Mouthpiece Meditations, Part 1 
By: Larry Roth
Mouthpiece Meditations Part 1 asks some deceptively simple questions. What makes a good trombone mouthpiece? How does one find it? After exploring why the answers to these questions are not simple, the article comes to some preliminary conclusions on which to proceed. [9/1/1997]

Mouthpiece Meditations, Part 2 
By: Larry Roth
Mouthpiece Meditations Part 2 considers how mouthpiece size and shape matter. The various elements of a mouthpiece are described and how each affects performance is examined. A table summarizes the effects attributed to changes in different elements. Attributed is the key word Ñ many of the claimed effects have a subjective element. [11/1/1997]

Mouthpiece Meditations, Part 3 
By: Larry Roth
Mouthpiece Meditations Part 3 deals with the problem of comparing mouthpieces. A set of measurements and how to make them is described in the article. While mouthpiece 'feel' and 'playability' is subjective, these measurements can provide an objective basis for systematic comparison between mouthpieces, independent of type or manufacturer. [1/1/1998]

Mouthpiece Meditations, Part 4 
By: Larry Roth
Mouthpiece Meditations Part 4 considers putting the information in the previous 3 articles to use. Having arrived at an ideal of what makes a 'good' mouthpiece, how different elements contribute to that ideal, and how to methodically compare between different mouthpieces, the question is how far to pursue that ideal, and the pros and cons of switching. [3/1/1998]

Mouthpiece Meditations, Part 5 
By: Larry Roth
Mouthpiece Meditations Part 5: Conclusion. There is a large body of theory behind mouthpiece design and use. How solid is it? Not as much as is generally assumed! This concluding article looks at mouthpiece assumptions, misconceptions, and hyperbole. It offers speculation and debate on where mouthpiece theory might profitably go beyond the current state of the art. [5/1/1998]

Practice Mutes for Tenor Trombone – A Comparative Analysis 
By: Aaron Dygart
After reading conflicting discussions of the benefits and qualities of practice mutes, Aaron Dygart decided to make a rigorous evaluation of the Humes and Berg, Softone, Denis Wick, Wallace and Yamaha Silent Brass practice mutes for tenor trombone. Tests included sound attenuation, intonation (pitch accuracy), resistance, weight and balance measurements, and design evaluation. [10/14/2001]

Travelling Tips for Musicians [MENC] 
By: Unknown Author
Heightened security measures at U.S. airports have impacted the ability of musicians to carry their instruments in-cabin. This MENC article contains important information to help you and your instrument safely reach your destination.  [2/15/2002]

A Golden Month For J. J. Johnson - December 1947 
By: Christopher Smith
This month marks the 50th anniversary of an historic month in jazz trombone history. In a span of fourteen days in December 1947, the young J. J. Johnson made six recording sessions in New York with Coleman Hawkins, Charlie Parker, Illinois Jacquet, Leo Parker and his own Quintet.  [11/1/1997]

A Short History of the Trombone 
By: David Guion
Rather than try to explain the history of the trombone in one long chronology, it seems more useful to examine its role in a number of overlapping traditions. As political, economic, and cultural conditions have changed, some entire types of musical experience have disappeared. The instruments that have not been associated with some other kind of music at the time have disappeared as well. The trombone was on the brink of extinction at least once, but managed to hang on long enough to prove itself useful in some new setting. [10/2/2004]

It Has to Mean Something Everytime You Play: Advice from Some Trombone Masters 
By: Michael Meckna
"'It Has to Mean Something Every Time You Play': Advice from Some Trombone Masters" looks into the secrets of success as told by twelve professional trombone players. Their advice is both surprising and predictable, and a wonderful blend of what to do and what not to do. Beyond scales, lip slurs, and mouthpieces, they also have much to say about the mental and spiritual aspects of musical performance. Trombonists featured are J.J. Johnson, Stuart Dempster, Carl Fontana, Vinko Globokar, Urbie Green, Christian Lindberg, Albert Mangelsdorf, Arthur Pryor, Frank Rosolino, Ralph Sauer, Jack Teagarden, and Kai Winding. [9/1/1997]

Professional Music in the 1920's and the Rise of the Singing Trombone 
By: Robert Lindsay
Changes in instrumental solo styles sometimes reflect the changing economic and social context from which they emerge. This article explores why the so-called “singing” style of trombone, widely associated with the dance band musician Tommy Dorsey, blossomed to a new level as a working concept in the late 1920’s and early 1930’s. Why then, and not earlier? The article explores the changing markets for musicians in these years, and the changing technologies available to those musicians. [4/18/2006]

Recital Repertoire of the Trombone as Shown by Programs Published by the International Trombone Association 
By: David Guion
An examination of the recital programs published in the first 25 volumes of the ITA Journal, presented mostly in tables. Trombonists have programmed both solos and ensembles, with literature ranging from early music to avant garde and jazz. 283 pieces have been played at least five times in at least one five-year period or at least 15 times overall. [1/1/1999]

Tempted by a Serpent 
By: Douglas Yeo
This article contains personal insights of Douglas Yeo on playing the serpent, a 400 year old instrument that was invented to accompany chant in the Catholic church. Several photos of serpents are also included as well as links to other serpent resources on this website. [4/1/1996]

The Evolution of the Jazz Trombone, Part One: Dixieland 
By: David Wilken
Although the trombone is less often heard as a solo instrument, many legendary performers have left distinctive marks on the history of jazz. Each of these trombonists is indebted to earlier trombonists and other musicians who influenced the styles of jazz trombone. This line of development can be traced from early Dixieland trombonists, such as Kid Ory and Miff Mole to today's original sounding trombonists Ray Anderson and Craig Harris. [9/1/1996]

The Evolution of the Jazz Trombone, Part Three: Bebop 
By: David Wilken
Because of the extremely fast lines found in Bebop, it seemed impossible to play in this style on the slide trombone. Some trombonists began to play the valve trombone in order to play the difficult lines. However, the most accomplished trombonists of Bebop learned to work with the slide and pushed forward the technical limits of the trombone. By the 1950's trombonists had once again secured their position as innovators of jazz, and continued to pioneer new trends in music.  [1/1/1998]

The Evolution of the Jazz Trombone, Part Two: The Swing Era 
By: David Wilken
Trombonists enjoyed a prominent role in the jazz ensemble of the swing era. Not only was the trombone often featured as a soloist, but many trombonists formed their own bands and built careers on not only their leadership but also their soloistic prowess.  [3/1/1997]

An Interview with Abbie Conant: Part One 
By: Richard Human, Jr.
If all you know about Abbie Conant is her experiences with the Munich Philhamonic, consider taking a few minutes to learn about the other 99% of this great musician. [2/16/2002]

An Interview with Benny Powell 
By: Bob Bernotas
"Being a jazz musician," Benny Powell maintains, "is an honorable profession." Best known for his 12-year tenure with Count Basie, he has worked extensively on Broadway, television, and recordings. Powell also has made his name as a leader in his own right, a respected teacher, and a dedicated activist in the cause of jazz. [9/1/1999]

An Interview with Bill Pearce 
By: Douglas Yeo
Because Bill Pearce is not widely known to today's generation of trombonists, I asked Bill if he would do this interview with me for the Online Trombone Journal, so both players who have admired him for so long and those who do not know of him could hear him tell his story. [7/16/2000]

An Interview with Conrad Herwig 
By: Bob Bernotas
From Jack Teagarden's innovations in alternate positions and lip flexibility, to Lawrence Brown's supple lyricism, from J.J. Johnson's appropriation of bebop articulation to Frank Rosolino's range and speed, jazz trombonists have discovered ways to do what previously was considered "impossible" on their horns. Likewise with Conrad Herwig. He is a trombonist for the twenty-first century, and he's here today. [1/1/1999]

An Interview with Grover Mitchell 
By: Bob Bernotas
Grover Mitchell received his first big-time experience in the 1950s, subbing with Lionel Hampton and Duke Ellington. In 1962 he joined Count Basie and played with him for a total of 12 years over two stints. At the time of this interview, Mitchell was leading a big band of his own.  [10/11/2000]

An Interview with Grover Mitchell: Part 2 
By: Bob Bernotas
Grover Mitchell joined Count Basie's band in 1962 and built his reputation as a lead and ballad player. He spent the 1970s working in the Hollywood studios, rejoined Basie in 1980, and stayed with him until the Count's death four years later. In July 1995—a year before this interview was conducted—Mitchell took over the leadership of the Count Basie Orchestra.  [8/18/2001]

