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Post by ttf_WaltTrombone » Thu Jan 01, 2009 6:36 pm

Back a page or two, Chris Fidler made a joke about there being a lot of notes, and "Don't tell Mama...  Image Image", to which you replied...

Quote from: ctingle on Dec 29, 2008, 02:06PMIt's a shame we even have to think about her "taste" on this bonistic educational forum.  Fed is obviously killin to any educated ears.  Is he more on top of the mic than some would choose?  Yes.  Is he saying absolutely what he wants to say in the way he wants to say it on our instrument of choice?  Yes.  Great bebop vocabulary and chops?  Yes.  Great writing, solo and ensemble playing?  Yes.

Viva El Fed!!

So, basically, RHM was getting put down for an opinion that she hadn't even given yet, concerning the Fedchock video. So, yes, I think you're over-reacting, and you started over-reacting before she said one word about the Fedchock video.
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Post by ttf_anonymous » Thu Jan 01, 2009 6:57 pm

Could the current ongoing discussion PLEASE be moved to another area so that I, personally and selfishly, may partake of the yummy goodness of random Youtube Trombone goodness.

Dave Ashley, you're a jerk for starting this.  Image

Wes Funderburk
www.funderbone.com




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Post by ttf_rodglu » Thu Jan 01, 2009 7:19 pm

I'm with Wes.

I don't know if this has been posted before, but here's a tasty blues solo by Bruce Fowler, circa 1980 (with the Toshiko Akiyoshi/Lew Tabackin Big Band - one of my favorites).  Starts at 3:08.  Enjoy - and Happy New Year!

http://www.youtube.com/watch?v=ejX9N_koDY4

Rod
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Post by ttf_ctingle » Thu Jan 01, 2009 7:21 pm

Quote from: Chris Fidler on Dec 29, 2008, 01:32PMOoh don't tell Mama....... Image

OK, but in response to the above quote in its inferences and context.  

I'm game to move this discussion out of the youtube thread, and apologize for any potential hijacking.

Hey, did you see all the great youtube video of John Fedchock's BB w some of the best players in the world?  And w a great trombonist out front, leading the band on his charts???  In front of an ecstatic young audience of musicians....???

Gone to take chill pilz.

Peace,


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Post by ttf_Gordo » Thu Jan 01, 2009 8:37 pm

Quote from: boneagain on Dec 31, 2008, 05:31AMNicely put, Wes!

Saddens me sometimes that we can forget what the music is about.  Yeah, intonation makes a difference, but it's NOT what the music is about.  I try to imagine that clip BuchA posted WITHOUT those horns and just can't do it.  They must be doing something right.  I'd much rather have "really simple" horn parts that become as much of an icon as these parts in this tune than any number of black page passages that no one hums even the day after.  If we have big enough ears there are places for just about all of this.  Good places.  Recognizing that good without being condescending can lead us to surprising discoveries about ourselves. 

Thanks for your input guys! I appreciate hearing other viewpoints a lot and I think that's why this forum is so cool.

 I still think that think horn section is lacking something. I mean, if you imagined the clip with the horns all nicely balanced and in-tune and maybe even more in-your-face, then the band would sound a lot different too.

That said... they definitely WERE on to something as the notoriety of this piece in particular proves.

Thanks again for your input.
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Post by ttf_anonymous » Fri Jan 02, 2009 3:54 am

Quote from: Gordo on Jan 01, 2009, 08:37PMThat said... they definitely WERE on to something as the notoriety of this piece in particular proves.
A killer groove.  Catchy lyrics.  Lots of energy.

That's a pretty good formula.

Yeah, the intonation wouldn't have cut it at symphony hall, but look at all the stuff that came out of Motown with those female singers 30 cents below the pitch most of the time.  That didn't seem to hurt them.  At some point, that sort of intonation becomes part of the genre.
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Post by ttf_anonymous » Fri Jan 02, 2009 5:46 am

Quote from: WaltTrombone on Jan 01, 2009, 06:36PMBack a page or two, Chris Fidler made a joke about there being a lot of notes, and "Don't tell Mama...  Image Image", to which you replied...

