More YouTube Trombonists

ttf_Piano man · Post by **ttf_Piano man** » Tue Feb 13, 2007 7:11 pm

Quote from: DaveAshley on Feb 13, 2007, 05:39PMThis is a REAL good sounding high school kid. Maybe the best I've ever heard....
http://www.youtube.com/watch?v=u_J_Hq06g6U

Solo starts at 2 min 19 sec...

Nice! Nothin' wrong with that bass player either.

ttf_anonymous · Post by **ttf_anonymous** » Tue Feb 13, 2007 8:11 pm

The trombone player in the clip is Eric Miller.

If you thought THAT was good, read this:
http://www.newsday.com/news/local/longisland/ny-lferic0209,0,4078348.story?track=rss

Clearly, a young man with a bright future ahead of him.

ttf_Graham Martin · Post by **ttf_Graham Martin** » Tue Feb 13, 2007 8:13 pm

Aussie, Aussie, Aussie!

http://www.youtube.com/watch?v=hEAcfUZM55Y

Guess who?

Sorry, I found it on the same page as Eric Miller. It was probably a search page for 'trombone'.

ttf_marty nichols · Post by **ttf_marty nichols** » Wed Feb 14, 2007 3:59 am

Quote from: DaveAshley on Feb 13, 2007, 05:39PMThis is a REAL good sounding high school kid. Maybe the best I've ever heard....
http://www.youtube.com/watch?v=u_J_Hq06g6U

Solo starts at 2 min 19 sec...

Wow! 17 years old. Truly amazing!

ttf_lou2cv · Post by **ttf_lou2cv** » Thu Feb 15, 2007 10:51 am

A video of 'Bassdrumbone', featuring Ray ANderson

http://www.youtube.com/watch?v=IhUQy7rdvOM

ttf_marty nichols · Post by **ttf_marty nichols** » Fri Feb 16, 2007 3:58 am

Quote from: lou2cv on Feb 15, 2007, 10:51AMA video of 'Bassdrumbone', featuring Ray ANderson

http://www.youtube.com/watch?v=IhUQy7rdvOM

Anderson has incredible energy, endurance and imagination; however, for me a
little goes a long way. I do't think I ever listened to a
complete number. I have 2 of his cds.

ttf_lou2cv · Post by **ttf_lou2cv** » Fri Feb 16, 2007 12:31 pm

Ray is, i think, the more stright to the heart trombonist i know. The own who makes me laughing when i listen to some of his solos...

Here is a ballad by Metheny & Landgren, it's beautiful

http://www.youtube.com/watch?v=I_i7mOrghVQ

ttf_Graham Martin · Post by **ttf_Graham Martin** » Fri Feb 16, 2007 1:49 pm

ttf_Ruckus · Post by **ttf_Ruckus** » Fri Feb 16, 2007 10:20 pm

News update, Bob Erwigs videos have been uploaded on Dailymotion, a French website like youtube. You can check them out, his username is BobErwig.

ttf_sfboner · Post by **ttf_sfboner** » Sat Feb 17, 2007 12:44 am

Quote from: lou2cv on Feb 16, 2007, 12:31PMHere is a ballad by Metheny & Landgren, it's beautiful
I found that tonight as well, sitting here winding down from a gig. Somehow, through living under a rock I guess, I've never heard of Nils Landgren until I started browsing this forum. What a truly inspiring player. I feel like I've been in a rut with my musical tastes lately - I play so much classical that I've found myself not feeling like listening to it. I think I'm about to get into jazz in a big way, thanks to this forum. I can read it, play the styles, and wail out a blues solo just fine, but I need to start taking some lessons with someone who really knows what they're talking about.

I happened to find this hilarious video which I don't think has been posted yet:

Dueling Bones

ttf_Graham Martin · Post by **ttf_Graham Martin** » Mon Feb 19, 2007 3:26 pm

Quote from: Ruckus on Feb 16, 2007, 10:20PMNews update, Bob Erwigs videos have been uploaded on Dailymotion, a French website like youtube. You can check them out, his username is BobErwig.

Good news indeed. Google will have to watch to their laurels. I think this site is better than YouTube and maybe they will not suspend Bob's account.

