TromboneChat

How about...
   Lloyd Uylate (SP?)
   George Bohanan
   Micheal Mulcahy (you have to hear Swan of Tuonela)
   Dick Nash
   Jimmy Knepper (a huge loss)
   Ian Bousfield
   Roy Pickering (what a great bass sound)
   Charlie Loper (a great lead player)
   Willie Dennis
   Joe Alessi (of course)
   Wycliffe Gordon
   Ben van Dijk
to name a few.....

[font=Verdana, Geneva, sans-serif]quote:[/font][font=Verdana, Geneva, sans-serif]Originally posted by tromboneman27:
Mine's got to be Curtis Fuller because he just plays so nicely and i really dig it. J.J Johnson has to be a close 2nd because his sound is great! Who is your favorite bone player? [/font]

[font=Verdana, Geneva, sans-serif]Kai Winding
Eddie Bert
Jimmy Knepper
Urbie Green
And so on...  

Welcome aboard 2B! Wilco Ouwerkerk (#1062) will be pleased to receive some extra support from your neck of the woods. But I don't wish to hear anything more about men's hockey.    

My partial list:

It has been some time since I last posted my suggested list of the best players in various jazz trombone styles. Many people do not like my choice of headings but... well, TOUGH!     The reason I have them is because I believe these guys have been the most pioneering and influential in their style since jazz was first played. Much though I dislike pigeonholes, I find it is necessary sometimes. How can you compare Kid Ory with Bill Watrous?

There are several contemporary players included in my list because they have continued with the development of maybe a sub style taking it to higher levels of achievement. Some of these musicians could sit in more than one category.

NEW ORLEANS STYLE -
Kid Ory
Jimmy Archey
Honore Dutrey
Louis Nelson
Sandy Williams
John Thomas
Jim Robinson
Fred Robinson
Santo Pecora
Chris Barber

DIXIELAND/MAINSTREAM
Miff Mole
George Brunies
Cutty Cutshall
Lou McGarity
Jack Teagarden
Vic Dickenson
Bob Havens
Dan Barrett
Roy Williams
Bill Allred

BIG BAND SWING
Dickie Wells
Lawrence Brown
Tommy Dorsey
Jimmy Harrison
Juan Tizol
J.C. Higginbotham
Benny Morton
Tricky Sam Nanton
Trummy Young
Tyree Glenn

BIG BAND MODERN
Bill Harris
Milt Bernhart
Carl Fontana
Urbie Green
Jimmy Cleveland
Kent Larsen
Don Lusher
James Pankow
Slide Hampton
Bill Watrous

MODERN JAZZ (BEBOP)
J.J.Johnson
Kai Winding
Curtis Fuller
Frank Rosolino
Bob Brookmeyer
Phil Wilson
Willie Dennis
Britt Woodman
Albert Mangelsdorff
David Baker (Most influential teacher!)

There are more but I tried to restrict myself to ten in each category. Yeah, I know. But I don't have just one favourite bone player.  

please listen to Paul Rutherford.

the gentle harm of the bourgeoisie, and trombolenium.

two stunning improvisational trombone solo records for all those that believe in music's capacity to just happen.

[font=Verdana, Geneva, sans-serif]quote:[/font][font=Verdana, Geneva, sans-serif]Originally posted by Graham Martin:

MODERN JAZZ (BEBOP)
[/font]

[font=Verdana, Geneva, sans-serif]Modern?!

Bebop's fifty years old!!

...just ruffling some feathers!    

MODERN JAZZ
The built-in obsolescence of the phrase "modern jazz" did not prevent it gaining currency in the 1950s to describe bebop and post-bop. Chiefly used at the time by writers and fans who found the onomatopoeic word "bebop" childish and demeaning, "modern jazz" is now mainly heard from diehard followers of swing and New Orleans; in their opinion, the term "modernist" sounds equally demeaning, and covers indiscriminately anyone who arrived on the scene after 1940.
Brian Priestly from the book 'Jazz, The Rough Guide'.

Guess in what era I did a lot of my early playing? It is mainly a European expression and, as I pointed out in my post, there were weaknesses with the categorisation. I certainly am not one of those who use it in a demeaning manner. You guys may not know much about 'Mods' and 'Rockers' but I loved my Lambretta, which should give you a clue (Ancient history lesson #2). It is just that I have not heard of a better expression to describe the style of playing I was trying to pigeonhole. I am quite happy to use another suitable expression. What do you suggest? Here are some to choose from:

 http://www.northwestern.edu/jazz/styles/

I really would like to know your opinions because I still think there are really only four (the last two on my list are very similar) major jazz styles and therefore trombone playing styles; whatever you decide to call them. And I very much like the overlap that exists but I still don’t think you can directly compare Ory with Watrous!

But please do not ask me to re categorise my vinyls, tapes and CD collection. It's far too late for that!