So, basically, RHM was getting put down for an opinion that she hadn't even given yet, concerning the Fedchock video. So, yes, I think you're over-reacting, and you started over-reacting before she said one word about the Fedchock video.

without taking sides, i would have to agree that rhm has established her reputation here with her own words.  i like to think of myself as a reasonable person and i frequently wince in waiting for one of her barbs attacking a high and fiddly target before she actually unleashes. 

these forums grant the anonymity to be polarizing and some folks utilize it for just that purpose.  walt, you are a true moderate and i respect your contributions to the forum, but i think you're bending a little further to rhm's perspective than i would choose here. 

in a perfect world, chip would react to her words rather than his anticipation of them....and perhaps there is a valuable lesson for all of us there.  i can't be too hard on chip for his knee jerk.

dg
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Post by ttf_RedHotMama » Fri Jan 02, 2009 6:37 am

Just for the record, had there not been a comment anticipating a comment from me, I wouldn't actually have made one. And, of course, I'm NOT anonymous. What you see is what I am (like it or not!). I wish the rest of you could say the same.

http://tromboneforum.org/meetthestaff.php
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Post by ttf_HeRoze » Fri Jan 02, 2009 6:46 am

... good Lord, people ...
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Post by ttf_anonymous » Fri Jan 02, 2009 6:50 am

Quote from: HeRoze on Jan 02, 2009, 06:46AM... good Lord, people ...

Best.  Posting.  Ever.

Image
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Post by ttf_anonymous » Fri Jan 02, 2009 6:50 am

Quote from: RedHotMama on Jan 02, 2009, 06:37AMJust for the record, had there not been a comment anticipating a comment from me, I wouldn't actually have made one. And, of course, I'm NOT anonymous. What you see is what I am (like it or not!). I wish the rest of you could say the same.

http://tromboneforum.org/meetthestaff.php

perhaps i am making the wrong assumption, but it sounds like you are playing the role of victim here, rhm.  i appreciate that you volunteer your time to moderate this forum and that you have a genuine passion for music and the trombone.  but, your comments have garnered you this attention over a long span.  i don't know you personally, but would welcome an introduction.  

without face to face communication, we are all anonymous here.  your bio does little to resolve that fact.  

i know that all of us.....myself included....could aspire to a higher level of communication.  and why not do so?  it's a new year.  let's raise the bar for ourselves and our instrument.

dg
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Post by ttf_WaltTrombone » Fri Jan 02, 2009 6:52 am

Anyone know who the trombonists are in this one? Check out the slide vibrato!

For some reason, Joe Howard pops into my head for the guy on bass trombone, but I could be/probably am wrong...

http://www.youtube.com/v/H21Y0xUsfDo&hl=en&fs=1

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Post by ttf_Paul Martin » Fri Jan 02, 2009 7:30 am

I can certainly understand RHM's viewpoint, one is either moved by music, and it is "good," or one is not, and all the pyrotechnics and double-tongued runs in the high register will not make it any more musical to you; you can be a great craftsman, in the service of a musical goal that will never be fulfilling to some people, regardless of how well it is executed.

I hate all choral music, and Bach, and no matter how well either is performed, when listening to Bach's sacred music, I am always left pondering the vastness of the universe, and the sheer vastness of time before the damned performance comes to its blessed end.

But how can I, amateur hack that I am, possibly "dis" an entire genre, and one of the most highly regarded composers, ever?  "If it sounds good, it is good," was Ellington's famous quote, and the corollary, "if it doesn't sound good, it isn't good," is equally true, subjectively speaking.

RHM seemingly wants to be hit it the gut with music, not in the head, and I prefer the same; understand, though, that Fedchock's music is being performed at a very high level, with a great deal of heart and sincerity, and that endless hours were poured into the effort to even be able to play an 8th-note solo at 320 bpm, to show the rest of us (largely inferior) craftsmen what is even possible on the horn.