An Interview with J. J. Johnson 
By: Bob Bernotas
J.J. Johnson was the first trombonist to translate the intricacies of bebop onto his demanding instrument. His rich, dark tone and virtually flawless command of the horn became the barometers by which all subsequent trombonists have been measured. But for all his virtuosity, Johnson never abandoned the elusive quality that is essential to all great jazz: feeling, passion, soul.  [11/15/1999]

An Interview with Norman Bolter and Carol Viera 
By: Douglas Yeo
In this interview, Boston Symphony trombonist Norman Bolter and his wife Carol Viera share their vision of what music and music making can and should be, and how their concerts, seminars, recordings and publishing projects help musicians get closer to the "essence" of what led them to music in the first place. [9/1/1998]

An Interview with Slide Hampton 
By: Bob Bernotas
Ask any jazz trombonist to name his or her three favorite players on the instrument, and chances are one of them will be Locksley Wellington "Slide" Hampton. As highly regarded for his writing as he is for his playing, Hampton also serves as role model, patron, and godfather to a new generation of trombonists.  [4/8/2000]

An Interview with Steve Turre 
By: Bob Bernotas
Steve Turre is, as a perceptive writer once described him, a "trombone evangelist." Tired of the trumpet-saxophone monopoly, he is out there spreading "the Gospel according to J.J. and Slide," demanding due attention and respect for his instrument. One of our most accomplished (and visible) trombonists. Turre is also the undisputed king of the shell players. [11/1/1998]

David Taylor, Bass Trombone: An Interview and Appreciation [DY] 
By: Douglas Yeo
In this interview, Douglas Yeo talks with bass trombonist David Taylor about his eclectic life in music. [9/1/1991]

Interview with George Roberts 
By: Paul Hill
A studio veteran with more than 6000 movie and recording credits, George Roberts is single-handedly responsible for bringing the bass trombone from “last chair” to solo voice with his lyrical and expressive playing. George has been interviewed innumerable times by many different journals and magazines. We are not limited by the space constraints typically found in printed media, so this interview can be presented to you in its entirety, giving you some real insight into the man behind the horn.  [11/8/2004]

Ten Questions with Doug Elliott 
By: Doug Elliott
Doug Elliott is a mouthpiece maker, brass teacher and clinician, and works as a professional free-lance tenor and alto trombonist in the Washington DC area. He was solo jazz trombonist with the US Air Force "Airmen of Note" from 1989 to 1996. Doug has studied trombone with Gordon Hallberg, Tom Crowe, Bill Richardson, John Marcellus and Don Reinhardt, and jazz with Mark Copeland.  [9/1/1998]

Ten Questions With Robin Eubanks 
By: Robin Eubanks
Robin has toured and recorded with such diverse musicians as the Rolling Stones, Talking Heads and Barbra Streisand on her historic 1994 tour. He's performed on several television shows and specials including "The Tonight Show" featuring Jay Leno, "Saturday Night Live," the Grammy Awards and "Motown at the Apollo." He has worked on several projects for Broadway and film. [6/1/1998]

Ten Questions with Steve Shires 
By: Steve Shires
Steve Shires, owner and chief designer, has an extensive background as a professional trombonist in the Boston area. He has also had many years of experience as a brass instrument technician, specializing in custom modification of instruments for professional clients, and has worked as a design consultant to several brass instrument manufacturers.  [10/1/1998]

Ten Questions with Tom Bones Malone 
By: Tom "Bones" Malone
Tom "Bones" Malone has built a very sucessful career as a freelance trombonist, arranger, and composer in New York and around the world. Read his "Top Ten" list of how to be a successful gigging musician. [11/1/1998]

Jazz Improvisation for Beginners 
By: David Wilken
So you want to learn how to improvise jazz. "Where do I begin?" you might ask. You have worked hard to learn to read music, now how do you make it up on the spot? Use this introduction to get started! [4/1/2002]

Keep It Clean: A Basic Guide to Trombone Care 
By: Dave Molter
If you were lucky when you first recieved your trombone, someone took a few minutes to teach you how to put your new best friend together and lubricate its handslide and tuning slide. If not, here are the basics of how to keep your trombone playing smoothly.  [7/31/2000]

Playing Legato on the Trombone: A Primer 
By: Walter Barrett
Most trombonists at one time or another have trouble executing a clean, singing legato. This article is an introduction to the basic slurring techniques used by trombonists, and some basic tips on how to practice them.  [7/31/2000]

Vibrato: An Overview for Trombonists 
By: Walter Barrett
Vibrato is a musical embellishment produced by varying a notes pitch, amplitude, or both, going slightly above and below the note in a regular, repeated fashion. This article presents various techniques for vibrato, discusses the uses of vibrato, and presents advice for learning stylistic concerns. [4/26/2006]

An Introduction to Donald S. Reinhardt's Pivot System 
By: David Wilken
There is perhaps no other brass pedagogue whose teachings are so misunderstood and maligned than as that of Dr. Donald S. Reinhardt and his Pivot System for all brass instruments. Although Reinhardt's term "pivot" has been commonly used by many brass players and teachers, the Pivot System has been unfairly dismissed by brass teachers and players for decades. Today, with the addition of new research into brass playing that replicates Reinhardt's, as well as increased availability of information from former student's of Reinhardt's, there is a renewed interest in the Pivot System and the pedagogical genius of Reinhardt. [10/29/2003]

Bass Trombone Discography [DY] 
By: Douglas Yeo
A list of all known solo recordings which feature bass trombone. Links are also provided to distributors for hard to find recordings [2/1/1996]

College Level Bass Trombone Repertoire [DY] 
By: Douglas Yeo
An annotated list of repertoire suitable for college level bass trombonists, including study and etude material, solos, ensembles and orchestra excerpt books. [2/1/1996]

Letters From New York, Part One 
By: Sam Burtis
A series of answers to specific questions about equipment...mouthpieces, horns, etc...including an informal survey of what instruments are being played on the NYC freelance jazz/latin/studio/Broadway scene.  [6/1/1998]

Letters From New York: Buzz Off! (Or buzz on - they both work) 
By: Sam Burtis
An attempt to demystify mouthpiece and free buzzing, and directions on how to use them as constructive tools toward a better embouchure and a more efficient approach to the making sound on the horn. [10/17/1999]

Letters from New York: Carmine Caruso 
By: Sam Burtis
In this edition of "Letters From New York," Sam Burtis discusses the quintessential New York brass teacher Carmine Caruso and some of his teaching methods.  [7/2/2000]

Letters from New York: Carmine Caruso and the Six Notes 
By: Sam Burtis
In the previous Letters From New York article, an anecdotal and very personal overview of how Caruso taught, I discussed Caruso's concepts and techniques, and described some of the basic ideas from which those techniques grew. In this article I would like to present one of his basic exercises both in the form he originally presented it and also in variations that I have discovered over the years. [6/17/2001]

Master Class with Robin Eubanks: Getting a Clean Attack 
By: Robin Eubanks
Articulation and sound are two important factors in making the trombone more attractive to people's ears. Besides sound, articulation is the thing that really separates trombone players. Articulation is not just tonguing; it covers a lot of ground—slide technique, the air support stream that you have, control of your embouchure, as well as tonguing.  [10/24/2001]

Masterclass with Art Baron: An Introduction to the Plunger 
By: Bob Bernotas
The important thing is to do a lot of listening and get a sense of what plunger work is about. It's a whole emotional thing. You really have to want to speak through the horn. The plunger will kick your butt, but it's also a lot of fun. If you're into really communicating when you play, there's a lot there for you. [7/1/1999]

Masterclass with Benny Powell: Presentation And Programming Tips For Trombonists 
By: Bob Bernotas
When you get ready to program either a trombone performance or a trombone recording you have to take into consideration how long the trombone can hold people's interest. You have to be a little more creative and give the listeners constant surprises.  [4/8/2000]

Masterclass with Conrad Herwig: An Introduction to Doodle Tonguing 
By: Bob Bernotas
Doodle tonguing, like any technique, will give you freedom, and that's all we want, control. You can stick to one system, like tunnel vision, but if we're looking ahead to the future--to what I call "twenty-first century trombone playing"--what we really need is an all-inclusive system, and doodle tonguing is a key element of that. [1/1/1999]

