Subject: Trombone-l Digest, Vol 12, Issue 25 Date: Thursday, January 26, 2006 12:00 PM From: trombone-l-request@samford.edu Reply-To: trombone-l@samford.edu To: Conversation: Trombone-l Digest, Vol 12, Issue 25 Send Trombone-l mailing list submissions to trombone-l@maillists.samford.edu To subscribe or unsubscribe via the World Wide Web, visit http://maillists.samford.edu/mailman/listinfo/trombone-l or, via email, send a message with subject or body 'help' to trombone-l-request@maillists.samford.edu You can reach the person managing the list at trombone-l-owner@maillists.samford.edu When replying, please edit your Subject line so it is more specific than "Re: Contents of Trombone-l digest..." Today's Topics: 1. Re: Stars & Stripes (Brennan Arceneaux) 2. Re: Commerce vs. Art Bebop Groups - was - big jazzhorns was Sli... (Wessner, John) 3. Nashville (lewismm@songs.sce.com) 4. Re: Nashville (David A. Schwartz) 5. Lost Wallet (Bill Dinwiddie) 6. Re: Lost Wallet (Bill Dinwiddie) 7. Re: C-crook? (Tom Izzo) 8. Re: Eb crook for bass bone (Earl Needham) 9. Re: Leeds presents Practice With The Experts (Earl Needham) 10. Re: Commerce vs. Art Bebop Groups (Robert Holland) 11. free JJ transcriptions (robert elkjer) 12. Re: Stars & Stripes (Adrian Drover) 13. Re: Nashville (Adrian Drover) 14. Re: Nashville (Gary Maxwell) 15. Re: Eb crook for bass bone (emrose79) 16. Re: Nashville (emrose79) ---------------------------------------------------------------------- Message: 1 Date: Wed, 25 Jan 2006 15:10:10 -0600 From: Brennan Arceneaux Subject: Re: [Trombone-l] Stars & Stripes Cc: Trombone-L Message-ID: <43D7E932.3070005@bellsouth.net> Content-Type: text/plain; charset=us-ascii; format=flowed The arrangement by David Wolpe is fantastic, featuring the picc solo and everything. Brennan Arceneaux Eric Edwards wrote: >Good morning All! >When I was in HS, my jazz band played an arrangement of the Stars & Stripes >forever. >I'm trying to find out if anyone knows who may have it in stock. >Unfortunately the cobwebs are too thick and I can't remember who arranged >it. > >Thanks >Eric > > > >Eric, Leandra, Sara, Jared & Lily >Edwards >"The bitterness of low quality remains long after the sweetness of low price >has faded." > >_______________________________________________ >Trombone-l mailing list >Trombone-l@maillists.samford.edu >http://maillists.samford.edu/mailman/listinfo/trombone-l > > > ------------------------------ Message: 2 Date: Wed, 25 Jan 2006 17:08:29 -0500 From: "Wessner, John" Subject: Re: [Trombone-l] Commerce vs. Art Bebop Groups - was - big jazzhorns was Sli... To: "TROMBONE-L \(E-mail\)" Message-ID: Content-Type: text/plain; charset="Windows-1252" Part of this is due to the idea that jazz is to be "studied" rather than played. We all have influences and such, but older cats (at least my age) didn'tgenerally copy the records; and peoply in my father's generation just played. So here is an anecdote: Back in the late 80s or early 90s I was playing with the Last Chance Jazz Band in Columbia, MD. We were in the "trad band" circuit, which gets you invited to festivals in California, and such. Dated or not, we played with originality. We played one year in Central City, CO and booked our flight by way Montana to visit many friends. While in Billings, we stayed with a couple whose ~17 son was trying to become a serious trumpet player (and maybe did). One day, he practiced in his room, while I had the basement. I was doing warm-ups, but he played "You Don't Know What Love Is" over and over. Each time it was the same and included a minor flub that I gather came from a Miles recording. I knew the song because I had played it regularly in public (with Gary Bartz). He had to know that I was there based on my musical ability, but never once did we talk about playing jazz, let alone that particular song. I just shrugged it off as "what would a dixieland player know?" Later on, I was doing a lot of writing for that band. Took a fair amount of