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ttf_bassclef
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Post by ttf_bassclef »

http://www.youtube.com/watch?v=9Bf1aYgD8eU

Wycliffe does his best Maynard Ferguson @ 1:05
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Post by ttf_Graham Martin »

Aside from the humour of a trombone doing a Maynard impression, that was a pretty nothing solo.

Hey, there was not much of a role for the trombone section in that first chorus.
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Post by ttf_Bonefide »

I consider myself a fan of Wycliffe, but I was not a fan of that.  Where's the music?
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Post by ttf_jmings »

Quote from: Graham Martin on Mar 08, 2010, 03:38PMAside from the humour of a trombone doing a Maynard impression, that was a pretty nothing solo.

Hey, there was not much of a role for the trombone section in that first chorus.
Things I noted - Impressive baritone sax man - he made it look almost like an alto  Image
Did you notice the second trombone player looked like the Minzol Brass guy?  I almost expected to see him jump up and http://www.youtube.com/watch?v=qGAQGJXZJgY
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Post by ttf_bassclef »

Quote from: jmings on Mar 10, 2010, 05:41AMThings I noted - Impressive baritone sax man - he made it look almost like an alto  Image
Did you notice the second trombone player looked like the Minzol Brass guy?  I almost expected to see him jump up and http://www.youtube.com/watch?v=qGAQGJXZJgY
According to the description associated with this video, it was indeed Zoltan Kiss of Mnozil Brass fame.
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Post by ttf_jmings »

Quote from: bassclef on Mar 10, 2010, 09:41AMAccording to the description associated with this video, it was indeed Zoltan Kiss of Mnozil Brass fame.
<Jerry smacks forehead>  Image
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Post by ttf_John Beers Jr. »

Thein contrabass screwing around with Rochut Etude #2- http://www.youtube.com/watch?v=9urRLLD-dg4&feature=related
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Post by ttf_Bob Riddle »


Early Happy St.Pats Day!
  Just for fun!


http://www.youtube.com/watch?v=Tu32F9mzKuk
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Post by ttf_anonymous »

I just found a few clips of me sitting in with Atlanta saxophonist, Will Scruggs, and a killin' rhythm section last year at Eddie's Attic in Decatur, Ga.

Blubari Jam: http://www.youtube.com/watch?v=eJuNKAh2NIw

Nature Boy: http://www.youtube.com/watch?v=pbkM43k1V4A (I'm in around 4:25)

Filthy McNasty: http://www.youtube.com/watch?v=wgnmnZEHgYs (I'm in around 3:15)

Wes
www.Funderbone.com
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Post by ttf_yammy690+1 »

Quote from: Wes Funderburk on Mar 12, 2010, 10:46AMI just found a few clips of me sitting in with Atlanta saxophonist, Will Scruggs, and a killin' rhythm section last year at Eddie's Attic in Decatur, Ga.

Blubari Jam: http://www.youtube.com/watch?v=eJuNKAh2NIw

Nature Boy: http://www.youtube.com/watch?v=pbkM43k1V4A (I'm in around 4:25)

Filthy McNasty: http://www.youtube.com/watch?v=wgnmnZEHgYs (I'm in around 3:15)

Wes
www.Funderbone.com


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Post by ttf_sabutin »

Hi all...

I just received a DVD from a friend who videoed a Mambo Legends gig at the Julia de Burgos Cultural Center in Spanish Harlem last year. This is the band formerly known as The Latin Giants of Jazz (Don't ask...business is a b*tch sometimes.) that is comprised of the best latin jazz players in NYC, people who played with Tito Puente, Machito, Tito Rodriguez, Tipica 73, Cojunto Libre...the works. It is the single best big band in any idiom with which I have ever played in many respects...like playing with the Basie Band in the mid-50s. That good.

Anyway...in the DVD is a moment that I would like to share w/y'all. Julia de Burgos Cultural Center on Lexington Ave. and 106th St. is a place where NYC's serious latin dancers and music listeners come to hear the real thing, up close and personal. No glitz, no hype, not much of a sound system, but the groove is on there from the time you walk in until the gig is over, and there are a lot of people trying to document it.

On this night one of the things that happened is the three trombonists in the band (We usually have four, but the bread is a little short there and Reynaldo Jorge was on the road so we skimped a bit.) really hooked up in a series of short solos and then a burning moña at the end. Lewis Kahn, Jimmy Bosch (!!!) and myself. There is a communication between a great band and an audience truly physically and emotionally involved in the music that is sorely lacking in most (All?) contemporary jazz situations, and I think the majority of jazz players under the age of about 45 or 50 do not really understand the importance or power of that hookup.

So I posted this on YouTube.

Go here to hear it.

This is highly sophisticated music in a rhythmic, harmonic and melodic sense, but it is the balance among those elements that mark it as something extraordinary. That and the feeling among the musicians that they are servants of the audience in some manner, and the stone fact that these 20 musicians or so are a true band of brothers. (And sisters, too.) We have paid some dues together. Bet on it.

