Subject: TROMBONE-L Digest - 17 Nov 2002 to 18 Nov 2002 (#2002-128) There are 35 messages totalling 1465 lines in this issue. Topics of the day: 1. 2B/Marcinkiewicz combination (was Oh great gurus...) 2. An Interesting eBay Story 3. OTJ Classifieds Update - 11/18/02 4. Recommendation for unaccompanied solo? (3) 5. unaccompanied solos -- Thanks 6. Screw Bells 7. which instrument is hardest to play? (5) 8. reflections from the road (4) 9. jazz trombone university gig 10. Wanting a Brass Band to Play In 11. The Brace (3) 12. Conn 110H Bass Trombone for auction on eBay 13. [Fwd: Trombone kills Musician] (2) 14. Great Sounds 15. Curtis Trombone Openings 16. Conn 28H (6) 17. Thanks Tom 18. Fwd: Re: [TBN-L] Conn 28H ---------------------------------------------------------------------- Date: Mon, 18 Nov 2002 03:16:55 EST From: SteveInside@AOL.COM Subject: 2B/Marcinkiewicz combination (was Oh great gurus...) In a message dated 12/11/02 18:31:04 GMT Standard Time, edregne@JONESDAY.COM writes: > King 2B/Cleveland model from approx the 1940's > Marcinkiewicz 8H or Lindberg 15CL mouthpiece > *************************************** Hi Eric, I'm just a child in these things and I saw some interesting and valuable replies to your original post so I didn't think I had much to offer. But I've been turning this over in my mind and wonder about the 2B/Marcinkiewicz combination. That seems to me in some ways to be a quite seductive mouthpiece for the player because it's so responsive, fast, crisp, articulate. It's just maybe too, in my eversohumbleopinion, a bit 'hard'? I'm not saying don't change your horn if that's what makes it work for you, but if that isn't an option right away, a change of mouthpiece could take off a little of the extra edge that's maybe being added by that mouthpiece? Only a thought. Best regards, Steve ------------------------------ Date: Mon, 18 Nov 2002 02:55:55 -0800 From: Howard Swain Subject: Re: An Interesting eBay Story ----- Original Message ----- From: "Chris Waage" To: Sent: Sunday, November 17, 2002 5:31 AM Subject: An Interesting eBay Story > Over the past several weeks, several Kansas City area churches have > had their sound systems stolen. The theives would hide in the church > after an event, then open a door and remove the equipment. Last > Sunday, my church was hit - a huge, nearly new sound board, two > computers, lighting controls - the whole works. Luckily the guest > speaker was a missionary who really didn't need a sound system . . . > . Not only sound equipment.......recently a member of the Parkville Community Band had her oboe stolen from a local church. Don't know if it's been recovered or not. Trombone content: After playing baritone for the past year in the Parkville Band, I am now playing bass bone (still learning, but it's going well, considering that prior to joining the band 1 1/2 years ago I had not played for 35 years). Howard Swain Kansas City, Missouri ------------------------------ Date: Mon, 18 Nov 2002 06:29:46 -0600 From: Chris Waage Subject: OTJ Classifieds Update - 11/18/02 The Online Trombone Journal Classifieds (http://www.trombone.org/classifieds) have been updated as of 6:28 AM CST on November 18, 2002. - - - - - Thank you for using the OTJ Classifieds! - - - - - OTJ Classifieds Frequently Asked Questions http://www.trombone.org/classifieds/faq.asp OTJ Gift Shoppe: http://www.cafepress.com/cp/store/store.aspx?storeid=trombones If you have any questions or comments about the Online Trombone Journal Classifieds, please contact me at chris@trombone.org. Chris -- ________________________________________________ Chris Waage, Associate Webmaster chris@trombone.org http://www.trombone.org - A web site for trombonists ------------------------------ Date: Mon, 18 Nov 2002 06:46:57 -0800 From: David Guion Subject: Re: Recommendation for unaccompanied solo? From: Craig Parmerlee Reply-To: Craig Parmerlee Date: Sat, 16 Nov 2002 18:01:11 -0500 >I''ve agreed to put on a convocation at an elementary school for a teacher >friend of mine. (snip) I'm looking for suggestions of things I can do that >won't depend on an accompanist. > (snip) Is >there anything that comes to mind for either trombone or trumpet that >stands alone, is about 3 minutes, and would be fun for young kids? > How about Alan Raph's Short Suite or Bernstein's Elegy for Mippy II? The Bernstein is only a minute and a half. The Raph may be longer than your three minutes, but you can omit a movement. Don't forget to mention that the fanfare is the shortest one ever written and then look at the audience and grin after you've played it! -- *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* David Guion Who is General Failure? And why is he reading my hard drive? david@trombone.org *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* -- ------------------------------ Date: Mon, 18 Nov 2002 09:17:52 -0600 From: "D.J. Kennedy" Subject: Re: Recommendation for unaccompanied solo? you can ask if its any bodys birthday -and play hb and variations and get the kids up and march aroundthe room with the saints !!! ok get the kids to recite the pledge ---and play america thebeautiful under it --etc ----disney themes ????????star wars ??? do a mute demo --how about that spit valve ?????? the kids are gonna notice that !!!!!! oh teacher can i take my horn to the bathroom how about play with a mouth ful of chewing gum ???? play the school song --christmas carols --- David Guion wrote: > From: Craig Parmerlee > Reply-To: Craig Parmerlee > Date: Sat, 16 Nov 2002 18:01:11 -0500 > > >I''ve agreed to put on a convocation at an elementary school for a teacher > >friend of mine. (snip) I'm looking for suggestions of things I can do that > >won't depend on an accompanist. > > > (snip) Is > >there anything