Masterclass with Dick Griffin: Multiphonics on the Trombone 
By: Bob Bernotas
The principle behind multiphonics--producing more than one note at a time on a wind instrument--is the overtone series. You play any note for the tonic and sing any interval above. The combination of the two notes produces overtones. You're not actually playing those notes, they're just coming out of the combination of the other two. [11/15/1999]

Masterclass with Grover Mitchell: Advice for Lead Trombonists 
By: Bob Bernotas
The best lead players are usually very good basic players. Tone, concept and intonation are a must. You also need good technique and good range, and must know how to lead. Finally, a lead trombone player has to work with the lead trumpet and lead alto.  [10/11/2000]

Masterclass with Steve Turre: Making Music with Shells 
By: Bob Bernotas
Playing the shells can help you as a brass player. They take a lot of endurance and strength. In terms of building a solo, once you can tell a story in just the interval of a fourth, you see that it's not about how many notes you play. It's about what you're saying. So playing the shells also helps you conceptually. [11/1/1998]

Orchestral Audition Repertoire [DY] 
By: Douglas Yeo
This resource provides a listing of orchestral excerpts most frequently asked on tenor and bass trombone orchestra auditions as well as links to online pages which contain the music and annotated comments. [2/1/1996]

Orchestral Excerpts for the Tenor Trombonist: Berlioz, Hungarian March 
By: David Gier
Hungarian March has proved to be an excellent audition piece because the seemingly universal flaw of dragging at louder dynamics is quickly assessed. This excerpt tests a trombonist's ability to play with strength, character, quality of sound and volume, while moving rapidly and rhythmically through the often cumbersome mid-register. [11/1/1997]

Orchestral Excerpts for the Tenor Trombonist: Bolero 
By: Tom Ervin
There are many challenges in performing this solo. They include waiting through so many "verses" before you get to play, making a perfect "bulls-eye" entrance, using an excellent ballad legato, and maintaining accurate control as the pitches descend. Also keep in mind that this solo has long phrases which may require the performer play louder than they might like. [4/1/1997]

Orchestral Excerpts for the Tenor Trombonist: Brahms - Symphony No. 1 
By: M. Dee Stewart
Lewis Van Haney and I used to compare our experiences with various pieces. I remember he said that Leonard Bernstein wanted the notes in the chorale to be quite separate. Whereas, my experience with Eugene Ormandy was that he preferred a very legato interpretation. The exact meaning of the dots under the slurs has always been confusing to the trombone players. It is an indication that is more common in string writing. [9/1/1997]

Orchestral Excerpts for the Tenor Trombonist: La Forze del Destino 
By: Andrea Conti
Like almost all 19th century Italian operatic literature, Verdi's "La forza del destino" was written for valve trombone. This is the reason why we find so many technically difficult passages in this literature. Good technical control of the instrument and of the slide is therefore a prerequisite to the successful study and mastery of the parts.  [9/1/1999]

Orchestral Excerpts for the Tenor Trombonist: Mahler Symphony No. 3 
By: Heinz Fadle
After having studied this symphony with my teacher Professor Willy Walther, who had performed it very successfully with the Berlin Philharmonic under the late Sergiu Celibache, and having performed it more than 30 times myself, I have very strong convictions about this wonderful music. These convictions have quite naturally developed and changed over the years.  [9/1/1998]

Orchestral Excerpts for the Tenor Trombonist: Mozart, Tuba Mirum 
By: John Seidel
Tuba Mirum, from W.A. Mozart's "Requiem Mass", is used in virtually all orchestral auditions as a measure of a player's legato style and musically expressive capabilities. We are often asked why Mozart used the trombone as a solo instrument in this movement, but a quick perusal of sacred choral works of the pre-classic and baroque periods reveals plenty of precedent for this choice. [4/1/1997]

Orchestral Excerpts for the Tenor Trombonist: Overture to Tannhauser 
By: Francois Godere
The sound, rhythm, and intonation are crucial to the correct performance of Tannhäuser. The two main sections, rehearsal letters "A" and "M," are quite similar, but their differences should to be observed very carefully. One would be wise to learn both passages thoroughly for an audition.  [11/1/1997]

Orchestral Excerpts for the Tenor Trombonist: Ride of the Valkyrie 
By: Elliot Chasanov
In order to prepare this excerpt, I suggest starting with several recordings. Be sure to not tempi, style of articulation, rhythmic accuracy, and placement of accents. After listening with score in hand, start practicing the excerpt slowly, with a metronome or a Dr. Beat, setting the metronome on a subdivision of eighth notes.  [4/1/1997]

Orchestral Excerpts for the Tenor Trombonist: Rimsky-Korsakov, Russian Easter Overture 
By: David Mathie
One of the most famous orchestral excerpt for the second trombone is The Russian Easter Overture, by Nicolai Rimsky-Korsakov. The work is based on themes from the musical tradition of the Russian Orthodox church, with the solo tenor trombonist (now, second trombonist) representing the medieval chant of a priest. The composer marks the solo "a piena voce" - at full voice; thus, the solo should be interpreted as a vocalist would.  [5/1/1997]

Orchestral Excerpts for the Tenor Trombonist: Saint-Saëns - Symphony No. 3 
By: Chris Waage
This deceptive excerpt gives the trombonists a chance to show off the many, many hours spent in the Rochut book! [6/11/2000]

Orchestral Excerpts for the Tenor Trombonist: Schubert, Symphony No. 9 in C Major 
By: Marc LaChance
Though rare on auditions, this work is frequently performed and recorded by orchestras. On older recordings it may be referred to as the 7th symphony. This numbering inconsistency is due to the large number of Schubert's works left unpublished at his death, which has made putting these compositions in chronological order very difficult. The subtitle, "Great C Major," is almost always included, and makes finding recordings easy. [9/1/1998]

Orchestral Excerpts for the Tenor Trombonist: Schumann Symphony No. 3 
By: Tom Ervin
This challenging excerpt is among the most requested passages in orchestral trombone auditions. Usually only the first 8 bars are requested , but the rest of the piece is tricky also, and it would not be unfair of them to ask for more. [9/1/1997]

Orchestral Excerpts for the Tenor Trombonist: Till Eulenspiegel 
By: Lawrence Borden
When practicing the first solo, you should be careful to bring out the humor that is in the work. This is hard to do if you try to play too loud, but a light touch with a rapid decay on each note will give this passage the lithe, carefree quality that is desired. The rhythm here is very important. Take care not to 'crush' the last eighth of each triplet into the first eighth the succeeding triplet. If you do, the rhythm will acquire a limp that ultimately robs the passage of an even, forward drive. [11/1/1997]

Orchestral Excerpts for the Tenor Trombonist: William Tell Overture 
By: Joseph Alessi
With all the fast and technical excerpts, it is important to realize that sound should still be of prime importance. As you practise this excerpt, try taking a sound bite (snapshot) of your tone and ask yourself if it is the best tone that you can possibly play. [5/1/1997]

Out of the Case: A Little Less about the Trombone, A Little More About Music. 
By: Sam Burtis
A series of anecdotes (or teaching stories) both from my own personal experiences and the folklore of jazz, regarding the inner aspects of playing music.  [11/1/1997]

Out of the Case: A New Approach to Alternate Positions 
By: Sam Burtis
An examination of ways to use "alternate" positions to greater advantage...an attempt to make some "alternate" positions more "primary" than "alternate", thereby smoothing out general slide technique.  [5/1/1997]

Out of the Case: An Alternate Approach to Embouchure Development, Part 1 
By: Sam Burtis
An examination of the natural "breaks" that occur in a brass embouchure...ways to find them, ways to deal with them. A "bel canto" approach to the brass embouchure, including mouthpiece buzzing as a diagnostic aid.  [6/1/1997]

Out of the Case: An Alternate Approach to Embouchure Development, Part 2 
By: Sam Burtis
Further information about dealing with "breaks", including more mouthpiece buzzing techniques.  [9/1/1997]

Out of the Case: An Approach to Improved Chordal and Scalar Flexibilities 
By: Sam Burtis
An approach to combining flexibility exercise with specific keys and scalar patterns that is specific to the demands of the trombone.  [3/1/1997]

Out of the Case: Slide Technique - A Curiosly Neglected Topic 
By: Sam Burtis
An overview of ways to hold and move the slide that will improve technique and accuracy.  [2/1/1997]

