TromboneChat

Quote from: Paul Martin on Dec 04, 2011, 08:48AM
These guys look like their dressed for landscaping work, this is the sort of sloppy look jazz-oriented groups seem to have gravitated toward, when did jazz musicians decide it was OK to look like they're going shopping at Wal-Mart?

Gees, and they got those uniforms specially for the American tour and the Sacramento Jazz Festival. With an Aussie group you are lucky they are not wearing T-shirts, shorts and thongs (shoes, I hasten to point out).

Certainly, if you are playing a formal function, then a tux may be appropriate. I believe that, providing the jazz is first class, what does it matter what they wear? Evan once told me that every time Tom Baker appeared at the Sacramento festival, the crowd followed him from tent to tent. They obviously did not care a hoot what he wore.

The video I posted prieviously and which followed the Wal-Marti uniforms is of Tom playing at the Strawberry Hills hotel in Australia and is much more typical of a traditional jazz band hereabouts. However, you have to remember they played in the public bar of a pub in a pretty rough area of Sydney. That particular pub is no longer featuring jazz and the area has been taken over by the inevitable bloody poker machines.


The downstairs windows on the left of this picture are the ones behind Tom in the video.

Myself, I tend to favour a uniform look for my band but it does not get much smarter than the frontline wearing all black and the rhythm section wearing white shirts :


Sam is correct about the pay though! That is the reason there are not too many jazz professionals in Australia. The real exception to that is James Morrison, perhaps because he is the only one with a business head. And a superstar to boot!

A couple more videos of Tom Baker, featuring those Fireworks uniforms that Paul likes so much. I suspect Paul was a bit tongue-in-cheek with his criticism:

http://www.youtube.com/watch?v=BHgxAOZBb60&feature=related

http://www.youtube.com/watch?v=CODjD6VIbnM&feature=related

Hey, listen to the audience reacting to a bit of Aussie trad.

And a couple more to show Tom's multi instrumental talents. Here playing with his Aussie lady, Janet Seidel:

http://www.youtube.com/watch?v=HLnmMDQjUHE

And here on trumpet with Rebecca Kilgore; an American vocalist I like a lot who is normally heard with Dan Barrett - Tom's long-time best mate.

http://www.youtube.com/watch?v=gAeZTkJm4VM

We miss you Tom!

Dang! anything he didn't play? and play well btw. As far as dress goes, it used to be every gig was black pants white shirt. I don't see where the green shirts are so bad.

Quote from: Graham MartinCertainly, if you are playing a formal function, then a tux may be appropriate. I believe that, providing the jazz is first class, what does it matter what they wear? Evan once told me that every time Tom Baker appeared at the Sacramento festival, the crowd followed him from tent to tent. They obviously did not care a hoot what he wore.

There's a big gap between being dressed to apply herbicides, and being dressed in a tux; my experience listening to live jazz groups in many different places is that there is a small number of hardcore jazz listeners who don't care about the optics of a performance, or whether there is any kind of emotional arc to it that ties it all together (this might all be bundled up under the heading "stagecraft").

Put another way, a lot of excellent musicians come across as very amateurish in the presentation aspect of their performance, long count-offs, energy-sapping pauses between charts, not engaging the audience, blathering on about minutiae regarding the pieces being performed, etc.

I'm not advocating for "Lawrence-Welk style" corn, just trying to maximize an audience's experience.  If putting a bit of polish on a performance is not demeaning, not costly to adopt, and might add to the overall experience to people outside of the group of core "true believers," why not go to the trouble to incorporate them into your performance?

Quote from: Paul Martin on Dec 05, 2011, 07:15AMPut another way, a lot of excellent musicians come across as very amateurish in the presentation aspect of their performance, long count-offs, energy-sapping pauses between charts, not engaging the audience, blathering on about minutiae regarding the pieces being performed, etc.
I strongly disagree with the description of those uniforms worn by the Australian jazz band "Fireworks" as typical of pest controllers but I do agree with your general criticism of presentation by some jazz bands. Just not those musicians you picked on. They were always excellent at engaging the audience.

