Subject: Trombone-l Digest, Vol 10, Issue 16 Date: Wednesday, November 16, 2005 12:00 PM From: trombone-l-request@samford.edu Reply-To: trombone-l@samford.edu To: Conversation: Trombone-l Digest, Vol 10, Issue 16 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: choice-explained more thoroughly (Mark Mohwinkel) 2. Re: your choice (dslide13@aol.com) 3. Re: your choice (George Carr) 4. FS Conn 72H and thank you (Stephen Jones) 5. Re: your choice (dslide13@aol.com) 6. Conn 40H questions (Jeff Roberts) 7. Re: Conn 40H questions (Matthew Stoecker) 8. Re: Selman Chinese Alto Trombone (Pat McFarland) 9. Re: Conn 40H questions (ROSEBONE@aol.com) 10. Re: Conn 40H questions (Matthew Stoecker) 11. RE: your choice (Richardson, Timothy Mr. DAC USAG Franconia DPW ERMD) 12. Dancing (Marius Helg ?) 13. Re: Great Moments from Rosolino (Corliss) 14. Re: Dancing (Walter Barrett) 15. RE: Dancing (Aaron Thornberry) 16. Re: Great Moments from Rosolino (George Carr) 17. Re: Dancing (dslide13@aol.com) 18. RE: Dancing (Steve Gamble) 19. Re: Dancing (George Carr) 20. bassbone/fuchsbone (Gary Maxwell) ---------------------------------------------------------------------- Message: 1 Date: Tue, 15 Nov 2005 10:31:35 -0800 (PST) From: Mark Mohwinkel Subject: Re: [Trombone-l] choice-explained more thoroughly To: Trombone-l@server5.samford.edu Message-ID: <20051115183135.50472.qmail@web50407.mail.yahoo.com> Content-Type: text/plain; charset=iso-8859-1 This question has already evolved into completely new discussions, but I'll chime in anyway: It's gotta be Urbie. I first heard of him 30-some years ago and ever since have wished I could emulate him - notice I said wished and not tried - since there never was and never will be any chance of even coming close. :( The thing that always got to me was the velvety (sp?) smoothness of his playing. I keep trying to come up with the right adjective, but haven't found anything that quite describes it for me. Some I've tried are fluid (not enough), like water (too thin), quicksilver (too slow, but close). Maybe like melted chocolate, but that doesn't do anything for me either, since I'm not that fond of chocolate! Could listen all night - hmm, maybe I will.... Mark M. Hudson, WI __________________________________ Yahoo! Mail - PC Magazine Editors' Choice 2005 http://mail.yahoo.com ------------------------------ Message: 2 Date: Tue, 15 Nov 2005 14:41:14 -0500 From: dslide13@aol.com Subject: Re: [Trombone-l] your choice To: georgecarr@gmail.com Cc: Trombone-l@server5.samford.edu Message-ID: <8C7B833AC616E47-17A4-5C79@mblk-r36.sysops.aol.com> Content-Type: text/plain; charset="us-ascii"; format=flowed I think that my initial point was to illuminate the difference between being a "craftsman" and being an "innovator". One is not necessarily better than the other, but there could certainly be a difference in profitability. I used JJ, Curtis, Slide and Frank as my templates...but I have gotten to a point in my life where I want to be me. One evening at the NYC Blue Note, Slide and I were warming up together. We started playing some standards as a trombone duet. When we finished Slide says to me, "David, you have your own language!" I was shocked. I thought about it during the next set and approached him after the gig. I said, "Slide, I don't understand how you can say that, since my whole approach is based on one solo you played in 1969." But now, I realize that I can never really sound just like Slide. I embrace the fact that even while I was using concepts and ideas that were introduced to me through his playing, I can only tell my story. Around that time, I was approached by a long time associate of Slide's who asked me if I studied with Slide since I sounded "just like him". Soon after, I began to embrace the idea of being "me". Now when people in the know, like Scott Yanow, talk about my playing, they refer to me as "a slightly more modern Curtis Fuller." Is that progress??? :-\ David Gibson trombonist/educator www.jazzbone.org -----Original Message----- From: George Carr To: dslide13@aol.com Cc: Trombone-l@server5.samford.edu Sent: Tue, 15 Nov 2005 11:41:50 -0500 Subject: Re: [Trombone-l] your choice > All of the people > you mentioned have influenced me directly, or through > recordings,etc...but I respectfully choose to be me and find what I > have that makes me unique. Two things on this point: 1 - lots of famous guys have made their mark by trying to copy other guys. E.g. Shorty Rogers repeatedly insisted in interviews that when he put together the Giants, he was just trying to copy Buck Clayton, and that he still believed he'd be a better player if he sounded more like Buck. E.g. Thelonious Monk insisted (during one of his lucid moments) that he created his style by trying to play James P. Johnson 'stride' and screwing it up. So, even though we can all aspire to copy super players' attributes (e.g. Dick Nash's breath control, Frank's flexibility, JJ's and Conrad's harmonic ideas, etc.) we'll never really succeed: only Dick Nash sounds just like Dick Nash. So there's no harm in trying to copy great players, but no real end point to it, either. 2 - an exception that proves the rule: a friend of mine got tired of playing bass in a Jaco Pastorius tribute band and started a solo project "to express his real inner voice." I cought up with him after a gig with that band, and his big complaint was: "I keep trying to search for my own voice, but when I search, all I find is Jaco." He folded the band shortly thereafter. George ------------------------------ Message: 3 Date: Tue, 15 Nov 2005 15:49:37 -0500 From: George Carr Subject: Re: [Trombone-l] your choice To: "dslide13@aol.com" Cc: Trombone-l@server5.samford.edu Message-ID: Content-Type: text/plain; charset=ISO-8859-1 I agree with everything you're saying here. Part of learning the instrument is learning the "state of the art" - what the commonly used basic techniques are, and being able to sound like you know what you're doing. That standard keeps rising: for instance, in jazz, more and more "standard" tunes must be memorized, and in orchestral playing, more and more excerpts must be mastered. Players who can't play up to the "state of the art" find their employment opportunities (and probably their satisfaction behind the horn) limited by it. But past that basic threshold, there's a whole universe of individuality and innovation going on: Joe Alessi doesn't sound anything like Ron Barron, who doesn't sound anything like John Marcellus, and Slide Hampton doesn't sound anything like Conrad Herwig, who doesn't sound anything like Wycliffe Gordon. The types of innovation are different (e.g. sound, projection, breathing, articulation, and for improvisors, harmony, thematic development, etc.), but the principle is the same: beyond just "making the gig," players should inject their own ideas/feelings/nuances into the music. That's when a listener can identify them ("wow, what a huge sound on the Mahler 3 solo - that must be Joe Alessi's seminal 1989 recording under Bernstein" or "wow, I'd recognize Rosolino's soloing anywhere"), and that's when the craftsmanship turns into artistry. George On 11/15/05, dslide13@aol.com wrote: > I think that my initial point was to illuminate the difference between > being a "craftsman" and being an "innovator". One is not necessarily > better than the other, but there could certainly be a difference in > profitability. I used JJ, Curtis, Slide and Frank as my templates...but > I have gotten to a point in my life where I want to be me. > > One evening at the NYC Blue Note, Slide and I were warming up > together. We started playing some standards as a trombone duet. When we > finished Slide says to me, "David, you have your own language!" I was > shocked. I thought about it during the next set and approached him > after the gig. I said, "Slide, I don't understand how you can say that, > since my whole approach is based on one solo you played in 1969." But > now, I realize that I can never really sound just like Slide. I embrace > the fact that even while I was using concepts and ideas that