crap from some of the locals for not being authentic enough and also from some who should have known better, for being too hard nosed. It was fun though. And we packed the club! jw -----Original Message----- From: trombone-l-bounces@samford.edu [mailto:trombone-l-bounces@samford.edu]On Behalf Of Daryl Burch Sent: Wednesday, January 25, 2006 12:36 PM To: Jeff Albert Cc: trombone-l@server5.samford.edu; SteveInside@aol.com Subject: Re: [Trombone-l] Commerce vs. Art Bebop Groups - was - big jazzhorns was Sli... All excellent points! I guess what I was trying to do for my friend and his trio was to stretch his musicality a bit. One of the best musical experiences I've ever had was on the very first cruise ship I played. It was a six piece show band (Tpt./Trb./Reeds and PBD) that backed the production shows and star acts that would come on. (Side note: The trumpet player took lessons from Harry James, the sax player & drummer were fresh out of N. Texas St., the piano player --who dbld on vibes & drums-- & I were from CCM, and the bass player was fresh out of Miami--altogether a fun band to play on.) The ship was a converted tomato boat from the 50's that carried about 800 passengers on day runs between Ft. Lauderdale and Freeport, Bahamas. Every Tuesday & Thursday we would have to play a deck set in a gazebo by the pool from 11am to 1pm. That set was to provide ambience by the pool while Gladys & Chloe got their drink on to pass the time. Since it was a cruise to the Bahamas, we had to play Caribbean-inspired lite jazz. What we ended up doing was playing through the Real Book & the New Real Book and putting alternative twists on standards. So while we did the usual versions of "A-Train," "Perdido," "Shaker Song," etc., we'd also take "Summertime" and do it as a dub reggae. Or we'd take "Red Clay" or "Black Nile" and play them as a funk. It was just little attempts at style changes that would force us to approach the changes differently and try different ideas, yet still try to play something appealing to the bikini babes and the "condo commandos" sipping their 5th Mai Tai on their way to Freeport. The idea of approaching the fake book like a Chinese menu then also increases your rep. by three to four fold. Now when you pick a tune, you also pick a tempo & a style. Made for great head games for us a layer above what the crowd would hear. Most things worked. Some things didn't. But at least went for it. Thanks for y'alls input on this! Cheers! -D- www.radionoise.com <- Rock star by night www.burchinteractive.com <- Tech-nerd by day #;-) On Jan 25, 2006, at 5:20 AM, Jeff Albert wrote: > > On Jan 25, 2006, at 6:36 AM, SteveInside@aol.com wrote: >> >> I'm thinking that maybe this does in some way come from your personal >> involvement in the field ? lots of exposure to the 'ordinary' >> might leave your >> pallet a little jaded? Hope I got the right spelling of pallet >> there :-D) > > True enough. > >> >> That's not meant to be confrontational, just an observation that >> the more we >> 'know' about anything, the more we want to and need to push the >> boundaries - >> often for our own sense of satisfaction. > > Yes, much for my own satisfaction as a player or listener, but also > from my personal belief that one of the founding principles of jazz > was the want and need to push the boundaries. > >> Yes, that can lead to great art >> and, equally, lots of great art leaves large parts of the >> population far away >> and unmoved. > > My art always moves people, just sometimes it moves them towards the > door. ;) > > Last friday we played a gig with my quartet. It was at a club that > is not a jazz club, but a more general music club. They often have > singer/songwriters or rock bands. There were a couple of tables of > older well dressed folks that i think were expecting a different type > of jazz band. They didn't make it past the second tune. That > bothered me to some extent, but at the same time several people who > were at the