I don't know that RHM needs to go to any trouble at all to justify her view on "high and fiddly," or needs to be strapped to a chair and forced to listen to Watrous/Fedchock/Fontana/Rosolino to first understand and then "appreciate" what they are doing, any more than my listening to another Bach organ piece will somehow turn me into a fan; I also think there is a tendency among younger players to think that the current state of jazz playing somehow represents the "state of the art," or some sort of inevitable, highest level of achievement possible; with so many styles of jazz, and so many of them now "older than dirt," it seems reasonable to me for people to have strong preferences among them, and that pointing out when one thinks "the Emperor has no clothes" is a legitimate beef.

If Fedchock's or anyone else's playing does not hit you in your musical soft spot, the ends will never justify the means, regardless of how deftly executed; RHM does not need to be a cheerleader for music she does not like, and that is reason enough th express a view, as I suspect many young players believe that such playing somehow represents a pinnacle, as opposed to a mere style (albeit one that most cannot play).

As regards others opining on the level of craftsmanship exercised, I'd suggest that only a very few on this forum who have breathed the rarefied air of soloing at 320 pbm have the ears to really dissect what they are doing technically and harmonically, and I am certainly not one of them.

My musical heaven would be listening to the Ellington or Basie bands in their prime; my musical Hell would be a live Kenton or Maynard Ferguson concert, the latter two striking me always as lacking in fundamental subtlety, swing, and beauty.


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Post by ttf_sabutin » Fri Jan 02, 2009 8:04 am

Quote from: WaltTrombone on Jan 02, 2009, 06:52AMAnyone know who the trombonists are in this one? Check out the slide vibrato!

For some reason, Joe Howard pops into my head for the guy on bass trombone, but I could be/probably am wrong...

http://www.youtube.com/v/H21Y0xUsfDo&hl=en&fs=1


Larry, Curly, Moe and Joe?

Whoever they are...close your eyes and listen to the "I've Got You Under My Skin" soli at about 2:16 if the vid.

Listen and understand the true function of a section slide vibrato and moderate-sized equipment in a fairly dense sonic situation. They do not have to play loud in order to get enough edge to be heard. Tommy Dorsey's children. Bet on it.

Also...notice the posture. The bells are not pointed at the floor. And...do you see any individual mikes? Nope. Yet every player in that orchestra can be heard. Betcha there aren't more than two or three mikes total. Betcha that's why they called them "soundstages", too. Projection without excessive force. Much to be learned there, corny or not.

Later...

S.


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Post by ttf_anonymous » Fri Jan 02, 2009 8:14 am

Quote from: Paul Martin on Jan 02, 2009, 07:30AMRHM seemingly wants to be hit it the gut with music, not in the head, and I prefer the same; understand, though, that Fedchock's music is being performed at a very high level, with a great deal of heart and sincerity, and that endless hours were poured into the effort to even be able to play an 8th-note solo at 320 bpm, to show the rest of us (largely inferior) craftsmen what is even possible on the horn.

I don't know that RHM needs to go to any trouble at all to justify her view on "high and fiddly," or needs to be strapped to a chair and forced to listen to Watrous/Fedchock/Fontana/Rosolino to first understand and then "appreciate" what they are doing, any more than my listening to another Bach organ piece will somehow turn me into a fan; I also think there is a tendency among younger players to think that the current state of jazz playing somehow represents the "state of the art," or some sort of inevitable, highest level of achievement possible; with so many styles of jazz, and so many of them now "older than dirt," it seems reasonable to me for people to have strong preferences among them, and that pointing out when one thinks "the Emperor has no clothes" is a legitimate beef.
For a person who injected about 5 words into this lengthy thread, and then only after being baited, RHM sure seems to be dominating the conversation.  I hope some day she will share her secrets for being the center of attention while barely saying a word.  Should I get fitted for a Cleopatra costume?  Is that the secret?
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Post by ttf_Euphanasia » Fri Jan 02, 2009 8:22 am

We're discussing the criticism of pros, but I'm wondering how folks feel about the criticism of YouTube musicians in general. Awhile back, there were several posts on YouTube showing the Berklee Tower of Power Ensemble. These were amateur performers, and the recording quality was poor. However, you could make out the basic characteristics of their playing. After listening to their rendering of "Squibcakes" I had to comment. That chart relies so heavily on the percussive pop of the bari sax, and the person playing bari was actually playing the sixteenth-notes legato.  Image No tongue--just letting the keys do the work.