I think you would have to agree that the seated audience at the Sacramento jazz festival was totally 'into' what the band was doing. My only disappointment with them was the lack of young faces. But that particular festival is organised by the Sacramento Traditional Jazz Society and I just do not think that style of jazz appeals to a younger audience - more is the pity. Although I have noticed they changed the name recently and even thrown in a bit of rock 'n roll They do seem to be aiming at a different audience:

http://www.youtube.com/watch?v=x17EiEb219s

It is a 'festival' and the dress is usually very casual. A very different atmosphere to say a club or dance venue . I usually go to several jazz festivals each year in Australia, mainly because they are the last bastion of traditional jazz, although they are not exclusively traditional jazz. Most males in the audience, and some on stage , wear shorts. It does get pretty hot hearabouts and many of the events are outdoors.

I don't think Americans are any better dressed at a typical jazz festival:

http://www.youtube.com/watch?v=TvNl7Yl1DIw&feature=related
http://www.youtube.com/watch?v=JgUNbNW7ddQ&feature=related
(Good to see Bob Havens still blowing strong!)

What do you think of the T-Shirt band uniforms?

And here is Bill Allred with a long 'blather' from this year's festival, but appropriate to the occasion, paying tribute to some recently passed musicians.

Love the tie Bill! Hang in there, folks, his solo is worth the wait.

http://www.youtube.com/watch?v=xjCuWnZIjoY&feature=related

Fairly casual dress here but no T-shirts, remembering that Sacramento is in May and it can be a bit chilly.

I must point out that both Pete and Bill wear appropriate gear for the smarter venues!

http://www.youtube.com/watch?v=3BP-NGFooJU

http://www.youtube.com/watch?v=JKF0ks5qXe8

'Horses for courses', I feel. Festivals are what they are!

John Allred in very mellow form "Do You Know What It Means To Miss New Orleans/"

http://www.youtube.com/watch?v=0-oDFkSXNqo&feature=related

And, a nice transcription of Mt Allred's solo on " It's Allright With Me"

http://www.youtube.com/watch?v=5DLR_DGj-S0&feature=related

I love this guys playing, he always sounds like he's having fun.

Enjoy

BellEnd

NOW THIS IS FUNKY 

The band is called Big Sam's Funky Nation

http://www.youtube.com/watch?v=OwRCpOESmo8&feature=related

Nice

BellEnd

Quote from: Bellend on Dec 07, 2011, 10:04AMJohn Allred in very mellow form "Do You Know What It Means To Miss New Orleans/"

http://www.youtube.com/watch?v=0-oDFkSXNqo&feature=related
Yep, very nice! I don't think that too much high note doodling would have sat very well with the banjo somehow, and thus a more restrained John.

Quote from: Bellend on Dec 07, 2011, 10:04AMAnd, a nice transcription of Mt Allred's solo on " It's Allright With Me"

http://www.youtube.com/watch?v=5DLR_DGj-S0&feature=related

I love this guys playing, he always sounds like he's having fun.

BellEnd

Like father, like son. But I still think that Bill has got the edge.

Hasan Gozetlik

Turkish music on trombone


http://www.youtube.com/watch?feature=player_embedded&v=qN6YHIdkSn0#!


http://www.youtube.com/watch?v=NLZq3WHIp44&feature=related

http://www.youtube.com/watch?v=Nf05LFKfWDw&feature=related

There are quite a few videos of him on youtube.
I'm an instant fan!

Quote from: JacobGarchik on Dec 10, 2011, 11:47AMHasan Gozetlik

Turkish music on trombone


http://www.youtube.com/watch?feature=player_embedded&v=qN6YHIdkSn0#!


http://www.youtube.com/watch?v=NLZq3WHIp44&feature=related

http://www.youtube.com/watch?v=Nf05LFKfWDw&feature=related

There are quite a few videos of him on youtube.
I'm an instant fan!
Me too.

I got yer "New Music" and "quarter tones."

Right HERE!!!

S.

Quote from: JacobGarchik on Dec 10, 2011, 11:47AMHasan Gozetlik

Turkish music on trombone


http://www.youtube.com/watch?feature=player_embedded&v=qN6YHIdkSn0#!


http://www.youtube.com/watch?v=NLZq3WHIp44&feature=related

http://www.youtube.com/watch?v=Nf05LFKfWDw&feature=related

There are quite a few videos of him on youtube.
I'm an instant fan!