that comes to mind for either trombone or trumpet that > >stands alone, is about 3 minutes, and would be fun for young kids? > > > How about Alan Raph's Short Suite or Bernstein's Elegy for Mippy II? The Bernstein is only a minute and a half. The Raph may be longer than your three minutes, but you can omit a movement. Don't forget to mention that the fanfare is the shortest one ever written and then look at the audience and grin after you've played it! > > -- > *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* > David Guion > > Who is General Failure? And why is he > reading my hard drive? > > david@trombone.org > > *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* > > -- ------------------------------ Date: Mon, 18 Nov 2002 10:00:00 -0500 From: Craig Parmerlee Subject: Re: unaccompanied solos -- Thanks I ant to thank everyone for all the ideas about this little project. It has given me a lot to think about. ------------------------------ Date: Mon, 18 Nov 2002 08:05:49 -0700 From: Dennis Clason Subject: Re: Screw Bells > > Could anyone with experience playing on a "screw bell" instrument > tell me how they > sound? > > Seems to me having some threading that close to the bell flare > would impact the sound. Not really. Horn players have been using screw bell instruments for years, with no discernable problems. Oh, wait -- you can't hear the horns anyway. Seriously, I've got a screw bell on my Bach bass. It adds weight to the instrument (not good). The added mass on the bell might help hold things together at high volumes, but I'm not sure, because I don't have an uncut bell to compare. The bell on my instrument was cut to make interchangable bell flares possible. It also allows the instrument to sit in a flat case, which is nice. You could have a flat case made up for the instrument that is little larger than big briefcase, which would make the flying thing easier. Bottom line: to paraphrase the Duke, if it plays good, it is good. I don't think I'd have a bell cut today -- the technology has changed, and modular instruments make bell interchanges more feasible. But I wouldn't eliminate a screw bell instrument from consideration, either. Dennis ------------------------------ Date: Mon, 18 Nov 2002 17:45:17 +0000 From: robert.osterlund@ATTBI.COM Subject: which instrument is hardest to play? > > I'm no expert on the recorder. I'm a decent mid-level player. For the > genre I > > play in, early music, and for what I strive to do with the instruments, I > > actually think that playing the recorder well is more difficult than > playing > > the trombone/sackbut well. Playing the recorder poorly is easy. Playing > it > > well is harder than many people think. (Not saying you think that.) > > I think they're both difficult to play well. Certainly it is easy to play > the recorder badly and difficult to civilize it. The fingers, the breath, > the tongue, and the brain all have to work together (Sounds like trombone, > right?). I selected the recorder as a second instrument because it doesn't > require the maintenance of muscle tone, and therefore I have found that, > having learned to play at a journeyman level, I don't have to work too hard > to maintain it. However, I definitely dust off my technique when I have any > challenging playing coming up, else I risk embarrassment. > > Any return thoughts? > > --Dave Burch Dave: Ordinarily I wouldn't respond to the list about something sort of off-topic, but I want to smooth any ruffled feathers. I find the recorder more challenging than the trombone FOR WHAT I STRIVE TO DO WITH THE INSTRUMENTS. Playing early music as I do, there's more I can and want to do with the recorder. Trombone/sackbut is, at least for now, just a secondary pursuit. (Playing recorder at the highest level can become fiendishly complicated, especially given alternate fingerings, slide fingerings, and other techniques meant to overcome some of that instrument's obvious limitations--e.g., limited dynamic range.) I am not making a point in the general debate about which instrument is hardest to play, or "my instrument is harder to play than your instrument." (You interpreted my comment correctly, I think. Others may not have.) Actually, and especially given the unsurpassed versatility of the trombone-- played in classical and early music, jazz, big band, pop, rock, Latin music, and many other genres I'm only dimly aware of--I am impressed by how difficult it would be to play the trombone *well* in any genre. (I am also impressed/distressed with the physical demands that the trombone make upon the player.) If I aspired to play trombone in a symphonic orchestra, I would be "singing a different tune" about its difficulty (in a personal sense). "Well" is the keyword here. There's no doubt that recorder is much easier to begin playing, and begin playing poorly, than the trombone. But in the hands (lips?) of a virtuoso, there are virtually no limits as to how far he/she can take any instrument. With the *possible* exceptions of violin, piano, and especially organ (my God, how do really good organists play complex keyboard sequences while simultaneously playing with the feet and managing the stops and controls?!), it is ultimately a meaningless argument as to which of the other instruments is "harder" or "hardest". On the other hand... When we were considering a band instrument for my son, a trombonist offered the opinion that the trombone was easier to play than the trumpet or French horn. He based this opinion on the mouthpiece size, since the trombone's mouthpiece is definitely larger. His opinion, not mine! Any return thoughts? Bob -- robert.osterlund@attbi.com http://earlymusichicago.home.attbi.com/ http://earlymusichicago.org/earlymusichicago/ ------------------------------ Date: Mon, 18 Nov 2002 10:01:09 -0800 From: Gabriel Langfur Subject: reflections from the road Hi all, Busy freelancing weekend...driving back and forth to Cape Cod (1 1/2 to 2 hours each way, and it was raining hard most of the time) and playing the Sunday evening BITE concert that Wes sent a notice of on Friday, which was really fun... One of the joys of orchestral freelancing is that you get to play quite a bit of the chorus + orchestra repertoire, and my gig on the Cape was a special one because it was music I've never played before and unfortunately may never play again: Brahms' Schicksalslied (absolutely gorgeous, with beautiful horn solos and trombone writing), and the Mendelssohn Second Symphony, which is 3 movements just for orchestra and then a long, 10-part last movement for orchestra, chorus and 3 soloists. Beautiful, stirring music, not performed often for some reason. One of the unique things about the Mendelssohn is that it begins with the trombones playing alone in unison, introducing the main theme of the first movement, that then comes back for the last movement. Every time it's introduced again, it's one or more of the trombones that has the first statement. My first question to the list is this: can you think of other orchestral pieces that start with trombones and only trombones? I can't... And my further reflections...spending so much time in the car I become very grateful for the CD player that the previous owner of my car put in. I've been doing some comparitive listening to several big band recordings and have some observations. First of all, I picked up a Gil Evans CD I had never heard of called Out of the Cool, recorded in the early 60s, after all the Miles collaborations. Great music, wonderfully played, even including a couple of solos on bass trombone by Tony Studd (what a perfect bass trombone name - right up there with Max Bonecutter and a local Boston guy named Mark Rohr). What really blew me away though, was a tune featuring Jimmy Knepper called Where Flamingos Fly. This is some of the most beautiful trombone playing I've ever heard on recording, and I'm not exaggerating. Easy, effortless, sweet-sounding in a completely unique way - not like Dorsey, or J.J., or Urbie Green - really a sound like no other I've ever heard. So unique in fact, that it was hard at first to be sure it was a trombone (of course I was driving in the pouring rain, so it could have been a kazoo - it was more obvious when I stopped the car and listened again later). I thought it might have been a flugelhorn, but then it seemed to go too low. Secondly, I picked up the Bob Mintzer "Latin from Manhattan" CD, and I'm blown away by the quality of the recorded sound. Everything is so present and well balanced. Usually I'm struggling to hear the trombone section the way I want on big band recordings - even some of the ones led by trombone players, like the John Fedchock band. There's a similar quality to the Fedchock recording on the Maria Schneider Orchestra CDs I have, and then I looked and saw they were recorded by the same engineer, who does a good job of getting an overall blend that's great for Schneider's music, but makes it somewhat difficult to hear independent lines. I'm interested to hear others' opinions on great, or not-so-great, sounding big band recordings. Gabe __________________________________________________ Do you Yahoo!? Yahoo! Web Hosting - Let the expert host your site http://webhosting.yahoo.com ------------------------------ Date: Mon, 18 Nov 2002 13:06:18 -0500 From: Dale Cruse Subject: Re: reflections from the road > Tony Studd (what a perfect bass trombone name - right up > there with Max Bonecutter and a local Boston guy named Mark > Rohr). And don't forget Dudley Hinote from the Airmen of Note! --- Dale Cruse www.dalecruse.com Setting you up for online success. ------------------------------ Date: Mon, 18 Nov 2002 12:56:39 -0500 From: Peter Fielding Subject: jazz trombone university gig Hello, As I'm not a jazzer, I thought I'd share a job posting that I stumbled across. All the best, Peter Fielding --------------------------- Position: Music Institution: Rutgers University at New Brunswick Location: New Jersey Date posted: 11/15/2002 Music: Faculty Vacancy, Fall 2003: Faculty Position: Jazz Studies, Trombone/Composition and Arranging. Assistant Professor Tenure-Track. Duties: Private studio and classroom instruction at both undergraduate and graduate levels; recruit jazz trombone students; teach composition and arranging with the intent of establishing a concentration in this area; coordinate jazz combo program; participate in departmental activities such as faculty committees, auditions, jury examinations, and recitals. Additional duties to be determined by departmental needs. National reputation as a jazz trombonist, composer/arranger; graduate degree preferred; extensive professional level performance, recording, and studio teaching experience required. Starting date: September 1, 2003. Send letter of application; resume; CD of 2 big band arrangements (one original and one standard); CD of trombone performance (selection of three contrasting pieces); list of references with contact information (phone numbers and e-mail addresses if available) to: Jazz Search Committee, Ralph Bowen, Chair, Department of Music, Mason Gross School of the Arts, Rutgers University, 81 George Street, New Brunswick, New Jersey 08901-1568. Deadline: December 15, 2002. Review process will begin in December with the goal of a March appointment. AA/EOE ------------------------------ Date: Mon, 18 Nov 2002 13:10:44 -0500 From: "Avery, Ray (232)" Subject: Re: which instrument is hardest to play? I can vouch that learning the recorder initially is easy and usually poorly