Thanks for that tip. Here is Bob Erewig's page on the Dailymotion website:

http://www.dailymotion.com/boberwig

You can also see Bob's his videos on his own website - Bob Erwigs Web of Jazz website:

http://www.webofjazz.net/

As well as Bob Erwig's video collection on the Dailymotion site, you can find a number of the great trombone players with a trombone search.

I wish the guy that introduces Frank Rosolino on this had done some research on how to hold a trombone. That looks really awkward:

http://www.dailymotion.com/visited/search/trombone/video/x2c4t_frank-rosolino-iii

Some nice JJ:

http://www.dailymotion.com/visited/search/trombone/video/x25xk_jj-johnson

And my favourite Roy Williams, handling the vocal on this occasion and a couple of solo choruses. Another one that was on YouTube boberwig:

http://www.dailymotion.com/visited/search/roy%2Bwilliams/video/x18hmf_sister-kate-klein

ttf_marty nichols · Post by **ttf_marty nichols** » Mon Feb 19, 2007 5:06 pm

This may be a good place to mention a new alternative to myspace---
www.shoutlife.com
You may upload up to 5 mp3s to the site.

www.shoutlife.com/freemarty

ttf_lou2cv · Post by **ttf_lou2cv** » Tue Feb 20, 2007 2:02 am

Marty, i agree with you about Ray Anderson, because now, his solos are not what they were before. When you listen one of his actual CD, you can know what he will play. Whereas his past playing was better, it was as 'crazy' as now, but he used it perfectly and made sense into his solo...now there are crazy notes not as well-used as past.

ttf_Thedrakester · Post by **ttf_Thedrakester** » Thu Feb 22, 2007 7:51 pm

For you doodle tongue afficiandos I present

John Fedchock and Bob McChesney

http://www.youtube.com/watch?v=WqXMiuUs17U

ttf_Thedrakester · Post by **ttf_Thedrakester** » Thu Feb 22, 2007 8:00 pm

this isn't youtube but check out my 15 year old son's playing

http://www.myspace.com/drakesmithjr

the kid can play! (the studio recording is his first take)

ttf_zemry · Post by **ttf_zemry** » Thu Feb 22, 2007 8:08 pm

Quote from: Thedrakester on Feb 22, 2007, 08:00PMthis isn't youtube but check out my 15 year old son's playing

http://www.myspace.com/drakesmithjr

the kid can play! (the studio recording is his first take)

WOW!! is all that I can say. He plays with such maturity. Great jazz sound and phrasing!

ttf_Graham Martin · Post by **ttf_Graham Martin** » Thu Feb 22, 2007 8:59 pm

Quote from: Thedrakester on Feb 22, 2007, 07:51PMFor you doodle tongue afficiandos I present

John Fedchock and Bob McChesney

http://www.youtube.com/watch?v=WqXMiuUs17U

Never let it be said that I am. In fact, I had to get out the 1945 original to remind myself what a great swinging herd it was that played it and how good a vehicle the tune Apple Honey really is - based on the chords of the standard 'I Got Rhythm'. Incidentally the trombone solo on the original has great Harris lines, against the grain runs and a cheer section from the band shouting encouragement. I don't think Harris used any doodle tongue but you could never tell with Bill because he invented the necessary technique as he needed it. I did not find too much that was memorable in that later youtube performance.

ttf_KINGJIGG1943 · Post by **ttf_KINGJIGG1943** » Thu Feb 22, 2007 9:14 pm

Great way to start your kid!! I didn't pick up my 1st trombone till I was 15yrs old!!
And it wasn't till I got stationed here in New Olreans that I started playing jazz (22yrs.old). Tell him to keep it up! Much better than GameCube or what ever!

ttf_Thedrakester · Post by **ttf_Thedrakester** » Thu Feb 22, 2007 9:20 pm

Graham I hear what you are saying. Guess I'm going to catch **** for what follows...
I was somewhat tongue in cheek when posting the youtube link. Although I find the doodle tongue school of players interesting, in all the plethera of notes I find it hard to find anything that has struck me other than "wow that is a lot of notes" and "omg they have tremendous technique" I watched it with my son and we were in awe of the technique but felt unmoved. I didn't feel the two great trombone players were actually saying anything to me on a deeper level... I really prefer cats like JJ, Curtis, Slide, Steve Davis, David Gibson. They speak more consistantly from the heart.

ttf_LX · Post by **ttf_LX** » Thu Feb 22, 2007 11:33 pm

Yo Drake!! Great concept, sound and feel. I liked hearing the dueling Drakesters on "Walkin'"!