were > introduced to me through his playing, I can only tell my story. Around > that time, I was approached by a long time associate of Slide's who > asked me if I studied with Slide since I sounded "just like him". Soon > after, I began to embrace the idea of being "me". Now when people in > the know, like Scott Yanow, talk about my playing, they refer to me as > "a slightly more modern Curtis Fuller." Is that progress??? :-\ ------------------------------ Message: 4 Date: Tue, 15 Nov 2005 15:59:40 -0500 From: "Stephen Jones" Subject: [Trombone-l] FS Conn 72H and thank you To: Message-ID: <200511152059.jAFKxfKP016974@mx1out.umbc.edu> Content-Type: text/plain; charset="us-ascii" First, my thanks to the many people who helped me in my experiment with playing the bass trombone. I've learned from it and am glad I did it. However, I've decided that the bass trombone is not my piece of cake. So I'd like to sell the horn I bought, an Elkhart Conn 72H, serial number H94xxx, which places its manufacture between 1966 and 1967. Single rotor, 9 1/2" brass bell. I believe the horn plays well. All of the parts work well, especially the slide which has no plating wear on the inners and is almost as good as the slide on my Shires tenor. Tuning slides pull easily. The valve is quiet and I think open. There are mute dings and minor dents; the only one of consequence is on the slide bow where there is about a 1/2 inch dent on the inside of the bow. I don't think it makes any difference in playing. There do not appear to be any repairs. The lacquer is mostly present, roughly 80%. It has the original case which is in very good condition cosmetically inside and out; the latches all work and the key is present. The people who played this horn over the years took good care of it. Comes with a Steve Ferguson L mouthpiece, which Phil Teele had something to do with (see Steve's website). $750 plus shipping. Continental US only; cashiers check or USPS money order; no paypal. Stephen Jones ------------------------------ Message: 5 Date: Tue, 15 Nov 2005 16:23:52 -0500 From: dslide13@aol.com Subject: Re: [Trombone-l] your choice To: georgecarr@gmail.com Cc: Trombone-l@server5.samford.edu Message-ID: <8C7B84202D256A4-96C-1440@FWM-M35.sysops.aol.com> Content-Type: text/plain; charset="us-ascii"; format=flowed exactly. David Gibson trombonist/educator www.jazzbone.org -----Original Message----- From: George Carr To: dslide13@aol.com Cc: Trombone-l@server5.samford.edu Sent: Tue, 15 Nov 2005 15:49:37 -0500 Subject: Re: [Trombone-l] your choice I agree with everything you're saying here. Part of learning the instrument is learning the "state of the art" - what the commonly used basic techniques are, and being able to sound like you know what you're doing. That standard keeps rising: for instance, in jazz, more and more "standard" tunes must be memorized, and in orchestral playing, more and more excerpts must be mastered. Players who can't play up to the "state of the art" find their employment opportunities (and probably their satisfaction behind the horn) limited by it. But past that basic threshold, there's a whole universe of individuality and innovation going on: Joe Alessi doesn't sound anything like Ron Barron, who doesn't sound anything like John Marcellus, and Slide Hampton doesn't sound anything like Conrad Herwig, who doesn't sound anything like Wycliffe Gordon. The types of innovation are different (e.g. sound, projection, breathing, articulation, and for improvisors, harmony, thematic development, etc.), but the principle is the same: beyond just "making the gig," players should inject their own ideas/feelings/nuances into the music. That's when a listener can identify them ("wow, what a huge sound on the Mahler 3 solo - that must be Joe Alessi's seminal 1989 recording under Bernstein" or "wow, I'd recognize Rosolino's soloing anywhere"), and that's when the craftsmanship turns into artistry. George On 11/15/05, dslide13@aol.com wrote: > I think that my initial point was to illuminate the difference between > being