bar eyeing the trombone and acoustic bass very > suspiciously as we set up, immediately moved to near the stage when > we started playing. I don't think we were what either group of > people was expecting, but it was a pleasant surprise for one group. > Our only choice was to just do what we do. If we try to make > everyone happy, then we end up playing in a less honest way that > makes no one happy. > > Generally I don't mind if some people hate what I'm doing (hopefully > some will like it at the same time), it is when people are neutral to > it that it bothers me. That means I haven't reached them enough to > even get them to really listen. > > >> >> Personally, I love it when a coffee bar takes the hugely brave step of >> putting real, live (and paid) musicians in the room - I love it! > > I agree. I'd rather hear live jazz standards in a jazz cover band > than the boom box in the corner. Very true. > > Jeff > > > ===================== > Jeff Albert > > www.jeffalbert.com > www.scratchmybrain.com > > > > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l > _______________________________________________ Trombone-l mailing list Trombone-l@maillists.samford.edu http://maillists.samford.edu/mailman/listinfo/trombone-l ------------------------------ Message: 3 Date: Wed, 25 Jan 2006 14:45:31 -0800 From: lewismm@songs.sce.com Subject: [Trombone-l] Nashville To: trombone-l@server5.samford.edu Message-ID: Content-Type: text/plain; charset=US-ASCII Making plans for a 1st - time trip to Nashville, Tn. and need some brief local advice, please. Anybody out there? thanks, Mark Lewis Carlsbad, Ca. ------------------------------ Message: 4 Date: Wed, 25 Jan 2006 18:13:21 -0500 From: "David A. Schwartz" Subject: Re: [Trombone-l] Nashville To: trombone-l@server5.samford.edu Message-ID: <43D80611.9030508@verizon.net> Content-Type: text/plain; charset=ISO-8859-1; format=flowed Nashville is the only place in the world where you can buy GooGoo Clusters, a chocolate and nuts candy bar. Don't miss 'em. Trombone content: like trombone playing, they're habit forming. lewismm@songs.sce.com wrote: >Making plans for a 1st - time trip to Nashville, Tn. and need some brief >local advice, please. Anybody out there? > >thanks, > >Mark Lewis >Carlsbad, Ca. > > ------------------------------ Message: 5 Date: Wed, 25 Jan 2006 17:34:38 -0600 From: "Bill Dinwiddie" Subject: [Trombone-l] Lost Wallet To: "List Trombone" Message-ID: <00b601c62207$e89fa590$0a00a8c0@av> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Well, I lost my wallet today. It sure is a bad feeling. The good news is that I found it again about 2 hours later, but only after I lost about 32 lbs. in something akin to "flop sweat", which stage entertainers suffer when things are not going too well out in the audience. I sure hope none of you ever go through this, but it is probably inevitable, kind of like when (not if) your hard drive is going to fail. May I suggest something to all of you who have not taken this simple step in basic security. Find a Xerox copier, place all of your credit cards, driver's license, library cards, and everything else in your wallet, on the glass and make several copies. Now, turn all the cards over and do the same for the reverse side. Put the copies in your safe deposit box or some other super secure place. Update the copies every time you get new card. I used my scanner to scan all my cards and then copied all those files to a few CD-Roms. Especially important are the 1-800 phone numbers on the backs of the cards. You will know exactly who to call to cancel your cards before anyone starts running up a big bill on you. I sweat bullets when I misplaced my wallet, but at least I had a place to start. Thank the Lord that I didn't have to cancel everything, but it would have been infinitely worse, trying to remember all those numbers. Please pardon my unsolicited advice. Bill Dinwiddie billdin@comcast.net ------------------------------ Message: 6 Date: Wed, 25 Jan 2006 18:03:30 -0600 From: "Bill Dinwiddie" Subject: Re: [Trombone-l] Lost Wallet To: "List Trombone" Message-ID: <00fd01c6220b$f2d1d3e0$0a00a8c0@av> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original A lttle more on the "lost wallet syndrome"' My friend Larry Eckerling replied: I use "Credit Card Service Bureau" 1-800-336-0220 Years ago, I paid like $35 (it may be $100 now) for a lifetime membership. Basically, you register all your cards with them. If your wallet gets stolen, 1. They actually cancel all your cards for you and get you issued new ones 2. They cover the liability (there is like a $35-75 minimum per card that you are responsible for normally, and they take care of it). This is great for peace of mind! ****************************************** Bill Dinwiddie ------------------------------ Message: 7 Date: Wed, 25 Jan 2006 17:41:35 -0800 (PST) From: Tom Izzo Subject: Re: [Trombone-l] C-crook? To: Raymond Horton , Charles Levine Cc: trombone-l@server5.samford.edu Message-ID: <20060126014135.58511.qmail@web52712.mail.yahoo.com> Content-Type: text/plain; charset=iso-8859-1 Sorry to weigh-in late on this one (I was in Las Vegas for 5 days), but...... --- Raymond Horton wrote: > Ed Anderson (former BT, Cleveland Orch, then taught > at IU for a number > of years, played extra with us a couple of times I'm > proud to say) had > his Bach 50 in-line tuned to Bb - F - C. Never used > the valves > together. The valve tubing was something to see - > the C slide turned > back toward the bell. > Both of my double valve basses, I have tuned to Bb/F/C intentionally (both dependant). [my "orchestral" model is a Thayered-openwrapped Bach built by Steve Shires in yellow heavy brass/9.5" bell, my "commercial" model is a standard-wrapped rotory model in Gold plating/10.5" bell]. I have also used occasionally, a King 8B tuned in Bb/F/Eb in-line which produces C in first with both valves in use. Why a Bb/F/C? Well, most first valves are quart valves (Bb/F, Eb/Bb, etc). Tradition, for me, I guess. A lot of the chamber music I do (Brass Quintet, small ens, etc) can be done on an F instrument, which came in F/C in earlier times, so for me it's more comfortable having both the Bb/F & F/C availabilities, hence: Bb/F/C. When I started playing Bass Trombone (in the mid 60's) there weren't the infinite valve key possibilities there are today. And while I've probably tried, over the years, all the various combinations, I still find the Bb/F/C as the most useful for me. YMMV. Tom > RBH > LO > > Charles Levine wrote: > > >Why not a crook that would put low C in first > position? > >_______________________________________________ > >Trombone-l mailing list > >Trombone-l@maillists.samford.edu > >http://maillists.samford.edu/mailman/listinfo/trombone-l > > > > > > > > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l > Tom Izzo Principal Trombonist, Bristol Renaissance Faire; Bass Trombonist, West Suburban Symphony Orchestra; Founding Director, The Naperville Area Trombone Ensemble; Alto/Tenor/Bass/Contrabass Trombones, Tubas, Euphonium, Bass Trumpet, Electric Bass, Timpani & Percussion. http://www.Geocities.com/Vienna/Studio/7875/ (630) 858-7832 __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message: 8 Date: Wed, 25 Jan 2006 18:45:32 -0700 From: Earl Needham Subject: Re: [Trombone-l] Eb crook for bass bone To: trombone-L@server5.samford.edu Message-ID: <6.1.0.6.2.20060125184510.02708ce8@email.plateautel.net> Content-Type: text/plain; charset="us-ascii"; format=flowed At 10:38 AM 1/19/2006, emrose79 wrote: >I had always thought that it was an E crook, but I just checked my >Besson (ca. 2000) and it came with both a D and an Eb (actually, it IS >something of a flat Eb)... If I recall, my Duo Gravis came with an E >crook (rather than an Eb), but King came up with a conversion to D, and >then you could get a conversion to C... >Ed Yeah, just stick TWO of the D extensions together... Earl Earl Needham, KD5XB, Clovis, New