We'll all be looking forward to charting your son's musical journey.

LX

ttf_Graham Martin · Post by **ttf_Graham Martin** » Fri Feb 23, 2007 2:05 am

Hey Drake, I do like your son's playing very much, particularly in the tune "In The Beginning". He has a beautiful tone, precise pitching and, best of all, he constructs very mature melodic lines. I sometimes play with teenage trombonists and none of them has anywhere near that degree of understanding of what jazz is all about. I guess he has a good teacher/s.

Nice swinging band on that tune also!

ttf_anonymous · Post by **ttf_anonymous** » Fri Feb 23, 2007 4:29 am

Hi,

I also uploaded some nice trombone and Vienna Art Orchestra live videos to YouTube recently.
Maybe have a look to my video page there.
http://www.youtube.com/bachnerr

Best from Vienna/Austria, Robert Bachner

PS: maybe also look for "Dick Nash" on YouTube - if you haven´t done this yet

ttf_sabutin · Post by **ttf_sabutin** » Fri Feb 23, 2007 7:39 am

I have been watching this thread with great interest.

It illustrates precisely why so many of us are asking about the continued relevance of the trombone.

I would guess some 95% of the clips that have been recommended here are of interest ONLY to trombonists. Not even particularly to other brass players, probably not to other musicians, and almost CERTAINLY not to simple listeners and lovers of music.

ESPECIALLY the "jazz" clips.

As a technically interested trombonist...there is a great deal of good stuff.

As a musician/composer/musical philosopher? (Sorry...I do not know how else to describe my interest in the music of music.)

Sad stuff, most of it.

Licks by the carload.

Surrender to the instrument.

ESPECIALLY the "fast guys".

Most of the solos? Illustrations of why there are so few trombone solos written into charts or featured on recordings OTHER than those made by trombonists in the interests of self-promotion.

The only stuff that comes across as "music" as opposed to trombone athletics?

The usual pantheon of greats.

In order of age:

Teagarden

Trummy Young

Dorsey

Bill Harris

Urbie Green

Rosolino (When he wasn't showing off.)

J.J.

Maybe I missed a couple (Was there a Curtis Fuller or Slide Hampton clip in there? If not...WHY not?), but basically, the rest?

All 9 pages?

As a musician rather than a trombonist?

As a lover of music?

YAWN!!!

And it is NOT as though there aren't some great musical players out there.

It's just that...for some reason which very few of us have been able to figure out...the unadorned musicality of people like Lawrence Brown or Jimmy Knepper or Julian Priester or Gary Valente or Barry Rogers just does not get covered by the culture in general.

Not enough for it to filter down into film clips, for SURE.

Just sayin'...

I find this surpassingly strange, this tendency. I play every Sunday with a great band in a fine NYC jazz club (Birdland. The best in NY, in my opinion. And not just because I work there a lot.) full of several hundred people, and when Gary Valente gets his burn on...which is about 99% of the time that he has his horn to his chops...there is a collective indrawing of breath in the audience. So hard that you can feel the breeze.

I cannot TELL you how many of these clips I have brought up, listened to about 15 seconds, and just turned off and gone about my business. I've listened to a lot of trombone solos in my day, and I can usually tell within a VERY short space of time whether the player is going to hit a real groove or not. Hell...live, I can usually tell just by hearing the timbre of the first note or two if their sound is not totally distorted by bad amplification.

And it is NOT as if truly great solos are not being played every day by trombonists. Musical solos. Solos that are interesting in both a trombonistic AND non-trombonistic manner.

I hear several almost every week just in the course of my day-to-day work in NYC.

Shall I name a few over the last month or three?

OK.

Gary Valente

Reynaldo Jorge

Clarence Banks

Keith O'Quinn

Art Baron

Deion Tucker

Nate Mayland

Jeff Bush

Mike Fahn

José Davila

Mark Patterson

Dave Gibson

Luis Bonilla

Andrae Murchison

Earl McIntyre

I have had some good nights, too.