a "craftsman" and being an "innovator". One is not necessarily > better than the other, but there could certainly be a difference in > profitability. I used JJ, Curtis, Slide and Frank as my templates...but > I have gotten to a point in my life where I want to be me. > > One evening at the NYC Blue Note, Slide and I were warming up > together. We started playing some standards as a trombone duet. When we > finished Slide says to me, "David, you have your own language!" I was > shocked. I thought about it during the next set and approached him > after the gig. I said, "Slide, I don't understand how you can say that, > since my whole approach is based on one solo you played in 1969." But > now, I realize that I can never really sound just like Slide. I embrace > the fact that even while I was using concepts and ideas that were > introduced to me through his playing, I can only tell my story. Around > that time, I was approached by a long time associate of Slide's who > asked me if I studied with Slide since I sounded "just like him". Soon > after, I began to embrace the idea of being "me". Now when people in > the know, like Scott Yanow, talk about my playing, they refer to me as > "a slightly more modern Curtis Fuller." Is that progress??? :-\ ------------------------------ Message: 6 Date: Tue, 15 Nov 2005 17:41:45 -0500 From: "Jeff Roberts" Subject: [Trombone-l] Conn 40H questions To: Trombone-l@server5.samford.edu Message-ID: Content-Type: text/plain; format=flowed I recently purchased a 1927 Conn 40H. The outer slide is stamped with the serial number, the model number and under that a star. What is the significance of the star? Also, how can I tell if this horn is gold plated? When I received it the bell was pretty tarnished, but cleaned up very easily with a little Wrights silver polish, no elbow grease required. There are also a couple of spots where I can see sliver showing through. Any help would be appreciated. Jeff Roberts ------------------------------ Message: 7 Date: Tue, 15 Nov 2005 14:46:04 -0800 From: "Matthew Stoecker" Subject: Re: [Trombone-l] Conn 40H questions To: , "Jeff Roberts" Message-ID: Content-Type: text/plain; charset="iso-8859-1" If it is gold colored, cleaned up easily with Wrights, and ther eis silver showing through, then it is gold plated. Very nice! Matthew Stoecker ----- Original Message ----- From: Jeff Roberts To: Trombone-l@server5.samford.edu Sent: Tuesday, November 15, 2005 2:41 PM Subject: [Trombone-l] Conn 40H questions I recently purchased a 1927 Conn 40H. The outer slide is stamped with the serial number, the model number and under that a star. What is the significance of the star? Also, how can I tell if this horn is gold plated? When I received it the bell was pretty tarnished, but cleaned up very easily with a little Wrights silver polish, no elbow grease required. There are also a couple of spots where I can see sliver showing through. Any help would be appreciated. Jeff Roberts _______________________________________________ Trombone-l mailing list Trombone-l@maillists.samford.edu http://maillists.samford.edu/mailman/listinfo/trombone-l ------------------------------ Message: 8 Date: Tue, 15 Nov 2005 20:16:31 -0600 From: "Pat McFarland" Subject: Re: [Trombone-l] Selman Chinese Alto Trombone To: "Mark & Ulrike Narins" , Message-ID: <080001c5ea53$c35ffc80$0301a8c0@yourvdqzjb2fwx> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Check out this Google Search... http://www.google.com/search?sourceid=navclient&ie=UTF-8&rls=GGLD,GGLD:2004-15,GGLD:en&q=Selman+%22Alto+Trombone%22 Your answer is in there somewhere. Pat McFarland ----- Original Message ----- From: "Mark & Ulrike Narins" To: Sent: Monday, November 14, 2005 3:03 PM Subject: [Trombone-l] Selman Chinese Alto Trombone > I queried about the quality of this instrument several months ago and > generally heard the following: The instrument needs some additional work > upon purchase especially to the slide. However, the same writer also > said that the instrument plays well. Has any one had further experience > with this instrument that they would care to share. I would appreciate > it. Thanks very much.