I admit, I could have been more diplomatic in my response, but when you feel a song a certain way and someone else creates a feel that is radically different, not through innovation but through sloppy playing, it gets personal.

I got a response from the bari player before the video was pulled. It was essentially "I played it the way I felt it."

When commenting on amateurs, is it appropriate to say "Well, you need to go back, listen some more, and cop another feel because the one you got wasn't very good"?
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Post by ttf_anonymous » Fri Jan 02, 2009 9:43 am

Quote from: Euphanasia on Jan 02, 2009, 08:22AMWhen commenting on amateurs, is it appropriate to say "Well, you need to go back, listen some more, and cop another feel because the one you got wasn't very good"?
While I agree that a person shouldn't be nasty or intentionally hurtful in their remarks, and we can probably all improve in that regard, criticism is part of the game.  I stand for criticism of how I do my job every day.  If I'm off track, my bosses, and also my subordinates and coworkers, are free to bring that to my attention.  I don't always immediately appreciate that, and sometimes I am able to persuade them that I am pursuing a vision they don't fully appreciate -- does that sound familiar?  But lots of times, upon reflection, I conclude that at least part of what they are saying has some merit, and I will be more successful if I do some things differently. 

I don't see where it is ever an option to say, essentially, "You are welcome to compliment me lavishly, but nothing of a negative vibe shall enter my space."

It is doubly so when a person or group posts themselves on Youtube or other public media.  Clearly they do that to bring attention to themselves, and there is nothing wrong with that.  But if you do that, you have to take the good with the bad.  I didn't watch that particular video, but if a group is covering ToP, they darn well better get the bari sound right.  Otherwise it would be like covering a John Lennon ballad on a ukulele.
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Post by ttf_Burgerbob » Fri Jan 02, 2009 9:56 am

Quote from: WaltTrombone on Jan 02, 2009, 06:52AMAnyone know who the trombonists are in this one? Check out the slide vibrato!

For some reason, Joe Howard pops into my head for the guy on bass trombone, but I could be/probably am wrong...



Holy Cow!!!

The entire section, even!
They sound pretty good, though, even on the more "legit" excerpts, for having what looks like little horns.
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Post by ttf_anonymous » Fri Jan 02, 2009 10:45 am

The trombonist third from left is Si Zentner.
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Post by ttf_Orestes » Fri Jan 02, 2009 4:44 pm

Quote from: WaltTrombone on Jan 02, 2009, 06:52AMAnyone know who the trombonists are in this one? Check out the slide vibrato!

For some reason, Joe Howard pops into my head for the guy on bass trombone, but I could be/probably am wrong...


Well, that was a blast from the past! That clip hearkens back to before my high school days. (By the automobiles noted at the start, probably about 1950-51) The trombone section was great. I haven't seen a sectional coordinated  slide vibrato done in a long long time. The trombones were, I would guess, King 2Bish which was the main ax back then. What we consider "Big Horns" were unheard of. I can recall similar movies reels of orchestras like that. I love the sound. Some of the comments on the you tube site would indicate the dark haired "lead" would be Si Zentner. It fits.
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Post by ttf_Dave Tatro » Fri Jan 02, 2009 4:47 pm

Well, I enjoyed the playing on the Fedchock "Flinstone" chart. It is quite a nice chart, actually. Nice fresh take on the tune. Fed's solo was nice and in the pocket (as in the pocket as anything can be at that tempo anyway! Image) I actually enjoyed the trumpet solo. The way he phrases reminds me of Dolphy a bit- starting and stopping phrases in odd places. I always like that kind of unpredictability. The alto solo was nice, too.

