't make you happy enough to smile while you take >>> your bow, go get a real estate license. I understand frowning about >>> the corollary BS before or after the gig, but if you can't get past >>> that on stage, then move on. >>> >>> Jeff >>> >> >> >> >> >> > > -- > Jeff Albert > P.O. Box 8645 > Mandeville, LA 70470 > (504) 782-5835 > www.jeffalbert.com > jeff@jeffalbert.com > From: Earl Needham Date: Mon, 24 Jan 2005 08:48:35 -0700 To: Subject: [TROMBONE-L:3705] Re: Instrument Choices At 08:35 AM 1/24/2005, Keith Marr wrote: >Bravo for pointing this out. As a bass trombonist of some 35 years I have to >say I deplore the move towards "tuba on a stick" or "slide Euphonium" >basses. Shucks, I was talking about the TENORS! >Let's all try and get this macho idea out of students' heads. The biggest >isn't necessarily the best. I bought my 88H along about 1974 and my instructor didn't like it. He said it was TOO BIG and if I was in a military band I would be playing Bass Trombone on it! Earl Earl Needham, KD5XB, Clovis, New Mexico DM84jk http://kd5xb-2.no-ip.info From: James Scott Date: Mon, 24 Jan 2005 08:54:09 -0700 To: Cc: Subject: [TROMBONE-L:3706] Re: reality was Re: Re: Orchestra Bows: A Survey Jeff - Great post from you and from Alex as well. It is a shame that some people need to "put a cloud over" everything they do, whether it's in music or even waiting tables or working a sales register. Unfortunately, I guess we can't all be happy all the time, but we can try to be respectful, especially when our work has us dealing with the public in one way or another. Jim Scott Jeff Albert wrote: > James, > > You are right, and I didn't mean to imply that this was a phenomenon > that I only encountered on that orchestra, or even in the classical > scene in general. I work with chronically grumpy musicians just as > much in the freelance scene, and they don't make enough money not to > be happy either. I wasn't talking about any given cat having a bad > night or two, I was really talking about a few people who I have > known for years, and it seems have always been mumbling under their > breath about the conductor or the 4th horn player or the coffee back > stage or whatever. > > My main point is that as much as we strive to be artists, our jobs all > include the role of entertainer as well, at least to the point of > presenting live performances of our art in a somewhat pleasant > manner. To the audience, and even to those that share our workplaces, > that's no less important than playing in tune. > > Jeff > > James Scott wrote: > >> Jeff - >> >> Somehow, I thought this thread would wind it's way over to this >> topic. As a (mostly) orchestral player, I've certainly encountered >> some people who seem to be chronically unhappy on gigs - I've also >> met them on commercial gigs, in recording situations, at the >> university and for that matter, one of them waited on me in the >> grocery store earlier today. The fact is, that nobody is happy all >> the time, and complaining about work (whatever it is that you do) is >> human nature. When you encounter someone who seems to be ticked off >> at the world, they could just as easily be mad at their >> mother-in-law, or fuming about their car that keeps dying on them. >> >> This started with the idea that fake smiles for the audience could be >> detected - I would say sometimes yes, sometimes no - but I think >> making an effort to look appreciative is always worthwhile. At the >> same time, life is such that you can't always feel that way inside >> 100% every night. Maybe you'll be upset about your own performance, >> or about a one or more of your colleagues' efforts that night. Or >> maybe the dog threw up on the new carpet before you left the house. >> No matter what, I know that I'm lucky to work in my chosen profession >> and play great music in a nice concert hall, but there have been >> nights when it's a chore just like any other job. On those nights, >> you just try to suck up whatever it is that's bothering you, and play >> as well as you can, and then be pleasant to any audience and >> colleagues you encounter after the show, because you're a >> professional. I don't think that orchestral players are any more or >> less unhappy as a whole, than any other group of people. Since they >> work together all the time, however, any personality difficulties or >> problems within the organization can become group problems. When you >> freelance, you may