Mexico DM84jk Looking for one MasterMobile 20-meter coil (might say "Davis Electronics" on it) Say NO to unbranded junk -- insist on an original TRISTAR! ------------------------------ Message: 9 Date: Wed, 25 Jan 2006 18:59:01 -0700 From: Earl Needham Subject: Re: [Trombone-l] Leeds presents Practice With The Experts To: trombone-L@server5.samford.edu Message-ID: <6.1.0.6.2.20060125185825.02689b60@email.plateautel.net> Content-Type: text/plain; charset="us-ascii"; format=flowed At 12:44 PM 1/22/2006, dslide13@aol.com wrote: >Has anyone ever seen this book? It was compiled and edited by Paul >Tanner and is filled with excercises penned by the likes of Milt >Bernhart, Harry Betts, Dick Nash, Tommy Pederson, Frank Rosolino, Moe >Schneider, Lloyd Ulyate, Si Zentner, et al... YEAH! I've seen it! About 30 years ago! I wonder if it's still around... Earl Earl Needham, KD5XB, Clovis, New Mexico DM84jk Looking for one MasterMobile 20-meter coil (might say "Davis Electronics" on it) Say NO to unbranded junk -- insist on an original TRISTAR! ------------------------------ Message: 10 Date: Wed, 25 Jan 2006 20:14:47 -0600 From: Robert Holland Subject: Re: [Trombone-l] Commerce vs. Art Bebop Groups To: "Trb. List" Message-ID: <72f36df203098fdcc2c26fb62b20b380@rcn.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Jeff Albert wrote: > I don't know, there is a much larger market for re-creationist jazz > than there is for original stuff. I know some guys that are > perfectly happy playing things as much like the record as possible. > I'm not that happy listening to them, but they are happy playing it. I have a different take on this. The history of Classical music is sometimes told in terms of innovators and summarizers. Most, though not all, of the first-rank composers are summarizers: Palestrina, G. Gabrieli, J.S. Bach, Handel, W.A. Mozart, Haydn, Schubert, Brahms, Verdi, Tchaikovsky, Mahler. A few manage to be a little of both: Monteverdi, Beethoven, Wagner, Copland. Still others write in a historically passe style: Rachmaninov, Sibelius, Shostakovich. Innovators get their due, but they aren't quite the same, and their output is often considered uneven: Berlioz, Hindemith, Stravinsky. Put differently, the art favors summarizers because they are in a position to distill the things that work and discard the experiments that don't. Innovators may succeed wildly (Symphony Fantastique and The Rite of Spring come to mind), but they're anomalies. In performance, the edge also goes to the summarizer. Classical musicians try to recreate a historical artifact in a relatively authentic form. Walter and Karajan were great summarizers, and their recorded performances are frequently cited as definitive. Those who attempt to deliver a wildly novel interpretation of a standard repertory piece usually fail miserably. Jazz may be unusual in the respect that the edge goes to the innovators, at least until that point where they are transformed by age into summarizers (Armstrong, Ellington, Gillespie). Jazz has always been a restless art, changing continuously before anything had time to settle and be summarized. However, lots of musicians approach jazz as summarizers. It's a mindset. And the audience may sometimes demand it for any number of reasons. Robert Holland, Publisher Briar Music Press briar@rcn.com www.briarmusic.com ------------------------------ Message: 11 Date: Wed, 25 Jan 2006 22:52:21 -0800 From: robert elkjer Subject: [Trombone-l] free JJ transcriptions To: message to trombone-l Message-ID: <43D871A5.5050200@pacbell.net> Content-Type: text/plain; charset=us-ascii; format=flowed Hi, Bob Elkjer here. Time for some shameless promotion: If you buy my jazz record Clean Lines (click to hear), I'll throw in 5 never before transcribed JJ Johnson solos, free. Here's the details: http://home.pacbell.net/melkjer/FreeJJTranscriptionsPage1.html Thanks! ------------------------------ Message: 12 Date: Thu, 26 Jan 2006 09:25:35 -0000 From: "Adrian