Out of the Case: Slide Technique and Flexibility 
By: Sam Burtis
An approach to combining tonguing, slide technique and flexibility into a seamless, reflexive whole.  [4/1/1997]

The Audition is Only the Beginning 
By: Sherri Damon
Even after winning the audition, the period of transition which follows - the process of completing the degree - is one for which few students are prepared or have the motivation to complete.  [12/1/1996]

The Bass Trombonist's Orchestral Handbook [DY] 
By: Douglas Yeo
This is the gateway page to Douglas Yeo's Bass Trombonist's orchestral handbook, a comprehensive resource designed to help bass trombone players prepare for symphony auditions. Included is music to many frequently asked excerpts as well as Douglas Yeo's annotations and comments, links to mp3 files of the excerpts, .pdf files of the music to selected excerpts and more. [12/1/1999]

The Difference Between Playing and Practicing [DY] 
By: Douglas Yeo
Insights on the difference between practicing and playing, and some tips on developing a daily practice routine. [5/1/1998]

Audition Observations 
By: Tom Gibson
I was recently afforded the unique opportunity to sit on an audition committee with my section-mates. In discussing the experience afterwards with some of the candidates, I came to realize that a majority of them were unaware of their musical and physical reactions on stage. For their benefit, and for all of us who plan on taking auditions in the future, I decided to document the experience in order to shed light on the matter. I truly believe that we can all gain from others' experiences.....good or bad. [3/1/1999]

Douglas Yeo FAQ [DY] 
By: Douglas Yeo
Frequently asked questions at the Douglas Yeo web site. [2/1/1996]

Getting Ready for College Auditions 
By: Tom Ervin
A trombone student requested advice on college auditions, and this was my advice. (Much of this could also apply to other auditions and tape producing, such as for regional competitions, all-state tryouts, graduate schools and summer camps.)  [12/1/1996]

If You Practice 
By: Tom Ervin
Let us discuss the benefits that come from focused practice, and the need for such practice by any trombonist who is ambitious, or is considering a musical career. This article was originally submitted to the trombone list in September 1996. The list also holds many fine posts on structuring and optimizing practice time.  [10/1/1996]

Lip Flexibilities for the Advanced Jazz Trombonist 
By: David Wilken
Good lip flexibility, meaning the ability to change quickly and smoothly between pitches, is an essential ability for any trombonist. This article is designed to help the jazz trombonist, although classical trombonists will find many of the exercises and routines described here helpful for developing all around good lip flexibility. [4/30/2002]

My Summer With the Mouse 
By: Jennifer Wharton
Come spring, there is probably no question more frequently asked of a college student than "What are you going to do this summer?" In the spring of 1999, I was a junior bass trombone performance major at the New England Conservatory of Music (Boston, Massachusetts) when I asked this question of myself. The rest, as they say, is history. [7/2/2000]

The Doctrine of Intent 
By: Lawrence Borden
When students ask questions about playing trombone they first ask about mechanics and hardware. I can answer most of the questions, but when I can't, I point them in the direction of someone more expert than I who can answer their question. It is relatively easy to answer these questions of mechanics and hardware because they are questions of "what?." What I find disturbing is how rarely students ask questions of a philosophical nature. After all, this is a consuming profession and the quality of their future growth will not only depend on the number of hours spent in the practice room, but also upon the reasons why they practice. It is not often that I hear "why?" questions and it distresses me. [3/1/1998]

The Slide Heard 'Round the World! 
By: Colleen Wheeler
Using the Internet and Internet2 (I2), The Slide Heard Round the World! celebrates International Trombone Week (ITW) with events that include masterclasses, solo recitals, ensemble performances, and lectures,  [3/12/2005]

Three (quick) Steps to Better Articulation 
By: Alex Iles
It was the night before my first big concert with a high school state honor band and I was in a panic! How am I going to learn how to play something that was beyond my immediate technical ability? The object of my fear was Fillmore's Rolling Thunder, a very fast circus march with several challenging double tongue passages.  [4/18/2003]

Arnold Jacobs: Loss of a Master 
By: M. Dee Stewart
The death of Arnold Jacobs was a great loss to the brass community, and the music world as a whole. M. Dee Stewart remembers his friend and colleague in this touching memorial. [11/1/1998]

Larry David Minick Passes 
By: Kathe Tanner
With the recent death of Larry David Minick, 55, the world of music lost a genius and master craftsman, and Cambria lost a curmudgeon-in-training. At his memorial service on Jan. 17, family, friends and musicians came together to remember the man they loved, who tried so hard to portray a crusty, cranky tinkerer. [1/1/1997]

OTJ Tribute to J. J. Johnson 
By: Richard Human, Jr.
Trombone legend J. J. Johnson passed away on February 4,2001. This tribute contains links to learn more about Mr. Johnson, MP3 files of some performances, and a message board to leave your own remembrance. [2/12/2001]

Profile: Al Grey 
By: Bob Bernotas
At first glance, Al Grey resembles a sleepy hound dog. Those aren't just bags under his eyes. They are trophies from more than 45 years spent on buses and airplanes, in nightclubs and hotel rooms. But just start Grey talking about his favorite subjects--Count Basie, the trombone, and, especially, the plunger--and he snaps alive and his speech begins to flow. [7/1/1999]

Pros and Cons to a Career in Orchestral Music [DY] 
By: Douglas Yeo
A disussion of the pros and cons to a career as an orchestral player, as well as a list of questions a prospective player can ask to see if they would be well suited for such a life in music. [5/1/1998]

Steve King: 1968-2001 
By: David Cooke
On Thursday, May 10, 2001 Stephen King, a 32 year old trombonist, was murdered in New York City. He was originally from the Detroit area, attended the Cleveland Institute of Music in the late 1980's where he studied with James DeSano, and moved to NYC in the early 1990's to study with Joe Alessi. [5/14/2001]

Tribute to Al Grey 
By: Bob Bernotas
On March 24, 2000, beloved trombonist Al Grey passed away. In this brief tribute, author Bob Bernotas remembers some of Grey's more memorable solos, and we offer two excerpts of Al Grey's memorable solo style. God speed, Al. [4/6/2000]

Tribute to J. J. Johnson 
By: Bob Bernotas
Frequent author for the OTJ Bob Bernotas offers this tribute to J. J. Johnson. [2/5/2001]

A Witch's Spell and Animado: A Review 
By: David Vining
These two unaccompanied offerings from Warwick Music were composed for the Repton Brass Festival 2001 and represent two distinct compositional styles. As always, Warwick's spiral bound editions are beautifully presented and strikingly attractive. [9/7/2001]

20 Pieces in Changing Meters: A Review 
By: Donn Schaefer
20 Pieces in Changing Meters for Unaccompanied Trombone is a collection of etudes written for students in the 11th-12th grades or first year of college. [5/30/2002]

A Matter of Time: A Review 
By: Craig Brenan
What is it about trombonists and their need to record with other trombonists? A Matter Of Time recorded by the New York Trombone Conspiracy enters the rich collection of trombone ensemble albums.  [10/19/2003]

A-List: A Review 
By: Kelly Beaman

It was a pleasure to hear and review this fine freshman production effort by virtuoso trombonist Reggie Watkins, a musician with a full arsenal of tools at his disposal. Even more impressive is his ability to compile a diverse and compelling set of works, produced on the fly over a short 3 day recording schedule, made even more challenging by the level of difficulty of these works. Thankfully, his fellow musicians made the process seemingly effortless, and one could tell that this was truly a team effort under Watkins’ leadership.

Absolute Trombone: A Review 
By: Tom Ervin
Tom Ervin reviews an exciting release by Michael Davis and Hip-Bone Productions. "Absolute Trombone" features the writing of Michael Davis, and the solo work of such notables as Urbie Green, Bill Watrous, Conrad Herwig and David Taylor. [11/1/1997]

Abstracts: A Review 
By: Jeff Albert

Music can have many layers of meaning. Often the composer's intended meaning is spelled out through a title or lyrics, or written about in the liner notes, or depicted in the album art. Other times, the music is simply about music, and it is left to the listener to discern meaning. The latter is the case with Abstracts, the excellent new CD from Jacob Garchik.

All Day Meeting and Dinner on the Ground: A Review 
By: John Seidel
This is altogether a fine recording and an excellent representation of the ancient and venerable combination of trombones and organ. [9/19/2000]

An Evening from the 18th Century: A Review 
By: Mike Hall

Ronald Barron has assembled a fine group of colleagues to collaborate on an alto trombone project that focuses on some of the most well known repertoire for the instrument, both original works and a transcription. An Evening from the 18th Century will please all who appreciate music of this era.