have a bad gig one night, and the next night >> you're working a great job with a completely different group of >> people. The reality is that when you get any group of people >> together, some will be better at keeping their "issues" out of the >> job site than others, and you may have met a few who were all having >> a bad week at the same time and didn't have the sense to not make it >> everyone else's problem. >> >> Jim Scott >> Calgary Philharmonic >> >> Jeff Albert wrote: >> >>> >>> >>> Chris Tune wrote: >>> >>>> That's why a frown is pretty good. . .nobody cares if it's fake or >>>> real. It produces the same effect either way. . .mostly thoughts >>>> of ". . ..why are those musicians so unhappy?. . . >>>> >>>> Answer. . .they could use some more pay. . .and maybe some better >>>> benefits. . . >>> >>> >>> >>> >>> If that's what they were looking for, they should have pursued a >>> different career. I'm not saying that professional musicians >>> shouldn't insist on respectable pay and working conditions, but if >>> the driving force of their happiness is financial, then they went >>> into the wrong business. >>> >>> I got to sub with a full time professional orchestra some last year >>> (most of my work is jazz/commercial stuff). I was in heaven for a >>> few weeks. We were playing great music that I never get a chance to >>> play, I was always home before Letterman was over, the gigs were all >>> indoors, smoke free, and well lit, it was great. Some of these guys >>> were the grumpiest SOBs I have ever seen. I kept kidding them that >>> they didn't make enough money not to be happy. >>> >>> If the music doesn't make you happy enough to smile while you take >>> your bow, go get a real estate license. I understand frowning about >>> the corollary BS before or after the gig, but if you can't get past >>> that on stage, then move on. >>> >>> Jeff >>> >> >> >> >> >> > From: "prbrass@juno.com" Date: Mon, 24 Jan 2005 16:04:32 GMT To: Cc: Subject: [TROMBONE-L:3707] What really matters about JJ Johnson I think the best we can say about JJ is that he made a positive impact in the life of many. He left a legacy, a point of reference, an example for musicians to follow. He did his best. Luis From: Mearl Danner Date: Mon, 24 Jan 2005 10:10:53 -0600 To: Subject: [TROMBONE-L:3708] Re: Orchestra Bows: A Survey I guess I'll be the grammar police on this one - although it could have very well been a Freudian slip. Mearl >>> James Scott 01/22 6:01 PM >>> All of this was handled by a committee from the orchestra who took care of re-shaping all of the ascetics. From: Earl Needham Date: Mon, 24 Jan 2005 09:42:36 -0700 To: Subject: [TROMBONE-L:3709] Al Hibbler Just caught about 15 seconds of Al Hibbler playing "I'm Just a Lucky So-and-So" on my XM. WOW what a nice sound! Of course, I'm a bit ignorant here -- is Al Hibbler the trombonists' name or the bandleaders name, or are they the same? Thanks, Earl Earl Needham, KD5XB, Clovis, New Mexico DM84jk http://kd5xb-2.no-ip.info From: Earl Needham Date: Mon, 24 Jan 2005 09:48:13 -0700 To: Subject: [TROMBONE-L:3710] XM Channel 73 Gee, they're playing some nice stuff on XM Channel 73 (Frank's Place) today...Nelson Riddle, Al Hibbler as in my other post, Frank Sinatra, Rosemary Clooney... Earl Earl Needham, KD5XB, Clovis, New Mexico DM84jk http://kd5xb-2.no-ip.info From: The Millars Date: Mon, 24 Jan 2005 09:06:18 -0800 To: Cc: Subject: [TROMBONE-L:3711] Re: reality was Re: Re: Orchestra Bows: A Survey Nice post, Alex. To keep our perspective, it can be helpful to consider our "defining moments", and to think about what they meant to us then - and mean to us now. ============================================= Michael W. Millar Valencia, CA ----- Original Message ----- From: "ALEX ILES" To: Cc: ; Sent: Monday, January 24, 2005 7:38 AM Subject: [TROMBONE-L:3704] Re: reality was Re: Re: Orchestra Bows: A Survey > Jeff, Jim and all, > > Indeed there are what I call "The Jaded" in EVERY work/music situation. > The musicians I know that avoid that label are the ones who are into this > crazy career to CREATE and PLAY music, regardless of what is happening in > their "gig" at any particular moment. > > Too many people I know begin to think of music as their "job" all the time > and they eventually enter the dark land of.... "The Jaded". > > The musicians--REGARDLESS of their "type"--who maintain a great attitude > and focus have balanced lives where music remains primarily a