Give it a listen.

Until "jazz" finds a way to reconnect w/its audience on a physical and emotional level...and I do not mean negative emotions...the discussions about "How can we keep jazz alive?" will continue.

"Jazz" was alive when it communicated directly to the bodies and feelings of its audience. It has largely lost that connection, and as a result it is withering away as we speak. I am not saying that there are not great "jazz" musicians out there. There are more than ever, really. Fine players are coming out of conservatories all over the world every year, burning with great ideas and talent, conversant in the entire history of the music.

Except its emotional and physical history.

The sort of thing that you can hear on this clip happened in the dancehalls of Storyville, the clubs of Chicago and Kansas City, in  swing era dances and concerts all over America and in the neighborhood jazz clubs of cities across the country right into the '70s. It's not about idiom, it is about the flow between the audience and the performers.

Check it out.

And then...figure out how to do it.

There's a lifework for ya.

Later...

S.

P.S. I first truly understood this a couple of years ago. This Mambo Legends/Latin Giants band played a hellaciously good concert at Lehman College in the Bronx...1000+ people instead of 300 in the audience, the same kind of connection that you can feel from this video clip...and after the gig I rushed over to a concert that was being given by a really high-level jazz big band (I am not going to name names...but trust me, you would recognize them.) because I had turned it down in order to do the Mambo Legends gig. I play all the lead in the Mambo Legends and José Madera...the primary writer and the band's music director/leader...pretty much writes the parts w/me in mind. Since our Tito Puente days in the '70s, '80s +'90s. Can't turn something like that down, right?

Right.

So I walked into the theater in the middle of the second half of the other band's performance and...well, compared to what had been happening in the Bronx it was like entering a wake of some sort. Not that the band wasn't playing well. It was. But it had zero connection to the non-musicians in the audience, and the connection that it had with the musicians was almost entirely professional.

As in:

"Wow!!! listen to that dude tear up those really complicated changes!!!"

"Lord...that guy can really play high!!!"

Etcetera.

Ain't enough.

Bet on that as well.

Ain't nearly enough.

Dig deeper.

Please.

You be bettah off.

So will jazz.

Bet on it.
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Post by ttf_anonymous »

Quote from: sabutin on Mar 16, 2010, 05:08AMHi all...

I just received a DVD from a friend who videoed a Mambo Legends gig at the Julia de Burgos Cultural Center in Spanish Harlem last year. This is the band formerly known as The Latin Giants of Jazz (Don't ask...business is a b*tch sometimes.) that is comprised of the best latin jazz players in NYC, people who played with Tito Puente, Machito, Tito Rodriguez, Tipica 73, Cojunto Libre...the works. It is the single best big band in any idiom with which I have ever played in many respects...like playing with the Basie Band in the mid-50s. That good.

Anyway...in the DVD is a moment that I would like to share w/y'all. Julia de Burgos Cultural Center on Lexington Ave. and 106th St. is a place where NYC's serious latin dancers and music listeners come to hear the real thing, up close and personal. No glitz, no hype, not much of a sound system, but the groove is on there from the time you walk in until the gig is over, and there are a lot of people trying to document it.

On this night one of the things that happened is the three trombonists in the band (We usually have four, but the bread is a little short there and Reynaldo Jorge was on the road so we skimped a bit.) really hooked up in a series of short solos and then a burning moña at the end. Lewis Kahn, Jimmy Bosch (!!!) and myself. There is a communication between a great band and an audience truly physically and emotionally involved in the music that is sorely lacking in most (All?) contemporary jazz situations, and I think the majority of jazz players under the age of about 45 or 50 do not really understand the importance or power of that hookup.

So I posted this on YouTube.

Go here to hear it.

This is highly sophisticated music in a rhythmic, harmonic and melodic sense, but it is the balance among those elements that mark it as something extraordinary. That and the feeling among the musicians that they are servants of the audience in some manner, and the stone fact that these 20 musicians or so are a true band of brothers. (And sisters, too.) We have paid some dues together. Bet on it.

Give a listen.

Until "jazz" finds a way to reconnect w/its audience on a physical and emotional level...and I do not mean negative emotions...the discussions about "How can we keep jazz alive?" will continue.

"Jazz" was alive when it communicated directly to the bodies and feelings of its audience. It has largely lost that connection, and as a result it is withering away as we speak. I am not saying that there are not great "jazz" musicians out there. There are more than ever, really. Fine players are  coming out of conservatories all over the world every year, burning with great ideas and talent, conversant in the entire history of the music.

Except its emotional and physical history.

The sort of thing that you can hear on this clip happened in the dancehalls of Storyville, the clubs of Chicago and Kansas City, in  swing era dances and concerts all over America and in the neighborhood jazz clubs of cities across the country right into the '70s. It's not about idiom, it is about the flow between the audience and the performers.