I'd put on the podium the following musicians (all at first place of course):

Conrad Herwig
Denis Leloup
Steve Turre
Nils Landgren
Christian Lindberg (Gold Medal)

 Welcome aboard Rhaumces. Love the signature.

[font=Verdana, Geneva, sans-serif]quote:[/font][font=Verdana, Geneva, sans-serif]Originally posted by Graham Martin:
MODERN JAZZ
I really would like to know your opinions because I still think there are really only four (the last two on my list are very similar) major jazz styles and therefore trombone playing styles; whatever you decide to call them. And I very much like the overlap that exists but I still don’t think you can directly compare Ory with Watrous!

But please do not ask me to re categorise my vinyls, tapes and CD collection. It's far too late for that! [/font]

[font=Verdana, Geneva, sans-serif]I just notice the lack of free players ... you mentioned Mangelsdorff under Bebop/Modern - sure, he started out playing a mean bebop - but made his mark with completely free/improvised music...

Roswell Rudd
Jimmy Knepper (sort of)
Ray Anderson
Eje Thelin
Josh Roseman (sometimes)
Christian Muthspiel
.....

granted, these guys (kindof) started out/still do play in a more mainstream manner....but I'd like to think that the free-er music is just a more open(free-er) continuation of the bebop, hard-bop, post-bop, neo-post-modern-pre-bop...whatever.

It's my musical preference...maybe I don't dig enough of the "other" stuff...

and leave your collection where it is...I stopped categorizing mine a year ago - alphabetical for me....

Thanks Weston and Dino for the Philadelphia Orchestra suggestions. I got a recent Also Sprach etc. recording from our library system and just listened to it. Fantastic. My fave now. Seems so many orchestras slop through that opening and they played it very well in addition to the rest of the pieces. The sonics (recording quality) are great too. There are more to come from the library system including some you suggested.

ME!  

There's a different between "Modern" and "Current"...

Remember terms like "Ars Nova", modern and Post-modern art/architecture?  they refer to a certain chronological timeframe.  It's okay to refer to 50-year old jazz as "modern"--think of the Modern Jazz Quartet.

Myself...who else?!

i know i'm getting into this thread pretty late, but...

justintarm-

yes,  yes, yes! usually rutherford doesn't get mentioned much here if at all. so nice to see him praised by someone else! it's incredible to me that he is still unknown to most trombone players. well, maybe it shouldn't be, considering what martin davidson has said:    

[font=Verdana, Geneva, sans-serif]quote:[/font][font=Verdana, Geneva, sans-serif]Jazz initially revolted against the limitations of the European conservatory. Many proscribed techniques, some inherited from Africa and some invented, were incorporated into the Jazz language. This caused the keepers of the European conservatories to claim that Jazz musicians could not play their instruments or sing properly. In the last thirty years, Jazz conservatories have become ossified to incorporate just the techniques of what is considered to be the Jazz mainstream. Their keepers are now claiming that Free Improvisers cannot play their instruments or sing properly.[/font]

[font=Verdana, Geneva, sans-serif]i think it would do every trombone player good to at least hear something like "gentle harm..." to expose them to a kind of playing that shows a whole range of possibilities for their instrument. but, of course, that kind of playing is, like martin said, not accepted by a lot of current musicians. it's interesting: you tell a jazz musician that he doesn't know what he's doing when he plays, and might reply that "well, you just don't understand what i'm doing when i play," but that same jazz musician might feel perfectly justified telling someone like rutherford, "you don't know what you're doing when you play, do you." weird. sorry... i'll stop ranting now.

freeimprovjeff!
'bout Paul Rutherford: Had the good luck of bumping into him in Budapest in early 1988 (an EBU concert). I was down there to do some small group with baritone player Per Goldschmidt and the local Super Trio plus doing some big band as a soloist w/wo Goldschmidt. Paul was there and we happened (outside of getting the chance to listen to each others) to get a cance to perform together, too. I knew about Paul (more from reputation than actually listening to him) having myslef a past as a free player around 1964-65 (Ayler, Don Cherry, Paul Bley, John Tchicai, Cecil Taylor, Roswell Rudd etc., basically all the new free players came through Copenhagen at the time) playiing with my own quartet and Finn von Eyben's Jazz Workshop as well as doing projects with Rudd/Tchicai and the like. So my interest in getting to know Paul and his playing was imminent. What a great player! I often have a problem with latter-day free players, but Paul was (and no doubt still is) great. Sadly we haven't met since, never again had a chance to 'cross slides'. I'm not a per se free player these days, albeit still use a lot of the techniques. horn-wise and group-wise of my early free jazz experience. One of the best and most rewarding experiences in later years was getting a chance to play at a radio broadcast recording with Luther Thomas here in Cope a couple of years back. There's another latter-day free-player of awesome capabilities. I WAS a litlle leary about doing the thing - could I still whip out some decent free playing? After about 35 years of laying off from the free jazz, everything (to my amazement!!) came back - a great experience. So free jazz is not necessarily dead - but MIGHT smell funny some times.
This just to let you know that you are NOT alone out there with your musical preferences and appreciation of, in this case, Rutherford's playing. Maybe I'll get a second chance some day. Bumped into HIS baritone side-kick  George Haslam in Buenos Aires at the MarDel Jazz Festival in 1991. Small world - great music.
erling  