big, > mysterious, joyful experience. This is not easy, but I think one of the > joys of music is SHARING this joy of creating it. In a way that IS our > job!! Not only nailing the high Db's on Bolero, not just hitting all the > changes on "April In Paris", not just figuring out which mouthpiece sounds > great on a Shires. Yes, those are the microscopic things we take into > account as professionals to make better music and to do our jobs better. > > What I am talking about is something more fundamental. This is our > responsibility as music teachers, players, colleagues, artists, customers, > retailers...HUMANS!! We SHARE what we have. I had a teacher tell me years > ago that one important key to being happy as a musician is to never let > yourself get too far from the things that made you take it up in the first > place. Before having or not having a "gig" was so important!! > > I think back to my public school days and how much excitement I felt the > first time someone played me an Urbie or JJ recording, the first time I > heard Woody's Band or the LA Phil live, the first time I played a concert, > the first time a student played a REAL phrase in a lesson. You get the > idea. > > There are many players "with great gigs" who end up this Jaded. No matter > how "successful" you are in music you can become this way. I think that > citizens of the land of "The Jaded" mistakenly base too much of their > attention on what they HAVE or DON'T HAVE, while the Un-Jaded SHARE what > they DO. They tend to smile at the audience without having to be told. > > Have a great week, > > Alex > =================== > > > > On Jan 24, 2005, at 5:26 AM, Jeff Albert wrote: > >> James, >> >> You are right, and I didn't mean to imply that this was a phenomenon that >> I only encountered on that orchestra, or even in the classical scene in >> general. I work with chronically grumpy musicians just as much in the >> freelance scene, and they don't make enough money not to be happy either. >> I wasn't talking about any given cat having a bad night or two, I was >> really talking about a few people who I have known for years, and it >> seems have always been mumbling under their breath about the conductor or >> the 4th horn player or the coffee back stage or whatever. >> >> My main point is that as much as we strive to be artists, our jobs all >> include the role of entertainer as well, at least to the point of >> presenting live performances of our art in a somewhat pleasant manner. To >> the audience, and even to those that share our workplaces, that's no less >> important than playing in tune. >> >> Jeff >> >> James Scott wrote: >> >>> Jeff - >>> >>> Somehow, I thought this thread would wind it's way over to this topic. >>> As a (mostly) orchestral player, I've certainly encountered some people >>> who seem to be chronically unhappy on gigs - I've also met them on >>> commercial gigs, in recording situations, at the university and for that >>> matter, one of them waited on me in the grocery store earlier today. The >>> fact is, that nobody is happy all the time, and complaining about work >>> (whatever it is that you do) is human nature. When you encounter someone >>> who seems to be ticked off at the world, they could just as easily be >>> mad at their mother-in-law, or fuming about their car that keeps dying >>> on them. >>> >>> This started with the idea that fake smiles for the audience could be >>> detected - I would say sometimes yes, sometimes no - but I think making >>> an effort to look appreciative is always worthwhile. At the same time, >>> life is such that you can't always feel that way inside 100% every >>> night. Maybe you'll be upset about your own performance, or about a one >>> or more of your colleagues' efforts that night. Or maybe the dog threw >>> up on the new carpet before you left the house. No matter what, I know >>> that I'm lucky to work in my chosen profession and play great music in a >>> nice concert hall, but there have been nights when it's a chore just >>> like any other job. On those nights, you just try to suck up whatever it >>> is that's bothering you, and play as well as you can, and then be >>> pleasant to any audience and colleagues you encounter after the show, >>> because you're a professional. I don't think that orchestral players >>> are any more or less unhappy as a whole, than any other group of people. >>> Since they work together all the time, however, any personality >>> difficulties or problems within the organization can become group >>> problems. When you freelance, you may have a bad gig one night, and the >>> next night you're working a great job with a completely different group >>> of people. The reality is that when you get any group of people >>> together, some will be better at keeping their "issues" out of the job >>> site than others, and you may have met a few who were all having a bad >>> week at the same time and didn't have the sense to not make it everyone >>> else's problem. >>> >>> Jim Scott >>> Calgary Philharmonic >>> >>> Jeff Albert wrote: >>> >>>> >>>> >>>> Chris Tune wrote: >>>> >>>>> That's why a frown is pretty good. . .nobody cares if it's fake or >>>>> real. It produces the same effect either way. . .mostly thoughts of >>>>> ". . ..why are those musicians so unhappy?. . . >>>>> >>>>> Answer. . .they could use some more pay. . .and maybe some better >>>>> benefits. . . >>>> >>>> >>>> >>>> If that's what they were looking for, they should have pursued a >>>> different career. I'm not saying that professional musicians shouldn't >>>> insist on respectable pay and working conditions, but if the driving >>>> force of their happiness is financial, then they went into the wrong >>>> business. >>>> >>>> I got to sub with a full time professional orchestra some last year >>>> (most of my work is jazz/commercial stuff). I was in heaven for a few >>>> weeks. We were playing great music that I never get a chance to play, >>>> I was always home before Letterman was over, the gigs were all indoors, >>>> smoke free, and well lit, it was great. Some of these guys were the >>>> grumpiest SOBs I have ever seen. I kept kidding them that they didn't >>>> make enough money not to be happy. >>>> >>>> If the music doesn't make you happy enough to smile while you take your >>>> bow, go get a real estate license. I understand frowning about the >>>> corollary BS before or after the gig, but if you can't get past that on >>>> stage, then move on. >>>> >>>> Jeff >>>> >>> >>> >>> >>> >>> >> >> -- >> Jeff Albert >> P.O. Box 8645 >> Mandeville, LA 70470 >> (504) 782-5835 >> www.jeffalbert.com >> jeff@jeffalbert.com >> > > From: Adrian Drover Date: Mon, 24 Jan 2005 17:45:08 -0000 To: , Subject: [TROMBONE-L:3712] Re: XM Channel 73 From: "Earl Needham" > Gee, they're playing some nice stuff on XM Channel 73 (Frank's Place) > today...Nelson Riddle, Al Hibbler as in my other post, Frank Sinatra, > Rosemary Clooney... OK, what's XM channel 73? Can I get it in Scotland? A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk From: Michael Shoshani Date: Mon, 24 Jan 2005 11:46:10 -0600 To: Subject: [TROMBONE-L:3713] Re: Al Hibbler We've secretly replaced Earl Needham 's message with Folger's Crystals. Let's see if anyone notices: > > Just caught about 15 seconds of Al Hibbler playing "I'm Just a >Lucky So-and-So" on my XM. WOW what a nice sound! > > Of course, I'm a bit ignorant here -- is Al Hibbler the >trombonists' name or the bandleaders name, or are they the same? Neither. Al Hibbler was the vocalist; Lawrence Brown was the trombone soloist. The band was Duke Ellington's. Lovely mid-1940s Victor recording; Duke Ellington had similar records during the same time period with Lawrence Brown soloing against (and doing muted vocal fills behind) vocalist Joya Sherrill. Michael Shoshani Chicago From: Earl Needham Date: Mon, 24 Jan 2005 10:50:41 -0700 To: Subject: [TROMBONE-L:3714] Re: XM Channel 73 At 10:45 AM 1/24/2005, Adrian Drover wrote: >From: "Earl Needham" > >>Gee, they're playing some nice stuff on XM Channel 73 (Frank's Place) >>today...Nelson Riddle, Al Hibbler as in my other post, Frank Sinatra, >>Rosemary Clooney... > > >OK, what's XM channel 73? Can I get it in Scotland? Uh -- sorry, Adrian. XM is a satellite radio service, marketed to the US only. They don't even want Canadian or Mexican subscribers, although there are a few "underground" listeners in those countries. The satellite footprint doesn't quite make it to Scotland. You can take a look at the website at http://www.xmradio.com . Earl Earl Needham, KD5XB, Clovis, New Mexico DM84jk http://kd5xb-2.no-ip.info From: Tom G Tyson Date: Mon, 24 Jan 2005 12:54:02 -0500 To: 'Trombone List' Subject: [TROMBONE-L:3715] Re: Instrument Choices The last few entries point out the reason I still play a Yamaha YBL-605 German Base - I didn't want to go larger that the dual .547/.563 bore that it uses. As I think I