done. It is hard to play in tune and fingerings can seem complicated to a trombone player. And can you actually play different dynamics? But, it is fun and early music is so enjoyable. I haven't played one in several years. Have looked all over the house for it to no avail - even the wife hasn't been able to find it. I think she doesn't want it found. Ray Avery Director, Human Resources Harvard Custom Manufacturing, Inc. 607-687-7669 -----Original Message----- From: robert.osterlund@ATTBI.COM [mailto:robert.osterlund@ATTBI.COM] Sent: Monday, November 18, 2002 12:45 PM To: TROMBONE-L@PO.MISSOURI.EDU Subject: [TBN-L] which instrument is hardest to play? > > I'm no expert on the recorder. I'm a decent mid-level player. For the > genre I > > play in, early music, and for what I strive to do with the instruments, I > > actually think that playing the recorder well is more difficult than > playing > > the trombone/sackbut well. Playing the recorder poorly is easy. Playing > it > > well is harder than many people think. (Not saying you think that.) > > I think they're both difficult to play well. Certainly it is easy to play > the recorder badly and difficult to civilize it. The fingers, the breath, > the tongue, and the brain all have to work together (Sounds like trombone, > right?). I selected the recorder as a second instrument because it doesn't > require the maintenance of muscle tone, and therefore I have found that, > having learned to play at a journeyman level, I don't have to work too hard > to maintain it. However, I definitely dust off my technique when I have any > challenging playing coming up, else I risk embarrassment. > > Any return thoughts? > > --Dave Burch Dave: Ordinarily I wouldn't respond to the list about something sort of off-topic, but I want to smooth any ruffled feathers. I find the recorder more challenging than the trombone FOR WHAT I STRIVE TO DO WITH THE INSTRUMENTS. Playing early music as I do, there's more I can and want to do with the recorder. Trombone/sackbut is, at least for now, just a secondary pursuit. (Playing recorder at the highest level can become fiendishly complicated, especially given alternate fingerings, slide fingerings, and other techniques meant to overcome some of that instrument's obvious limitations--e.g., limited dynamic range.) I am not making a point in the general debate about which instrument is hardest to play, or "my instrument is harder to play than your instrument." (You interpreted my comment correctly, I think. Others may not have.) Actually, and especially given the unsurpassed versatility of the trombone-- played in classical and early music, jazz, big band, pop, rock, Latin music, and many other genres I'm only dimly aware of--I am impressed by how difficult it would be to play the trombone *well* in any genre. (I am also impressed/distressed with the physical demands that the trombone make upon the player.) If I aspired to play trombone in a symphonic orchestra, I would be "singing a different tune" about its difficulty (in a personal sense). "Well" is the keyword here. There's no doubt that recorder is much easier to begin playing, and begin playing poorly, than the trombone. But in the hands (lips?) of a virtuoso, there are virtually no limits as to how far he/she can take any instrument. With the *possible* exceptions of violin, piano, and especially organ (my God, how do really good organists play complex keyboard sequences while simultaneously playing with the feet and managing the stops and controls?!), it is ultimately a meaningless argument as to which of the other instruments is "harder" or "hardest". On the other hand... When we were considering a band instrument for my son, a trombonist offered the opinion that the trombone was easier to play than the trumpet or French horn. He based this opinion on the mouthpiece size, since the trombone's mouthpiece is definitely larger. His opinion, not mine! Any return thoughts? Bob -- robert.osterlund@attbi.com http://earlymusichicago.home.attbi.com/ http://earlymusichicago.org/earlymusichicago/ ------------------------------ Date: Mon, 18 Nov 2002 10:25:19 -0800 From: Michael Kaszuba Subject: Wanting a Brass Band to Play In Hello all! I live in the Madison, WI area and would like to find a brass band to play in. Any leads?? Any good resource on the Internet to check out? Thanks! Michael __________________________________________________ Do you Yahoo!? Yahoo! Web Hosting - Let the expert host your site http://webhosting.yahoo.com ------------------------------ Date: Mon, 18 Nov 2002 14:18:50 -0500 From: "Wessner, John" Subject: Re: which instrument is hardest to play? I remember finding that I couldn't drink a single beer when playing recorder, because the breath-control was so critical. In the 70s I went to an American Physical Society meeting where Art Benade was giving a talk. He had an alto recorder on which he had repositioned the tone holes as modified the fipple. It had no dynamic limitations whatsoever. I can't imagine that you couldn't find a woodwind designer who could do the same kind of modifications. Of course, you would have to obliterate any evidence that it had been altered, or it would "sound different." Trombone content: I blew on it with the force required for forte trombone sounds. jw R. Osterlund wrote (in part) > (Playing recorder at the highest level can become >fiendishly complicated, especially given alternate fingerings, slide >fingerings, and other techniques meant to overcome some of that instrument's >obvious limitations--e.g., limited dynamic range.) ------------------------------ Date: Mon, 18 Nov 2002 11:37:03 -0800 From: Mike Mathews Subject: which instrument is hardest to play? I have heard this question so many times I can't possibly