TROMBONE-L Digest 2312 Topics covered in this issue include: 1) Re: restricting air flow by "Daniel Pliskin" 2) RE: Eddie Bert humor - kind of related by "Stephen Jones" 3) Re: by "Adrian Drover" 4) Re: by "Daniel Pliskin" 5) RE: by "Jon Moeller" 6) RE: Composers & Performers knowing their craft. by "Guion, David" <8guion@jmls.edu> 7) Eddie Bert by "Richard Johnson" 8) "The Imperfect Art : Reflections on Jazz and Modern Culture" by Galen Zinn 9) RE: Composers & Performers knowing their craft. by Craig Parmerlee 10) Re: "The Imperfect Art : Reflections on Jazz and Modern Culture" by alex iles 11) Re: "The Imperfect Art : Reflections on Jazz and Modern Culture" by Michael & Dava Millar 12) SET TROMBONE-L MAIL DIGEST by "William Huber" 13) Re: Composers & Performers knowing their craft. by James Scott 14) Bear's There by "Steve Cordingley" 15) new Bllessing mpcs and mutes for sale cheap by "Charles Levine" 16) Denture commercial and trombone by "Richard Johnson" 17) Albums left by Carl Webster 18) RE: Denture commercial and trombone by Steve Gamble 19) RE: Denture commercial and trombone by "Gary Maxwell" 20) RE: Relaxation by "Marple, Richard L COL BAMC-Ft Sam Houston" 21) FS: Thayer attachments by BITEensemble@aol.com 22) RE: Composers & Performers knowing their craft. by Gabriel Langfur 23) Re: Big Phat Band on "The Other Half" by alex iles ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Mon, 25 Feb 2002 18:46:04 From: "Daniel Pliskin" To: trombone-l@po.missouri.edu Subject: Re: restricting air flow Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Thanks for the reassurance, Sam. After playing oboe/English horn for many years, I find trombone breathing to be sublime. I had noticed that Fracasâs photos didnât substantiate his conclusions about embouchures, but that didnât bother me, because I feel comfortable with me embouchure, no matter what it looks like. But when he used the analogy (to breathing) that Îyou wouldnât call the pumping station, if you wanted less water pressure, youâd just close down your faucetâ, to be awfully strange. If I owned the pumping station, and it only pumped for me, Iâd certainly considering changing my air pressure there, rather than introduce a restriction in my vocal cords. So Iâm glad to hear that his views have fallen out of favor. DanP From: sabutin Reply-To: sabutin@mindspring.com To: "Trombones and related issues forum." Subject: Re: restricting air flow Date: Sun, 24 Feb 2002 00:29:32 -0500 Hi List, I was reading The Art of Brass Playing, by Phillip Frakas. He talks about using lots of breath support and restricting the flow of air with the vocal cords, in order to play soft. Can that really be the way it should be done? It seems like that technique would generate unnecessary tension, when compared with just using less air pressure. Or is that a French horn technique, not used by low brass players? Inquiring minds· DanP =============== I am tempted to get very PC and say "Well...to each his own; whatever works, etc. etc. etc." but I think I'll resist that impulse just this once. The Farkas book stands as an artifact of the orchestral system as it stood in the 1950s. It is published very nicely...it's a HARDCOVER book, for Heaven's sake, it MUST be correct, Why, it's even got PICTURES !!!! But if you delve deeper into it...it's really pretty weak. "HERESY!!!" they yelled. But...the pictures of the embouchures and what Farkas SAYS about them just don't line up. Farkas himself reportedly said later that he was wrong about a number of the concepts he presented in it. Vocal cords + resistance? PLEASE!! Unless you want multiphonics...no no no no no. S. _________________________________________________________________ Send and receive Hotmail on your mobile device: http://mobile.msn.com ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Mon, 25 Feb 2002 13:54:18 -0500 From: "Stephen Jones" To: "'Trombones and related issues forum.'" Subject: RE: Eddie Bert humor - kind of related Message-ID: <002d01c1be2d$d7587970$f0585582@library.lib.umbc.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Not to flaunt my tender years, but I was at the 2nd anniversary of the Thad Jones Mel Lewis Big Band, maybe 1967. It was a wonderful band, with Bob Brookmeyer in the trombone section, but with an unusual bass player for a big band, Richard Davis. This particular evening Richard Davis had a solo, and was doing all sorts of wonderful things with the bass that again you don't expect a big band bass player to be doing. So Bob Brookmeyer leaned over to the trombone player next to him and in a pseudo sotto voce that could be heard throughout the room, said: "I don't know. He seemed all right before the job." Stephen Jones -----Original Message----- From: Walter Barrett [mailto:wbarrett@bestweb.net] Sent: Monday, February 25, 2002 10:40 AM To: Trombones and related issues forum. Subject: Re: Eddie Bert On 2/22/02 7:03 PM, Richard Johnson expounded thusly... > Tribute to Legendary Trombonist Eddie Bert > > Celebrating His 80th Birthday