mentioned to Walter Barrett before he tried it for me at the factory, I really didn't want to be saddled with one of those "Death Star" horns, nor did I think I could develop the wind the big horns require. - Tom Tyson -----Original Message----- From: owner-TROMBONE-L@listproc.samford.edu [mailto:owner-TROMBONE-L@listproc.samford.edu] On Behalf Of Earl Needham Sent: Monday, January 24, 2005 10:49 AM To: TROMBONE-L@server5.samford.edu Subject: [TROMBONE-L:3705] Re: Instrument Choices At 08:35 AM 1/24/2005, Keith Marr wrote: >Bravo for pointing this out. As a bass trombonist of some 35 years I have to >say I deplore the move towards "tuba on a stick" or "slide Euphonium" >basses. Shucks, I was talking about the TENORS! >Let's all try and get this macho idea out of students' heads. The biggest >isn't necessarily the best. I bought my 88H along about 1974 and my instructor didn't like it. He said it was TOO BIG and if I was in a military band I would be playing Bass Trombone on it! Earl Earl Needham, KD5XB, Clovis, New Mexico DM84jk http://kd5xb-2.no-ip.info From: Eric Edwards Date: Mon, 24 Jan 2005 14:22:25 -0500 To: Subject: [TROMBONE-L:3716] OTJ Anyone else having problms accessing the OTJ today? Thanks Eric Eric, Leandra, Sara & Jared Edwards "The bitterness of poor quality remains long after the sweetness of low price has faded" From: Hans du Plooy Date: Mon, 24 Jan 2005 21:22:48 +0200 To: Subject: [TROMBONE-L:3717] lipsync Hi guys, Does anyone still have that movie clip of Ashley Simpson's incident? Could you please mail it to me? I want to horrify one of her fans Thanks Hans From: Earl Needham Date: Mon, 24 Jan 2005 12:36:12 -0700 To: Subject: [TROMBONE-L:3718] Re: lipsync At 12:22 PM 1/24/2005, Hans du Plooy wrote: >Hi guys, > >Does anyone still have that movie clip of Ashley Simpson's incident? Could >you please mail it to me? > >I want to horrify one of her fans > > >Thanks >Hans Yeah, I have it. I'll send it to you via private email. Earl Earl Needham, KD5XB, Clovis, New Mexico DM84jk http://kd5xb-2.no-ip.info From: Chris Tune Date: Mon, 24 Jan 2005 10:15:03 -0800 To: , Subject: [TROMBONE-L:3719] Re: Al Hibbler Al Hibbler should be a vocalist. He was totally blind. Became renowned working with Duke Ellington. Later worked as a soloist as "name" bands like Ellington or Dorsey became passe. Leroy Lovett (I was just on the phone with him) knew him quite well. Leroy's biggest tune: "After the Lights Go Down Low" (not to be confused with the similarly titled great by Benny Carter), an R&B style tune, which was a pretty big hit in the early fifties. Very convincing singer, from what I can hear. Never seen any film. . .etc. You might have been hearing a sideman of high quality from his backing band. He would have had very good guys. . .(e.g. Lawrence Brown) Chris Tune ----- Original Message ----- From: "Earl Needham" To: Sent: Monday, January 24, 2005 8:42 AM Subject: [TROMBONE-L:3709] Al Hibbler > > Just caught about 15 seconds of Al Hibbler playing "I'm Just a > Lucky So-and-So" on my XM. WOW what a nice sound! > > Of course, I'm a bit ignorant here -- is Al Hibbler the > trombonists' name or the bandleaders name, or are they the same? > > Thanks, > Earl > > > Earl Needham, KD5XB, Clovis, New Mexico DM84jk > http://kd5xb-2.no-ip.info > > From: "prbrass@juno.com" Date: Mon, 24 Jan 2005 19:51:15 GMT To: Subject: [TROMBONE-L:3720] Caribbean Rapsody for Trombone and Piano For serious amateur or professional trombonist seeking music with Hispanic flavor, I strongly recommend Eric Alexander's "Rapsodia Caribe–a" (Caribbean Rapsody). Eric successfully merged Rumba, Merengue and Bolero rythms, even Juan Luis Guerra's sophisticated style into the work. In my Puerto Rican point of view, this "gringo" has what it takes. I congratulate Eric for his accomplishment. He recently recorded it, and to me the work sounds better than heavy metal rock'n roll. I suggest to contact Eric to find out more about it. His address is, E. Anthony Music 3700 Summit Drive Acworth, GA 30101 Phone 1-770-96MUSIC. Sincerely, Luis A. Torres From: Chris Waage Date: Mon, 24 Jan 2005 12:29:52 -0800 To: , Subject: [TROMBONE-L:3721] Re: OTJ The OTJ site has been up all day. There was a brief outage on the forum today, lasting about 15 minutes. Chris Waage ---------- Original Message ---------------------------------- From: Eric Edwards Reply-To: bonearzt@cox.net Date: Mon, 24 Jan 2005 14:22:25 -0500 >Anyone else having problms accessing