estimate how many there have been. My response has always been the same; There is no instrument that is the easiest (with the possible exception of comb & tissue paper). Each instrument has difficulties that are peculiar to the instrument. Pianists can play ten notes at a time (Wow!) however, none of them ever has to worry about playing in tune. I suppose it's nice when they notice that the piano is out of tune so they can call the tuner. No pianist ever has to worry about a note that is to high to play. Trombonists, on the other hand, have to tune every pitch and worry about that supersonic E-flat at the end of the piece, etc. But they never have to worry about playing ten notes at a time. For a short while I studied the highland pipes. Easy stuff -- just squeeze the bag and put fingers over the holes, right? Not on your life! Extremely difficult -- and I won't go into what makes it so hard to do. I think that there may be some instruments that are easier than others to play badly but if that's a goal, why bother? To make a long story short, they're all difficult to play it's just that every instrument has its own set of endemic difficulties. Mike Mathews Director of Instrumental Studies Missouri Western State College mathews@mwsc.edu ------------------------------ Date: Mon, 18 Nov 2002 16:12:28 -0500 From: Stephen Troy Subject: Re: which instrument is hardest to play? The hardest instrument to play is undoubtedly the trombone. At least *I* make it sound that way! Steve Troy ------------------------------ Date: Mon, 18 Nov 2002 13:15:53 -0800 From: Gabriel Langfur Subject: Re: Recommendation for unaccompanied solo? --- David Guion wrote: > How about Alan Raph's Short Suite Or his "Rock" for unaccompanied bass trombone. Gabe __________________________________________________ Do you Yahoo!? Yahoo! Web Hosting - Let the expert host your site http://webhosting.yahoo.com ------------------------------ Date: Mon, 18 Nov 2002 16:05:21 -0600 From: "Michael B. McCreless" Subject: The Brace This has probably been discussed before but has anyone used the brace on the greenhoe site? I do not want to spend any money if the thing does not do what they say. Michael McCreless bassbone_mike@alumni.jsu.edu ------------------------------ Date: Mon, 18 Nov 2002 14:11:52 -0800 From: Gabriel Langfur Subject: Re: The Brace --- "Michael B. McCreless" wrote: > This has probably been discussed before but has anyone > used the brace on the > greenhoe site? I do not want to spend any money if the > thing does not do > what they say. > Michael McCreless > bassbone_mike@alumni.jsu.edu It's been discussed before...it's pretty clear that it does what the site describes, but that not everybody likes it. As I remember, Gary's site is quite clear that he'll take it back for a full refund if you don't like it. BTW, I just bought the Rest Bar from the Greenhoe site, and I'm more and more thrilled with it every day...I wasn't sure I liked it at first, but then I picked up another bass trombone without one and wished it was there. And I've stopped moving it around, so I guess I've found the right spot for it...kinda like picking out my Shires trombone - when I stopped wanting to try different stuff I knew I was done selecting the components. Gabe __________________________________________________ Do you Yahoo!? Yahoo! Web Hosting - Let the expert host your site http://webhosting.yahoo.com ------------------------------ Date: Mon, 18 Nov 2002 17:13:01 -0800 From: Gordon Cherry Subject: Conn 110H Bass Trombone for auction on eBay CONN 110H Bass Trombone for sale on eBay. You may find this instrument for sale at the following url: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=923475948 This instrument is in as new condition and comes with: * single f-attachment rotor section * rose brass bell * chrome plated inner slides * lightweight slide * new style linkage. * .562" bore * about 3 years old (owned by the present owner for 2 years) * serial number is 5-741642 * 7512L Woodshell hard case in excellent condition * no mouthpiece These models have a list price of $2,250.00 brand new. The bass trombone has no dents and has 99.9% of its lacquer intact (there are some very small abrasions on the rotor casing, grip area, etc.), but nothing that takes anything away from its "new condition". The slide is in excellent condition and works very smoothly. Please note that you are dealing with a very reliable eBay seller with a perfect record, excellent service and great product satisfaction. As well I have 30 years in a major North American orchestra and am selling this trombone as a favor to a student. This trombone would be an excellent choice for a talented high school or junior school trombonist moving to his/her first bass trombone. If you have any questions about the instrument please do not hesitate to email. At the conclusion of this auction, a detailed email will be sent to the winning purchaser. All shipping charges,taxes, etc. will be paid by the purchaser. Method of shipping to be determined by the purchaser. A quote on the charges will be relayed by the seller and the total price to be paid will include the shipping charges based on the method (surface,express, etc.). There will be a reserve placed on this auction. Best wishes, Gordon Cherry Principal Trombone, Vancouver Symphony ------------------------------ Date: Mon, 18 Nov 2002 21:04:17 -0500 From: Denver Seifried Subject: Re: reflections from the road Glad that Gabe mentioned one of my very favorite bass trombonists, that being Tony Studd. I just dug through my old, vinyl record collection and found one of my favorite Tony Studd recordings, which was released on the Solid State record label, under the title of "Brass On Fire". The engineering on this 1966 released