Check it out.

And then...figure out how to do it.

There's a lifework for ya.

Later...

S.

P.S. I first truly understood this a couple of years ago. This Mambo Legends/Latin Giants band played a hellaciously good concert at Lehman College in the Bronx...1000+ people instead of 300 in the audience, the same kind of connection that you can feel from this video clip...and after the gig I rushed over to a concert that was being given by a really high-level jazz big band (I am not going to name names...but trust me, you would recognize them.) because I had turned it down in order to do the Mambo Legends gig. I play all the lead in the Mambo Legends and José Madera...the primary writer and the band's music director/leader...pretty much writes the parts w/me in mind. Since our Tito Puente days in the '70s, '80s +'90s. Can't turn something like that down, right?

Right.

Anyway...I walked into the theater in the middle of the second half of the other band's performance and...well, compared to what had been happening in the Bronx it was like entering a wake of some sort. Not that the band wasn't playing well. It was. But it had zero connection to the non-musicians in the audience, and the connection that it had with the musicians was almost entirely professional.

As in:

"Wow!!! listen to that dude tear up those really complicated changes!!!"

"Lord...that guy can really play high!!!"

Etcetera.

Ain't enough.

Bet on that as well.

Ain't nearly enough.

Dig deeper.

Please.

You be bettah off.

So will jazz.

Bet on it.

thanks for posting this, sam.  a music and culture that loves the trombone and a beautiful musical language and dialect that is not adequately represented in formal education....but who wants to be formal anyway? 

beautiful...

DG
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Post by ttf_sabutin »

Quote from: D Gibson on Mar 16, 2010, 05:12AMthanks for posting this, sam.  a music and culture that loves the trombone and a beautiful musical language and dialect that is not adequately represented in formal education....but who wants to be formal anyway? 

beautiful...

DG

"Adequately represented in formal education...???"

Actually...as soon as "formal" education gets its hands on a music...any music, from Bach through Mozart right into today...that music is in trouble.

Not that it won't survive the experience...great art always seems to survive one way or another, usually by being reinvented...but there it is.

Why do I avoid most "formal education" situations on a long-term basis?

For just that reason.

Like a guerrilla fighter, I go in, lay it out and then get out before the return fire gets serious.

Some people hear it. Most do not. So it goes.

That's all we can do, at least until the whole educational system here is changed.

And that ain't happening soon.

Saaaaayyyy...what's on American Idol tonite?

I got yer "formal education."

Right here!!!

I'm sorry, man. The kids are trying. But check out the movements of the bandleader.

Deep.

So it goes.

S.



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Post by ttf_John Beers Jr. »

Sam:
Erika von Kleist (noted alto sax soloist)
Richie Barshay (Drummer with Count Basie band, also herbie hancock)
Brad Mehldau
Joel Frahm
Kris Allen
Noah Preminger
Andrew Smiley
Pete McGuinness
Garrett Sayers

All alumni of just one high school with a strong jazz program, that also happens to have one of the best standard-education records in the country.

Are you suggesting either that competition-style Jazz doesn't have a place in the standard educational establishment, and should be held outside of the school?

You're pointing to an example of kids in high school while still in high school. If you point to where they are (should they choose to pursue music) after high school and a year and a half at Berklee before deciding it was a waste of money and going out to do their own thing? entirely different story.


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Post by ttf_sabutin »

Quote from: John Beers Jr. on Mar 16, 2010, 07:02AMSam:
Erika von Kleist (noted alto sax soloist)
Richie Barshay (Drummer with Count Basie band, also herbie hancock)
Brad Mehldau
Joel Frahm
Kris Allen
Noah Preminger
Andrew Smiley
Pete McGuinness
Garrett Sayers

All alumni of just one high school with a strong jazz program, that also happens to have one of the best standard-education records in the country.
The exception proves the rule, John.

QuoteAre you suggesting either that competition-style Jazz doesn't have a place in the standard educational establishment, and should be held outside of the school?

No either about it. I am "suggesting" that the majority of purveyors of formal education in the jazz idiom are incompetent, and further that almost the entire jazz education movement is a sad...albeit not consciously planned as such...Ponzi scheme that has totally lost sight of the root from which the music came in pursuit of respectability as it is defined in our equally lame educational system in general.

Why do you ask?


S.
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Post by ttf_sabutin »

Hello all...

I just received an email from a friend who kinda missed some of what was happening on this vid. I wrote back to him...it's on a mailing list but I'll leave his name out of it unless he wants to chime in here...and tried to explain a little of the backstory about this kind of playing. The reply came out pretty well so I thought that I would include it here.

=========================================================================

Great playing, Sam.  But in my humble opinion, you are a whole different class of player from the other two guys. Every time you played, I was going "wow."  The other two, I kept saying... "I can do that."

Well, ******...