Oh man, Eddie is one of the sweetest guys around, and really funny, too! One time, I was playing steady with a big band for these Friday night dances, and Eddie would sub once in a while. One time, he goes out in front of the band to take a few choruses, and on his way up front, he slipped an adapter between his horn and his mouthpiece that held the mpce. at a right angle! He starts playing, and from the back, all you can see is the slide going out to the right, and the horn held sideways in front of Eddie's face! The whole band was rolling on the floor, and when Eddie sits back down, he says with his patented deadpan expression "What's so funny?" Another time, we were playing with a rehearsal band, and the leader would wave around his tuner, and tell you if you were sharp or flat. He gets to Eddie, who plays a couple of bars of jazz, taking care to avoid playing in first position. The leader says "How can you tune up like that?", and Eddie gives him the deadpan look, and tells him "I tune to what's going on, and there ain't nothing going on." That was the last time we saw the tuner... ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Mon, 25 Feb 2002 18:57:52 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: Message-ID: <000001c1be2e$89509fe0$8296fc3e@homel29g9mgyk9> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit From: "Tom Izzo" >> You mean you only have ONE computer? >>>>>>>>>>>>>>>> LOL, no DAn, I have 4. >>>>>>>>>>>>>>>> Soprano, Alto, Tenor and Bass? >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> But I like this one best (only oneconnected to the internet), because it has 2 Dependant valves LOL >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Tom, it must be at least 50 years since computers used valves. You mean yours is still working? Welcome back, A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Mon, 25 Feb 2002 19:10:26 From: "Daniel Pliskin" To: trombone-l@po.missouri.edu Subject: Re: Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> But I like this one best (only oneconnected to the internet), because it has 2 Dependant valves LOL >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Tom, it must be at least 50 years since computers used valves. You mean yours is still working? Welcome back, A. Adrian, I suppose it doesnât matter that we call them tubes, on this side of the pond. I actually worked on a computer that had both tubes and valves, when I was at IBM, in the Î60s. They were for the liquid nitrogen cooling. Are we all confused, yet? DanP _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp. ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Mon, 25 Feb 2002 15:30:57 -0600 From: "Jon Moeller" To: "'Trombone List'" Subject: RE: Message-ID: <000401c1be43$b6d73d10$9401a8c0@Jon> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Well if you consider wires and traces as tubes, and transistors as valves, then you have a computer with 26 million valves. I guess that means we are computer virtuosos since we know how to use such a complicated beast. -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu] On Behalf Of Daniel Pliskin Sent: Monday, February 25, 2002 7:10 PM To: Trombones and related issues forum. Subject: Re: > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >But I like this one best (only oneconnected to the >internet), because it has 2 Dependant valves LOL > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >Tom, it must be at least 50 years since computers used valves. You mean >yours is still working? > >Welcome back, A. Adrian, I suppose it doesn't matter that we call them tubes, on this side of the pond. I actually worked on a computer that had both tubes and valves, when I was at IBM, in the '60s. They were for the liquid nitrogen cooling. Are we all confused, yet? DanP _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp. ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Mon, 25 Feb 2002 09:44:32 -0600 From: "Guion, David" <8guion@jmls.edu> To: "Trombones and related issues forum." Subject: RE: Composers & Performers knowing their craft. Message-ID: <47763CCCA27C4F4FA4BEF7DDB754A1E7124A18@marshall.jmls.edu> MIME-Version: 1.0 Content-Type: text/plain Quoth Aaron Roth > I > wish to disagree with the pointlessness of writing extremely difficult > music. Tchaikovsky's Violin Concerto was reputedly unplayable for a while > > until a virtuoso with sufficient skill and dedication set to work on it. > Tchaikovsky ran into trouble with both the Violin Concerto and Piano Concerto when the people he wrote them for pronounced them unplayable. As it turns out, however, in both cases the performers gave the works hardly more than a casual glance before rejecting it. In the case of the piano concerto, Tchaikovsky was attempting to play both the solo part and some of the accompaniment. I'm not sure that the designated performer ever tried it himself. In both cases, Tchaikovsky was quickly able to find someone else to play the concertos, and they were successful from the start. If