And that's just the short list. The short list of someone who almost NEVER goes out to hear music because he's too busy working and writing. This is just the people with whom I work and rehearse.

Never heard of most of these people?

Just sayin'...WHY!!!???

I'll be damned if I know.

Really.

But there it is.

And here is this thread of clips that centers in almost entirely on uninspired lick players with lots of chops and almost NO sound.

Sorry, folks.

Review your priorities.

A "good" trombone solo?

One that is both musical AND interesting to non-trombone players.

Not so rare...just rarely promoted.

Strange, eh?

Yup.

Just sayin'...

S.

ttf_The Sheriff · Post by **ttf_The Sheriff** » Fri Feb 23, 2007 7:49 am

YES SAM, YES!

ttf_anonymous · Post by **ttf_anonymous** » Fri Feb 23, 2007 9:14 am

As always Sam pin-points it

ttf_anonymous · Post by **ttf_anonymous** » Fri Feb 23, 2007 5:28 pm

I think Sam has some very good points (as usual). However, in the case of the Fedchock/McChesney clip, I'd say that that single clip wouldn't be a great example to judge one's musicality. At that tempo, most of us go on 'autopilot' just to keep in the game. The sax players that preceded the trombonists were certainly not being especially artfull, and in fact the second one played (mostly) the same lick at the bridge both times. The recordings I've heard of J.J. and Curtis playing at 280+ b.p.m. wouldn't be the examples I'd recommend to others wanting to hear a representative clip either. I think in this case, the context of the tempo must be considered.

ttf_ctingle · Post by **ttf_ctingle** » Fri Feb 23, 2007 5:59 pm

>>>>
OK.

Gary Valente

Reynaldo Jorge

Clarence Banks

Keith O'Quinn

Art Baron

Deion Tucker

Nate Mayland

Jeff Bush

Mike Fahn

José Davila

Mark Patterson

Dave Gibson

Luis Bonilla

Andrae Murchison

Earl McIntyre

I have had some good nights, too
>>>>>>>>

Nice post, Sam. There are new names to me on your "short list". Can you tell me/us more about:

Andrae Murchison, Jose Davila, Jeff Bush, Nate Mayland, Deion Tucker....I think I'm familiar with the rest of this choice list.

Cheers,

ttf_Thedrakester · Post by **ttf_Thedrakester** » Fri Feb 23, 2007 6:43 pm

Quote from: anotherjones on Feb 23, 2007, 05:28PMI think Sam has some very good points (as usual). However, in the case of the Fedchock/McChesney clip, I'd say that that single clip wouldn't be a great example to judge one's musicality. At that tempo, most of us go on 'autopilot' just to keep in the game. The sax players that preceded the trombonists were certainly not being especially artfull, and in fact the second one played (mostly) the same lick at the bridge both times. The recordings I've heard of J.J. and Curtis playing at 280+ b.p.m. wouldn't be the examples I'd recommend to others wanting to hear a representative clip either. I think in this case, the context of the tempo must be considered.

I've heard JJ and Curtis play very fast yet still speak with musical clarity without resorting to a never ending display of meaningless "trombone athletics" (thanks Sam for that one). There is a reissue of J.J. Inc with an unreleased version of Turnpike with JJ just tearing it up. You have listened to the "Eminent J.J. Johnson" albums? (you have yes?) How about some of Curtis's work with Art Blakey? How about a young Curtis playing Cherokee with Jimmy Smith? I've heard Eddie Bert play on some pretty fast things... no autopilot there... he was sayin' something

Cats making real "music" that would be of interest to music lovers and all musicians alike.

With regard to the Fedchock/McChesney clip ... How refreshing a whole note would have been or even better yet ... using ..........space ...

Sam is right on as usual. Damn it Sam are you ever wrong????

ttf_zemry · Post by **ttf_zemry** » Fri Feb 23, 2007 7:26 pm

In many jazz solos, the jazz notes of silence are the most utilized. There is nothing wrong with unfilled space.

ttf_sabutin · Post by **ttf_sabutin** » Fri Feb 23, 2007 9:02 pm

Quote from: ctingle on Feb 23, 2007, 05:59PM
---snip---

Nice post, Sam. There are new names to me on your "short list". Can you tell me/us more about:

Andrae Murchison, Jose Davila, Jeff Bush, Nate Mayland, Deion Tucker....I think I'm familiar with the rest of this choice list.