Thank for the compliment, but...especially in Jimmy Bosch's case...you cannot "do that". Jimmy is so deep in the idiom that he simply cannot make a false move. Really. And strong? Fuggedaboudit!!! The SOUND ALONE!!! Think of his playing like that of a great timbalero or congero. It's all about where he places the notes. In point of fact, one of his major influences was the timbale player Manny Oquendo. Manny's style was like Thelonious Monk's. Disarmingly simple, almost crude sounding until you realized how strong it really was. Jimmy's like that too. Bet on it.

Lewis? He is not primarily a soloist, but he is a great trombonist and a wonderful musician. He's playing on very big equipment...too big for his own good, sometimes (So is Jimmy, come to think of it...a big Yamaha of some kind.)...and again, the part that you cannot hear on a videocam recording being played over computer speakers is his sound. He plays on something like a 4G/3G-ish m'pce, usually on '20s or '30s  Conn .547 or .525/547 horns and he takes care of the low parts in this band pretty much singlehandedly....no real bass trombone stuff, the baritone sax usually carries that burden in this style, but still, the band plays at a latin fortissimo most of the time. Plus...he is a fine violinist who plays very well in the latin styles like charanga that use violin. He is a fine orchestral style trombonist as well.

That last part,? Where we're playing together? W/out Jimmy, that doesn't happen. Not that way it doesn't. And not without Lew, too. It takes literally 1000s of hours on burning bandstands playing mambos and moñas to develop that kind of rhythmic, idiomatic and trombonistic strength. In all if NYC? There are maybe 4 other players in this idiom on that level.

Maybe.

But anyway...I know the feeling. When I first started playing this music it took me years (and any number of moña-based butt kickings) to figure out why such apparently "simple" players as José Rodriques and Leopoldo Pineda were really so much heavier than I was. And many more years (and LOTS of equipment searching) to find out how to play with them without sacrificing my other abilities on the horn. José is gone now and Leopoldo has stopped playing, but people like Jimmy Bosch, Reynaldo Jorge and José Davila keep their tradition alive in NYC and there are hundreds of others throughout South/Central/Caribbean America who are doing the same thing. Think of it as Kid Ory-style New Orleans playing or Tricky Sam Nanton/Al Grey-style plunger work.

It sounds simple until you try to do it in fast company.

And then?

HOO boy!!!

It ain't.

Bet on it.

Later...

Sam




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Post by ttf_anonymous »

Quote"Until "jazz" finds a way to reconnect w/its audience on a physical and emotional level...and I do not mean negative emotions...the discussions about "How can we keep jazz alive?" will continue.

"Jazz" was alive when it communicated directly to the bodies and feelings of its audience. It has largely lost that connection, and as a result it is withering away as we speak. I am not saying that there are not great "jazz" musicians out there. There are more than ever, really. Fine players are coming out of conservatories all over the world every year, burning with great ideas and talent, conversant in the entire history of the music.

Except its emotional and physical history.

The sort of thing that you can hear on this clip happened in the dancehalls of Storyville, the clubs of Chicago and Kansas City, in  swing era dances and concerts all over America and in the neighborhood jazz clubs of cities across the country right into the '70s. It's not about idiom, it is about the flow between the audience and the performers."

You got right to the heart the matter with the above  statement.
Why do so many younger players see jazz music as a gymnastic event instead of a musical event?
There are probably some limited venues where a few people might be willing to pay to see how fast and how high you can play, but "don't quit your day job" if that's all you bring to the table.
Music is entertainment...
We are musicians/entertainers!
What's so hard to understand about that?

Sam--that's a fine session!
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Post by ttf_sabutin »

Quote from: Nolabone on Mar 16, 2010, 04:06PM
You got right to the heart the matter with the above  statement.
Why do so many younger players see jazz music as a gymnastic event instead of a musical event?
Why?

Because they see it...hear it, feel it, really...as something totally divorced from their walking-around reality.

And why is that?

Because...and this is due to the dumbing-down of American culture that has been sponsored by the corporate media in search of the quick buck...it is totally divorced from their walking-around reality.

So it goes.

QuoteThere are probably some limited venues where a few people might be willing to pay to see how fast and how high you can play, but "don't quit your day job" if that's all you bring to the table.
Music is entertainment...
We are musicians/entertainers!
What's so hard to understand about that?
What is so hard to understand about that?

Well...imagine that basketball was not a popular spectator sport.

Imagine that there were no perks involved with being a basketball star. On almost any level. It had been a popular sport, but now? Now its remnants...still farly popular, a second-tier consumer sport... look more like badminton than basketball.

Imagine.

There are still some crazies who idolize the greats and play pick-up games and the occasional exhibition, but since say 1975 or so? No basketball on TV and only the occasional PBS documentary about the history of the game.

Now imagine that there are a sufficient number of those crazies to start teaching kids all over the country the finer points of the real game.

How Earl Monroe faked people out.

How Kareem shot his hook shot.

Etc.