Here's another clip of them doing "Caravan". Really rockin' on the meter changes!

http://www.youtube.com/watch?v=ZpkqeJNH ... re=related
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Post by ttf_Dave Tatro » Fri Jan 02, 2009 4:57 pm

Quote from: WaltTrombone on Jan 02, 2009, 06:52AMAnyone know who the trombonists are in this one? Check out the slide vibrato!

For some reason, Joe Howard pops into my head for the guy on bass trombone, but I could be/probably am wrong...

http://www.youtube.com/v/H21Y0xUsfDo&hl=en&fs=1


Sigh... That made me very happy! Image Quite a bit of REALLY tight musicianship there.
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Post by ttf_zemry » Sat Jan 03, 2009 12:09 am

Quote from: ntap on Dec 31, 2008, 01:41PMAmen to Sam's wisdom. Shows a deepness of listening that I, personally, don't take into account enough. 

Here's some more:

Interview with Slide Hampton from WXXI recorded in June of 2008.
http://www.youtube.com/watch?v=VkcQUftcPeg

Here's part 2
http://www.youtube.com/watch?v=UIy0LaWC ... re=related

Good stuff at 2:30 on part 2.
edit:  Good stuff everywhere. Damn... Check those videos out...


Nice interview......thanks for posting.
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Post by ttf_WaltTrombone » Sat Jan 03, 2009 6:56 am

Quote from: sabutin on Jan 02, 2009, 08:04AMLarry, Curly, Moe and Joe?

Whoever they are...close your eyes and listen to the "I've Got You Under My Skin" soli at about 2:16 if the vid.

Listen and understand the true function of a section slide vibrato and moderate-sized equipment in a fairly dense sonic situation. They do not have to play loud in order to get enough edge to be heard. Tommy Dorsey's children. Bet on it.

Also...notice the posture. The bells are not pointed at the floor. And...do you see any individual mikes? Nope. Yet every player in that orchestra can be heard. Betcha there aren't more than two or three mikes total. Betcha that's why they called them "soundstages", too. Projection without excessive force. Much to be learned there, corny or not.

Later...

S.



Oh Yeah! Only a little corny, considering when it's from. I dug it a LOT, just pointing out the slide vibrato because I like vibrato. (Using it and learning about it.) The vibrato from the trombones and trumpets kinda sounds dated today, but in the context of the day, was state of the art. More vocal, plus it helps cut through without having to play louder.
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Post by ttf_anonymous » Sat Jan 03, 2009 7:32 am

It's not a youtube, but some of you may enjoy this interview with Carolyn Johnson.
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Post by ttf_sabutin » Sat Jan 03, 2009 9:05 am

Quote from: WaltTrombone on Jan 03, 2009, 06:56AMOh Yeah! Only a little corny, considering when it's from. I dug it a LOT, just pointing out the slide vibrato because I like vibrato. (Using it and learning about it.) The vibrato from the trombones and trumpets kinda sounds dated today, but in the context of the day, was state of the art. More vocal, plus it helps cut through without having to play louder.

It only sounds dated because that vibrato style has lost its musical function.

With individual miking and way louder bands/rhythm sections, there is no sonic advantage to that kind of vibrato. What that style really does in a sonic sense is that it emphasizes the whole possible range of formants (proportionately louder overtones) in rapid succession. In a fairly complicated (but not too loud) sonic situation, different sounds that are being played around the trombone combined with  weaknessess in the acoustics of the room tend to cover many  of the overtones on the trombone sound. And then...the trombone just sorta disappears unless it is honked all to hell. Slide vibrato of that sort...which doesn't really change pitches of the horns  nearly as much as one might think given the size of the slide movement that is involved...essentially gives a rapidly repeated survey of the possible overtones, from "dark" to "bright".

And the ears of the listeners then say:

QuoteVoilà!!! Le Trombone!!!

If zey speak ze French, of course.

Try that in a blasting, blatting contemporary band?