Cheers,

Andrae Murchison...maybe 20 years old?

Just up from Atlanta. Young, but BIG ears. Playing the real stuff. Wide open to everything. Big horn, big sound player.

Jose Davila...been around a while. Plays tenor, bass + tuba. A FINE, expressive soloist on all of them. In all idioms.

Jeff Bush...went to Manhattan School of music. Fairly young, but has roots that go right back to the swing players. Plays the HELL out of the instrument.

Nate Mayland...graduated from Indiana. Plays 2 1/2 and 3 octave lines. On a 3B. Right on up from the second partial. Makes it sound easy. Connected!!! I have NO idea how he does it, except that's what he practices and he practices a lot. Great notes, too.

Deion Tucker...a real, grown-up young mainstream jazz player. Hears everything he plays, and it all works.

I mean...there are others.

These are just the ones with whom I have played over the last few months.

LOTS of others.

NY is ridiculous.

Later...

S.

ttf_sabutin · Post by **ttf_sabutin** » Fri Feb 23, 2007 9:06 pm

Quote from: Thedrakester on Feb 23, 2007, 06:43PM---snip---

Damn it Sam are you ever wrong????

Well...I DID choose the trombone...

S.

ttf_anonymous · Post by **ttf_anonymous** » Sat Feb 24, 2007 2:11 am

It is indeed wonderful to note that so many of 'us' go for the real thing, musicality, first. Pyro-techniques for the sake of musical survival/expression is more than ok. What makes the Fedchock/McChesney cut so unbearable is the complete absence of musicality, melodicity, space and rhythmicality in a tune so associated with one of the all time great masters of those exact qualities: Bill Harris

I've heard cats play incredibly fast tempos making sense in all departments all the way, cats like Jimmy Knepper (more than anyone) - there's one cut on YouTube with him with the Mingus Dynasty, check that one out

- not for just FAST but for the above-mentioned qualities.
And one thing, we should not confuse, is the lack of those qualities in some players that also utilize doodle-tongue and jumping to conclusions that doodle-tongue is bad and can only be used for those kinds of show-offish no-sound pyro-techniques. Other players (like myself) who use doodle-tonguing can retain sound, projection and musicality while using that available tool with integration and musicality. I, personally, use doodle-tounge as an integrated part of my vocabulary, NOT for playing fast particularly, but for expression, phraseology at any tempo. Some of you cats have been diggin' my cut on YouTube. Check it out again, yes, I use doddle-tounge a lot on that slow blues solo which doesn't have one fast lick at all. I use it to shape my phrasings. But of course I've developed my doodle-technique just for that purpose: expression in any musical situation.
So don't blame the technique, blame the - ahem - artist

Lovely with this recent input about these subjects, y'all

ttf_ctingle · Post by **ttf_ctingle** » Sat Feb 24, 2007 7:21 am

Quote from: sabutin on Feb 23, 2007, 09:02PMAndrae Murchison...maybe 20 years old?

Just up from Atlanta. Young, but BIG ears. Playing the real stuff. Wide open to everything. Big horn, big sound player.

Jose Davila...been around a while. Plays tenor, bass + tuba. A FINE, expressive soloist on all of them. In all idioms.

Jeff Bush...went to Manhattan School of music. Fairly young, but has roots that go right back to the swing players. Plays the HELL out of the instrument.

Nate Mayland...graduated from Indiana. Plays 2 1/2 and 3 octave lines. On a 3B. Right on up from the second partial. Makes it sound easy. Connected!!! I have NO idea how he does it, except that's what he practices and he practices a lot. Great notes, too.

Deion Tucker...a real, grown-up young mainstream jazz player. Hears everything he plays, and it all works.

I mean...there are others.

These are just the ones with whom I have played over the last few months.

LOTS of others.

NY is ridiculous.

Later...

S.

Thanks mucho, Sam. Keep on enjoying the beatiful rediculous-ness we love as NYC.

Did you happen to see Pat Metheny's words of tribute to Michael Brecker from the other night at Town Hall? I don't know how, but somehow I thought it might relate here, even expand the discussion.