he had not been able to find people in his lifetime who were willing to champion these works, they would probably remain unplayed to this day. ^*^*^*^*^*^*^*^*^*^^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ David Guion, Cataloging Librarian The John Marshall Law School 315 S. Plymouth Ct. Chicago, IL 60604 Voice: (312) 427-2737 x 552 Fax; (312) 427-8307 8guion@jmls.edu Should part-time band directors be called semi-conductors? Quidquid latine dictum sit, profundum viditur. ^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Mon, 25 Feb 2002 17:59:45 -0600 From: "Richard Johnson" To: "Trombones and related issues forum." Subject: Eddie Bert Message-ID: <000701c1be58$80a23c80$0e6580ac@zemry> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Go to Eddiebert.com for more info on Eddie Bert. It has interviews, videos and a discography. It is VERY interesting reading. **************************************************************************** ** Richard Zemry Johnson, Jr. "The Untouchables" Jazz Ensemble Shreveport Metropolitan Concert Band ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, , "There won't come a time when you won't have to practice anymore." J. J. Johnson **************************************************************************** ***** I'm not satisfied with anything about my playing. I know what I want. I can hear it; but it will take time and study to get it" -Sonny Rollins (1956) ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Mon, 25 Feb 2002 19:31:52 -0800 From: Galen Zinn To: Trombone List Post Subject: "The Imperfect Art : Reflections on Jazz and Modern Culture" Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit This book was not available at Amazon.com, does anyone know where I can find a copy? Thanks, Galen Zinn E-mail: zinger@musician.org ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Mon, 25 Feb 2002 22:54:25 -0500 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: RE: Composers & Performers knowing their craft. Message-ID: <4.3.2.7.2.20020225224558.023fa518@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 09:20 AM 2/25/2002 -0600, Guion, David wrote: I understand that when John Swallow commissioned Gunther Schuller's Eine Kleine Posaunenmusik, he asked that it not contain notes higher than d", and that the highest note he could possibly play was f", yet the piece has multiple f"-sharps! Schuller is lucky he got paid for the piece and had it performed at all. If composers want their stuff widely performed, they should look not only to virtuosos, but also good college students. Mendelssohn consulted with Ferdinand David and came up with one of the first "adult" violin concertos that violinists learn to play. But it's good enough music that, even being over-represented on junior recitals, virtuosos can still play it and give it special sparkle. Why can't we have a trombone concerto or two like that? Indeed. Someone recently gave me a copy of Eine Kleine Posaunenmusik (the piano accompaniment version). They suggested I should play it. At first I was flattered. But very quickly it became obvious that they wanted the &$*!*# think completely out of their life. Maybe Christian Lindberg could have a go at this. It seems to have all the inspiration of Motorbike Concerto. Just looking at the black pages is mind numbing. I don't know if this piece can officially be declared unplayable, but I can't think of any reason why I should ever want to play it. I do enjoy the notation "Poco agitato (fast gibberish)". It seems like that would be a pretty good title for this composition. ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Mon, 25 Feb 2002 20:53:24 -0800 From: alex iles To: grzinn@ca.astound.net, "Trombones and related issues forum." Subject: Re: "The Imperfect Art : Reflections on Jazz and Modern Culture" Message-ID: <3C7B1480.D2408C9@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Hi Galen, It is published by Oxford University Press...according to the Oxford University Press/USA website, they have it in stock. Try this... www.oup-usa.org/search97cgi/s97_cgi Great little book. Some great food for thought, even if you don't totally agree with him. Best wishes, Alex =============================================== Galen Zinn wrote: > This book was not available at Amazon.com, does anyone know where I can find > a copy? > > Thanks, > > Galen Zinn > E-mail: zinger@musician.org ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Mon, 25 Feb 2002 20:52:03 -0800 From: Michael & Dava Millar To: grzinn@ca.astound.net Cc: "Trombones and related issues forum." Subject: Re: "The Imperfect Art : Reflections on Jazz and Modern Culture" Message-ID: <3C7B1473.466A2A0F@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Great book! Get it! Amazon shows the paperback out of print, but the hardcover is available with 4-6 week delivery (used also available). Barnes and Noble the opposite: hardcover unavailable, paperback in stock. Enjoy! Michael Millar Galen Zinn wrote: > > This book was not available at Amazon.com, does anyone know where I can find > a copy? > > Thanks, > > Galen Zinn > E-mail: zinger@musician.org -- ============================================= Michael W. Millar, D.M.A. Dava S. Millar, R.N., M.B.A. 25430 Via Impreso Valencia, CA, 91355 (818) 901-6843 FAX (661) 253-2999 ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Mon, 25 Feb 2002 23:51:51 -0600 From: "William Huber" To: "trombone-l" Subject: SET TROMBONE-L MAIL DIGEST Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Tue, 26 Feb 2002 00:02:16 -0700 From: James Scott To: craig@acticalc.com Cc: "Trombones and related issues forum." Subject: Re: Composers & Performers knowing their craft. Message-ID: <3C7B32F8.49846E2E@ucalgary.