But...winning or losing no longer mattered, because no one much came to the games anyway. Everybody was too interested in newer games, like Armed Ice Hockey and and cross between Football and Polo played with Hummers and bazookas.

Hmmmmm...

The game would implode.

The kids would be so involved with trying to copy people like Earl the Pearl and Kareem that it didn't make much difference if the ball went in the hoop or not.

Defense?

Fuggedaboudit.

It would all be about how good you look.

How good you lookto the other players.

And then...imagine that someone figured out how to make money by teaching this devolved version of the game to more and more and more players who have no shot whatsoever at making a living out of it.

And then those guys graduate from Basketball Conservatories all over the country and...they can't play ball and they can't find any other work...so they go out and teach at smaller schools.

High schools.

Middle schools.

Junior colleges.

We are three or four generations into this syndrome now in the jazz world.

Why can't the kids...talented kids, many of them...see the woods for the trees?

They've never experienced the woods.

They no longer even know that the woods were ever there.

Just a greenhouse version.

Yup.

Same same with jazz.

So that goes as well.

QuoteSam--that's a fine session!

Thank you.

That's a fine band and fine scene.

Still in touch with human souls, thank God.

Yup.

Later...

S.
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Post by ttf_Chris Fidler »

See if this Trombone solo grabs your attention......... http://www.youtube.com/watch?v=10JSXGW4x0g&feature=related
ttf_Graham Martin
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Post by ttf_Graham Martin »

Quote from: sabutin on Mar 16, 2010, 05:08AMUntil "jazz" finds a way to reconnect w/its audience on a physical and emotional level...and I do not mean negative emotions...the discussions about "How can we keep jazz alive?" will continue.

"Jazz" was alive when it communicated directly to the bodies and feelings of its audience. It has largely lost that connection, and as a result it is withering away as we speak. I am not saying that there are not great "jazz" musicians out there. There are more than ever, really. Fine players are coming out of conservatories all over the world every year, burning with great ideas and talent, conversant in the entire history of the music.

Except its emotional and physical history.

The sort of thing that you can hear on this clip happened in the dancehalls of Storyville, the clubs of Chicago and Kansas City, in  swing era dances and concerts all over America and in the neighborhood jazz clubs of cities across the country right into the '70s. It's not about idiom, it is about the flow between the audience and the performers.

Check it out.

And then...figure out how to do it.

There's a lifework for ya.

Later...

S.

I definitely agree with Sam's comment!

You will see that my name is on this thread because I started it. And yet, to my ears, 80% of the clips have no emotional content. Well, at least, they don't touch my emotions, except to say I am impressed with the technique but not with THE JAZZ. Every so often I make a critical comment - for instance I don't like the clip that precedes this post - and they are sometimes met with derision. I don't care one iota although I don't like to hurt people's feelings, either about their playing or their opinions. But I find it sad because these people are often good musicians technically. But they were 'never there' and just don't know!

I too blame much of the lack of consideration for the audience, and consequent loss of excitement, on the formalising of jazz study. I never did see the point of studying jazz in a conservatorium. I always felt it was about getting out there amongst it, absorbing it, sitting in, and practicing like crazy until you felt confident enough to get up there and DO IT!

I will admit I was never in Storyville, or Chicago, or Kansas City, or New York in the 20s, 30s and 40s. But I was lucky enough to have listened to absolutely great jazz in the UK through the 50s until the end of the 60s. This period covered the British big band era and the so-called British Trad Boom starting in the late 50s. Hey, you may scoff but when you heard the roaring reaction of an audience in a jazz club to a Kenny Ball, Acker Bilk, Chris Barber, Alex Welsh tune you could never ever forget what true jazz entertainment was all about. I was also lucky enough to catch just about every great American band and musician in the years when they toured the world extensively. Did YOU ever hear Basie, Ellington or Kenton live at full throttle? Yeah! Yeah! Yeah! The problem is that, if you didn't, I don't know how you can really do it and reconnect with the audience.

The saddest thing for me these days is that playing jazz is mostly a nostalgia trip. Maybe life styles and the ways that people listen to music have changed so much that there is no chance of generating that raw audience emotion that I experienced? Maybe hot emotional jazz is only appreciated by the baby boomers, at best, or in old people's homes? I haven't accepted this yet but maybe my own age dictates that I should take a bit of a reality check?

Naaaah!  Image
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Post by ttf_sabutin »

Quote from: Graham Martin on Mar 17, 2010, 01:00PM---snip---

The saddest thing for me these days is that playing jazz is mostly a nostalgia trip. Maybe life styles and the ways that people listen to music have changed so much that there is no chance of generating that raw audience emotion that I experienced? Maybe jazz is only appreciated in old people's homes? I haven't accepted this yet but maybe my own age dictates that I should take a bit of a reality check?

Naaaah!  Image

You make good sense, Graham.

But this last part...nope.