Image

So it goes.

Later...

S.


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Post by ttf_sabutin » Sat Jan 03, 2009 11:41 am

I just ran into this Youtube vid. It's not about "trombone"...it's about music.

http://www.youtube.com/watch?v=Cn_-Y-eD ... re=related

John Coltrane, Elvin Jones, McCoy Tyner and Jimmy Garrison-Afro Blue.

Nothing even comes close to what was happening between and among 'Trane, Elvin Jones and McCoy Tyner when this band was performing live about 250-300 nights/year.

I heard 'em live.

A lot.

Nothing on earth.

Real music, hot off the stove.

The timeless truth of the matter.

Most of the trombone stuff that has been posted here? Not within 1000 miles of this.

And we squabble about which set of trombone limitations is more desirable and which is less.

Wake the **** UP!!!

It's about the music.

Later...

S.


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Post by ttf_Ellrod » Sat Jan 03, 2009 11:49 am

Who is that guy wearing the sweater and smoking the pipe?

Wait a minute - what the hell is MY DAD doing there?


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Post by ttf_Rob Dorsey » Sat Jan 03, 2009 12:31 pm

Man, how the times they have changed!

I love the way, on live TV no less, Coltrane, who started playing with a cigarette in his fingers, lays out a couple measures to take a last puff and then toss it on the stage and snuff it with his toe. He picks right back up and never misses a beat.

I'm sure the recording and multiple re-mastering of the sound is why he sounds like a Hindu snake charmer. I mean, it's Coltrane for heavens sake.

RD
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Post by ttf_baileyman » Sat Jan 03, 2009 4:08 pm

Quote from: Paul Martin on Jan 02, 2009, 07:30AM...
I don't know that RHM needs to go to any trouble at all to justify her view on "high and fiddly," or needs to be strapped to a chair and forced to listen to Watrous/Fedchock/Fontana/Rosolino to first understand and then "appreciate" what they are doing...

I hear huge differences among these guys.  "high and fiddly" seems to apply rightly to only one of them.  And another of them did some wonderful trad revival work along with Lou McGarity on The World's Greatest Jazz Band, said McGarity playing higher, lower, and louder.  Especially large differences in their melodic instincts.  All of these guys are "the best", including McGarity, Mole, Teagarden, just different. 
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Post by ttf_Paul Martin » Sat Jan 03, 2009 4:15 pm

Quote from: baileyman on Jan 03, 2009, 04:08PMI hear huge differences among these guys.  "high and fiddly" seems to apply rightly to only one of them.  And another of them did some wonderful trad revival work along with Lou McGarity on The World's Greatest Jazz Band, said McGarity playing higher, lower, and louder.  Especially large differences in their melodic instincts.  All of these guys are "the best", including McGarity, Mole, Teagarden, just different. 

You are preaching to the choir.
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Post by ttf_baileyman » Sun Jan 04, 2009 6:41 am

Oh, not preaching.  I'm with you.  I looked through the comments to see who brought up the names and quoted that irrespective of message intent.  It seemed unfair to let these guys not to have any defense where they are implicitly referred to.  That's all. 

You know, the high and fiddlies might better be applied to the followers-on, lots of wannabe's.  The more I listen, it's the melodic message these guys seemed to have been after (generally).  I mean, been there.  Wannabe.  Let's get high and fiddly!  But it's the melodic content that humbles me.  Without that the rest doesn't seem to matter. 
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Post by ttf_Rob Dorsey » Sun Jan 04, 2009 7:43 am

One has to admire, beyond the sheer technique needed, the ability of players like Fedchock to express or, more subtly, imply a melodic line from a stream of notes at such a tempo.

But, another approach to tempos that fast was applied by Armstrong and JJ who were able to lay a less frenzied melodic line over the faster one and yet not seem to be playing more slowly. In the wild stream of say "Cherokee" at 320 they could bring order to impending chaos and you might not notice that they were playing only every 2nd or 4th beat.

Both approaches have merit, and I think we should appreciate both, but growing up, JJ spoke for me, and still does.