Anew At Home: A Review 
By: Douglas Yeo
Norman Bolter, trombonist with the Boston Symphony, has released a solo trombone album which sets new standards not only of playing, but of musical depth, integrity and atmosphere. "Anew At Home" will cause all who listen to it to reflect on music which reaches to a very deep, personal level. [11/1/1998]

Arban Complete Method for Trombone and Euphonium: A Review 
By: John Seidel
In this new edition, published by Encore Music, the comments of Messrs. Alessi and Bowman are presented unencumbered by pre-existing editorial material. Both of these gentlemen bring impeccable credentials to the task, and their comments provide wonderful insights into each of their individual approaches to musical and technical matters. [5/9/2001]

Arcangelo Corelli, Solo Chamber Sonatas Opus 5: A Review 
By: Charles McKnight
The essence of late Baroque violin music can be found in the solo sonatas of Arcangello Corelli (1653-1713). Mike Hall of the University of Kansas has adapted the chamber sonatas (Nos. 7-12) of Corelli’s Opus 5 for alto trombone, harpsichord, and double bass. The performances on this recording are beautiful and persuasive, both musically and technically. [8/4/2004]

Arrows of Time: A Review 
By: Brad Edwards
David Vining, Professor of Trombone at the Cincinnati Conservatory of Music, issues this confident solo recording featuring music from the present and the past. [4/26/2000]

Balanced Variation: A Performance Review  
By: Michael C. McDonough
Bermudians heartily welcomed five new friends and wonderful performers from Costa Rica who on Friday February 7th, 2003 gave us a hefty dose of both balance and variation.  [2/26/2003]

Beast: A Review 
By: George Astling
Beast, by trombonist David Manson, presents 5 electro acoustic works; four for live trombone and tape, and one for radung and guitar. Manson presents a very solid and virtuosic performance and all the pieces are crafted by composers comfortable in the mediums they have chosen. The technology that is used in the pieces and the virtuosity of the performer do not over shadow the artistic ideas of the individual works. [10/10/2004]

Beautiful Dancer: A Review 
By: Craig Brenan
Carelli, while being a trombonist, and a skilled one at that, really uses this album to showcase his considerable vocal talents. Carelli offers eleven selections, all but one featuring vocals as well as trombone. [1/6/2002]

Bedlam in Bethlehem: A Review 
By: Richard Human, Jr.
A recording of Christmas music for trombone quartet and quintet by the Pacific Trombone Quartet and guest artist Ian McDougall and Annabelle Vitek. [12/19/2003]

Blues for Cook: A Review 
By: Tom Ervin
The majority of the works on this release are well known tunes, presented in the time-honored standard mainstream and bebop format. There's a pleasant variety of tempi and styles, and the mix is almost always very good indeed. The trombone sound is particularly well recorded.  [1/1/1999]

Bone-Alone: A Review 
By: Dean Olah
Elias Faingersh is obviously a talented and creative trombonist who has explored his own musical personality to produce these compositions. This CD is not the typical recording of mainstream trombone music. [9/20/2001]

Bundee Brothers Bone Band: A Review 
By: Adam Gaines

If you're looking for the most artistic trombone CD release this year, look elsewhere. But if you're a trombone junkie who would love to hear a couple of the instrument's most powerful and wild players romping through a mosaic of different types of jazz, this is the CD for you.

Cadenza for David's Concertino by Werner Michel: A Review 
By: Walter Barrett
Werner Michel's Cadenza is a worthy addition for anyone performing the Concertino. If anyone is interested in making up their own cadenza (for any concerto), it will also serve as a fine example of how it should be done. [5/30/2002]

Cantare: A Review 
By: David Vining
This composition lasts about 4 minutes and is written in ABA form.  [5/28/2003]

Choral, Cadence et Fugato by Henri Dutellieux: A Review 
By: David Vining
Composed for the French pedagogue Andre LaFosse, Choral, Cadence et Fugato has appeared on required lists for various solo competitions over the years but has not found its way into the mainstream of trombone recital programming. It is a well crafted virtuosic piece from the French repertoire deserving of more attention from trombonists looking for something substantial to include on a recital. [2/10/2003]

Christmas Time is Here by Dan Gottshall: A Review 
By: Richard Human, Jr.
This is a fun holiday recording by versatile vocalist and trombonist Dan Gottshall. [12/6/2003]

Circuit Training: A Review 
By: David Wilken
A review of Peter Gane's method for young trombonists; published by Warwick Music. [9/1/1997]

Close Your Eyes...and Listen: A Review 
By: Peter Madsen

Mike Fahn established himself years ago on both coasts as a master jazz musician and virtuoso valve trombonist, but according to Howard Mandel’s liner notes Fahn considers Close Your Eyes…and Listen (released in 2002) to be his true debut album. Mike Fahn’s creativity as a musician, composer, and arranger make this a unique addition to one’s CD collection.

Concertino in F for Bass Trombone and Piano by Ernst-Thilo Kalke: A Review 
By: Dennis Clason
This work is suited to a good college player, or perhaps a very mature high school bass trombonist. It represents a welcome addition to the solo repertoire for the bass trombone. [6/3/2002]

Convergence: A Review 
By: Michael Lawson

Like a fine cognac, Chris Brubeck's compositions go down smooth and mature with age. His penchant for jazz, blues and rock 'n roll find a home in full size orchestrations with aplomb. Those familiar with his Bach to Brubeck album will not find dissappointment in this latest offering, Convergence.

Cornerstone: A Review 
By: Michael Brown
Douglas Yeo, bass trombonist with the Boston Symphony, has obviously crafted a recording that is a labor of love. This collection serves as an evangelical witness to his deeply held Christian beliefs and as a fine example of his lyrical musicianship. [3/1/2000]

Crossroads: A Review 
By: Jeff Albert
Tim Coffman presents a solid set of compositions by noted hard bop heavies, along with three standards and an original. This disc is about celebrating the lineage of mainstream modern jazz. The crisp arrangements are performed with skill and conviction. [4/27/2007]

Czech Trombone Treasures: A Review 
By: Mike Lomas
This CD could be a valuable introduction to the sort of music played by Czech trombone choirs, and in particular showcases the contents of Blahnik's three volumes of arrangements of trombone choir music: "Prague Trombones," "New Prague Trombones" and "Encore! Prague Trombones." [4/28/2001]

DidgeriBone: A Review 
By: Douglas Yeo
Sven Larsson is an accomplished player, and while even a relatively short CD of free improvisation with overdubbed bass trombone and didgeridoo may wear thin on some listeners, there is an undeniable appeal to his efforts. [3/11/2002]

Divertissement: A Review  
By: Michael Huff

The music on Archibald's CD entitled Divertissement was initially intended to expose young performers and listeners to classic melodies by composers of the 19th and 20th centuries. The trumpet playing is powerful, sensitive and executed with a distinctive, beautiful tone. The ensemble between Mr. Archibald and Ms. Edwards is excellent and the duo seems to convey successfully the enjoyment of performing together.

Domine, Salva Nos: A Review 
By: Jim Sparrow

Robert Holland gives us a fresh stylistic challenge in his setting of Domine, Salva Nos. This wonderful work is a representation of imitative techniques used by composers of the period. This is an outstanding vehicle to develop nuances of articulation, balance, blend, and dynamics.

Doug Yeo Clinic at North Central College 
By: Gordon Bowie
Naperville, Illinois, was the site of a terriffic experience for a group of about 25 trombonists from a wide geographic area who attended the Low Brass Workshop there from August 23 to 25. The three-day event was organized by Tom Izzo and hosted by North Central College. The featured clinician and recitalist was Doug Yeo, whose classes and performances made the event truly extraordinary.  [3/1/1999]

Dreams and Realities: A Review 
By: Jeff Albert
Dreams and Realities by the Ansgar Striepens Quintet with guest John Abercrombie is an enjoyable new offering from the German label Laika-Records.  [11/9/2003]

Duo for Trombone and Harp by Braxton Blake: A Review 
By: Walter Barrett
Performers and audiences will find Duo for Trombone and Harp, by Braxton Blake, to be both familiar and challenging, and a satisfying exploration of some of the sounds available to this combination of instruments. [6/18/2002]

Easy Jazzy Etudes: A Review 
By: Craig Brenan
Mark Nightengale expands his pedagogical publications with this book of jazz etudes for the younger trombonist. [8/8/2001]

Edenderry: A Review 
By: David Wilken

Marshall Gilkes’s debut solo album, Edenderry, will be a welcome addition to any jazz trombone fans’ CD collection. his project provides a number of different sides to his musical personality, ranging from straight ahead bebop to contemporary post-bop styles to a refreshing treatment of the Rogers & Hammerstien classic This Nearly Was Mine. Overall, this is a very enjoyable CD and we will hopefully be able to look forward to more solo work by Marshall Gilkes in the near future.

