Subject: Trombone-l Digest, Vol 13, Issue 19 Date: Sunday, February 19, 2006 12:00 PM From: trombone-l-request@samford.edu Reply-To: trombone-l@samford.edu To: Conversation: Trombone-l Digest, Vol 13, Issue 19 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: Mail (Chris Dearth) 2. A Friend (BJMCHAFFIE@aol.com) 3. Paul Desmond (Bill Dinwiddie) 4. Fantasy Big Band Bass Bone Feature CD (Bill Redgate) 5. Re: Paul Desmond (BJMCHAFFIE@aol.com) 6. To bE or Not to bE (or bB or not bB) (Charles De Paolo) 7. Re: To bE or Not to bE (or bB or not bB) (Joe Dixon) 8. Re: Paul Desmond (Raymond Horton) 9. Re: Paul Desmond (Fred Hudson) 10. Re: Fantasy Big Band Bass Bone Feature CD (Wayne Dyess) 11. Re: Fantasy Big Band Bass Bone Feature CD (Earl Needham) 12. Jazz For Teens, New Jersey Performing Arts Center, Newark (sabutin) 13. Re: Jazz For Teens, New Jersey Performing Arts Center, Newark (sabutin) ---------------------------------------------------------------------- Message: 1 Date: Sat, 18 Feb 2006 13:26:35 -0500 From: Chris Dearth Subject: Re: [Trombone-l] Mail To: "David W. Buckley" , Message-ID: Content-Type: text/plain; charset=US-ASCII We're hiding. Looks like you found us. :-)\ Chris Dearth Principal Trombone, West Virginia Symphony Adjunct Instructor, West Virginia Wesleyan -- On 2/16/06 10:39 AM, "David W. Buckley" wrote: > Where has the list gone? I haven't received mail in days. > > Dave Buckley > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l ------------------------------ Message: 2 Date: Sat, 18 Feb 2006 13:47:08 EST From: BJMCHAFFIE@aol.com Subject: [Trombone-l] A Friend To: TROMBONE-L@server5.samford.edu Cc: grandpa_mac2003@Yahoo.Com Message-ID: <2b7.4d46546.3128c5ac@aol.com> Content-Type: text/plain; charset="US-ASCII" Non trombonist at that just gave me a couple of Paul Desmond CD's featuring Desmond on Alto Sax. He is backed by a compliment of brass including trombs on several of the tracks. He is so good, I can't imagine how Kenny G outshone him. Great Listening. CD's Paul Desmond: Late Lament and Easy Living beldon wade ------------------------------ Message: 3 Date: Sat, 18 Feb 2006 15:07:05 -0600 From: "Bill Dinwiddie" Subject: [Trombone-l] Paul Desmond To: "List Trombone" Message-ID: <000501c634cf$45d4dad0$0a00a8c0@av> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Beldon wrote: "Non trombonist at that just gave me a couple of Paul Desmond CD's featuring Desmond on Alto Sax. He is backed by a compliment of brass including trombs on several of the tracks. He is so good, I can't imagine how Kenny G outshone him. Great Listening." ********************************************************************************************** Glad you started this thread, Beldon. Paul Desmond was, in my mind, the best saxophone improviser in "modern jazz". He is too "cool" for many, but I believe his melodic sense and creativity to be superior to many better known players. He is something of an acquired taste, and the older one gets, the more of an appreciation of Desmond one tends to have. He is so well known for "Take Five" and other Brubeck recordings that many people do not even know that he recorded many beautiful things under his own name. Much of his later "post-Brubeck" records were done with guitarist Jim Hall, bassist Percy Heath, and drummer Connie Kay (Heath and Kay were with the Modern Jazz Quartet for a very long time). Jim Hall was the perfect foil for Desmond's unerring imagination. This quartet did many sides for RCA, but one of their best was done for Warner Brothers. The entire output of the Paul Desmond Quartet with Jim Hall was released by Mosaic Records some year ago, but is, alas, no longer in print, and is only available by bidding on eBay. Most of the RCA sides are currently available in an RCA collection and they represent the majority of the Quartets' output. Kenny G may have made much more money than Desmond, but, IMHO, that is the only sense in which he exceeds him. Bill Dinwiddie ------------------------------ Message: 4 Date: Sat, 18 Feb 2006 16:21:03 -0500 From: "Bill Redgate" Subject: [Trombone-l] Fantasy Big Band Bass Bone Feature CD To: "Post to Trombone List" Message-ID: Content-Type: text/plain; charset="iso-8859-1" Revered List Types; I was thinking the other day - so you'll have to forgive me..... I was wondering - "What would the quintessential Big Band Bass Bone Feature Album have on it?" The answer of course is the type of thing for which this list is perfectly suited. I would appreciate all of your suggestions. Here's my guidelines; REAL Bass Bone Feature - not merely something with some good exposed parts. As much fun as it may be to expose one's parts, that's another album. This one is charts that really feature the Bass Bone. Big Band - Full sax , rhythm , bone and Trumpet section. Other than that - and the one or two essential things that I'm positive I've forgotten - I'm pretty open. I'd love to hear your ideas. I'll start off with "Wave" from Buddy Rich's "Stick It" album. I've loved that one for years. This came about from listening to folks always talking about their personal "Mix" CD's and such. I got to thinking what would MY personal "Aural Holy Grail" be - and I didn't have it! I've heard precious few Bass Bone feature tunes - yet I love them. SO please help me widen my aural experience. I'd really appreciate it. NOTE - I do currently play Bass Bone with a Big Band ( www.TheSJO.com ) so sources for charts of these fine pieces would be considered a good thing too! Bill Redgate Atlanta Georgia ------------------------------ Message: 5 Date: Sat, 18 Feb 2006 16:48:44 EST From: BJMCHAFFIE@aol.com Subject: Re: [Trombone-l] Paul Desmond To: billdin@comcast.net, TROMBONE-L@server5.samford.edu Message-ID: <6a.676d7855.3128f03c@aol.com> Content-Type: text/plain; charset="US-ASCII" Great comments. It was my thrust that Kenny G got the accolades (and curses) while Desmond has been kinda pushed back. beldon wade ------------------------------ Message: 6 Date: Sat, 18 Feb 2006 17:25:43 -0500 From: "Charles De Paolo" Subject: [Trombone-l] To bE or Not to bE (or bB or not bB) To: "Trombone List" Message-ID: <016601c634da$41bc9270$1e00a8c0@Road1> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original To "flat E" or not to "flat E", that is the question... I'm trying to get a consensus here on something, perhaps you can help. This concerns tenor players with triggers on their horns. Specifically regular tenor players, not bass players who also sometimes play tenor. (The latter is me and I already have those answers.) I'd like to hear from the folks who battle it out on tenor day in and day out, to pick your brains if you will. What I'm wondering is if there is a general consensus as to where certain notes lie on your horn(s). You can respond privately to me if you would like to keep the list clean. I will post back a summary once I have some data to work with. But first, the fine print: a) When I mention "first position," I mean that the slide is closed pretty much all the way against the stops or within a millimeter, but no more. For those of you with springs, the springs are not compressed, but the slide might be touching them lightly. b) I assume the trigger section is tuned in F and its tuning slide is pulled out maybe a quarter to half inch. It might be a touch more if your main tuning slide is out more than usual (more than a half inch). c) I'm not hoping for any specific results, so there are no right answers and no trick questions. Please don't try to read into my wording. Just answer naturally. Thanks in advance! The questions: 1. When playing second space C in first position with the trigger, do you find it to be: (a) in tune (b) flat but usable (you have to lip it up) (c) too flat and thus unusable (except maybe in very fast passages) (d) a little sharp, so you push out a bit 2. When playing low F (just beneath the staff) in first position with the trigger, do you find it to be: (a) in tune (b) flat but usable (you have to lip it up) (c) too flat and thus unusable (except maybe in very fast passages) (d) a little sharp, so you push out a bit. 3. When playing second line B-natural with the trigger, do you find it to be: (a) in tune (b) slightly sharp, so you lip it or nudge it ever so slightly south of 2nd position (c) sharp, so you push it out to flat 2nd position 4. When playing low E (one