I play every Sunday at Birdland with a truly remarkable jazz group, The Chico O'Farrill Afro-Cuban Jazz Orchestra, and at one time I led the Mingus Big Band when it was really playing Mingus well. In both situations...and in many others as well over the past 25 or 30 years, including gigs w/the Smithsonian JazzMasterworks Orchestra when it was at its height, the various Tito Puente bands, the Mambo Legends/Latin Giants group and Lee Konitz's wonderful Nonet...audiences would regularly be moved to sincere standing ovations and profuse "Thank you!!!" statements.

The problem lies in the corporate media's lack of attention to the idiom, not the idiom itself and to some degree not the audience's lack either. People are moved by real art; they are just too busy trying to survive in challenging times to seek it out and are not being directed towards it by the media.

Why not?

For the same reason that so much background music is now synthesized, the same reason that Broadway show orchestras are shrinking, the same reason that easily replaceable amateur rock and rap bands are being hyped while more complicated forms are being ignored. It's simply more profitable to produce mechanical music and simpler/less expensive to deal w/several easily replaceable musicians than with a bunch of master musicians.

So it goes.

We do keep trying, though.

Who knows?

After the whole socio-cultural house of cards collapses...just as did the equivalent economic house of cards recently...maybe things will get better.

We shall see soon enough.

Bet on it.

Later...

Sam

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Post by ttf_Torobone »

It's out there, but the good stuff you have to hunt for it.

I learned about Jamie Cullum today. Best selling jazz artist in UK history. In the intro, they said he doesn't rehearse. He corrected the host to say that the band plays a lot, but never the same way twice. They want to be fresh, and they plan to stay that way. Here's hoping.

For what Sam plays, you can't sit and listen. You have to dance.

Nostalgia: I remember going to Local 149's Christmas Party. Best bands in the city - period. All the musicians on the dance floor couldn't dance to save their lives. sigh....
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Post by ttf_anonymous »

Some live footage of Urbie Green, 1976:

http://www.youtube.com/watch?v=1hNPD6ddIgE

Wes Funderburk
www.Funderbone.com
ttf_Trekkie Trombone
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Post by ttf_Trekkie Trombone »

http://www.youtube.com/watch?v=THRUDf4ROjg

Robin Eubanks & Steve Turre
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Post by ttf_cozzagiorgi »

Cool! But every time I hear the trombone modified by some computer I wonder how it would sound without. And I alway think: it would sound better!

But hey, that's me, call me old-fashioned...
ttf_bassclef
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Post by ttf_bassclef »

Stumbled across this one just now.

Listen to that bone section...brought me to tears.

The poster of this video sure seems proud, and provides extremely accurate comments: "The loud noise you hear at the beginning is from a bass trombone which I played in this song."

http://www.youtube.com/watch?v=yr5bjwIn2qE




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Post by ttf_anonymous »

Man, Robin's really improved that electric sound in the past few years. In that video it sounds a little bit too, I don't know how to describe it well, "squeaky" I guess, like plastic against a wet surface. It sounds more like an actual guitar now.
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Post by ttf_anonymous »

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

just stumbled across this one (again), great music and playing! Image
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Post by ttf_John Beers Jr. »

Some great tromboning in this big band video from the prison colony across the pond:
http://www.youtube.com/watch?v=N4OJ7ECZ9pM
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Post by ttf_DaveAshley »

Quote from: John Beers Jr. on Mar 26, 2010, 01:03PMSome great tromboning in this big band video from the prison colony across the pond:
http://www.youtube.com/watch?v=N4OJ7ECZ9pM
I lasted about 20 seconds.  Did it get any better?
ttf_Chris Fidler
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Post by ttf_Chris Fidler »

Check this out....... The Bone supremacy featuring Mark Nightingale and Ian Bateman on Michael Brecker's Delta City Blues........ http://www.youtube.com/watch?v=fh7cWjwzJZc&feature=player_embedded

Cd just released............ http://www.bonesupremacy.co.uk/
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Post by ttf_griffinben »

Quote from: pkeijsers on Mar 25, 2010, 04:01PMhttp://www.youtube.com/watch?v=cIlkUkHmfVE&feature=related

just stumbled across this one (again), great music and playing! Image

I'll save the censors and write it myself: *&&^^&%#%^$@$#@!!!!!!!!

Marshall always sounds so much better every time I hear him.

Pardon me, I have to go outside and kill myself now...
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Post by ttf_John Beers Jr. »

Quote from: Chris Fidler on Mar 26, 2010, 05:11PMCheck this out....... The Bone supremacy featuring Mark Nightingale and Ian Bateman on Michael Brecker's Delta City Blues........ http://www.youtube.com/watch?v=fh7cWjwzJZc&feature=player_embedded

Cd just released............ http://www.bonesupremacy.co.uk/

Thank you so much for this, Chris! I was just talking to Exzaclee and Matt Rich about how awesome a bone arrangement of DCB would sound.
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Post by ttf_anonymous »

Quote from: fluor on Oct 23, 2006, 02:47PMis there anything of JJ on youtube? can't find anything myself

There's a great video of J.J., Howard McGhee and (I want to say) Sonny Stitt playing Now's The Time. I transcribed that solo. Killin'.