the OTJ today? > >Thanks >Eric > >Eric, Leandra, Sara & Jared >Edwards >"The bitterness of poor quality remains long after the sweetness of low price has faded" > > ________________________________________________________________ Sent via the WebMail system at trombone.org From: Date: Mon, 24 Jan 2005 14:34:35 -0600 (CST) To: Subject: [TROMBONE-L:3722] Goldstein's Colloquy List, I have a student who wants to perform Goldstein's Colloquy but we're having trouble finding it since it's out of print. Does anybody have a copy they could scan and send my way? Please reply off list. Thanks. Dave Johansen From: Date: Mon, 24 Jan 2005 15:45:36 EST To: , Subject: [TROMBONE-L:3723] Re: Instrument Choices Harrah for the astute observation, that the biggest slide tuba does not necessarily be the best ... beldon wade ............................................................ : An attachment to this post has been stripped by: : : plaintext.pl : : Original idea by Phillip Porch (ppp@theporch.com) : : Written by Stephen Modena, AB4EL (shimshon@theporch.com) : : Modifications by Mearl Danner, (jmdanner@samford.edu) : : All rights reserved. : ............................................................ From: Date: Mon, 24 Jan 2005 15:47:01 EST To: , Cc: , Subject: [TROMBONE-L:3724] Re: reality was Re: Re: Orchestra Bows: A Survey How many have heard JJ's Early bones?? beldon wade ............................................................ : An attachment to this post has been stripped by: : : plaintext.pl : : Original idea by Phillip Porch (ppp@theporch.com) : : Written by Stephen Modena, AB4EL (shimshon@theporch.com) : : Modifications by Mearl Danner, (jmdanner@samford.edu) : : All rights reserved. : ............................................................ From: Date: Mon, 24 Jan 2005 16:35:25 -0500 To: "prbrass@juno.com" Cc: "TROMBONE-L@server5.SAMFORD.EDU" Subject: [TROMBONE-L:3725] Re: Caribbean Rapsody for Trombone and Piano Cats on the local scene here in Atlanta know that anything to which Eric Alexander puts his hand--playing, writing, eating--is always a first class job and worth the time to play it and $$ to buy it. Check him out. Bob Devine Roswell/Atlanta, GA Quoting "prbrass@juno.com" : > > > For serious amateur or professional trombonist seeking music with Hispanic > flavor, I strongly recommend Eric Alexander's "Rapsodia Caribe–a" (Caribbean > Rapsody). Eric successfully merged Rumba, Merengue and Bolero rythms, even > Juan Luis Guerra's sophisticated style into the work. In my Puerto Rican > point of view, this "gringo" has what it takes. I congratulate Eric for his > accomplishment. He recently recorded it, and to me the work sounds better > than heavy metal rock'n roll. > > I suggest to contact Eric to find out more about it. His address is, > > E. Anthony Music > 3700 Summit Drive > Acworth, GA 30101 > Phone 1-770-96MUSIC. > > Sincerely, > > Luis A. Torres > > From: Pat McFarland Date: Mon, 24 Jan 2005 15:44:31 -0600 To: Subject: [TROMBONE-L:3726] City of Angels Has anybody out there played "City of Angels?" I'll be playing it sometime in late Spring and early Summer. Pat McFarland From: Chris Tune Date: Mon, 24 Jan 2005 14:31:31 -0800 To: , , Subject: [TROMBONE-L:3727] Re: Instrument Choices Speaking of "slide tubas". . .I played a very interesting axe at the NAMM: This was an 88H with a dual bore slide (.525/.547), which I intuited would be just the thing for me (I LOVE the dual-bore thing). . .BUT it also had an interesting bell. It had the King 5B bell on it. This is indicated by "K" on the north part of the bell on the outside. It's actually a bit larger than the normal Conn 88H bell. Thanks to Steve Ferguson for pointing this out to me. I didn't even realise that it was a different bell since it was also made of the same rose brass. It's not a very heavy bell, but it's definitely somewhat larger than the plain 8H, 88H bell. A bonist hanging with me and I looked at the regular 88Hs there and put them next to this one and saw about an additional 3/8 to 1/2" in diameter. The horn is my new favorite symphonic horn (except that there are so many very, very good competitors). I must admit that I'm pretty far away from my big-bore playing days. I still have my beloved 6 1/2 AL which I used to use at USC. I tried a few of Zig Kanstul's .547 bore horns and this Conn fared very, very well against any other horn. Of course Getzen, Holton, Kanstul, Bach and Conn all make very nice big