Trot these videos out the next time someone asks how many positions there are on the slide.

I've never heard a trombonist do this before!  (Well, maybe beginners trying to slur.  )

Turkish music is a lot like jazz. To play it successfully you have to know the language and the feel.

I was really delighted at the fact the trombone player got the most applause. Do you think it was because the other instruments featured do not have access to the same notes as a trombone player? Or that the player has total control of the style?

Whatever, it was great trombone playing.

Not necessarily YouTube, but here's a nice recording of Dave Taylor performing Der Doppelganger, with the PostClassical Ensemble. I've actually seen other (better) versions on the web, but the production values of this particular video really stands out.

Has Mr. Taylor ever recorded this piece? I've been searching for it with no success.

http://vimeo.com/22776563

oo

Quote from: JacobGarchik on Dec 10, 2011, 11:47AMHasan Gozetlik

Turkish music on trombone


http://www.youtube.com/watch?feature=player_embedded&v=qN6YHIdkSn0#!


http://www.youtube.com/watch?v=NLZq3WHIp44&feature=related

http://www.youtube.com/watch?v=Nf05LFKfWDw&feature=related

There are quite a few videos of him on youtube.
I'm an instant fan!



Man Jacob, you come post the greatest stuff...I just lost my Sunday morning to Hasan...badass.  Keep it coming!

Quote from: Bellend on Dec 07, 2011, 10:11AMNOW THIS IS FUNKY 

The band is called Big Sam's Funky Nation

http://www.youtube.com/watch?v=OwRCpOESmo8&feature=related

Nice

BellEnd


Being from Louisiana, I'm a Big Sam fan. That duel between him and Trombone Shorty is very good!

I hate to boast but...I have said here numerous times that The Mambo Legends Orchestra is the equal of any large American-style ensemble ever come to down the pike, the great Basie bands included. Here's my evidence on YouTube. Complete with real production values and minus only a live audience.
 
Here and here.

This is a people band, and as fierce as the groove eventually gets on these videos, with a strong, dancing audience the intensity goes to somewhere well above 11 on a scale of 10. It's at about 8.5 here, and that itself is some kind of miracle in a live, basically get-a-balance-and-do-one-take situation. Besides the obvious...the incredible rhythm section, the equally incredible charts by José Madera, the singers (Frankie Vazquez!!!), the sax section (led by the incomparable Bobby Porcelli, perhaps the greatest relatively unknown jazz saxophone soloist in the world besides being an amazing lead alto player) and the strongest brass section that I have ever heard or played with (The trumpets!!! Not a weak note available through three octaves plus, times four. Amazing.)...since this is a "More YouTube Trombonists" thread I will go on a little about the trombone section.

On the bottom...playing trigger tenor with a sound as big as a house but never, ever blatty (A late '20s/early '30s .522 bore Conn with something in the neighborhood of a 4G m'pce. Maybe larger. How does he do it? Damned if I know.) is one of my oldest friends in the world and along with myself and not very many others a graduate of the Jack Nowinski school of trombone playing...Lewis Kahn.

Playing third is to my ears the greatest latin trombone soloist in the world, Jimmy Bosch. He is playing...for the first time in public, I think...his new Rath horn. It's a .500 bore, I believe. He has been playing .525-ish Yamahas for years and managing to stay strong on them for literally thousands of three set latin gigs that would waste the average good player somewhere in the middle of the first set.  A force of nature.

On second is the other greatest latin trombone soloist in the world, Reynaldo Jorge. He is playing a '60s sterling silver King 3B w/an 11C. How he gets a sound that big out of a stock 11C is beyond me, but he does.

I am playing lead. I have been playing the parts for many years on a regular weight, goldplated Shires .500 bore (7.75" bell) w/a Minick m'pce that I like to think of as an 11C on steroids, but I have been experimenting this past couple of months or so with playing them on a Shires .485 (Regular weight brass slide, 8" lightweight brass #7 bell) and a Mt. Vernon 12C. It is a great lead horn/m'pce combination for mainstream jazz work but the jury is still out about how it works in a Godzilla band like this. Sometimes it feels great, other times it's just a little too...civilized. We shall see. Matching these kinds of trumpet players in terms of intensity of sound and timbre on parts that mostly stay up around --> is a never-ending challenge. Bet on it.