As for the quibbles I saw a while back about jazz not reaching people emotionally and physically...I don't agree. I don't know what some people here are listening to, where people are going to hear live jazz, but...well, to insinuate that ballroom/swing/Chick Webb/Benny Goodman was the last time people were being reached emotionally and physically is a bit wacky in my eyes.

I'll give you this; bebop was a musician's music. Hard bop wasn't nearly as popular as rock n' roll. I think we've gotten to the point, however, where people are used to the kind of jazz that's being played now. There's no excuse for not being inspired by, in my opinion, some of the following.

Then I'll Be Tired Of You. I listen to that John Coltrane recording on Stardust so much. I can't get enough of it. It releases me. If You Could See Me Now by Yusef Lateef. Beautiful.

Then there's the Mingus Big Band, which I go see at the Jazz Standard every once in a while. The groove is unbelievable. I have never felt so good listening to music as I did the first time I heard the Mingus Big Band. Conrad was killin' all over the place, Boris Kozlow was layin' it down, Vincent Herring was burnin' like no tomorrow. Unbelievable.

If you don't think jazz is reaching people on an emotional level, I would heartily disagree. If you think jazz isn't reaching the common population on an emotional level, I might agree, but would argue instead that it's not being presented the right way. The reason John Coltrane was so popular was not because he was playing anything in a different way. Shredding as fast as he did wasn't new; Bird and Diz had perfected that, probably to a level that surpassed 'Trane. What 'Trane did, and what Miles did similarly, was package jazz in a way that appealed to the common population without (at least in 'Trane's case, IMO) losing any of the stank. Miles might be a little more debatable with the fusion stuff, but the cool stuff that he pioneered was definitely appropriate for the 50's. The spiritual Eastern stuff that 'Trane pioneered was appropriate for the late 60's. What happened after that is much more debatable, and I won't offer an opinion on that.

There's not yet been a jazz trombone player that has transcended his instrument enough to be mentioned in the same breath as a Bird or a Diz or a Miles or a 'Trane or even a Roy Hargrove, save for J.J.

To avoid being retroactive, here's some hipness from the great Curtis Fuller (Freddie Hubbard, Wayne Shorter, Art Blakey, Jymie Merritt and Cedar Walton as well). Enjoy! The trombone solo's at 2:05.

http://www.youtube.com/watch?v=M6JBs2hF6mk


ttf_yammy690+1
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Post by ttf_yammy690+1 »

Quote from: DaveAshley on Mar 26, 2010, 01:59PMI lasted about 20 seconds.  Did it get any better?




LOL
ttf_Graham Martin
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Post by ttf_Graham Martin »

I was searching for a good video recording of Johnny Mandel's "A Time For Love" and came across this one of the UVM Jazz Band from April 2006. I have no idea who is the young lady on trombone but she played just beautifully on this Sammy Nestico arrangement. She has a lovely big tone which is typical of the sound of youth these days. Nice vibrato, although on second listening maybe it is just the hall acoustics. Whatever, it is obviously not slide vibrato.

Actually I was looking for something with a bit more swing but this was a pleasant find.
 
http://www.youtube.com/watch?v=z0zQNOUDl88

Does anybody know the young lady?

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Post by ttf_ntap »

http://www.youtube.com/watch?v=-ym-qqn7cdk

Shameless self promotion....any comments and criticism are really appreciated.  This was from a gig about a week ago...
ttf_ctingle
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Post by ttf_ctingle »

Nicky G on the loose in HowwyWood!!

Where's the small horn McChes demands?  Image Image

Quote from: ntap on Apr 07, 2010, 10:48PMhttp://www.youtube.com/watch?v=-ym-qqn7cdk

Shameless self promotion....any comments and criticism are really appreciated.  This was from a gig about a week ago...

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Post by ttf_Chris Fidler »

Marc Godfroid plays a nice rendition of "Song of India"............... http://www.youtube.com/watch?v=-qMIUj7j32Q&feature=PlayList&p=D3E9A7F7F54ADFBE&playnext_from=PL&index=0
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Post by ttf_Paul Martin »

Quote from: Chris Fidler on Apr 14, 2010, 03:45PMMarc Godfroid plays a nice rendition of "Song of India"............... http://www.youtube.com/watch?v=-qMIUj7j32Q&feature=PlayList&p=D3E9A7F7F54ADFBE&playnext_from=PL&index=0

A few gratuitous helpings of cheese, that superfluous stuff at the end personally really pulls me out of the moment, but what's a girl to do with so few notes on an an arrangement so close to the TD classic?
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Post by ttf_anonymous »

just found out an outdoor concert with the Iris Ornig Sextet from last summer is up on YouTube.  seeing this reminded me of the attack mosquitoes that evening....it was absolutely brutal.  half the folks left on the break...i had never seen anything like it. 