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Christian Lindberg does have a recording of the Schuller. Also Ian Bousfield, Joe Alessi, and Charlie Vernon have all performed it at one time or another. It is, however, definitely a piece that is only for a top professional player who is willing to put some serious time into preparing it, and there is a small audience for this kind of music as well. Jim Scott Craig Parmerlee wrote: > At 09:20 AM 2/25/2002 -0600, Guion, David wrote: > >I understand that when John Swallow commissioned Gunther Schuller's Eine > >Kleine Posaunenmusik, he asked that it not contain notes higher than d", and > >that the highest note he could possibly play was f", yet the piece has > >multiple f"-sharps! Schuller is lucky he got paid for the piece and had it > >performed at all. > > > >If composers want their stuff widely performed, they should look not only to > >virtuosos, but also good college students. Mendelssohn consulted with > >Ferdinand David and came up with one of the first "adult" violin concertos > >that violinists learn to play. But it's good enough music that, even being > >over-represented on junior recitals, virtuosos can still play it and give it > >special sparkle. Why can't we have a trombone concerto or two like that? > > Indeed. Someone recently gave me a copy of Eine Kleine Posaunenmusik (the > piano accompaniment version). They suggested I should play it. At first I > was flattered. But very quickly it became obvious that they wanted the > &$*!*# think completely out of their life. > > Maybe Christian Lindberg could have a go at this. It seems to have all the > inspiration of Motorbike Concerto. Just looking at the black pages is mind > numbing. I don't know if this piece can officially be declared unplayable, > but I can't think of any reason why I should ever want to play it. I do > enjoy the notation "Poco agitato (fast gibberish)". It seems like that > would be a pretty good title for this composition. ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Tue, 26 Feb 2002 10:49:30 -0000 From: "Steve Cordingley" To: "Trombone Forum Posting Address" Subject: Bear's There Message-ID: MIME-Version: 1.0 Content-Type: multipart/related; boundary="----=_NextPart_000_0000_01C1BEB3.44B1A200" Dear all Ð and especially Bear I got to cleaning up my in-box and no longer have the e-mail about performers and composers knowing each otherÕs crafts but I do feel the impulse to make a general reply in BearÕs support. Summary: The first issue was indeed that a composer cannot expect a player to have three arms but equally, the first point was also how should that musician handle it with the composer. ThatÕs now in the past I think. Bear seems to be picking up the thread on how much a composer might be expected to know about what is truly achievable on every instrument and how far he or she should consider the taught limitations when trying to put musical ideas down on paper for others to try to turn into a sound. And then there was some talk about music being playable and (I understood) mainstream so that it gets performed and the composer gets paid. Rambling view from here: Now more than ever, composers are trapped by the sheer volume of what went before so doing something new becomes ever harder. Music is, of course, an inherently flawed system. It seems to me that itÕs the tension between the limitations and the endlessly demanding performer and writer that creates something new for us all. The composer (or indeed, the improvising musician) has a sound in mind and an idea to express. Written codes and marks on paper and playing ability are what convey that idea to performer and listener. IÕm pretty sure that research has demonstrated that each performer and listener will hear a different thing and maybe none of us Ð not even the composer Ð can claim know what it was that was originally in the personÕs head. The plunger work in the part of the register requiring valve use may be a case in point. Maybe one of the other players helps out by lending a hand Ð I donÕt know and itÕs not really the point. The composer has a sound in mind and wants it in that part of the aural spectrum. The musician tries to do it (or explores what the composer might have been trying to do) and somewhere something happens that creates something