Eight Preludes, Op. 34: A Review 
By: Richard Human, Jr.
Without the knowledge that they were originally composed as piano preludes, a close look at these eight short pieces would suggest that they could have originally been written as trombone duets. This is due to the fact that excellent compositions "work" as music in almost any setting; and that Douglas Yeo, bass trombonist of the Boston Symphony, has chosen from the original twenty-four preludes very well. [1/1/1998]

Excalibur: A Review 
By: Bob Bernotas
Inventive new big band CDs are rare. Important new jazz trombone CDs are even rarer. And so, Excalibur by the Steve Wiest Big Band is a double treat. Each track is like a bold journey into uncharted territory, exploring lands previously unknown, but ultimately inviting and friendly. [10/20/2006]

First Song by Ben van Dijk: A Review 
By: Donn Schaefer
With the release of his second solo CD, Dutch virtuoso Ben van Dijk plumbs the darkest and deepest depths of music for bass trombone. Richly expressive playing illuminates the way for the listener to follow.  [7/24/2004]

Fishleather Jacket: A Review 
By: Jeff Albert

One aspect of jazz that often lacks the genre’s requisite creativity is instrumentation. Trumpet, sax, trombone, piano, bass, drums, and guitar seem to have the jazz world’s instrumental preferences locked up. A euphonium is rarely seen even in the depths of a large jazz ensemble, much less out in front of a quartet. This is only one of the reasons that jazz euphoniumist Tom Ball’s independently released Fishleather Jacket is so fresh and rewarding.

Gallery: A Review 
By: David Wilken
McKee's first album as a leader, is a long overdue chance for the listener to not only hear McKee stretch out and play some very well crafted improvisations, but also enjoy McKee's formidable skills as a composer/arranger.  [11/15/1999]

Get 2 It: A Review 
By: Bob Bernotas
Eubanks' most recent CD release, "Get 2 It," is unquestionably the best recorded example to date of the acoustic-electronic fusion that he has so successfully pioneered. [10/6/2001]

Gorgon: A Review 
By: John Seidel
This is an outstanding recording that will appeal not only to trombonists but to the musical public at large. That the Trombone Concerto is included in the package and that it is a Pulitzer Prize winner played beautifully by one of the world's great trombonists can only enhance the cause of the solo trombone generally. We owe a great deal to Christopher Rouse, to Joe Alessi, and to the Colorado Symphony with its fine conductor, Marin Alsop. The least we can do is buy the record. [9/1/1997]

Grand Chorus in Dialogue and Praise to the Lord, the Almighty: A Review 
By: Richard Human, Jr.
Arranged for ten-part trombone choir, both of these arrangements by Gary Bricault provide the ensemble and conductor with a number of musical challenges that once met will yield to a satisfying musical experience. [9/1/1998]

Harlequin for Bass Trombone and Piano: A Review 
By: Brad Edwards
Considering the complexities of this work and Lipkis' own allusions to programmatic content, the fact that Warwick hasn't bothered to include explanatory notes is inexcusable. If you are in the mood for a real challenge, this work will offer plenty of them, both technically and musically. [5/30/2002]

Heart Disc: A Review 
By: David Wilken

Trombonist Robert Bachner is not a well known name among jazz fans in the United States. With his debut CD, Heart Disc, American jazz fans will finally have the opportunity to hear Bachner’s music without needing to travel to his native Austria. In addition to Bachner’s very compelling trombone playing and composition his sidemen all deserve mention as important contributors to Heart Disc. Christian Maurer (saxophones), Reinhard Micko (piano), Uli Langthaler (bass), and Christian Salfellner (drums) play very expressively and interact extraordinarily well with each other on this project.

Home Cookin’ Fer Young ‘Uns: A Review 
By: Peter Madsen
Willey does an excellent job of incorporating idiomatic jazz rhythms in a way that is attainable by “young ‘uns.” The rhythms, although notextremely complex, represent common syncopations found in standard jazz music that are sure to challenge the young, student without being overwhelming in difficulty. The duets could be a lesson assignment for a young high school student, or appropriate sight reading material for advanced high school students or early college students. [9/26/2004]

Homecoming by John Jensen: A Review 
By: Jeff Albert
Musicians often get together with friends for a jam session, and later think, “We should have recorded that!” John Jensen did record it.  [2/12/2003]

Hora Decima: A Review 
By: Michael Huff

Formed in the early 1990s, the Hora Decima Brass Ensemble began as a monthly workshop experience for brass musicians in the New York City area. The playing on this CD is fantastic, the group seemed to be formed initially for the love of brass music and that enthusiasm comes through in their playing. It equals or surpasses the recordings made by many of the fine brass ensembles in existence today.

In and Out: A Review 
By: Horace Maxile
Given Steve Baxter's impressive list of performers with which he has performed, it is no surprise that his first solo recording In and Out is also impressive. As composer and producer, Baxter offers a variety of tracks ranging from mid-tempo R&B grooves to heavy funk pockets to lush ballads.  [9/8/2004]

Introductory Studies in Tenor & Alto Clef for Trombone "Before Blazhevich": A Review 
By: Andrew Glendening
Introductory Studies in Tenor & Alto Clef for Trombone “Before Blazhevich” by Brad Edwards is intended to bridge the gap in the clef study literature between the overly simplistic and the overly difficult and to provide an improved introductory experience to the second section of the Blazhevich Clef Studies.  [3/18/2003]

It's Fine...It's Andy: A Review 
By: Bob Bernotas
Although this new CD by talented West Coast trombonist Andy Martin is dedicated to Rosolino’s memory, it is not one of those slavish, and oh, so dull, “tribute albums.” While others may believe that “imitation is the sincerest form of flattery,” Martin understands that, in jazz, flattery will get you nowhere. So he pays tribute to Rosolino’s legacy by absorbing it and building upon it to create his own personal musical statement. [5/7/2003]

ITF 2003: A Review 
By: Michael C. McDonough
The 32nd International Trombone Festival was recently held in Helsinki, Finland, and included non-stop learning and listening from 8:00 AM until the wee hours of the morning from August 5th through the 9th, 2003.  [8/26/2003]

Jazz Improv Materials Handbook Complete: A Review 
By: Michael Dease

Rich Willey utilizes his considerable experience asa performer, composer and pedagogue to craft the Jazz Improv Materials Handbook, one of the more practical jazz methods in publication. s a musician equally at home in New York City and the university lecture hall, Willey brings a unique perspective to his jazz method. P [1/30/2008]

Ku-Umba: A Review 
By: Jeff Albert
T.E. Priemon is an artist. He uses photographic techniques to interpret musical performances through a concept he has named photonality. His most recent book is entitled “Ku-Umba”, and trombonist Ku-Umba Frank Lacy serves as both the inspiration and visual focus of this particular collection of art. [9/2/2003]

Le Monde Du Serpent: A Review 
By: Wade Rackley
It is an all-encompassing tour of the history, repertoire, and capabilities of this seemingly neanderthal member of our low brass family, and is a musically enjoyable addition to our catalogue of low brass recordings. [11/23/2003]

Live at Barbes: A Review 
By: Jeff Albert

My first thought upon putting Live at Barbes in my CD player was, "this sounds like fun." The Four Bags draw an amazing variety of textures and colors out of their four instruments. If you bring a sense for adventure and a sense of humor, The Four Bags can show you a good time.