--Mark Narins > > > > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l > ------------------------------ Message: 9 Date: Tue, 15 Nov 2005 23:21:35 EST From: ROSEBONE@aol.com Subject: Re: [Trombone-l] Conn 40H questions To: the_mighty_quinn@msn.com, Trombone-l@server5.samford.edu, wesband@hotmail.com Message-ID: <1a3.413d3a92.30ac0dcf@aol.com> Content-Type: text/plain; charset="ISO-8859-1" Typically, on many of the old horns that are silver plated, the inside of the bell would be gold plated or given a gold wash... Bill Rose In a message dated 11/15/05 4:46:31 PM, the_mighty_quinn@msn.com writes: > > Ê I recently purchased a 1927 Conn 40H. The outer slide is stamped with the > Ê serial number, the model number and under that a star. What is the > Ê significance of the star? Also, how can I tell if this horn is gold > plated? > Ê When I received it the bell was pretty tarnished, but cleaned up very > easily > Ê with a little Wrights silver polish, no elbow grease required. There are > Ê also a couple of spots where I can see sliver showing through. Any help > Ê would be appreciated. > Ê Jeff Roberts > > William Rose McNeese State University Lake Charles, LA rosebone@aol.com home.bellsouth.net/p/PWP-latextrombones Yamaha Performing Artist on alto, tenor, bass trombone and euphonium ------------------------------ Message: 10 Date: Tue, 15 Nov 2005 21:46:13 -0800 From: "Matthew Stoecker" Subject: Re: [Trombone-l] Conn 40H questions To: ROSEBONE@aol.com, Trombone-l@server5.samford.edu, wesband@hotmail.com Message-ID: Content-Type: text/plain; format=flowed Very true. I understood that the whole horn cleaned up nicely with Wrights, though I might have misunderstood. Matt >From: ROSEBONE@aol.com >To: the_mighty_quinn@msn.com, Trombone-l@server5.samford.edu, >wesband@hotmail.com >Subject: Re: [Trombone-l] Conn 40H questions >Date: Tue, 15 Nov 2005 23:21:35 EST >MIME-Version: 1.0 >Received: from imo-m22.mail.aol.com ([64.12.137.3]) by mc3-f23.hotmail.com >with Microsoft SMTPSVC(6.0.3790.211); Tue, 15 Nov 2005 20:21:48 -0800 >Received: from ROSEBONE@aol.comby imo-m22.mx.aol.com (mail_out_v38_r6.3.) >id 1.1a3.413d3a92 (18251);Tue, 15 Nov 2005 23:21:35 -0500 (EST) >X-Message-Info: yilqo4+6kc737xY9SDYKIxs3LB3oR5xcqiToBCxwFR4= >X-Mailer: Thunderbird - Mac OS X sub 208 >X-Spam-Flag: YES >Return-Path: ROSEBONE@aol.com >X-OriginalArrivalTime: 16 Nov 2005 04:21:48.0236 (UTC) >FILETIME=[42BF58C0:01C5EA65] > >Typically, on many of the old horns that are silver plated, the inside of >the >bell would be gold plated or given a gold wash... > >Bill Rose > >In a message dated 11/15/05 4:46:31 PM, the_mighty_quinn@msn.com writes: > > > > > > Ê I recently purchased a 1927 Conn 40H. The outer slide is stamped with >the > > Ê serial number, the model number and under that a star. What is the > > Ê significance of the star? Also, how can I tell if this horn is gold > > plated? > > Ê When I received it the bell was pretty tarnished, but cleaned up very > > easily > > Ê with a little Wrights silver polish, no elbow grease required. There >are > > Ê also a couple of spots where I can see sliver showing through. Any >help > > Ê would be appreciated. > > Ê Jeff Roberts > > > > > > > > > >William Rose >McNeese State University >Lake Charles, LA >rosebone@aol.com >home.bellsouth.net/p/PWP-latextrombones >Yamaha Performing Artist on alto, tenor, bass trombone and euphonium ------------------------------ Message: 11 Date: Wed, 16 Nov 2005 08:30:44 +0100 From: "Richardson, Timothy Mr. DAC USAG Franconia DPW ERMD" Subject: RE: [Trombone-l] your choice To: Adrian Drover , mikesuter@adelphia.net, trombone-l@samford.edu Message-ID: Content-Type: text/plain; charset="iso-8859-1" Not to worry, Adrian. Mike may have read it, but I'm sure it hasn't sunk in yet. -----Original Message----- From: Adrian Drover [mailto:slide.rule@adios.co.uk] Sent: Monday, November 14, 2005 22:48 To: mikesuter@adelphia.net; trombone-l@samford.edu