RD
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Post by ttf_anonymous » Sun Jan 04, 2009 7:59 am

Who's Armstrong? Lance?
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Post by ttf_anonymous » Sun Jan 04, 2009 8:28 am

Quote from: sabutin on Jan 03, 2009, 11:41AMI just ran into this Youtube vid. It's not about "trombone"...it's about music.

http://www.youtube.com/watch?v=Cn_-Y-eD ... re=related


Most of the trombone stuff that has been posted here? Not within 1000 miles of this.



Sam, who among the younger generation of trombonists (not necessarily on YouTube) comes within, say, 500 miles of this? 

Honestly and seriously, though.  Who have you seen, heard and experienced who really take the music to new heights?...in your opinion, of course.  In New York there are many, I'm sure, but around the world there MUST be guys and gals who are making this kind of magic happen on a nightly basis. 

Just pickin' your brain a bit.

Wes Funderburk
www.funderbone.com
 
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Post by ttf_Chris Fidler » Sun Jan 04, 2009 8:49 am

Not bone related but definately MUSIC........... http://au.youtube.com/watch?v=eylt6x1qGBo

Peace.
Chris. 
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Post by ttf_ctingle » Sun Jan 04, 2009 9:07 am

I've yet to hear Elliot Mason live, and only taken in a few youtube clips, so I'd be interested to hear from Sam and other NYC based players about what the live experience is like.  Is he relentless with technical virtuosity, or is there a sense of placing his concept within a larger whole?

Sorry to piggy back, Wes, but I'm curious, too, especially since I haven't been to NYC in way too long.

Cheers,

Quote from: Wes Funderburk on Jan 04, 2009, 08:28AMSam, who among the younger generation of trombonists (not necessarily on YouTube) comes within, say, 500 miles of this? 

Honestly and seriously, though.  Who have you seen, heard and experienced who really take the music to new heights?...in your opinion, of course.  In New York there are many, I'm sure, but around the world there MUST be guys and gals who are making this kind of magic happen on a nightly basis. 

Just pickin' your brain a bit.

Wes Funderburk
www.funderbone.com
 

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Post by ttf_ctingle » Sun Jan 04, 2009 9:11 am

Quote from: Chris Fidler on Jan 04, 2009, 08:49AMNot bone related but definately MUSIC........... http://au.youtube.com/watch?v=eylt6x1qGBo

Peace.
Chris. 

Whoa!!  Now that's some good Sunday morning spiritual awakening.  Thanks for posting this.  Did you hear his tune on Herbie's Possibilities?  Sublime.
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Post by ttf_Chris Fidler » Sun Jan 04, 2009 9:24 am

Quote from: ctingle on Jan 04, 2009, 09:07AMI've yet to hear Elliot Mason live, and only taken in a few youtube clips, so I'd be interested to hear from Sam and other NYC based players about what the live experience is like.  Is he relentless with technical virtuosity, or is there a sense of placing his concept within a larger whole?



Well Chip i'm not NYC based but then Elliot is (like me) British and i have played with him.
Even at an early age!!!
Elliot IS HEAVY and will get HEAVIER...... There's nothing he can't do musically when he puts his mind to it.
He has ALL styles down but continues to search for his OWN voice.
It will be very interesting to see him develop further and see what directions he takes along the way.

At the moment i'd say the world is his oyster Image 
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Post by ttf_ctingle » Sun Jan 04, 2009 9:30 am

Yep, but I'm just wondering what a set or two is like taking in The Elliot Mason Quartet (or group du jour).  Everything I've experienced through youtube and recordings has amazed me as a trombonist, and I'm only hoping that his overall musical concept and presentation is reaching those same kinds of inspirational levels.

Is he still living in NYC?

Go Elliot!!!!

Quote from: Chris Fidler on Jan 04, 2009, 09:24AMWell Chip i'm not NYC based but then Elliot is (like me) British and i have played with him.
Even at an early age!!!
Elliot IS HEAVY and will get HEAVIER...... There's nothing he can't do musically when he puts his mind to it.
He has ALL styles down but continues to search for his OWN voice.
It will be very interesting to see him develop further and see what directions he takes along the way.