A shout out to Marty Cohen, who produced and sponsored this taping, held it at his house in New Jersey and afterwards fed this crew of ravenous monsters one of the best latino-style meals that I have ever eaten, cooked by his wonderful wife, Vivianne. He is the founder of the largest percussion instrument manufacturing company in the world, Latin Percussion, an absolutely tireless proponent of New York-style latin music and one of the most generous, caring men that I have ever met. Blessings on him and on his whole family as well.

Enjoy.

S.

P.S. Someone recently called this band "The Supreme Court of Salsa" on Facebook. Although Tito Puente hated the word "salsa"...he would say "Salsa? Salsa tomate!!! We play mambo music!!!"...I would have to concur. Here come da judge!!!

I've been subscribed to Martincongahead on youtube for over a year now. He is ALWAYS turning out great videos from that studio; which is in his house? Awesome. Clearly lives the stuff. Great to hear he's at least as cool as his videos are. And great to see the Mambo Legends featured!

Quote from: Bonefide on Dec 12, 2011, 04:33AMI've been subscribed to Martincongahead on youtube for over a year now. He is ALWAYS turning out great videos from that studio; which is in his house? Awesome. Clearly lives the stuff. Great to hear he's at least as cool as his videos are. And great to see the Mambo Legends featured!

"Clearly lives the stuff?"

Yes he does!

S.

Wow, THAT got me going this morning! Grooving hard!

F***********K!  Man, that is band.  Brass Section, whew!  I love John Walsh's lead playing.  You're laying it out there too Sam.  And Frankie Vasquez nailing the augmented 5th coming out of the bridge on 'Funny' all alone...geez!  Love it!  You're right about Bobby Porcelli.  I always wondered why I had never heard of him before I moved to town.  Heard him at one of my first rehearsals in the city and it blew my mind.

Thanks for posting, Sam!!!!!!!

These are great videos, Sam. 

Quote from: ntap on Dec 12, 2011, 09:39AMThese are great videos, Sam. 

Thank you, Nick. I am sorry that you couldn't attend. To tell you the truth, when I left Marty's I was a little skeptical about how the video was going to come out. It didn't feel as good as it sounds...deadish room, cramped quarters, what looked like some serious confusion in the tech department (Was I wrong there!!!), some restiveness among a few band members for any number of reasons...but Marty's good heart and a great, working band with a 30+ year history (including the time many of us spent with Tito Puente) pulled it off.

See ya somewhere...

Sam

Quote from: sabutin on Dec 12, 2011, 09:49AMThank you, Nick. I am sorry that you couldn't attend. To tell you the truth, when I left Marty's I was a little skeptical about how the video was going to come out. It didn't feel as good as it sounds...deadish room, cramped quarters, what looked like some serious confusion in the tech department (Was I wrong there!!!), some restiveness among a few band members for any number of reasons...but Marty's good heart and a great, working band with a 30+ year history (including the time many of us spent with Tito Puente) pulled it off.

See ya somewhere...

Sam

Wish I could have, too, I was bummed I couldn't.  I remember talking to you about this the other day, but it seems like it really worked out.

Quote...Marty's good heart and a great, working band with a 30+ year history...
A great combination. 

Quote from: sabutin on Dec 12, 2011, 04:12AMFrankie Vazquez!!!

You can say that again. Holy smokes.

La Orquesta feels so so good. Swinging and relaxed like that great Machito at the Crescendo album.

Thanks Sam!

Quote from: malec on Dec 12, 2011, 12:40PMYou can say that again. Holy smokes.

La Orquesta feels so so good. Swinging and relaxed like that great Machito at the Crescendo album.

Thanks Sam!

Man, if you can play your horn and have some idea about the idiom, a rhythm section like that will swing you into bad health!!! Johnny Rodriguez's bell playing alone could make a brick swing, and Sonny Bravo? Fuggedaboudit!!! Joe and Georgie and Joe's brother Gerry too? It's almost silly, how good they are. Roots City, and still in their playing prime.

A blessing.

S.

Sam, thanks for posting those links, that led to about an hour of awesome in the pocket playing from you guys that I listened to, it just never gets old and you are so  right when you say that rythm section could make a brick swing.