Subject: Re: [Trombone-l] your choice From: > << . . . and I hope Mike Suter doesn't get to find out > that I used one ;-)>> > > Too late. DRAT!!! A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ------------------------------ Message: 12 Date: Wed, 16 Nov 2005 16:47:53 +0100 From: Marius Helg ? Subject: [Trombone-l] Dancing To: "Trombone-l@maillists.samford.edu" Message-ID: Content-Type: text/plain; charset="ISO-8859-1" Is this someone we know? http://www.snabbstart.com/film/dansande-kille-med-trombon.aspx (swedish text on the page, but american video clip) Marius HelgŒ Bass trombone Mo Hornmusikk Mo i Rana, Norway ------------------------------ Message: 13 Date: Wed, 16 Nov 2005 09:56:42 -0600 From: "Corliss" Subject: Re: [Trombone-l] Great Moments from Rosolino To: "George Carr" , "Phil Burton" Cc: List Trombone Message-ID: <007101c5eac6$56ac8c20$36ebd842@richard> Content-Type: text/plain; charset="iso-8859-1" Ellington signed up Ellington? Richard ----- Original Message ----- From: "George Carr" To: "Phil Burton" Cc: "List Trombone" Sent: Tuesday, November 15, 2005 10:55 AM Subject: Re: [Trombone-l] Great Moments from Rosolino > > Apparently Sinatra was a > > very big fan of Franks, and accoding to my friend, the big fan, on one > > particular recording that was made, Sinatra sent his private jet to Vegas to > > pick up Rosolino and fly him to the recording session, and did not start the > > session until Rosolino was there. > > That story is from a Capitol record called "Come Swing With Me," > recorded in March 1961 with charts by Billy May and Heine Beau. Why > would Capitol put up with prima donna behavior like this from Sinatra? > Not only because he was a superstar, but also because he'd just > started Reprise Records the year before, and Capitol was anxious to > keep him away from that label as much as possible. > http://www.bsnpubs.com/warner/reprise/reprisestory.html > > Reprise Records trivia: the first guy that Sinatra hired for "artists > and repertoire" after starting the label was: Duke Ellington. The > first artist that Ellington signed to Reprise Records: Duke Ellington. > > George > > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l ------------------------------ Message: 14 Date: Wed, 16 Nov 2005 10:54:31 -0500 From: Walter Barrett Subject: Re: [Trombone-l] Dancing To: Marius Helg? Cc: "Trombone-l@maillists.samford.edu" Message-ID: <6AFC9657-B9E9-41A2-8F0E-A46FC2EC1D33@optonline.net> Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed On Nov 16, 2005, at 10:47 AM, Marius HelgŒ wrote: > Is this someone we know? > That's Jonathan Arons. When he's not dancing, he also plays trombone with the Dave Holland Big Band, among others! http://jonathanarons.com/ Walter Barrett ãYou blow in this one end- and a sound comes out the other end that disrupts the universe.ä -Roswell Rudd, on the trombone Alto, tenor, bass trombones Bass trumpet, euphonium, tuba Yamaha Artist/Clinician http://www.walterbarrett.com ------------------------------ Message: 15 Date: Wed, 16 Nov 2005 10:59:30 -0500 From: "Aaron Thornberry" Subject: RE: [Trombone-l] Dancing To: marius.helga@nb.no, Trombone-l@server5.samford.edu Message-ID: Content-Type: text/plain; format=flowed His name is Jonathon Arons I believe and I also understand he playes better than he dances... >From: Marius HelgŒ >To: "Trombone-l@maillists.samford.edu" >Subject: [Trombone-l] Dancing >Date: Wed, 16 Nov 2005 16:47:53 +0100 > >Is this someone we know? > >http://www.snabbstart.com/film/dansande-kille-med-trombon.aspx >(swedish text on the page, but american video clip) > >Marius HelgŒ >Bass trombone >Mo Hornmusikk >Mo i Rana, Norway > > >_______________________________________________ >Trombone-l mailing list >Trombone-l@maillists.samford.edu >http://maillists.samford.edu/mailman/listinfo/trombone-l ------------------------------ Message: 16 Date: Wed, 16 Nov 2005 11:00:53 -0500 From: George Carr Subject: Re: [Trombone-l] Great Moments from Rosolino To: Corliss Cc: List Trombone Message-ID: Content-Type: text/plain; charset=ISO-8859-1 