bore horns. I also tried the beautiful new "Dave Steinmeyer" model based upon the Holton/Leblanc "Urbie Green" model. This is another .500 bore jazz horn. This appears to be a "tweak" of the existing Martin "Urbie" model, but may have had considerable effort put into getting each and every playing aspect to work for Dave. It is somewhat better balanced feeling than the Urbie model, and otherwise seems to have the same features. Lightened slide, chromed neck pipe, good construction. Both the Urbie and the Steinmeyer play very well. I thought that the Steinmeyer was "easier" to play. The Steinmayer had Alan Kaplan and I both really liking this horn. Kaplan feels that his Jiggs is about the same weight, but he concedes that his Jiggs may be really light, perhaps lighter than the regularly issued Jiggs horns being sold today. I think Les Benedict also liked the Steinmeyer horn, but he and I were reminiscing so much about "YoYo" (Rosolino) that we didn't really focus on the horn. I hope people buy this new horn because it's really a very good horn and deserving of some attention. I'd be interested if any others have had any experience with this new model 88H. It seems to me to be a wonderful horn and full of great potential as a doubling instrument if I get more orchestral, quintet, etc. type work. Might even be able to play at bass bone when our bass bone player can't make it for a rehearsal. Chris Tune Los Angeles, CA ----- Original Message ----- From: To: ; Sent: Monday, January 24, 2005 12:45 PM Subject: [TROMBONE-L:3723] Re: Instrument Choices > Harrah for the astute observation, that the biggest slide tuba does not > necessarily be the best ... > > > beldon wade > > : An attachment to this post has been stripped by: : > : plaintext.pl : > : Original idea by Phillip Porch (ppp@theporch.com) : > : Written by Stephen Modena, AB4EL (shimshon@theporch.com) : > : Modifications by Mearl Danner, (jmdanner@samford.edu) : > : All rights reserved. : > ............................................................ > From: Chris Tune Date: Mon, 24 Jan 2005 14:35:36 -0800 To: , Cc: Subject: [TROMBONE-L:3728] Re: Caribbean Rapsody for Trombone and Piano I can second that. Eric was one of the highlights of my visit with the Piedmont Trombone Society. Of course nobody is as stimulating as my genial host while in Atlanta, Mr. Gibson. Eric certainly impressed me with his arranging acumen. He is also a very sincere and decent human being. I found myself liking him immediately. I miss you guys out in Georgia. I hope I get back to your beautiful city soon. Chris Tune ----- Original Message ----- From: To: Cc: Sent: Monday, January 24, 2005 1:35 PM Subject: [TROMBONE-L:3725] Re: Caribbean Rapsody for Trombone and Piano > Cats on the local scene here in Atlanta know that anything to which Eric > Alexander puts his hand--playing, writing, eating--is always a first class > job > and worth the time to play it and $$ to buy it. Check him out. > > Bob Devine > Roswell/Atlanta, GA > > Quoting "prbrass@juno.com" : > >> >> >> For serious amateur or professional trombonist seeking music with >> Hispanic >> flavor, I strongly recommend Eric Alexander's "Rapsodia Caribe–a" >> (Caribbean >> Rapsody). Eric successfully merged Rumba, Merengue and Bolero rythms, >> even >> Juan Luis Guerra's sophisticated style into the work. In my Puerto Rican >> point of view, this "gringo" has what it takes. I congratulate Eric for >> his >> accomplishment. He recently recorded it, and to me the work sounds better >> than heavy metal rock'n roll. >> >> I suggest to contact Eric to find out more about it. His address is, >> >> E. Anthony Music >> 3700 Summit Drive >> Acworth, GA 30101 >> Phone 1-770-96MUSIC. >> >> Sincerely, >> >> Luis A. Torres >> >> > > From: Date: Mon, 24 Jan 2005 18:05:56 -0500 To: Chris Tune Cc: "prbrass@juno.com" , "TROMBONE-L@server5.SAMFORD.EDU" Subject: [TROMBONE-L:3729] Re: Caribbean Rapsody for Trombone and Piano You are right, Tom is the ringmaster, so to speak, of the trombone world here in Atlanta. He puts it together, coordinates, gets the word out, etc. Hopefully, ITA andJMEA(?) will come here soon. We enjoy extending hospitality. "Y'all come on down!" Bob Devine Roswell/Atlanta, GA Quoting Chris Tune : > I can second that. Eric was one of the highlights of my visit with the > Piedmont Trombone Society. Of course nobody is as stimulating as my genial > host while in Atlanta, Mr. Gibson. Eric certainly impressed me