new Ð and like all music, itÕs new every time it is performed. I feel Bear is right (apologies for the paraphrasing and forgive me Bear if this isnÕt what you were trying to say) to declare that difficulty Ð or even apparent impossibility - in itself should not preclude a composer from trying to express an idea. If that means nobody plays it or hears it, thatÕs an issue for the composer. If everything were to reside in the broadly playable, nicely popular arena, music and any other form of artistic expression would become dead and rather dull Ð donÕt you think? Personally, IÕm not a fan of squeaky gate music, but I do appreciate where the composer/s is/are coming from in exactly the same way as I donÕt care for but appreciate what Damian Hurst (sorry, canÕt remember the spelling of his name), was trying to do with his sheep in formaldehyde. All the best from a grey and windy England STEVE ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Tue, 26 Feb 2002 07:44:27 -0600 From: "Charles Levine" To: "tlist" Subject: new Bllessing mpcs and mutes for sale cheap Message-ID: <000801c1becb$b6ef2910$f1b01ad1@D7493111> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0005_01C1BE99.6A9B2230" The following items are BRAND NEW (NEVER PLAYED) in original packageÊÊÊ Blessing 6 1/2 (Bach copies) 12 C $22 each ppd Harmon wow wow BRAND NEW $38 ppd Harmon straight $25 (brand new) ppd ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Tue, 26 Feb 2002 08:27:48 -0500 From: "Richard Johnson" To: "'Trombones and related issues forum.'" Subject: Denture commercial and trombone Message-ID: <000501c1bec9$6232e0d0$190000b6@station20> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit A denture commercial by Sea Bond has a television commercial which prominently features a trombone player and the comfort in which he plays his trombone while he has his dentures in! I can't tell whether this guy is faking or actually playing the trombone. Looks like he is faking it to me. **************************************************************************** ** Richard Zemry Johnson, Jr. "The Untouchables" Jazz Ensemble Shreveport Metropolitan Concert Band ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, , "There won't come a time when you won't have to practice anymore." J. J. Johnson **************************************************************************** ***** I'm not satisfied with anything about my playing. I know what I want. I can hear it; but it will take time and study to get it" -Sonny Rollins (1956) ***** ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Tue, 26 Feb 2002 08:29:46 -0600 From: Carl Webster To: TubaEuph@yahoogroups.com, tpo-list@yahoogroups.com, tpin@parnassus.dana.edu, tbonecentral@yahoogroups.com, Subject: Albums left Message-ID: <000701c1bed2$0d8abbd0$6401a8c0@xppro> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Here is a list of the albums that are left. I believe I have responded to every e-mail that was sent wanting to buy albums. But there have been well over 250 e-mails received so it is possible I overlooked an e-mail or forgot to hold albums that someone requested. If so I apologize. Just let me know and I'll get the albums set aside. Trombones: Ralph Sauer - Vox Gabrieli Ronald Borror on Trombone (Stevens, Cowell, Bernstein, Luening, Pryor, Kroeger) The Big Trombone Jeffrey Reynolds (Galliard, Kosteck, Michalsky, McCarty, Hartley, di Lasso) Music for Two Seasons Members of the Moravian Trombone Choir of Downey Play The Brass Connection The Singers Unlimited: Sing the Music of Lennon, McCartney and Ellington Eventide Sentimental Journey Just In Time A Special Blend with Rob McConnell and the Boss Brass Friends Four of Us Easy to Love In Tune Invitation A Capella I A Capella II A Capella III Canadian Brass: Mostly Fats High, Bright, Light and Clear Rag~Ma~Tazz Royal Fanfare The Pachelbel Canon The Village Band Canadian Brass Direct-to-Disc Christmas with The Canadian Brass Champions A Touch of Brass Brass in Berlin In Paris Misc. Brass Ensembles: Chicago Brass Quintet (Hopkins, Mussorgsky, DeFalla, Bartok, Haines, Mattern) American Brass Quintet - Plays Renaissance, Elizabethan and Baroque Music Modern Music for Brass - Members of the National Orchestral Association and the American Brass Quintet American Brass Music - American Brass Quintet Music of the Renaissance and Baroque - American Brass Quintet Fine Arts Brass Quintet (Dahl, Linn, Michalsky, Plog) A Brass Potpourri - Fine Arts Brass Quintet The Annapolis Brass Quintet (Dahl, Bach, Holborne, Coleman, Shein, Engelmann, LeJeune, Finck, East) Invitation to the Sideshow - Annapolis Brass Quintet Quintessence - Annapolis Brass Quintet Encounter - Annapolis Brass Quintet The Berlin Brass Quintet (Arnold, Maurer, Rathaus, Banchieri, Grep, Holborne, Brade, Gabrielli, Schein) Windows - St. Louis Brass Quintet The St. Louis Brass Quintet (Mouret, George, Horovitz, Bach, Speer, Maurer, End) Antiphonal Music for Four Brass Choirs - Columbia Brass Ensemble Music for Organ, Brass and