Quote from: artyart on Dec 13, 2011, 04:00AMSam, thanks for posting those links, that led to about an hour of awesome in the pocket playing from you guys that I listened to, it just never gets old and you are so  right when you say that rythm section could make a brick swing.

"...it just never gets old..."

You know, that's one of the mysteries and glories of this idiom. It never does seem to get "old." I have a hard time explaining it. Other styles? The do get old. A great jazz big band from the late '40s/'50s/'60s? The Frank Wess/Frank Foster Basie Band or Ellington from the same period? Even the Thad Jones/Mel Lewis or Gerry Mulligan band recordings? They are no less great than they were at the time, but they sound somewhat...dated. The great Machito/Tito Puente recordings from the same eras? Fresh. Still. Ditto bands playing in and around those idioms today. It has something to do with the rhythm sections, I think. There is just so much rhythmic accuracy and power in a great latin rhythm section...the clavé accuratizes things on an almost otherworldly level...that there is simply nowhere to put the notes but in the right place, and a great part of the "dated" effect seems to me to be in the placement of notes. Listen to say the Fletcher Henderson or Paul Whiteman bands, for example. It's like hearing a dated linguistic accent. In fact, those styles are so dated that there are almost no players left to be found who can make them sound right.

These NYC latin players and the other musicians from North/South/Central/Caribbean America who are staying true to the real Afro-Cuban/NYC roots of the music instead of going all "Latin Pop" on it are not recreating a tradition the way we do when we play older jazz styles, they are playing in a living tradition. When I started playing live gigs for dancers with the Tito Puente big band way back in the late'60s/early'70s...charts from the '50s, most of them...I was amazed at how fresh the music sounded. 30+ years later? They haven't aged a bit. When the Chico O'Farrill band played his masterpiece compositions...The Afro-Cuban Suite for example, written in about 1943...at Birdland for 15 or so years of Sundays, the same thing held true. They sounded like they were written last week.

Like I said above...a blessing.

S.

Does this band cover some of the old charts?  And how about recasting some of the old "Latin style" Kenton charts, maybe the Johnny Richards ones, but done with this authentic rhythm section rather than Kenton's "in the style of" section?  It'd be great to hear a brass section do these that can actually do them and not bail out on the top, bottom, or middle as they all seem to do when they try. 

QuoteLike I said above...a blessing.

S.
it sure is

Quote from: baileyman on Dec 13, 2011, 05:12AMDoes this band cover some of the old charts?  And how about recasting some of the old "Latin style" Kenton charts, maybe the Johnny Richards ones, but done with this authentic rhythm section rather than Kenton's "in the style of" section?  It'd be great to hear a brass section do these that can actually do them and not bail out on the top, bottom, or middle as they all seem to do when they try. 

To put it simply...no. This band plays music that is pretty much entirely "in the style" of the NY Afro-Cuban/Nuyorican bands in which almost all of its members have roots...the Tito Puente, Machito and Tito Rodriquez bands plus the many smaller NY latin groups in which we have all played. I imagine that if it actually became a well-paying, ongoing commercial entity instead of mostly a labor of love those horizons might eventually expand to some degree, but as it is we have enough music for about 8 or 9 sets without a repeat and more appearing every few months. Things like the Kenton "latin" pieces are simply not in clavé on this level and would have to be completely reimagined rhythmically for this band and this rhythm section to play them.

Not a bad idea, though. All it would take would be thousands of dollars...

Oh well.

Not likely in this culture as it stands now.

So it goes.

Later...

S.

Someone put up a new recording of the Gillingham Bass Trombone Sonata on youtube, this time including Mvt 3, which Mr. Stones' recording did not include:

Mvt 1 here: http://www.youtube.com/watch?v=YSzhUU7r2Ew

EDIT: Apparently, it is Sebastian Volk, bass trombonist with the Gottinger Symphonie Orchester in Germany.

Quote from: sabutin on Dec 12, 2011, 04:12AMI hate to boast but...I have said here numerous times that The Mambo Legends Orchestra is the equal of any large American-style ensemble ever come to down the pike, the great Basie bands included. Here's my evidence on YouTube. Complete with real production values and minus only a live audience.
 
Here and here.

Wow! Thanks for the links, Sam, this is some fantastic stuff that I would have missed out on were it not for your post.