with his > arranging acumen. He is also a very sincere and decent human being. I > found myself liking him immediately. > > I miss you guys out in Georgia. I hope I get back to your beautiful city > soon. > > Chris Tune > > ----- Original Message ----- > From: > To: > Cc: > Sent: Monday, January 24, 2005 1:35 PM > Subject: [TROMBONE-L:3725] Re: Caribbean Rapsody for Trombone and Piano > > > > Cats on the local scene here in Atlanta know that anything to which Eric > > Alexander puts his hand--playing, writing, eating--is always a first class > > > job > > and worth the time to play it and $$ to buy it. Check him out. > > > > Bob Devine > > Roswell/Atlanta, GA > > > > Quoting "prbrass@juno.com" : > > > >> > >> > >> For serious amateur or professional trombonist seeking music with > >> Hispanic > >> flavor, I strongly recommend Eric Alexander's "Rapsodia Caribe–a" > >> (Caribbean > >> Rapsody). Eric successfully merged Rumba, Merengue and Bolero rythms, > >> even > >> Juan Luis Guerra's sophisticated style into the work. In my Puerto Rican > >> point of view, this "gringo" has what it takes. I congratulate Eric for > >> his > >> accomplishment. He recently recorded it, and to me the work sounds better > >> than heavy metal rock'n roll. > >> > >> I suggest to contact Eric to find out more about it. His address is, > >> > >> E. Anthony Music > >> 3700 Summit Drive > >> Acworth, GA 30101 > >> Phone 1-770-96MUSIC. > >> > >> Sincerely, > >> > >> Luis A. Torres > >> > >> > > > > > > > From: Galen McQuarrie Date: 25 Jan 2005 00:29:16 -0000 To: , Cc: "TROMBONE-L@server5.SAMFORD.EDU" Subject: [TROMBONE-L:3730] Re: Caribbean Rapsody for Trombone and Piano Is this the Eric Alexander that plays Tenor Sax? On 1/24/2005, "bonemstr@america.net" wrote: >Cats on the local scene here in Atlanta know that anything to which Eric >Alexander puts his hand--playing, writing, eating--is always a first class job >and worth the time to play it and $$ to buy it. Check him out. > >Bob Devine >Roswell/Atlanta, GA > >Quoting "prbrass@juno.com" : > >> >> >> For serious amateur or professional trombonist seeking music with Hispanic >> flavor, I strongly recommend Eric Alexander's "Rapsodia Caribe–a" (Caribbean >> Rapsody). Eric successfully merged Rumba, Merengue and Bolero rythms, even >> Juan Luis Guerra's sophisticated style into the work. In my Puerto Rican >> point of view, this "gringo" has what it takes. I congratulate Eric for his >> accomplishment. He recently recorded it, and to me the work sounds better >> than heavy metal rock'n roll. >> >> I suggest to contact Eric to find out more about it. His address is, >> >> E. Anthony Music >> 3700 Summit Drive >> Acworth, GA 30101 >> Phone 1-770-96MUSIC. >> >> Sincerely, >> >> Luis A. Torres >> >> > From: Bonemaster Date: Mon, 24 Jan 2005 22:52:59 -0500 To: , Cc: Subject: [TROMBONE-L:3731] Re: Caribbean Rhapsody for Trombone and Piano I do not believe that this Eric A is known as a tenor saxophonist; I do not know that he dabbles in the 'minor' instrument families...!:)-- -----Original Message----- From: owner-TROMBONE-L@listproc.samford.edu [mailto:owner-TROMBONE-L@listproc.samford.edu]On Behalf Of Galen McQuarrie Sent: Monday, January 24, 2005 7:29 PM To: bonemstr@america.net; prbrass@juno.com Cc: TROMBONE-L@server5.SAMFORD.EDU Subject: [TROMBONE-L:3730] Re: Caribbean Rapsody for Trombone and Piano Is this the Eric Alexander that plays Tenor Sax? On 1/24/2005, "bonemstr@america.net" wrote: >Cats on the local scene here in Atlanta know that anything to which Eric >Alexander puts his hand--playing, writing, eating--is always a first class job >and worth the time to play it and $$ to buy it. Check him out. > >Bob Devine >Roswell/Atlanta, GA > >Quoting "prbrass@juno.com" : > >> >> >> For serious amateur or professional trombonist seeking music with Hispanic >> flavor, I strongly recommend Eric Alexander's "Rapsodia Caribe–a" (Caribbean >> Rapsody). Eric successfully merged Rumba, Merengue and Bolero rythms, even >> Juan Luis Guerra's sophisticated style into the work. In my Puerto Rican >> point of view, this "gringo" has what it takes. I congratulate Eric for his >> accomplishment. He recently recorded it, and to me the work sounds better >> than heavy metal rock'n roll. >> >> I suggest to contact Eric to find out more about it. His address is, >> >> E. Anthony Music >> 3700 Summit Drive >> Acworth, GA 30101 >> Phone 1-770-96MUSIC. >> >> Sincerely, >> >> Luis A. Torres >> >> >