Peace and groove,

ttf_sabutin · Post by **ttf_sabutin** » Sat Feb 24, 2007 8:02 am

Quote from: ctingle on Feb 24, 2007, 07:21AMThanks mucho, Sam. Keep on enjoying the beatiful rediculous-ness we love as NYC.

Did you happen to see Pat Metheny's words of tribute to Michael Brecker from the other night at Town Hall? I don't know how, but somehow I thought it might relate here, even expand the discussion.

Peace and groove,

No.

I missed the service. Had to work.

What did he say?

S.

ttf_ctingle · Post by **ttf_ctingle** » Sat Feb 24, 2007 9:07 am

Quote from: sabutin on Feb 24, 2007, 08:02AMNo.

I missed the service. Had to work.

What did he say?

S.

From Lois Gilbert at Jazzcorner.com to radio DJ's, programmers on behalf of Pat Metheny....sorry for the font translating problems....beautiful message rings through:

Hello everyone

I wanted to thank you all who played the music of Michael Brecker Tuesday
evening. Just like Michael, the tribute was full of love and gratitude to have
Michael in our lives, whether through his music or just through his presence
in our lives. Tonight, Pat Metheny emailed me, and asked if I might be able to
post his talk after his solo performance at the tribute of the tune he wrote
for esp for Michael: "Every Day (I Thank You)" which can be found on Pat's ECM
CD "80/81"

If you are inclined to play it - you might also want to read what Pat said
after his performance:

"The piece I just played was written many years ago, especially for Mike. We
played it together lots of times.

It was called "Every Day (I Thank You)."

Somehow those words have an extra special meaning today.

We all have so much to thank Mike for.

Music was, of course, what gave me, and probably many of us here today, the
chance to know Mike, through music. In my case, first as an admirer and then as
a collaborator.

I have often mentioned that the most treacherous location in the jazz world
was to be on a bandstand as the guy who has to play the solo right after Mike
Brecker.

I was lucky to have been in that situation many times over the years, and I
learned so much from Mike on so many levels, as all of us who ever had the good
fortune to play with him always did.

Thereâs been, from the very earliest days, so much to talk about about Mike,
the musician.

There's just the whole thing about the way he played. It was just so amazing
to hear somebody play like that. Every single time.

For musicians, there are hundreds of nuts and bolts things going on there to
marvel at, to study, to learn from, to enjoy. Things that have literally set
the bar for all of us in so many areas over the past 35 years, as they will for
future musicians for countless generations to come.

In many ways, I think at various points everyone was so blinded by the
brilliance and ingenuity and strength of this guy, coming along with perfect time,
who had found another 150,000 ways to navigate through any given set of chord
changes while simultaneously displaying a level of saxophone technique and a
sound that seemed almost superhuman.

So many things in action there in fact, that the deepest treasure of Mikeâs
amazing gift was sometimes hard to pick out in the wealth of all of it.

Because even with all of that, the real thing that made Mike so special as a
musician, as a player, was his incredible ability to communicate what it is to
be human. The complications of it. The struggle of it. The joy of it. To
manifest a sound that could describe things about what it is to be here on earth
that everyone, musician or not, could feel and recognize as being true.

That is the rarest thing.

His communicative skills were evolved far beyond any particulars of any given
style of music, or the advanced level of technique that he possessed, or the
assimilation of his influences, or even music itself, as it turns out.

Because the thing underneath it all was this;

Mike had a way of connecting with people in every important human
transaction, that was kind of the fundamental currency that in turn gave his playing and
his music the illuminating quality that made him stand so apart.

In retrospect, the diligence that he applied towards music was simply a
symptom of the transcendent quality to touch people deeply that was pervasive in so
many aspects of his life.

I know that for me, my interactions with Mike over the years all retain an
almost indelible quality in my memory that is very unique. From the smallest
moments, to the biggest concerts, somehow I remember everything about being
around him in such detail.

In the past several years, during his fight, and in particular in the weeks
since his passing, the outpouring of love for Mike has been so bountiful, so
beautiful.

Itâs notable how in almost every description of an encounter with Mike, no
matter who is talking, you can feel the person reflecting on those minutes, or
hours or months or years that they were around him as being among the best
moments of their lives.

Mike really paid attention. And in his quiet and gentle way, he noticed and
appreciated all the things that make each one of us around him exactly who we
are. It seems that he had that gift with just about everyone he encountered.
And as musicians, he saw and brought out the best in all of us. Musically, and
maybe more importantly, in every other way too.