LP was done by Phil Romone, and is first-rate all the way. Tony does no solos; however, he does some ensemble playing that will just turn you around! I noticed on the photos on the jacket liner that it appears that Tony was doing all of this great playing on a Conn 72H, as it was definitely a single trigger horn! Tony's section-mates were no slouches either, being Bob Brookmeyer, Wayne Andre and Eddie Bert. Bone sections don't get much better than this, along with 4 trumpets, 4 horns and rhythm section. I doubt if this was ever re-released on CD, which is a real shame. Too bad some of the younger players could not hear what Tony sounded like back in 1966, way before the two valve horns, dual bore slides and large mouthpieces became popular. Wow, what a sound! I talked to Sam Burtis about Tony Studd, and he thought he had gotten out of the music business and into some kind of real estate restoration or developement. Anybody know for sure? Denny Seifried Bass Trombone-Springfield (OH) Symphony & Dayton Jazz Orchestra Adjunct Trombone-Wittenberg Univ. Dept. of Music ------------------------------ Date: Mon, 18 Nov 2002 18:43:51 -0800 From: Larry White Subject: [Fwd: Trombone kills Musician] This is a multi-part message in MIME format. --------------8A82821F2ADAD2BFFC96D175 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Received this caution from a good friend who wished that I would be careful and not get a lawsuit in the event I got to ambitious in my playing. Take care you folk in New Orleans.!! :>) Larry White --------------8A82821F2ADAD2BFFC96D175 Content-Type: message/rfc822 Content-Transfer-Encoding: 7bit Content-Disposition: inline Return-Path: Received: from george ([207.6.70.148]) by priv-edtnes14-hme0.telusplanet.net (InterMail vM.5.01.05.17 201-253-122-126-117-20021021) with SMTP id <20021118002457.TXPX1821.priv-edtnes14-hme0.telusplanet.net@george> for ; Sun, 17 Nov 2002 17:24:57 -0700 Message-ID: <000c01c28e98$ec6b66b0$944606cf@george> From: "George Skelton" To: "Larry & Elizabeth White" Subject: Trombone kills Musician Date: Sun, 17 Nov 2002 16:24:56 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 6.00.2800.1106 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1106 X-Mozilla-Status2: 00000000 Meant to send this as Att. You may have seen it but if not. Beware! > > ** MAN SLIDES HIS TROMBONE & KILLS MUSICIAN IN FRONT OF HIM! ** > By Randy Jeffries/Weekly World News > =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-==-=-=-=-=-= > > Bocholt, Germany - A band musician died of a brain injury when the > trombonist behind him jerked the slide of his trombone forward and > struck the trumpeter in the back of the head. Police say the tragedy > occurred as the Gratzfeld College band was rehearsing the spirited > American jazz classic, "When the Saints Go Marching In". > > According to other band members, trombonist Peter Niemeyer, 19,"got > carried away" with the music. He started gyrating and thrashing > around as he played. At one point, he jerked forward and the rounded > metal slide on his instrument hit trumpet player Dolph Mohr, 20, > dropping him instantly to the floor. > > "Niemeyer was pumping the slide very hard," said medical examiner Dr. > Max Krause. "But it wasn't just the force of the blow that killed Mohr. > "The slide struck him in the worst possible place-the vulnerable spot > just behind and below the left ear. "Bone fragments pierced his brain, > killing him instantly." > > The incident has provoked a storm of controversy over whether or not > American jazz should be played in German colleges. > > "I believe the music is to blame," said Gratzfeld band director Heinrich > Sommer. "I was pressured to play that selection by school administrators. > > But I've always said jazz is dangerous music. Our musicians can't > control themselves when they play it. They move and rock back and forth, > creating chaos. If I had my way, American Dixieland would be outlawed > in Germany. I've been directing bands for 30 years and I've never heard > of anyone dying while playing a German march". > > --------------8A82821F2ADAD2BFFC96D175-- ------------------------------ Date: Mon, 18 Nov 2002 21:53:02 -0600 From: Bill Dinwiddie Subject: Great Sounds Gabe wrote: "Secondly, I picked up the Bob Mintzer "Latin from Manhattan" CD, and I'm blown away by the quality of the recorded sound. Everything is so present and well balanced. Usually I'm struggling to hear the trombone section the way I want on big band recordings - even some of the ones led by trombone players, like the John Fedchock band. There's a similar quality to the Fedchock recording on the Maria Schneider Orchestra CDs I have, and then I looked and saw they were recorded by the same engineer, who does a good job of getting an overall blend that's great for Schneider's music, but makes it somewhat difficult to hear independent lines. I'm interested to hear others' opinions on great, or not-so-great, sounding big band recordings." I would like to submit two of my favorite big band albums as being among the best ever, in terms of quality of recording, and in terms of the quality of the writing and playing. They are: Bob Brookmeyer's New Art Orchestra "New Works", Challenge Records, CHR 70066, Recorded at the Bauer Studio in Ludwigsburg, Germany by Carlos Albrecht in 1997. Gordon Goodwin's Big Phat Band "Swingin' for the Fences", Silverline Records, 82002-2, Recorded in Hollywood, CA, at Capitol Studios, Conway Studios and others, by Tommy Vicari, in 2000. Both of these albums have the crucial three ingredients: gorgeous charts, virtuoso ensemble work, and beautifully recorded and balanced sound. Treat yourself to some early Christmas presents and pick up these great CD's. I'm sure glad that I did. I