Lonely Town by Alan Kaplan: A Review 
By: Jeff Albert
There is a great probability that you have already heard Alan Kaplan's trombone, and an equal probability that you did not know who you were hearing at the time. [5/31/2002]

Looking for the Natural Way: A Review 
By: David Vining
This is a valuable and entertaining book which should be added to all serious brass musicians' "required reading" list. [4/8/2002]

Mastering the Trombone: A Review 
By: John Seidel
I have always regarded Ed Kleinhammer's book, The Art of Trombone Playing , as an indispensable text for the aspiring trombonist. I credit many of the thoughts and exercises that may be gleaned from this excellent guide with contributing in no small way to my own development as a performer and teacher.  [3/1/1998]

Maya by David Gibson: A Review 
By: Jeff Albert
For those of you with doubts about the future of modern jazz trombone, let Maya by David Gibson assuage your fears.  [10/10/2002]

Melody in A Major: A Review 
By: David Vining
This wistful melody was originally written for violin and found its way into the repertoire of none other than Fritz Kreisler. The tune is a simple ABA form in slow 6/8 time with an eighth note pulse throughout and is 41 measures long.  [5/28/2003]

Modern Guide for Trombonists and Other Musicians by Richard Begel: A Review 
By: Douglas Yeo
"A Modern Guide for Trombonists and Other Musicians" continues in the rich tradition exemplified by Kleinhammer's "The Art of Trombone Playing." This is not a method book or collection of etudes, rather the reader is pulled into Begel's own rich experience as a student of the trombone for a sensible, focused and useful journey through the main influences in his own musical pilgrimage.  [3/25/2003]

Movin' Up: A Review 
By: Craig Brenan
Larry McClellan's album gives the listener an opportunity to hear the writer, educator, administrator and trombonist perform in what is an obviously comfortable setting. [11/15/2000]

Multiplicity & 20 Jazz Etudes: A Review 
By: Tom Brantley
Mark Nightingale, the reknowned jazz trombonist from England, has written two jazz etude books, with accompanying CDs, for tenor trombone. The first, Twenty Jazz Etudes for Tenor Trombone, appeared in 1995 from Warwick Music. The second, Multiplicity, was released in 1996 by the same publisher.  [9/1/1997]

Musical Impromtu by Vladislav Blazhevich: A Review 
By: David Vining
Musical Impromtu, by Vladislav Blazhevich, is a short work scored for 12 trombones. This piece is in Blazhevich’s typical style of composition and its melodies could easily have come from the Clef Studies. It is charming and clever in that it offers a great deal of musical variety in a very short time span. [8/25/2004]

Nana: A Review 
By: Dean Olah
Nana, the Spanish word for lullaby, may seem like a misnomer for a CD of a bass trombonist, but with help from a collection of world-class musicians, Ben van Dijk has excelled at presenting his horn as a truly melodic instrument worthy of this title.  [2/18/2001]

New York Legends - Joseph Alessi: A Review 
By: John Seidel
One in a series of recordings by Cala Records celebrating first chair players of the New York Philharmonic Orchestra, this CD provides trombone aficianados with plenty of opportunity for a thorough look at the many facets of one of America's premier trombonists. [3/1/1998]

Northern Soundings: A Review 
By: Dean Olah
Northern Soundings is a fine recording of both solo and ensemble music for trombone by Canadian composers.  [4/20/2003]

Obscurity by Rick Simerly: A Review 
By: Jeff Albert
Recorded in July of 2002, Obscurity features Rick with several of his fellow faculty members from the Jamey Aebersold Summer Jazz Camp, playing a nice mix of originals and jazz standards.  [6/2/2003]

Out of a Dream, Loves Songs: A Review 
By: Kelly Beaman

In what I believe is his seventh auditory offering as a soloist, Harry Watters chooses a path of romanticism, with nine of the best and most classic Love Songs, as the album is aptly titled. So, put this CD on, light some candles, grab your mate, scatter some sawdust on the hardwood floor (sorry if you have carpeting) and get busy polishing it.

Panis Angelicus: A Review 
By: Brad Edwards
This work is a useful, practical addition to the trombone choir folder which can be used to feature a younger soloist. [4/8/2002]

Passageways: A Review 
By: David Vayo
This self-produced collection includes three compositions for brass, two for piano, and two for strings; each depicts a scenario described by the composer in the liner notes. When this composer delves most deeply inside himself, he comes up with the finest pearls. [9/14/2004]

Pioneers in Brass CD-ROM: A Review 
By: Dean Olah
Pioneers in Brass, first published in 1965, is a collection of profiles and photographs of the prominent brass players of the early 20th century. Previously released in three print editions, it is now available on a CD-ROM format that includes original recordings. [10/24/2001]

Plunge - Fall With Grace: A Review 
By: Chris Waage
Chris Waage reviews this very different recoding by Plunge, featuring arranger and trombonist Mark McGrain. [9/28/1998]

Prelude and Fugue in D Minor (BWV 554) for Tuba-Euphonium Ensemble: A Review 
By: Mark Mordue
This arrangement of Bach's Prelude and Fugue (BWV 554) works surprisingly well for Tuba - Euphonium octet. [11/15/1999]

Proclamation & In Search of a Dream: A Review 
By: Gordon Bowie
Proclamation, a ground-breaking CD by Boston Symphony bass trombonist Douglas Yeo, is described by its executive producer as "a recording in celebration of the bass trombone." What a splendid celebration it is!  [1/1/1998]

Reel Technique: A Review 
By: David Vining
A thoughtful approach will be needed to preserve the integrity of the original tunes within the context of a reasonable tempo and good musicianship. [3/11/2002]

Return of the Alto: A Review 
By: Brent Phillips

Upon the first hearing of this CD I was initially struck by the wide range of stylized and varied material. Mr. Baron in his usual fashion demonstrates exceptional technique and near flawless intonation throughout this disc. We should all tip our hats and present arms to Mr. Barron and his Return of the Alto.

Riffs & Dances: A Review 
By: Brad Edwards
This is a moderately challenging, through-composed piece for unaccompanied trombone ranging from pedal B-flat to high D-flat (the F-attachment range isn't used, though). [9/17/2003]

Rochut for Two by Art Lieby: A Review 
By: Robert Holland
Art Leiby has taken Tom Ervin's lead and supplied a second volume of counterparts to the Bordogni vocalises, most widely known in the edition prepared by Johannes Rochut and published by Carl Fischer. [5/31/2002]

Royal Opera House Brass Soloists' On The Town: A Review 
By: Michael Huff
Any fan of the Philip Jones Brass Ensemble or the London Brass will vastly enjoy this recording and be pleased to have it as part of their listening library.  [12/16/2007]

Simple Complexity: A Review 
By: Tom Brantley
Simple/Complexity -- Rick Simerly's new CD release -- is a straight ahead recording. Not in the sense of a Basie straight ahead, but in the sense of a straight ahead small group jazz. All of the players on this recording are seasoned, accomplished musicians. [1/1/1999]

Sonata for Trombone by Derek Bourgeois: A Review 
By: David Vining
This is an epic work, spanning three octaves and lasting some twenty minutes with many changes in mood and style. [3/11/2002]

Spectacular Trombonists: A Review 
By: Mike Lomas
Compiled from a number of previously-issued discs, the six tracks on this CD showcase six virtuoso players at the very top of their form.  [4/8/2003]

Sunday Drive: A Review 
By: Dean Olah
For fans of both smooth jazz and trombone or for listeners looking for an introduction to this mellow music, this CD is a must. [4/15/2002]

Take 1: A Review 
By: David Oliver
The newest CD release from Boston Symphony bass trombonist Doug Yeo is unique in several ways. First, it includes three performances from his undergraduate days at Wheaton College, the first of which was in 1975, then we jump to three 1997 performances. Second, since Mr. Yeo minored in percussion at Wheaton, he's included an arrangement of Joplin's Solace which he performed on vibraphone. Third, all of the performances were recorded live, meaning that no multiple takes or editing was employed in the production of the disc. Hence the name "Take 1."  [9/1/1998]

The American Trombone: A Review 
By: Dean Olah
The charter of his book is to produce a total trombone technique that works equally well in American idioms such as Jazz, Pop and the various Afro-Cuban styles, as well as the more traditional Western European orchestral situations. [1/6/2002]

The Bordogni Vocalises by David Schwartz: A Review 
By: Kedrik Merwin
This new publication reasserts Bordogni's original numbering, tempos, and keys. However, Schwartz has taken great pains to help trombonists familiar with Rochut's version to understand the original system. [4/19/2002]

The Golem Shuffle by Dan Gottshall: A Review 
By: Craig Brenan
Gottshall has produced a very interesting hybrid, utilizing the most modern elements of Jazz and Hip-Hop, based on a firm foundation of good tunes with exciting and creative execution by each member of the ensemble. [6/1/2002]