Yes, and it worked out great: his first project on the new label was new arrangements of famous themes of other big bands; Reprise never really supported the project, and shelved the sessions for many years, but they're out now, and they're amazing. http://www.allaboutjazz.com/reviews/r0100_140.htm George On 11/16/05, Corliss wrote: > Ellington signed up Ellington? > ------------------------------ Message: 17 Date: Wed, 16 Nov 2005 11:05:37 -0500 From: dslide13@aol.com Subject: Re: [Trombone-l] Dancing To: marius.helga@nb.no, Trombone-l@server5.samford.edu Message-ID: <8C7B8DEB7A3D49A-1DF4-1E59@MBLK-M24.sysops.aol.com> Content-Type: text/plain; charset="iso-8859-1"; format=flowed Yes. That's Jonathan Arons. He lives in my neighborhood. He went to Oberlin and studied with Robin Eubanks. He works with Dave Holland's Big Band and the Mingus Big Band. David Gibson trombonist/educator www.jazzbone.org -----Original Message----- From: Marius HelgŒ To: Trombone-l@maillists.samford.edu Sent: Wed, 16 Nov 2005 16:47:53 +0100 Subject: [Trombone-l] Dancing Is this someone we know? http://www.snabbstart.com/film/dansande-kille-med-trombon.aspx (swedish text on the page, but american video clip) Marius HelgŒ Bass trombone Mo Hornmusikk Mo i Rana, Norway _______________________________________________ Trombone-l mailing list Trombone-l@maillists.samford.edu http://maillists.samford.edu/mailman/listinfo/trombone-l ------------------------------ Message: 18 Date: Wed, 16 Nov 2005 09:20:17 -0700 From: "Steve Gamble" Subject: RE: [Trombone-l] Dancing To: Marius Helg? , "Trombone-l@maillists.samford.edu" Message-ID: Content-Type: text/plain; charset="iso-8859-1" I don't know the bone player, but the video is from Showtime at the Apollo. (The Apollo Theatre is in Harlem, a neighborhood of New York City.) The audience seemed a little skeptical at first, but, as you can see, really got into it by the time that goofy white boy got finished. Steve Gamble, Librarian Tucson Symphony Orchestra 2175 N. 6th Ave. Tucson, AZ 85705 (520) 792-9155 x118 (520) 792-9314 fax (520) 991-7056 cel sgamble@tucsonsymphony.org -----Original Message----- From: trombone-l-bounces@samford.edu [mailto:trombone-l-bounces@samford.edu] On Behalf Of Marius HelgŒ Sent: Wednesday, November 16, 2005 8:48 AM To: Trombone-l@maillists.samford.edu Subject: [Trombone-l] Dancing Is this someone we know? http://www.snabbstart.com/film/dansande-kille-med-trombon.aspx (swedish text on the page, but american video clip) Marius HelgŒ Bass trombone Mo Hornmusikk Mo i Rana, Norway _______________________________________________ Trombone-l mailing list Trombone-l@maillists.samford.edu http://maillists.samford.edu/mailman/listinfo/trombone-l ------------------------------ Message: 19 Date: Wed, 16 Nov 2005 11:39:53 -0500 From: George Carr Subject: Re: [Trombone-l] Dancing To: Steve Gamble Cc: "Trombone-l@maillists.samford.edu" Message-ID: Content-Type: text/plain; charset=ISO-8859-1 According to Arons' resume, he won that week's competition, and had to defend his title the following week. :) George On 11/16/05, Steve Gamble wrote: > I don't know the bone player, but the video is from Showtime at the Apollo. (The Apollo Theatre is in Harlem, a neighborhood of New York City.) The audience seemed a little skeptical at first, but, as you can see, really got into it by the time that goofy white boy got finished. ------------------------------ Message: 20 Date: Wed, 16 Nov 2005 09:23:29 -0800 From: "Gary Maxwell" Subject: [Trombone-l] bassbone/fuchsbone To: , Message-ID: <000901c5ead2$77932190$143d3442@DFXN9451> Content-Type: text/plain; charset="iso-8859-1" Hey eueryone! I get all your messages and ane of these days I'll be sending some back. Funny! Happy! Gary Maxwell Bassbone Fuchsbone ------------------------------ _______________________________________________ Trombone-l mailing list Trombone-l@maillists.samford.edu http://maillists.samford.edu/mailman/listinfo/trombone-l End of Trombone-l Digest, Vol 10, Issue 16 ******************************************