too would like to hear about some big band jazz favorites of the List members. Thanks. Bill Dinwiddie bill752d@attbi.com ------------------------------ Date: Mon, 18 Nov 2002 22:45:49 EST From: Blair Bollinger Subject: Curtis Trombone Openings Please forward to anyone who might be interested. Thanks, Blair Bollinger Openings for Tenor and Bass Trombone at The Curtis Institute of Music Philadelphia, PA, USA Curtis will have auditions for tenor and bass trombone in early March 2003 in Philadelphia. Curtis does not normally "advertise", but given that bass trombone auditions happen only once every four or five years, we'd like to make sure that any prospective students are aware of the possibility. Curtis limits enrollment to 3 tenors and 1 bass trombone. The Curtis Institute of Music is one of the finest music schools in the world. Students come from all over the world to study with a celebrated faculty. The trombone faculty is from the Philadelphia Orchestra: Nitzan Haroz, Principal and Blair Bollinger, Bass Trombone. There is no tuition at Curtis. All of the 160 or so students are on a full scholarship. Living expenses are the responsibility of the student. Curtis trombone graduates include (not a complete list): Joseph Alessi, New York Philharmonic Larry Bird, San Antonio Symphony Blair Bollinger, Philadelphia Orchestra Chris Dudley, Baltimore Symphony Torsten Edvar, Opera della Scala, Milano, Italia Mark Lawrence, San Francisco Symphony Carl Lenthe, Indiana University Darrin Milling, Orquestra Sao Paolo, Brasil Kevin Roberts, Orquestra de Santiago, Chile Rick Stout, Cleveland Orchestra Debra Taylor, New Mexico Symphony Audition repertoire, application and full information are available on the website - www.curtis.edu ------------------------------ Date: Mon, 18 Nov 2002 21:59:30 -0600 From: Tom Izzo Subject: Re: The Brace Well Michael, I don't use the brace on the Greenhoe site, I use it on a Trombone! :-) All humor aside, I swear by it on my Contra. It makes the Contra feel like a Tenor. Just think I actually have TWO objects added (double slide), & the instrument feels lighter. It's easier to play in tune, the pitch centers better, & I actually need less warmup. I didn't get the same feeling on my Bass. But I say try it. Your mileage may vary. Tom' -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU]On Behalf Of Michael B. McCreless Sent: Monday, November 18, 2002 4:05 PM To: TROMBONE-L@PO.MISSOURI.EDU Subject: [TBN-L] The Brace This has probably been discussed before but has anyone used the brace on the greenhoe site? I do not want to spend any money if the thing does not do what they say. Michael McCreless bassbone_mike@alumni.jsu.edu ------------------------------ Date: Mon, 18 Nov 2002 23:05:49 -0500 From: Douglas Yeo Subject: Conn 28H I've had a query from someone wondering what the Conn 28H trombone is. I've never heard of it - anyone know anything about it - specs, etc? Thanks very much, -Doug Yeo -- Douglas Yeo Bass Trombonist, Boston Symphony Orchestra Music Director, The New England Brass Band dyeo@rcn.com /// yeo@yeodoug.com http://www.yeodoug.com <>< ------------------------------ Date: Mon, 18 Nov 2002 22:06:42 -0600 From: Jay Heltzer Subject: Re: reflections from the road Regarding orchestra/opera pieces that feature just the trombones, open with just trombones, the overture to Nabucco immediately comes to mind. 4 part writing at its finest. Jay Heltzer ------------------------------ Date: Mon, 18 Nov 2002 22:10:37 -0600 From: Tom Izzo Subject: Re: [Fwd: Trombone kills Musician] Larry, This is an OLD OLD OLD wive's tale. It's passed around on the internet several times EVERY year. Heck if it ever did happen, those teenagers are probably in their 60's now. Sorry to burst your bubble. Tom -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU]On Behalf Of Larry White Sent: Monday, November 18, 2002 8:44 PM To: TROMBONE-L@PO.MISSOURI.EDU Subject: [TBN-L] [Fwd: Trombone kills Musician] Received this caution from a good friend who wished that I would be careful and not get a lawsuit in the event I got to ambitious in my playing. Take care you folk in New Orleans.!! :>) Larry White ------------------------------ Date: Mon, 18 Nov 2002 22:19:08 -0600 From: "Michael B. McCreless" Subject: Thanks Tom Tom if you use a brace on your contra then would it be a contra brace? Thanks for the advice. Michael ------------------------------ Date: Mon, 18 Nov 2002 23:18:52 EST From: BassBonist@AOL.COM Subject: Conn 28H This may not shed a huge amount of light on Doug's question but the following website is a base of information on Conn trombones made from 1919 to 1965 http://www.whc.net/rjones/connslidebone.html Matt Varho ------------------------------ Date: Mon, 18 Nov 2002 23:31:11 -0500 From: Douglas Yeo Subject: Re: Conn 28H At 11:28 PM -0400 11/18/02, sabutin wrote: > Need more info. Conn used + reused model numbers. 4 separate 28Hs listed. > > S. Serial number #382223. -Doug Yeo -- Douglas Yeo Bass Trombonist, Boston Symphony Orchestra Music Director, The New England Brass Band dyeo@rcn.com /// yeo@yeodoug.com http://www.yeodoug.com <>< ------------------------------ Date: Mon, 18 Nov 2002 23:28:38 -0400 From: sabutin Subject: Re: Conn 28H Need more info. Conn used + reused model numbers. 4 separate 28Hs listed. S. =========== >I've had a query from someone wondering what the Conn 28H trombone >is. I've never heard of it - anyone know anything about it - specs, >etc? > >Thanks very much, > >-Doug Yeo > > >-- > > >Douglas Yeo >Bass Trombonist, Boston Symphony Orchestra >Music Director, The New England Brass Band > >dyeo@rcn.com /// yeo@yeodoug.com >http://www.yeodoug.com > ><>< -- (Sam Burtis, proud proprietor of The Trombone Store in NYC, featuring fine new and used lower brass instruments and accessories. Visit us on the web at [still under construction] or call us at [718] 796-4413. By appointment only.) ------------------------------ Date: Tue, 19 Nov 2002 00:12:00 -0400 From: sabutin Subject: Re: Conn 28H >At 11:28 PM -0400 11/18/02, sabutin wrote: >> Need more info. Conn used + reused model numbers. 