Percussion - Columbia Brass and Percussion Ensemble The U.S. Army Brass Quintet The Pacific Brass Quintet (Humphreys, Brown, Lebow, Pezel, Bach, Holborne) Rags and Other American Things - Eastern Brass Quintet Metropolitan Brass Quintet (Liadov, Glazunov, Maurer, Harris, Horovitz) Misc. Albums: CSO/Fritz Reiner - Pictures (1958) Golden March Favorites - The Goldman Band Dennis Brain - Mozart Horn Concertos Dennis Brain - Richard Strauss Horn Concertos The Art of Dennis Brain Vol. 2 The Art of Dennis Brain Music for Horns - The Horn Club of Los Angeles Stars & Stripes Forever - Philip Jones Ensemble Rosie O'Grady's Good Time Jazz Band (Direct-to-Disc) Brand New Day - BS&T Musically Speaking - BS&T Tubby the Tuba - old recording in poor shape LA Phil/Stokowski - Planets Eastman Jazz Ensemble - Live! Road Father (Direct-to-Disc) - Woody Herman Dirty Dozen Brass Band - My Feet Can't Fail Me Now Carl Webster TubaEuph List Owner ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Tue, 26 Feb 2002 08:02:40 -0700 From: Steve Gamble To: "Trombones and related issues forum." Subject: RE: Denture commercial and trombone Message-ID: <01C1BE9B.F7A3CCC0.sgamble@tucsonsymphony.org> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Looks fake to me. What? Is it so hard to find a real trombone player who can't act? Steve Gamble Librarian Tucson Symphony Orchestra 2175 N. 6th Ave. Tucson, AZ 85705 (520) 792-9155 x118 (520) 792-9314 fax sgamble@tucsonsymphony.org -----Original Message----- From: Richard Johnson [SMTP:zemry@bellsouth.net] Sent: Tuesday, February 26, 2002 6:28 AM To: Trombones and related issues forum. Subject: Denture commercial and trombone A denture commercial by Sea Bond has a television commercial which prominently features a trombone player and the comfort in which he plays his trombone while he has his dentures in! I can't tell whether this guy is faking or actually playing the trombone. Looks like he is faking it to me. **************************************************************************** ** Richard Zemry Johnson, Jr. "The Untouchables" Jazz Ensemble Shreveport Metropolitan Concert Band ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, , "There won't come a time when you won't have to practice anymore." J. J. Johnson **************************************************************************** ***** I'm not satisfied with anything about my playing. I know what I want. I can hear it; but it will take time and study to get it" -Sonny Rollins (1956) ***** ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Tue, 26 Feb 2002 07:32:33 -0800 From: "Gary Maxwell" To: , "Trombones and related issues forum." Subject: RE: Denture commercial and trombone Message-ID: <659829993461CA49942D1312DE3436918309E5@edcenmail1.bcsd.k12.ca.us> Content-Class: urn:content-classes:message MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C1BEDA.CFA7B30C" I don't mean to start a war here, but let's get real for a second> 1. Commercials use actors. 2. Musicians are seldom actors. 3. How many commercials has any body ever seen with musicians actually playing? I do remember Sony & Memorex producing a few comercials for audio tape, where Ella Fitzgerald, and I believe Miles Davis, were used, but it is not an often thing to do. .02 worth?, maybe not, but......... All the best, Gary Maxwell Bass Trombone Bakersfield Symphony Orchestra ========================================================== -----Original Message----- From: Steve Gamble [mailto:sgamble@tucsonsymphony.org] Sent: Tue 2/26/2002 7:02 AM To: Trombones and related issues forum. Cc:ÊÊÊÊ Subject: RE: Denture commercial and trombone Looks fake to me. What? Is it so hard to find a real trombone player who can't act? Steve Gamble Librarian Tucson Symphony Orchestra 2175 N. 6th Ave. Tucson, AZ 85705 (520) 792-9155 x118 (520) 792-9314 fax sgamble@tucsonsymphony.org -----Original Message----- From: Richard Johnson [SMTP:zemry@bellsouth.net] Sent: Tuesday, February 26, 2002 6:28 AM To: Trombones and related issues forum. Subject: Denture commercial and trombone A denture commercial by Sea Bond has a television commercial which prominently features a trombone player and the comfort in which he plays his trombone while he has his dentures in! I can't tell whether this guy is faking or actually playing the trombone. Looks like he is faking it to me. **************************************************************************** ** Richard Zemry Johnson, Jr. "The Untouchables" Jazz Ensemble Shreveport Metropolitan Concert Band ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, , "There won't come a time when you won't have to practice anymore." J. J. Johnson **************************************************************************** ***** I'm not satisfied with anything about my playing. I know what I want. I can hear it; but it will take time and study to get it" -Sonny Rollins (1956) ***** ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Tue, 26 Feb 2002 10:11:04 -0600 From: "Marple, Richard L COL BAMC-Ft