…big, this seems to have been overlooked.

Things too big? Blame the tenor trombonists and the tubas! With tenor trombonists playing on bass trombone slides and near-bass trombone sized mouthpieces, as well as massive 6/4 tubas with absolute buckets for mouthpieces, some bass trombonists feel squeezed. In my eyes, it seems that the tuba has gotten more distant, with the tenor trombone creeping closer to the bass, making the balance and blend off-kilter.
*disclaimer - no, not all tenor trombonists playing oversized equipment are part of the "guilty party." Folks like Mr. Friedman certainly know what they are doing, and do it for a reason.

On a sidenote, I happen to play equipment that's on the larger side of the spectrum, and while I've made strides in the breath control department compared to a couple years ago, one of my biggest problems is playing loud enough. I can play powerfully when I work for it, but the match between me, my sound concept, and my equipment gives me the tendency to play on the quiet, mellow side. I'm no pro, but the trend in equipment doesn't necessarily equate to anything too loud/bad (I for one, happen to prefer the deeper, mellower side of the bass trombone oftentimes). As Sam (Sabutin) has said over and over, "Get the right tool for the job!"

Bet on it.

…play a .547 bore horn on lead in a big band, or something huge as a mouthpiece if you are in the upper register constantly?  you have to be able to handle a range of horns and mouthpieces that give you the desired effect for the ensemble and music you are playing.  What ever gives you that, and gets you hired back, must be it! 

That being said, we all get different sounds, etc. out of different combinations.  In the end, we are all looking for what works.  I don't think there is a single "silver bullet" out there that works for everything and everyone.  We can make suggestions to our students, but for them , too, it remains what does the job, sounds right in the context of your playing, and feels good to you...that is what we should all be looking for.

Like Sabutin, I double on a number of horns, and the bores and mouthpiece sizes are all over the map...I use what works for me and gets the job done right. I don't really expend any worry over what should I be playing on...short of making sure my equipment suits the context of where I am performing.

I wanted to hear what you sound like so I visited your website.  All I found was one plunger solo and another with your bell buried in a microphone.

…at some points, but not as bad as I would gather from your post above, Sam.  Again, I put more of the blame on a tiny camera's single mic of questionable quality.

Upon second listening to Papo's solo, I dug it.  Yes, he's using ideas I've heard him use many times....but he delivers it soulfully for my ears, in his "voice".

Arrangement?  I'd give it a B or B minus, but again, not as terrible as you seem to think it is, Sam. 

For me, it would be very interesting to hear this exact performance somehow magically transported to Bennett studios (or high end studio of choice) and run through their system.....to see if our critiques would stand up.  It's more a matter of poor audio than anything else for me.

[url=http://tromboneforum.org/index.php?topic=28950.msg820771#msg820771]Quote from: sabutin on Jul 11, 2011, 01:42PM[/url]Well Chip...to me it represents everything that is worst in so-called "salsa."

A good singer????!!!

Out of tune like crazy. As is the entire band.

Papo's conducting?

A total joke. Just a show for the audience.

The band...? Perhaps one…

…src="http://tromboneforum.org/Smileys/otjf/evil.gif">[img]http://tromboneforum.org/Smileys/otjf/evil.gif[/img]

QuoteAs a fine young Chinese student once said to me as I was driving him through the ex-urban, petroleum-polluted wasteland swamps of New Jersey to take him to Dillon's, "I am one lucky Chinese person!!!"

Sam,
Thanks for the laugh.
You made my day.
That's great stuff.
What a joy to be downwind of the landfills and the refineries along the NJ Turnpike on a hot day!!!


[url=http://tromboneforum.org/index.php?topic=43965.msg642754#msg642754]Quote from: sabutin on Jun 08, 2009, 12:08PM[/url]Sound, attacks, feedback...especially feedback...easy, open blow (thus easy rapid articulation) and projection were the reasons that I liked (and continue to like) Earl Williams horns.

Why not continue to play one?

Well, number one I wanted a little more mass of sound. A little more density. remember, I was playing lead with Tito Puente and Tito-style big bands then as a large part of my work (As I still do.), and brother..."mass" and "density do not begin to describe that brass style…

…??
Subject, of course, to the variations resulting from Earl's moods, daily problems, and customer whims. Sam Burtis said that he plated his Williams to settle it down a bit. That also seems consistent with a light horn.


[url=http://tromboneforum.org/index.php?topic=43965.msg642651#msg642651]Quote from: sabutin on Jun 08, 2009, 04:24AM[/url]They were fantastic instruments. Real singers. I have never played a "dog" Earl Williams...not that I doubt that they might exist, especially after 40 or 50+ years of possible meddling... nor have I ever played a bad Wallace Williams.

Hilarious?

How many pages of hilarious do we have here?

18?

Hmmmmm....

Some were lighter than others.

Some were reputedly buffed down even further to fit a very light LA studio approach.

Others were treated to Herrick leadpipes.

But even after not playing mine for 7 or 8 years, when I picked up the one that Isrea Butler bought recently and played it, that "Williams" feel was right there.

It's not "hype" if more than about 3 really serious players loved it.

Dick Nash.

Jack Teagarden.