ledger down) with the trigger, do you find it to be: (a) in tune (b) slightly sharp, so you lip it or nudge it ever so slightly south of 2nd position (c) sharp, so you push it out to flat 2nd position Thanks again to anyone who responds. Your help is appreciated! ---Chuck ------------------------------ Message: 7 Date: Sat, 18 Feb 2006 16:42:01 -0600 From: Joe Dixon Subject: Re: [Trombone-l] To bE or Not to bE (or bB or not bB) To: "Charles De Paolo" Cc: Trombone List Message-ID: Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed 1-d 2-b 3-c 4-b Joe Dixon www.tromboneczar.com On Feb 18, 2006, at 4:25 PM, Charles De Paolo wrote: > To "flat E" or not to "flat E", that is the question... > > I'm trying to get a consensus here on something, perhaps you can help. > > This concerns tenor players with triggers on their horns. > Specifically > regular tenor players, not bass players who also sometimes play > tenor. (The > latter is me and I already have those answers.) I'd like to hear > from the > folks who battle it out on tenor day in and day out, to pick your > brains if > you will. > > What I'm wondering is if there is a general consensus as to where > certain > notes lie on your horn(s). You can respond privately to me if you > would > like to keep the list clean. I will post back a summary once I > have some > data to work with. > > But first, the fine print: > > a) When I mention "first position," I mean that the slide is closed > pretty > much all the way against the stops or within a millimeter, but no > more. For > those of you with springs, the springs are not compressed, but the > slide > might be touching them lightly. > > b) I assume the trigger section is tuned in F and its tuning slide > is pulled > out maybe a quarter to half inch. It might be a touch more if your > main > tuning slide is out more than usual (more than a half inch). > > c) I'm not hoping for any specific results, so there are no right > answers > and no trick questions. Please don't try to read into my wording. Just > answer naturally. Thanks in advance! > > The questions: > > 1. When playing second space C in first position with the trigger, > do you > find it to be: > (a) in tune > (b) flat but usable (you have to lip it up) > (c) too flat and thus unusable (except maybe in very fast > passages) > (d) a little sharp, so you push out a bit > > 2. When playing low F (just beneath the staff) in first position > with the > trigger, do you find it to be: > (a) in tune > (b) flat but usable (you have to lip it up) > (c) too flat and thus unusable (except maybe in very fast > passages) > (d) a little sharp, so you push out a bit. > > 3. When playing second line B-natural with the trigger, do you find > it to > be: > (a) in tune > (b) slightly sharp, so you lip it or nudge it ever so slightly > south of > 2nd position > (c) sharp, so you push it out to flat 2nd position > > 4. When playing low E (one ledger down) with the trigger, do you > find it to > be: > (a) in tune > (b) slightly sharp, so you lip it or nudge it ever so slightly > south of > 2nd position > (c) sharp, so you push it out to flat 2nd position > > Thanks again to anyone who responds. Your help is appreciated! > > ---Chuck > > > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l ------------------------------ Message: 8 Date: Sun, 19 Feb 2006 00:09:22 -0500 From: Raymond Horton Subject: Re: [Trombone-l] Paul Desmond To: Bill Dinwiddie Cc: List Trombone Message-ID: <43F7FD82.1090709@insightbb.com> Content-Type: text/plain; charset=ISO-8859-1; format=flowed I have never been a big jazz collector, but I was quite a Brubeck Quartet fan in high school. I have always thought that Desmond got the most beautiful sax sound I have ever heard. RBH >Glad you started this thread, Beldon. Paul Desmond was, in my mind, the best >saxophone improviser in "modern jazz". He is too "cool" for many, but I >believe his melodic sense and creativity to be superior to many better known >players. He is something of an acquired taste, and the older one gets, the >more of an appreciation of Desmond one tends to have. > >He is so well known for "Take Five" and other Brubeck recordings that many >people do not even