Sam Houston" To: "'yeo@yeodoug.com'" , "Trombones and related issues forum." Subject: RE: Relaxation Message-ID: <587F49FABBEDD411A68F00A0C9EA313B5FD0E7@dasmthkhn561.amedd.army.mil> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C1BEE0.30CA2370" Doug: It was refreshing to read that what you have discovered is similar to what I have been trying to teach my kids since day 1. I hope they are listening, I don't have much outward evidence to support that they are, yet. I just took a couple of days off myself last week to resist the "tyranny of urgency" and attended the Texas Music Educators Association (TMEA)Meeting here in San Antonio TX. I am told it is the 2nd largest such meeting in the states. At this meeting they had a session on Motivating your "fill-in-the blank" (this week it was music student) and Managing Stress. The speaker was Dr. Michael Skinner from Crestwood KY of the SEE Organization who has been in behavioral psychology for many years. If you ever have a chance to hear him speak, take it. He is entertaining, engaging and truth will resonate within you.Ê He made a few points that supports your writing. First, students whose lives are a mess can't effectively learn much. In a related idea, Skinner says in all of his years of treating job related stress, he has only seen 6 true job stress cases. Most stress flows from the HOME into the workplace.Ê The psychiatrist missed an opportunity with you. Confrontation over bad coping mechanisms is a common practice in behavioral medicine, you turned the table on him. Sometimes it is hard to see in ourselves what we see in others. Skinner's basic point is for us to re-examine our lives for the 'true value set' (that's just for you math guys). We collect a lot of bad habits and funny ideas as we go through life, and periodically reviewing, reorganizing and throwing out the bad ideas helps keep us focused on what really matters. Otherwise, we wake up one day and realize we have wasted a huge amount of time pursuing a false goal (value). This process requires us to step out of the rat race and to slow down our internal clock, to see things differently all over again. Good meeting this TMEA!Ê Looking forward to ITF in Denton TX in May. Hope to see some of you there! Rick Marple San Antonio TX ======================================================================= Many years ago, when I was playing in the Baltimore Symphony, I had a student who was a middle aged man who liked playing the bass trombone in his spare time. He was a psychiatrist, and he had some talent. But he was one of the most tense players I had ever seen. I'll call him "Fred" because I cannot remember his name. Fred worked and worked, but his tension never allowed him to play to his potential. As we worked together and he would share bits and pieces about his life, I realized that his life was a mess. His marriage was a mess, his kids were a mess, his patients were a mess. He always felt he was behind the "8" ball and he could never catch up. He was a nervous wreck. One day, I said to him, "Fred, you're a player with some talent. But I have to say that there's not much more I can do for you as a trombone player until you take care of some of the things in your life which are causing you so much anxiety and anguish. I can't fix your trombone playing if your life is a mess." He left my studio that day and never returned. Sometimes the truth is hard to take. Richard's question, above, is important, and many people have weighed in with their thoughts on how to help students and players become more relaxed. I have things I do with my students and things I do myself, such as daily stretching exercises for about 20 minutes a day (I use "Stretching" by Bob Anderson, Shelter Publications, 1980. ISBN 0-936070-01-3 - but it may be out of print, my copy is very old), and 30 minutes daily on the Nordic Trak (or, when the weather is good, cycling). I work with students to make breathing a completely natural production, and to reduce the particular tension points in the body, particularly, the head, neck, shoulder, arms and back. They all work out of Roger Bobo's book, "Mastering the Tuba" (Editions BIM), play Bordogni Vocalises at sensible tempi, and feel my hand on their neck now and then, pointing out a hard muscle which needs to relax. But more than all of these things - each of which can be helpful - I work to communicate to my students the importance and value of a balanced life. I urge them to slow down, look up and around, get out of the practice room. I tell them to quit partying all night on the weekends and get some rest, to invest in relationships with people which are deep and meaningful, to develop a vibrant spiritual life, to read great literature, to write poetry, to enjoy looking at a painting. I urge them to listen to Mozart on their Walkman or in their car, and to play Bach chorales at the piano and try to learn why they stand as landmarks of western music 250 years after they were written. I tell them to make peace with their parents, to