4 separate 28Hs listed. >> >> S. > > >Serial number #382223. > >-Doug Yeo ============== The list says "Connstellation" 1949-1951. Later there was a 48H Connstellation that was a .500 bore nickel silver plated bell version of the 6H. I've never seen a 28H, but if the description matches or is similar, maybe this was an earlier version of the fairly popular 48H. Sam >-- > > >Douglas Yeo >Bass Trombonist, Boston Symphony Orchestra >Music Director, The New England Brass Band > >dyeo@rcn.com /// yeo@yeodoug.com >http://www.yeodoug.com > ><>< -- (Sam Burtis, proud proprietor of The Trombone Store in NYC, featuring fine new and used lower brass instruments and accessories. Visit us on the web at [still under construction] or call us at [718] 796-4413. By appointment only.) ------------------------------ Date: Tue, 19 Nov 2002 00:26:43 -0400 From: sabutin Subject: Fwd: Re: [TBN-L] Conn 28H Found a description and picture of one w/serial number 398433. Close. Says .500 bore, picture shows a brass bell...some 6H variant, I'll bet. Then I found a BIG picture + info. Looks like an attempt to compete w/Olds. Bbalance weight integrated into rear braces, Olds-like front brace, red brass slide and maybe bell... The site says: _______________________________ The name "Connstellation" is reserved for top of the line models. The 28H Connstellation was built between 1949 and 1951. Bore unknown. What Conn said in 1951: Big powerful tone from this medium bore Connstellation; sounds as if it could be from a large bore trombone! Here is genuine medium bore effort with truly large bore results. True trombone tone quality. Although tone is powerful, it is also bright and solid, with just the right amount of cutting quality. You'll say it's the finest trombone you've ever heard! "Free blowing" scale. The scale is smooth and even, every tone being of the same strength and quality. No rough spots to cause the player to stumble. Resistance held to a minimum necessary for good control. High range performance. The design of the bore in this model favors the high register. The tone quality is big and fat; especially good are such usually difficult and thin notes as high F and G (above the bass clef). Solid low register. An extra-large bell for this bore size "fattens up" the tone in the low register. Also contributing to this solid low register is a different type of bell construction. "Fastest action on any trombone". That's what several competent players say. The slides are extremely light, not only because they are drawn thin but also because they are narrow and streamlined. Didn't last...probably because it didn't work. S. > > >>At 11:28 PM -0400 11/18/02, sabutin wrote: >>> Need more info. Conn used + reused model numbers. 4 separate 28Hs listed. >>> >>> S. >> >> >>Serial number #382223. >> >>-Doug Yeo > > >============== > > The list says "Connstellation" 1949-1951. Later there was a 48H >Connstellation that was a .500 bore nickel silver plated bell >version of the 6H. I've never seen a 28H, but if the description >matches or is similar, maybe this was an earlier version of the >fairly popular 48H. > > Sam > >>-- >> >> >>Douglas Yeo >>Bass Trombonist, Boston Symphony Orchestra >>Music Director, The New England Brass Band >> >>dyeo@rcn.com /// yeo@yeodoug.com >>http://www.yeodoug.com >> >><>< > > >-- > >(Sam Burtis, proud proprietor of The Trombone Store in NYC, >featuring fine new and used lower brass instruments and accessories. >Visit us on the web at [still under >construction] or call us at [718] 796-4413. By appointment only.) -- (Sam Burtis, proud proprietor of The Trombone Store in NYC, featuring fine new and used lower brass instruments and accessories. Visit us on the web at [still under construction] or call us at [718] 796-4413. By appointment only.) ------------------------------ Date: Mon, 18 Nov 2002 23:27:42 -0600 From: Dilshad Kasmani Subject: Re: Conn 28H The 28H Connstellation was a .500" bore light weight slide with a 7.5" brass bell. The braces were different from the 4Hs, 6Hs, etc of the time. They were smoother and shaped more like the braces on the 48H. These show up on ebay every so often, and usually sell for fairly cheap. Good luck. Dilshad ----- Original Message ----- From: "sabutin" To: Sent: Monday, November 18, 2002 10:12 PM Subject: Re: [TBN-L] Conn 28H > >At 11:28 PM -0400 11/18/02, sabutin wrote: > >> Need more info. Conn used + reused model numbers. 4 separate 28Hs listed. > >> > >> S. > > > > > >Serial number #382223. > > > >-Doug Yeo > > > ============== > > The list says "Connstellation" 1949-1951. Later there was a 48H > Connstellation that was a .500 bore nickel silver plated bell version > of the 6H. I've never seen a 28H, but if the description matches or > is similar, maybe this was an earlier version of the fairly popular > 48H. > > Sam > > >-- > > > > > >Douglas Yeo > >Bass Trombonist, Boston Symphony Orchestra > >Music Director, The New England Brass Band > > > >dyeo@rcn.com /// yeo@yeodoug.com > >http://www.yeodoug.com > > > ><>< > > > -- > (Sam Burtis, proud proprietor of The Trombone Store in NYC, featuring > fine new and used lower brass instruments and accessories. Visit us > on the web at [still under > construction] or call us at [718] 796-4413. By appointment only.) ------------------------------ End of TROMBONE-L Digest - 17 Nov 2002 to 18 Nov 2002 (#2002-128) *****************************************************************