http://www.youtube.com/watch?v=MJyn72sm31I&feature=related

bone content at 3:27
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Post by ttf_BarryLee »

RIYEL (Ken Watters, tpt / Yves Abel, b / Andre Atkins, tbn)

http://www.youtube.com/user/kenwatters#p/a/u/1/BgzRVIzobxU

This cooks.
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Post by ttf_bobilleg74 »

Quote from: django on Mar 24, 2010, 12:35PMMan, Robin's really improved that electric sound in the past few years. In that video it sounds a little bit too, I don't know how to describe it well, "squeaky" I guess, like plastic against a wet surface. It sounds more like an actual guitar now.

To me it sounded like a fly with the squits caught in a jam jar!
ttf_Trekkie Trombone
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Post by ttf_Trekkie Trombone »

Some Canadian Content,
Al Kay playing his arrangement of That Old Black Magic.
http://www.youtube.com/watch?v=ftACrzjBWRo

Hugh Fraser's VEJI- with guest soloist Slide Hampton:
http://www.youtube.com/watch?v=d3wFMmDbQvA
http://www.youtube.com/watch?v=hfRdoUMZmRI&feature=related
ttf_sabutin
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Post by ttf_sabutin »

Dave Taylor's introductory bass trombone solo with The Mingus Big Band on my reorchestration and (slight) rearrangement of Mingus's The Shoes Of The Fishermans's Wife Are Some Jiveass Slippers.

http://www.youtube.com/watch?v=RtU0yCX96AU

Also...listen to how well in tune his tuba playing is later on. He is a master musician.

Trpt.solo: Jack Walrath

Piano solo: The inimitable...and sadly, passed from this good earth...John Hicks.

Art Baron sitting next to Dave looking strangely...happy ( Image Image Image Image Image Image)...and that's me waving my arms up front.

When I was leading the band...from its beginning through the first couple of years...I featured Dave every chance I got, contrary to the wishes of Ms. Mingus. It got us both out of the band, eventually. So it goes.

It was a great band.

So it goes.

Later...

S.
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Post by ttf_Bonefide »

Phil Teele playing "Humongosaurus".  No actual video.  great listen while lying down with closed eyes: http://www.youtube.com/watch?v=LNm3WAqAt1I&feature=related
ttf_John Beers Jr.
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Post by ttf_John Beers Jr. »

Two videos for you today- The first was linked from the Trombone-L list a few days ago by Mr. Aharoni, and I was hoping to see it posted here but apparently nobody got around to it: Bass Trombonist Cedric Vergere (forgive my lack of accents, for all of the things I'm good at on the computer I never got a decent feel for ASCII accent markings) from the Swiss Concert/Competition Band "Brass Band 13 etoile" (etoile means star in french).

http://www.youtube.com/watch?v=6tR00PhG334

The second I just found today when browsing the Warwick Music website. They posted a link to a youtube performance of James Meador's Reciprocity by the people for whom it was written, Timothy Buzzbee and his wife Jessica (Tuba and Trombone, respectively). Fantastic piece, great rhythms, great feel, instruments blend together beautifully... I just wish that I could even hope to one day be able to play it successfully, let alone perform it (and I'm done dropping big dough on sheet music that far beyond my abilities, Ilja Reigngould's "Mr. Roberts" taught me that lesson... and I don't even know where it is at the moment):
http://www.youtube.com/watch?v=QmzoB5ufUKI&feature=player_embedded&aia=true

Hope you enjoy it.
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Post by ttf_anonymous »

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Post by ttf_anonymous »

I created this video a couple of days ago. I'm a trombone player and I played a few bars of trombone in it so I guess it's relevant to this thread. This is a very short film set to music depicting my emotions and reactions to passing a giant kidney stone last week. Unfortunately I'm plagued with 'em so there might be more videos where this one came from.

I give you The Passage:

http://www.youtube.com/watch?v=kkjcOytiE00

All music, videos and pictures by me.

If you don't laugh at this I don't know what else to do.

Put a banana on my head?

Wes Funderburk
www.Funderbone.com
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Post by ttf_cozzagiorgi »

Quote from: John Beers Jr. on May 09, 2010, 08:13AMTwo videos for you today- The first was linked from the Trombone-L list a few days ago by Mr. Aharoni, and I was hoping to see it posted here but apparently nobody got around to it: Bass Trombonist Cedric Vergere (forgive my lack of accents, for all of the things I'm good at on the computer I never got a decent feel for ASCII accent markings) from the Swiss Concert/Competition Band "Brass Band 13 etoile" (etoile means star in french).

http://www.youtube.com/watch?v=6tR00PhG334

Hey cool to see my local heros got some attention here! If you want to hear more about cedric: http://cedricvergere.dalton.ch/

The treize etoiles are a really cool brass band and the trombone section is incredible!
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