forgive their brothers and sisters and competitors, to be nice to their girlfriends (and to all women). I tell them to eat their vegetables because they'll feel better than eating bags of potato chips. I tell them to have a long talk with themselves about the "tyrrany of the urgent" and to realize that if they're tired, sick or dead, they can be of no help to anyone. That a rested body and a refreshed mind can change the world. I tell them these things because they are the lessons I've learned myself over many years - often at great cost and pain. When I see a student play with a hard, forced sound and sit in a chair tied up in a knot, I know there are problems in his life I can't fix in the trombone studio. So I talk about working on other areas of life so when they are improved, the trombone playing can improve. And I've seen miraculous transformations. In them. And in me. When you take the time to stand in front of a Rembrandt painting in a museum for 30 minutes and consider the colors, the use of shade and light, the intricacy of the frame, and much more, it's easier to play the trombone with focused, relaxed attention for 30 minutes as well. When you stand in a garden in the middle of a city and watch people go by for 25 minutes and say a prayer for each person who goes by - even though you don't know anything about them - you can find a peace and restfulness when you play the "Ride of the WalkŸre" in the practice room. When you sit, stuck in traffic for an hour and, instead of cursing the mess you listen to the first part of the Bach St. Matthew Passion (as happened to me the other day), you can leave the car at your destination and be refreshed, ready to make a difference in your next task. That's how I approach relaxation with my students. -Doug Yeo ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Tue, 26 Feb 2002 11:41:40 EST From: BITEensemble@aol.com To: Subject: FS: Thayer attachments Message-ID: <85.17fd004e.29ad14c4@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit For Sale: 2 Thayer Valves 1) '99 - shires attachments, like new condition $650 2)'97 - shires attachments, great condition, tuning slide not lacquered, 90% efficient $500 Email privately for more info -Wes ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Tue, 26 Feb 2002 08:49:44 -0800 (PST) From: Gabriel Langfur To: "Trombones and related issues forum." Subject: RE: Composers & Performers knowing their craft. Message-ID: <20020226164944.43338.qmail@web10305.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- Craig Parmerlee wrote: > At 09:20 AM 2/25/2002 -0600, Guion, David wrote: > >I understand that when John Swallow commissioned Gunther > Schuller's Eine > >Kleine Posaunenmusik, he asked that it not contain notes > higher than d", and > >that the highest note he could possibly play was f", yet > the piece has > >multiple f"-sharps! Schuller is lucky he got paid for > the piece and had it > >performed at all. But Mr. Swallow DID perform it and record it and did fabulously. And it HAS been played since. A friend and coleague of mine won a school concerto competition with it. I don't know of anyone other than Charlie Vernon who has played the Zwilich bass trombone concerto in public, but I own a copy, and it certainly inspired me to work on ranges I never thought possible on the bass trombone. > > > >If composers want their stuff widely performed, they > should look not only to > >virtuosos, but also good college students. I think both ideas are valuable...good composers can do both things, depending on their intent with particualr pieces - virtuoso music that pushes the best performers beyond what they think they can do AND music that is playable by more of the humans. Gabe __________________________________________________ Do You Yahoo!? Yahoo! Sports - Coverage of the 2002 Olympic Games http://sports.yahoo.com ----__ListProc__NextPart____TROMBONE-L__digest_2312 Date: Tue, 26 Feb 2002 09:46:05 -0800 From: alex iles To: "Trombones and related issues forum." Subject: Re: Big Phat Band on "The Other Half" Message-ID: <3C7BC9D6.E53E3D9D@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit I am resending this...it didn't go through this morning for some reason... alex iles wrote: > Hi all, > > If you are at home sick or something today or bored at work, and would > like to witness a total mismatch of music with a given demographic... > > Gordon Goodwin's Big Phat Band is appearing on the daytime talkshow, > "The Other Half" today at noon PST. Gordon actually wrote the theme for > the show and they asked if he would like to bring his whole big band on > a show to play. We played an abbreviated version of a latin funk tune > and the "The Other Half" theme at the end of the show. Otherwise, you > get to sit through a story about a guy getting a vasectomy and an > interview with actress, Kimberly Elise. [If you do watch, the bones from > l to r are Steve Holtman, Andy Martin, myself and Craig Ware] > > Alex ----__ListProc__NextPart____TROMBONE-L__digest_2312--