At the moment i'd say the world is his oyster Image 

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Post by ttf_baileyman » Sun Jan 04, 2009 9:34 am

Quote from: Chris Fidler on Jan 04, 2009, 08:49AMNot bone related but definately MUSIC........... http://au.youtube.com/watch?v=eylt6x1qGBo

Peace.
Chris. 

Wow, terrific free-buzzing!  And doodling!
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Post by ttf_Chris Fidler » Sun Jan 04, 2009 9:39 am

Quote from: ctingle on Jan 04, 2009, 09:30AMYep, but I'm just wondering what a set or two is like taking in The Elliot Mason Quartet (or group du jour).  Everything I've experienced through youtube and recordings has amazed me as a trombonist, and I'm only hoping that his overall musical concept and presentation is reaching those same kinds of inspirational levels.

Is he still living in NYC?


Go Elliot!!!!


Yup, still in NYC.
Playing with Wynton's lot.
But i sincerely think the best is yet to come....... Musically speaking Image
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Post by ttf_zemry » Sun Jan 04, 2009 2:30 pm

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Post by ttf_bobilleg74 » Sun Jan 04, 2009 3:04 pm

Quote from: ctingle on Jan 04, 2009, 09:30AMYep, but I'm just wondering what a set or two is like taking in The Elliot Mason Quartet (or group du jour).  Everything I've experienced through youtube and recordings has amazed me as a trombonist, and I'm only hoping that his overall musical concept and presentation is reaching those same kinds of inspirational levels.

Is he still living in NYC?

Go Elliot!!!!


Like Chris, I played alongside Elliot when he was a youngster and, even at an early age, he liked to tear it up.  Probably for the same reasons that a dog licks its' own balls...'cos he could!
Seriously, though, if you catch him on Gary Husband's Force Majeur DVD there are some very tender moments that he conjurs up too.
Frankly, it's scarey to think that he still has scope to develop, but I too am sure he will.
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Post by ttf_Orestes » Sun Jan 04, 2009 6:01 pm

So, for a change of pace, check out this vid of the Carl Saunders Big Band's version of Invitation great solo work by Saunders on trumpet and the Alto player who's name I didn't get, but catch Scott Whitfield on that killer solo at the first:


http://www.youtube.com/v/qmOmO5xBeK8&hl=en&fs=1

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Post by ttf_zemry » Sun Jan 04, 2009 6:33 pm

That was a nice solo by Whitfield!
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Post by ttf_BFW » Sun Jan 04, 2009 6:44 pm

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Post by ttf_Orestes » Sun Jan 04, 2009 7:02 pm

Quote from: BFW on Jan 04, 2009, 06:44PMLes Sacqueboutiers de Toulouse

http://www.youtube.com/watch?v=Tq7-4SSxP50
http://www.youtube.com/watch?v=PxOEvNHkyqM

That was cool! So...who says you have to have a a .547 to get a good sound.
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Post by ttf_anonymous » Tue Jan 06, 2009 3:31 pm

Quote from: Orestes on Jan 04, 2009, 06:01PMSo, for a change of pace, check out this vid of the Carl Saunders Big Band's version of Invitation great solo work by Saunders on trumpet and the Alto player who's name I didn't get, but catch Scott Whitfield on that killer solo at the first:


http://www.youtube.com/v/qmOmO5xBeK8&hl=en&fs=1


Is that Andy Martin in the section?
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Post by ttf_tbone62 » Tue Jan 06, 2009 3:40 pm

Quote from: BFW on Jan 04, 2009, 06:44PMLes Sacqueboutiers de Toulouse

http://www.youtube.com/watch?v=Tq7-4SSxP50
http://www.youtube.com/watch?v=PxOEvNHkyqM

Wow!  Very nice!  Thanks for the links--what a wonderful sound!   Image


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