Quote from: Paul Martin on Dec 05, 2011, 07:15AMThere's a big gap between being dressed to apply herbicides, and being dressed in a tux; my experience listening to live jazz groups in many different places is that there is a small number of hardcore jazz listeners who don't care about the optics of a performance, or whether there is any kind of emotional arc to it that ties it all together (this might all be bundled up under the heading "stagecraft").

Put another way, a lot of excellent musicians come across as very amateurish in the presentation aspect of their performance, long count-offs, energy-sapping pauses between charts, not engaging the audience, blathering on about minutiae regarding the pieces being performed, etc.

I'm not advocating for "Lawrence-Welk style" corn, just trying to maximize an audience's experience.  If putting a bit of polish on a performance is not demeaning, not costly to adopt, and might add to the overall experience to people outside of the group of core "true believers," why not go to the trouble to incorporate them into your performance?


There are enough musicians who prescribe to the view that it doesn't matter what you look like. Then some of the "Young Lions" will tell you that going to any gig in any less than a suit is unacceptable.

It's a balance. Some people put on too much of a show and play no music. Some people put on no show and play so much music. JJ Bird and Miles fell into the latter category, and Miles didn't even address his audiences back in the day. Not that they didn't wear suits, but if Wallace Roney wears a jacket and t-shirt to a gig does it matter? You came to hear Wallace Roney. On the other end, if you went to hear the Jazz at Lincoln Center Orchestra you'd expect Armani suits and Rolexes. That's an entirely different story we shouldn't get into here. I feel that Bird Miles and J.J. were playing the music in the way it was meant to be played (since, after all, those three were co-inventors of that harmonic language). I don't think I would care if they were wearing T-shirts. The culture IS changing. I don't know what will be considered an informed way of playing or dressing in my lifetime. All I can say is, hopefully the music is there regardless.

RIP Bob Brookmeyer 

This is pure magnificence........... http://www.youtube.com/watch?v=7o-pi8rs1Jk

I just uploaded this one, it's my arrangement of the Claude Thornhill tune "Snowfall." 5 trombone parts and some Garageband sounds. Merry Christmas and a Happy New Year!

http://www.youtube.com/embed/GtYAGTC7uZw

I got to play a Beethoven Equale in a live in-studio concert at WGBH earlier this month. Here's some video: http://www.youtube.com/watch?v=mUjhqvdgM9g&feature=youtube_gdata_player

Quote from: Gabe Langfur on Dec 29, 2011, 05:14PMI got to play a Beethoven Equale in a live in-studio concert at WGBH earlier this month. Here's some video: http://www.youtube.com/watch?v=mUjhqvdgM9g&feature=youtube_gdata_player
Wow! Great stuff, Gabe. And good-on WGBH, too.

If you've never heard or heard of Robert Isele,check this out.
        http://youtu.be/MEMB9R01Azo

Enjoy!
Bob

Boy, did I enjoy that! As a very young 13 year-old I visited my uncle in Washington-he also played trombone with Mr. Isele in the US Marine Band. Although both are gone now, I still remember my uncle relating that Isele didn't do much multiple tonguing, and if you listen carefully you hear quite a bit of t-a-tt, and to me everything about his playing is not just top drawer, but truly astounding. I'd imagine he hardly missed a note in his life, and had a marvelous overall physical structure that enabled him to develop into the player he was. He was in fact a real gentleman and a kind person. After reading of Bill Reichenbach's experience of hearing that first note out of Isele's horn, and being rather stunned by it, this video sure points out why. What a sound! I do have an older tape of a very early 'Blue Bells of Scotland' live performance, and he sort of leaves the band in the dust at some points. I know a great technical display can become boring and overdone, but somehow Isele's work never did to my ears, even though I have become less a 19th century fan over the years. Probably has a lot to do with his wonderful tone and real musicianship. Thanks for posting that-it brightened my day.