know that he recorded many beautiful things under his own >name. Much of his later "post-Brubeck" records were done with guitarist Jim >Hall, bassist Percy Heath, and drummer Connie Kay (Heath and Kay were with >the Modern Jazz Quartet for a very long time). > ------------------------------ Message: 9 Date: Sun, 19 Feb 2006 00:47:11 -0600 From: "Fred Hudson" Subject: Re: [Trombone-l] Paul Desmond To: "Raymond Horton" , "Bill Dinwiddie" Cc: List Trombone Message-ID: <000601c63520$527baba0$d5d08c41@s0024172501> Content-Type: text/plain; charset="iso-8859-1" Quoth Ray Horton " I have always thought that Desmond got the most beautiful sax sound I have ever heard." and Bill Dinwiddie "Glad you started this thread, Beldon. Paul Desmond was, in my mind, the best saxophone improviser in "modern jazz". He is too "cool" for many, but I believe his melodic sense and creativity to be superior to many better known players. He is something of an acquired taste, and the older one gets, the more of an appreciation of Desmond one tends to have." My sentiments exactly on both counts. I acquired my taste for Desmond when I heard the Brubeck Quartet live in 1954 when I was in college and my appreciation has definitely developed with age. To keep things in perspective Paul Desmond died in 1977 - Kenny G began his professional career in 1976 - Different times -- different audience. BTW - I also appreciate Stan Getz and Gerry Mulligan one heck of lot more than Kenny G. Fred H ------------------------------ Message: 10 Date: Sun, 19 Feb 2006 01:15:51 -0600 From: Wayne Dyess Subject: Re: [Trombone-l] Fantasy Big Band Bass Bone Feature CD To: Bill Redgate Cc: Post to Trombone List Message-ID: <735f14d6315856107541423b3d324a57@gt.rr.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Hey Bill. Well, SJO rocks! I'd have to vote for Phil Teele on the SINATRALAND cd. Still one of my all-time favorite CD's, and still close by my player. This after what? 4 or 5 years? Maybe more! "Saturday Night Is the Lonliest Night of the Week". GREAT stuff. Just sad to say that I had all my most treasured music (recording equipment, big band charts, CD's, etc.) in what I thought was the safest room of our house during hurricane RITA, and that is the one room that had a window blown out. The CD plays, but the booklet is hurricane glued together from all the moisture. At least the music is still there! Wayne Dyess On Feb 18, 2006, at 3:21 PM, Bill Redgate wrote: > Revered List Types; > > > I was thinking the other day - so you'll have to forgive me..... > > > I was wondering - "What would the quintessential Big Band Bass Bone > Feature Album have on it?" The answer of course is the type of thing > for > which this list is perfectly suited. I would appreciate all of your > suggestions. > > Here's my guidelines; > > REAL Bass Bone Feature - not merely something with some good exposed > parts. > As much fun as it may be to expose one's parts, that's another album. > This > one is charts that really feature the Bass Bone. > > Big Band - Full sax , rhythm , bone and Trumpet section. > > > Other than that - and the one or two essential things that I'm > positive > I've forgotten - I'm pretty open. I'd love to hear your ideas. > > I'll start off with "Wave" from Buddy Rich's "Stick It" album. I've > loved > that one for years. > > > > This came about from listening to folks always talking about their > personal "Mix" CD's and such. I got to thinking what would MY personal > "Aural Holy Grail" be - and I didn't have it! I've heard precious few > Bass > Bone feature tunes - yet I love them. SO please help me widen my aural > experience. I'd really appreciate it. > > > NOTE - I do currently play Bass Bone with a Big Band ( > www.TheSJO.com ) > so sources for charts of these fine pieces would be considered a good > thing > too! > > > Bill Redgate > Atlanta Georgia > > > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l > ------------------------------ Message: 11 Date: Sun, 19 Feb 2006 00:36:21 -0700 From: Earl Needham Subject: Re: [Trombone-l] Fantasy Big Band Bass Bone Feature CD To: trombone-L@server5.samford.edu Message-ID: <6.1.0.6.2.20060219003550.02729d80@email.plateautel.net> Content-Type: text/plain; charset="us-ascii"; format=flowed At 02:21 PM 2/18/2006, Bill Redgate wrote: >Revered List Types; > > > I was thinking the other day - so you'll have to forgive > me..... > > > I was wondering - "What would the quintessential Big Band > Bass Bone >Feature Album have on it?" The answer of course is the type of thing for >which this list is perfectly suited. I would appreciate all of your >suggestions. Aw, this album was done many years ago, and they called it "Bottoms Up". 