The Island of Dr. Trombone: A Review 
By: Mike Lomas
This CD consists of a collection of what one would describe as easy-listening jazz numbers with a tropical feel, featuring Harry Watters, jazz trombonist with the Army Blues. [11/15/2000]

The Lexingport Project: A Review 
By: Rick Marple
Youthful humor seems to carry through this delightfully fresh CD. The group name comes from the Greek god Momus, inspirer of writers and poets, the god of laughter, mockery and ridicule.  [5/9/2003]

The London Trombone Sound: A Review 
By: John Seidel
Recorded by 16 trombonists drawn from the seven top orchestras in London, this album makes for enjoyable listening for trombone fans of all stripes. The sixteen that comprise the nucleus are joined by rising young London-based jazz trombonist, Richard Edwards on the jazz and rock(!) tunes, and by about 60 other trombonists scrounged from London orchestras, bands, and music schools for the grand finale, a clever arrangement of 76 Trombones for 76 trombones!  [9/1/1996]

The Other Side: A Review 
By: Bob Bernotas
In 1992, at the age of 28, Latin jazz trombonist Chris Washburne was diagnosed with nerve cancer in his face. The doctors gave him a 50 percent chance of surviving the operation, a zero percent chance of ever playing the trombone again. So, just before checking into the hospital, he insisted on playing one last gig. When the night ended he turned to his band and told them, "SYOTOS": "see you on the other side." [4/8/2002]

The Prowl: A Review 
By: Peter Madsen
 [9/8/2004]

The Takeover: A Review 
By: David Wilken

Trombonist Michael Dease’s and saxophonist Chris Madsen’s collaborative effort, The Takeover, shows off both musicians equally well as performers and composer/arrangers. After listening to this debut CD it’s quite clear why Dease and Madsen are in demand as sidemen for notables like Wynton Marsalis, Jimmy Heath, Wycliffe Gordon and the Lincoln Center Jazz Orchestra. [1/12/2006]

The Wallace Practice Mute: A Comparative Review 
By: Chris Waage
Using a practice mute has become a necessary evil for many trombonists. This reviews offers a comparison of the major practice mutes available, and recommends the Wallace mute for its easy of playing and light weight. [6/11/2000]

The Yamaha Silent Brass System for Trombone: A Review 
By: Larry Roth
While not a replacement for pacticing on the open trombone, Yamaha's Silent Brass System has some distinct advantages for the busy and travelling trombonist. [8/26/2001]

Thomas Morley's De Profundis Clamavi, transcribed by Robert Holland: A Review 
By: Brad Howland
With such a large pool of Morley's music to draw upon: why haven't we arranged more of it? De Profundis Clamavi appears to be an attempt to change this situation. It’s not one of the madrigals, but an example of Morley’s liturgical music, a Latin motet. [1/17/2003]

Tipbooks: A Review 
By: Dean Olah
The intended audience for the Tipbook Trumpet & Trombone is students, their parents and amateur musicians. However, there is such vast information and details covered in this slim 132 page book that trombone or trumpet players of any level would enjoy reading it.  [9/23/2003]

To The Sky: A Review 
By: Craig Brenan
To The Sky is a big band offering by trombonist/composer/arranger Ryan Haines which depicts a musical perspective of the United States Air Force. This 10 track set, originally conceived as The Blue Sky Suite was designed to appeal to both the general public and fellow musicians. [9/28/2001]

Too Scared To Play: A Review 
By: Adam Meyer

From the very first notes, the technical facility of High Anxiety Bones on their album Too Scared to Play is clearly evident and doesn’t fail to impress. From the solid high-register playing of Steve Witser through to the robust bass trombone sound of the late Ray Premru, one can find an abundance of inspiring performance. But it is the work these gentlemen achieve as a quartet that is truly exceptional.

Top Brass by Bob Bernotas: A Review 
By: Michael Brown
For readers interested in the lives, philosophies, and idiosyncrasies of famous jazz brass players, this book will bring a great deal of pleasure and information. [6/1/2002]

Traveling Hard: A Review 
By: Michael Dease

The Robert Bachner Quintet's second album features five highly sensitive, well-versed musicians putting the music first. Bachner's compositional style shows a strong influence from Wayne Shorter and Herbie Hancock, and presents thoughtful and memorable melodies supported by deft harmonic structures. This recording would make a fine addition to your cd collection, and serves as a firm reminder that jazz music is alive and well in Austria.

Trombone and Strings: A Review 
By: Mike Lomas
The trombone soloist, Joe Burnam (principal trombone of the Turin Radio Symphony Orchestra) can be proud of this CD. It showcases a great deal of new and substantial music, some of it commissioned by Burnam, which might form the basis for an interesting recital. [4/15/2002]

Trombone con Sazon by The Latin-Jazz Coalition led by Demetrios Kastaris 
By: Bob Bernotas
In the seventeen years since Kastaris founded his Latin-Jazz Coalition, “El Griego Rumbero” (“The Greek Rumba Player”) and his band have performed regularly in and around New York City. Now, with the help of some stellar guest artists, they have made a most welcomed recording debut with this engaging and excellent CD, Trombón con Sazón (Trombone with Spice). [2/12/2003]

Trombone Day III: A Review 
By: Michael C. McDonough
Trombone Day III took place at Bantry House in County Cork, Ireland on February 21, 2003, and created feelings of inspiration, hope and excitement.  [5/7/2003]

Trombone Essentials: A Review 
By: David Wilken
Trombone Essentials, 11 Recital and Contest Solos for Tenor and Bass Trombone, edited by Douglas Yeo, is a well put together collection of new solos specifically arranged for the intermediate trombonist.  [3/1/2000]

Trombone Journey by Jan Reinhelt: A Review 
By: Gabriel Langfur
I very much enjoyed reading through these duets with another professional player while on a break in a rehearsal, and I wouldn’t hesitate to use them as a teaching tool with an advanced middle school student, or to assign a set of them to a pair of high school students to perform on a recital. [10/19/2002]

Trombonly & Friends: A Review 
By: Richard Human, Jr.
Trombonly has performed extensively across Europe, including a performance at the 2000 ITF, at which Trombonly was honored with the Emory-Remington award. After listening to this disc, one will realize that this honor is richly deserved.  [10/9/2000]

TUNEUP Intonation Training System: A Review 
By: Richard Human, Jr.
The philosophy behind Stephen Colley's TUNEUP intonation training system is to develop an aural "bootcamp" to help the musician develop improved intonation free of the visual crutch of a chromatic tuner. [9/20/2001]

Twentieth-Century Brass Soloists: A Review 
By: Michael Brown
The lives of composers and conductors are carefully documented with historical research and pianists, violinists, and vocalists have their share of musicological research. Michael Meckna has done extensive study into the lives, recordings, and legacy of 100 significant brass performers of this century. He contributes a balanced list of orchestra, recital, and jazz performers with an appropriate balance of high and low brass performers.  [11/1/1997]

Two of a Mind by Douglas Yeo and Nick Hudson: A Review 
By: Gordon Bowie
Like Douglas Yeo's previous recording venrtures, this is an eclectic mix of material. Unlike the previous albums, this includes the added element of sharing the solo honors with Nick Hudson, principal trombone of the Williams Fairey Band. [6/18/2002]

Wondrous Essence, An Amazing Spirit: A Review 
By: Dean Olah
The undertaking of recording a CD of trombone students is a terrific idea that undoubtedly is an invaluable learning experience for all involved. The production responsibilities appear to be handled solely by the students. Projects like this should be part of every major music education curriculum and Mr. Niemisto needs to be commended on his initiative.  [6/12/2001]

X Over Trombone: A Review 
By: Douglas Yeo
With the flood of trombone recordings on the market these days - with much more of dubious than essential quality competing for attention - it is refreshing to see Over Trombone provide us with both a look back and a look forward.  [3/12/2008]

Survey Results: Duets in the Applied Lesson 
By: Richard Human, Jr.
Numerous books, articles, and methods have been written concerning important skills for the trombonist such as technique, embouchure, and sight-reading. Another important skill for any musician is the ability to effectively perform with other musicians. In the applied lesson, this skill can be practiced by the study and performance of duets. There is a wide variety of duet literature available to the trombonist in musical styles ranging from the Baroque to the twentieth century and in difficulty levels ranging from beginner to artist-level. [2/1/1997]