Quote from: jbayes on Dec 30, 2011, 10:30AMBoy, did I enjoy that! As a very young 13 year-old I visited my uncle in Washington-he also played trombone with Mr. Isele in the US Marine Band. Although both are gone now, I still remember my uncle relating that Isele didn't do much multiple tonguing, and if you listen carefully you hear quite a bit of t-a-tt, and to me everything about his playing is not just top drawer, but truly astounding. I'd imagine he hardly missed a note in his life, and had a marvelous overall physical structure that enabled him to develop into the player he was. He was in fact a real gentleman and a kind person. After reading of Bill Reichenbach's experience of hearing that first note out of Isele's horn, and being rather stunned by it, this video sure points out why. What a sound! I do have an older tape of a very early 'Blue Bells of Scotland' live performance, and he sort of leaves the band in the dust at some points. I know a great technical display can become boring and overdone, but somehow Isele's work never did to my ears, even though I have become less a 19th century fan over the years. Probably has a lot to do with his wonderful tone and real musicianship. Thanks for posting that-it brightened my day.

Beautiful!!! Great recording, too. Anybody know what equipment he played?

S.

I'm not sure what he used with that performance. Isele and Harold Bayes played together almost twenty years, and my uncle told me that they used Holtons, Kings, etc. and liked them all. At some point the band bought Conn 88H's and he surely used that too. An interesting anecdote-Isele returned after a fishing vacation (at least a week) and was scheduled to solo the day he returned! To make matters worse, when he went to his horn (he had NOT taken it with him) the mouthpiece was missing. He then borrowed one from  another player. My uncle said he sounded just like he always did. Go figure. Actually I have done that, and believe the reasons are many and complex. He was truly an amazing trombone player.

I was a student of Jim Erdman, who played under Isele in the Marine Band until taking over as soloist towards the end of Isele's career with the Marine band.  Jim had several pictures of Isele playing an Olds Super as well as a stand-up Olds ad with Isele as the spokesman.  In addition to the incredible technique this tradition of players had, the sound was more incredible. Arthur Pryor was also said to have a gorgeous sound, though the low fidelity of the recordings do not do it justice. 

Regarding tonguing, I am not sure about Isele, but Jim Erdman single tongues everything.  Though, as you can hear in some of his recordings he does a two tongued, two slurred thing that works very well with the Pryor repertoire.

Quote from: klimchak on Jan 01, 2012, 05:39AMI was a student of Jim Erdman, who played under Isele in the Marine Band until taking over as soloist towards the end of Isele's career with the Marine band.  Jim had several pictures of Isele playing an Olds Super as well as a stand-up Olds ad with Isele as the spokesman.  In addition to the incredible technique this tradition of players had, the sound was more incredible. Arthur Pryor was also said to have a gorgeous sound, though the low fidelity of the recordings do not do it justice. 

Regarding tonguing, I am not sure about Isele, but Jim Erdman single tongues everything.  Though, as you can hear in some of his recordings he does a two tongued, two slurred thing that works very well with the Pryor repertoire.



You mean this James Erdman? 

http://www.youtube.com/watch?v=fhlmWUhiypo

Yup. A great player and human being.  He very graciously gave me a cd copy of a number of his old solo radio broadcast/rehearsal recordings from the Marine Band

I also have a cd of a number of Isele recordings. I still listen to those recordings in total awe of their sounds. A standard I keep in my head and attempt to try to get in my own playing.

She's been mentioned before here, I think, but check out Shannon Barnett, from the land of the OP:

http://www.youtube.com/watch?v=4iR0JJlnE3I

Personally, I don't understand this music at all (maybe some other thread would provide enlightenment as to what's going on), but dang she can play!  Well-balanced, some may say. 

I've run into Shannon a few times in NY, she's a great player and very nice person!

Here's another video of her which is a bit more accessible. 

http://www.youtube.com/watch?v=hTXit5tATRg

Quote from: boneagain on Jan 01, 2012, 06:00AMYou mean this James Erdman? 

http://www.youtube.com/watch?v=fhlmWUhiypo


I notice in the comments that someone did not like the slide vibrato. For me it raised the whole performance to something very special.

http://youtu.be/Plo8FDO5FEo




a concert last year playing with a very good latin group

Holy sound batman.

http://www.youtube.com/watch?v=JvnC3U4fG3s&feature=related

http://www.youtube.com/watch?v=6PwrAUjCWAo&feature=plcp&context=C3408a4bUDOEgsToPDskJ9TfctO9kxy5s10iCFqtE-

Britt Woodman, wow. http://www.youtube.com/watch?v=6LKG8gENYfk&feature=related