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: 12 Date: Sun, 19 Feb 2006 04:54:44 -0500 From: sabutin Subject: [Trombone-l] Jazz For Teens, New Jersey Performing Arts Center, Newark To: TROMBONE-L@server5.SAMFORD.EDU Message-ID: Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hi all... I don't know how many young trombonists there are on this list anymore, but just in case... The Jazz For teens program at NJPAC, the performing arts center in Newark, NJ. All of you high school trombonists w/in travel distance of Newark who want to learn how to play jazz...including theory, ear training, ensembles, private lessons w/some SERIOUS NYC jazz players plus a bunch of free concerts by major NYC players...at the fine New Jersey Performing Arts Center in Newark, NJ, get in touch with me and I'll hook you up. All day most Saturdays during the school year, starting in mid-September and mid-February. The first day of this semester was this past Saturday, Feb. 18th, and it's not too late to sign up for this semester. They need trombonists, and you will learn an amazing amount. If you are thinking of applying to a college or conservatory that has a jazz curriculum...this is the place. I sub there often for the great jazz bass trombonist and composer/arranger Earl McIntyre, and the rest of the faculty includes saxophonist Don Braden, bassist Joris Teepe, trumpeter Valery Pomanarov, pianist Mike LeDonne, guitarist Ron Jackson, vocalist Rosanna Vitro, drummer Dion Parsons and a number of other guest artists. PM me here if you are interested, or email me at . It really is a great scene. Later... Sam ------------------------------ Message: 13 Date: Sun, 19 Feb 2006 04:57:41 -0500 From: sabutin Subject: Re: [Trombone-l] Jazz For Teens, New Jersey Performing Arts Center, Newark To: TROMBONE-L@server5.SAMFORD.EDU Message-ID: Content-Type: text/plain; charset="us-ascii" ; format="flowed" P.S. Forget that that "PM me here" part, please. I cut and pasted this from my website, and then hit the w wrong key when I went to edit it. S. >Hi all... > >I don't know how many young trombonists there are on this list >anymore, but just in case... > >The Jazz For teens program at NJPAC, the performing arts center in Newark, NJ. > >All of you high school trombonists w/in travel distance of Newark >who want to learn how to play jazz...including theory, ear training, >ensembles, private lessons w/some SERIOUS NYC jazz players plus a >bunch of free concerts by major NYC players...at the fine New Jersey >Performing Arts Center in Newark, NJ, get in touch with me and I'll >hook you up. All day most Saturdays during the school year, starting >in mid-September and mid-February. The first day of this semester >was this past Saturday, Feb. 18th, and it's not too late to sign up >for this semester. They need trombonists, and you will learn an >amazing amount. > >If you are thinking of applying to a college or conservatory that >has a jazz curriculum...this is the place. > >I sub there often for the great jazz bass trombonist and >composer/arranger Earl McIntyre, and the rest of the faculty >includes saxophonist Don Braden, bassist Joris Teepe, trumpeter >Valery Pomanarov, pianist Mike LeDonne, guitarist Ron Jackson, >vocalist Rosanna Vitro, drummer Dion Parsons and a number of other >guest artists. > >PM me here if you are interested, or email me at . > >It really is a great scene. > >Later... > >Sam ------------------------------ _______________________________________________ Trombone-l mailing list Trombone-l@maillists.samford.edu http://maillists.samford.edu/mailman/listinfo/trombone-l End of Trombone-l Digest, Vol 13, Issue 19 ******************************************