The timelessness and weight of Mikeâs contribution may ultimately be traced
in equal measure to the humility that he naturally and effortlessly carried
with him at all times. Mikeâs ability to make every person in every room feel
like a valuable and genuine peer - especially given the incredible skills and
accomplishments that he himself possessed - really put him in category entirely
of his own.

Last summer, Mike was well enough to finish a new album. By that time, his
fight had been an ongoing battle for more than two years and Mike had not been
able to physically play for most of that time.

What happened in the studio during those few days in August is almost
impossible to describe. Itâs one of the most amazing, powerful, unbelievable things
that I, and all of us who were there , have ever seen, or ever will see.

We just finished mixing and mastering the record a couple days ago and in a
little while here you will hear a brief fragment of it. Youâll hear right away
what Iâm talking about.

Mike just left us some of the greatest music of his career. Of his life. And
his efforts to get this final message out to all of us - which is really what
it was -a message - will go down as one of the great codas in modern music
history.

It is said that the best way to honor someone who has left us is to try to
emulate their best qualities in the way that we live the remainder of our own
days.

May that start here with all of us today.

Weâll never have a better model than Mike about what it is to be here on
earth, and how to live our lives.

Along with Susan, Jess and Sam, Mike is a hero for all of us. "

--------------

Lois Gilbert
jazzcorner.com

ttf_slideorama · Post by **ttf_slideorama** » Sat Feb 24, 2007 9:37 am

Samuel Burtis

ttf_sabutin · Post by **ttf_sabutin** » Sat Feb 24, 2007 10:36 am

Quote from: slideorama on Feb 24, 2007, 09:37AM Samuel Burtis
LORD ALMIGHTY!!!!

I had NO IDEA that was made into a video. Thank you SO much!!!

Can't find Cleve Pozar...haven't been able to do a thing with that CD.

All the trombones...that's all me. Played a small axe (Conn Burkle 32H), a .525/.547 and bass. I wrote the chart, too.

Drums? Cleve Pozar...one of my oldest friends...on Santeria ritual drums called bata.

Nice to hear it again.

John Coltrane and West African-influenced Caribbean ritual drum styles.

Not a bad place to start, eh?

Thanks again, slideorama.

I owe you one.

Sam

ttf_sabutin · Post by **ttf_sabutin** » Sat Feb 24, 2007 10:56 am

Anybody...

Listen...I am trying to contact the person who posted that youtube clip above. Someone named kimbiza. I am running into some sort of problem with youtube's sign-in thing. I keep getting a note to verify my email address but when I do, 2 minutes later I get the same note. So...anyone who has a functioning youtube subscription...would you do me a favor and drop that kimbiza person a note saying I would like to speak with him or her? Plus my email address?

<[url=mailto:[email protected]][email protected][/url]>

Say that I am the guy who wrote and performed the piece (Give my name, Sam Burtis), that I would like to thank whoever put together that beautiful, heartfelt video, and that I have been trying to find Cleve Pozar for going on three years.

Thanks...

Sam

ttf_zemry · Post by **ttf_zemry** » Sat Feb 24, 2007 11:15 am

I've sent him a message, Sam.

ttf_The Sheriff · Post by **ttf_The Sheriff** » Sat Feb 24, 2007 11:36 am

Sounds great, Sam.

ttf_anonymous · Post by **ttf_anonymous** » Sat Feb 24, 2007 12:12 pm

Quote from: sabutin on Feb 24, 2007, 10:36AMLORD ALMIGHTY!!!!

I had NO IDEA that was made into a video. Thank you SO much!!!

Can't find Cleve Pozar...haven't been able to do a thing with that CD.

All the trombones...that's all me. Played a small axe (Conn Burkle 32H), a .525/.547 and bass. I wrote the chart, too.

Drums? Cleve Pozar...one of my oldest friends...on Santeria ritual drums called bata.

Nice to hear it again.

John Coltrane and West African-influenced Caribbean ritual drum styles.

Not a bad place to start, eh?

Thanks again, slideorama.

I owe you one.

Sam

Beautiful, Sam. One of my favorite tunes. It just has a vibe that is undeniable. I did an orchestral arrangement when I was in grad school.