Drover" Subject: Re: [Trombone-l] Stars & Stripes To: "'Brennan Arceneaux'" Cc: 'Trombone-L' Message-ID: <003601c6225a$771936e0$0100a8c0@Adrian> Content-Type: text/plain; charset="us-ascii" > From: Brennan Arceneaux > > The arrangement by David Wolpe is fantastic, featuring the picc solo and > everything. It is a fun chart to play, tho' I seem to remember that there is a long trombone soli in cup mutes (I think) with so much going on in the trumpets and saxes behind it that featured section is completely lost. Can't understand why the arranger did that. Most of Wolpe's charts are well written. A. ------------------------------ Message: 13 Date: Thu, 26 Jan 2006 09:33:07 -0000 From: "Adrian Drover" Subject: Re: [Trombone-l] Nashville To: "'David A. Schwartz'" , Message-ID: <003701c6225b$84666830$0100a8c0@Adrian> Content-Type: text/plain; charset="us-ascii" > From: David A. Schwartz > > Nashville is the only place in the world where you can buy GooGoo > Clusters, Now you couldn't get a better recommendation for Nashville than that. If you bring a few bars with you to Scotland you'll be able to get them deep fried. Yummy! Retch!!! A. ------------------------------ Message: 14 Date: Thu, 26 Jan 2006 07:40:51 -0800 From: "Gary Maxwell" Subject: Re: [Trombone-l] Nashville To: "Adrian Drover" , Message-ID: <000f01c6228e$e43162a0$ca4b5d3f@DFXN9451> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original You are well! Gary D. Maxwell ------------------------------ Message: 15 Date: Thu, 26 Jan 2006 09:40:44 -0800 From: emrose79 Subject: Re: [Trombone-l] Eb crook for bass bone To: trombone-L@server5.samford.edu Message-ID: <43D9099C.6050204@sonic.net> Content-Type: text/plain; charset=us-ascii; format=flowed But.... not only would the guy in front of you have to be careful, so would the guy in back! My (King supplied) D crook required the E, so when they supplied the C, it just fit in the end of the (open) D, but went back for about 4 or 5 inches, then towards the bell. Ed Earl Needham wrote: >At 10:38 AM 1/19/2006, emrose79 wrote: > > >>I had always thought that it was an E crook, but I just checked my >>Besson (ca. 2000) and it came with both a D and an Eb (actually, it IS >>something of a flat Eb)... If I recall, my Duo Gravis came with an E >>crook (rather than an Eb), but King came up with a conversion to D, and >>then you could get a conversion to C... >>Ed >> >> > > Yeah, just stick TWO of the D extensions together... > > Earl > > >Earl Needham, KD5XB, Clovis, New Mexico DM84jk > >Looking for one MasterMobile 20-meter coil (might say "Davis Electronics" >on it) > >Say NO to unbranded junk -- insist on an original TRISTAR! > > >_______________________________________________ >Trombone-l mailing list >Trombone-l@maillists.samford.edu >http://maillists.samford.edu/mailman/listinfo/trombone-l > > > > ------------------------------ Message: 16 Date: Thu, 26 Jan 2006 09:46:32 -0800 From: emrose79 Subject: Re: [Trombone-l] Nashville To: trombone-l@server5.samford.edu Message-ID: <43D90AF8.2090006@sonic.net> Content-Type: text/plain; charset=us-ascii; format=flowed Well, Adrian... would that be deep fried in the same oil they used for the Haggis? O-BOY!!!!! Ed Adrian Drover wrote: > > >>From: David A. Schwartz >> >>Nashville is the only place in the world where you can buy GooGoo >>Clusters, >> >> > > >Now you couldn't get a better recommendation for Nashville than that. If >you bring a few bars with you to Scotland you'll be able to get them deep >fried. Yummy! Retch!!! > >A. > > >_______________________________________________ >Trombone-l mailing list >Trombone-l@maillists.samford.edu >http://maillists.samford.edu/mailman/listinfo/trombone-l > > > > ------------------------------ _______________________________________________ Trombone-l mailing list Trombone-l@maillists.samford.edu http://maillists.samford.edu/mailman/listinfo/trombone-l End of Trombone-l Digest, Vol 12, Issue 25 ******************************************