Man, your playing in the upper register reminds me of Slide on his octet recordings. Very powerful and solid, but still sweet. I mean that with the greatest respect for both of you. Glad we could all check that out.

Now how do you feel about this thread?

DG

ttf_sabutin · Post by **ttf_sabutin** » Sat Feb 24, 2007 12:19 pm

Quote from: D Gibson on Feb 24, 2007, 12:12PMBeautiful, Sam. One of my favorite tunes. It just has a vibe that is undeniable. I did an orchestral arrangement when I was in grad school.

Man, your playing in the upper register reminds me of Slide on his octet recordings. Very powerful and solid, but still sweet. I mean that with the greatest respect for both of you. Glad we could all check that out.
Glad to have at least a little evidence of what I have been up to. Something to share with others.

Really.

QuoteNow how do you feel about this thread?

DG
This thread?

Unraveled?

S.

ttf_Thedrakester · Post by **ttf_Thedrakester** » Sat Feb 24, 2007 4:35 pm

Quote from: Thedrakester on Feb 23, 2007, 06:43PMSam is right on as usual. Damn it Sam are you ever wrong????

Quote from: sabutin on Feb 23, 2007, 09:06PMWell...I DID choose the trombone...

S.

The decision to play trombone was not a mistake...it was a character flaw

Really dug the playing on Naima and the chart...

ttf_sabutin · Post by **ttf_sabutin** » Sat Feb 24, 2007 4:44 pm

Quote from: Thedrakester on Feb 24, 2007, 04:35PMThe decision to play trombone was not a mistake...it was a character flaw

Really dug the playing on Naima and the chart...
The character flaw lay in whatever sadist gave me a tuba to play in 3rd grade. I lugged that damned thing home a hundred times. I swear to God...in its hard case, it weighed more than I did.

After that...it's been all uphill from there.

S.

ttf_zemry · Post by **ttf_zemry** » Sat Feb 24, 2007 5:51 pm

For Grah: http://www.youtube.com/watch?v=GbHAva2VbTs&mode=related&search=

ttf_sfboner · Post by **ttf_sfboner** » Sat Feb 24, 2007 5:58 pm

^^ Pretty 'bone that guy's got - is that an Edwards?

ttf_zemry · Post by **ttf_zemry** » Sat Feb 24, 2007 6:01 pm

Check out Lucian Barbarin on this Harry Connick, Jr. clip

http://www.youtube.com/watch?v=rcQe-2_E1NY&mode=related&search=

ttf_JP · Post by **ttf_JP** » Sat Feb 24, 2007 6:01 pm

Excellent Sam, we used to call that overdubbing in the tape days, overlay now? Great job of that. I watched it, then turned off the screen (Got tired of seeing the name Nambibia or whatever), and just listened. Great job top to bottom, nice rhythm and intonation.

Send a copy to the idiot on the TrbL who keeps bugging you about the live recording from the ITA thang (live recording--are you in the chair? Smell the discomfront? Playing with strange rhythm sections? Like putting a picture out there of you in your skivvies picking up the paper in your front yard. Yeah, it was you, and you were proud of the moment, but does everybody in the world need to see that?)

Thanks for all you do for trombone.

Off topic, sorry. Great playing, Mr. Burtis.

ttf_sabutin · Post by **ttf_sabutin** » Sat Feb 24, 2007 6:29 pm

Quote from: JP on Feb 24, 2007, 06:01PM---snip---

Send a copy to the idiot on the TrbL who keeps bugging you about the live recording from the ITA thang.
Naaahhhh... he wouldn't get it. He's just a front for somebody else with a grudge, anyway...

A gofer troll.

QuoteThanks for all you do for trombone.

Off topic, sorry. Great playing, Mr. Burtis.

Truth?

It's what the trombone...and music...has done for ME.

Really.

I'm just trying to pay a little back.

I'll never manage to pay off the debt.

It's all I can do to keep up with the vig.

Later...

S.

ttf_sabutin · Post by **ttf_sabutin** » Sat Feb 24, 2007 6:31 pm

Slideorama...

Thanks TWICE for posting that.

It enabled me to find a long-lost friend as well.

Cleve Pozar.

What a monster HE is!!!

Later...

S.