erling-

thanks for the insights about rutherford and for the support. i know there are indeed many free players out there in larger cities (new york, philadelphia, especially london), but where i live (a college town in colorado), sometimes i wonder if i'm the only one. probably not, but it's daunting to find other people to play that kind of music, especially since my college has a very regiment-centered music program; trying to find people who play free music here sometimes feels kind of intimidating, because it gets old having people constantly look down on the music i play. but... i don't have much interest in "legit" music, classical or jazz, so i'll just keep looking and playing by myself i guess. actually, i think that playing alone so much has really helped me find my own "voice," as they say, so maybe there's some benefit to living in a "legit" atmosphere after all!

freeimprovjeff - good rant.

Ironic that you said "you don't know what you're doing" since I attended a clinic with Kenny Werner day before yesterday and asked him lots of questions about free playing - his main idea is that "knowing" and "thinking" are, to him, the antithesis of "free".

He pointed out that when he plays free he concentrates on the experiential sensations of playing to get out of the intellect.

That is my problem with free playing.  When I took from Lieb at Banff almost 20 years ago I developed the story in my head that I was doing free playing "wrong", which got me even more in my head, so I eventually stopped pushing that part of my playing.

Joe

I think one must be careful with the whole freeplaying label. I would predict that around 70% of the so called freeplayers couldn't hold down a blues in F.
However the real freeplayers are musician enough to wear just about any hat.......  

[font=Verdana, Geneva, sans-serif]quote:[/font][font=Verdana, Geneva, sans-serif] I would predict that around 70% of the so called freeplayers couldn't hold down a blues in F.
 [/font]

[font=Verdana, Geneva, sans-serif]trombonebloke, sorry if this sounds too aggressive, but is this how you measure a musician's merit, by whether he can do certain things? so what if he can't play an f blues (or play on changes, or quote certain jazz musicians' solos in his own, etc.)? does that mean he's not worth anything as a musician? of course there are things that free players "can't" or chose not to do, but the same is true of any musician in any field. does this mean that we ought to look down on them because they don't do what we think they ought to do?

joe, that's interesting about kenny werner. i've heard of him only by reputation. i think he's going to visit my school's jazzfest in april. i'm not in the music program, but maybe i can get into a master class or something.

Do not miss an opportunity to study with him.  There's not a more knowledgable musician, or better pianist, on the planet.

You might consider reading his book, "Effortless Mastery".

man, i was beginning to think Paul Rutherford was
a figment of my imaginaton!!!

so nice to know that other people have heard of
this guy...

and the rest of you really should, too.

justin

[font=Verdana, Geneva, sans-serif]quote:[/font][font=Verdana, Geneva, sans-serif]Originally posted by freeimprovjeff:
Quote so what if he can't play an f blues (or play on changes, or quote certain jazz musicians' solos in his own, etc.)? does that mean he's not worth anything as a musician? of course there are things that free players "can't" or chose not to do, but the same is true of any musician in any field. does this mean that we ought to look down on them because they don't do what we think they ought to do?
 [/font]

[font=Verdana, Geneva, sans-serif]Jeff,
why are you being so protective?
Like i said a real musician can wear any hat whether he chooses to or not.
Believe me, i have played many free jazz gigs and i see a lot of the free jazz musicians on other more commercial gigs too. (We have to pay the rent you know!!!!)
I have also met several "free jazz" players that have reacted exactly like you have to my post and come over all protective. These are usually the ones in my 70% bracket.
Joe mentioned Kenny Werner, now there's a real, versatile musician.
Now don't get me wrong and start thinking that i'm dissing you personally but like i implied there are some great pretenders out there and not only in the "free jazz" bizz.
Best wishes,
Bean.............  

i'm not sure if "protective" is the right word to describe why i responded, but i think why i responded with my last post is obvious: you seem to be saying that if a musician can't play an f blues, he's not a "real musician," and i think playing an f blues is a completely arbitrary, irrelevant measure of whether or not someone is a "real musician."

the cause of the disagreement very well could be that by "real musician" you're referring only to musicians who  can wear any hat they choose, but if that's the case, i'm curious as to why only those musicians get the pompous title of "real musicians." if you're using "real" to mean "well-rounded," then why not just lose the arrogance and say "well-rounded"? when you say that "so-and-so isn't a real musician," you seem to be putting down so-and-so and the way he plays for not being able to do certain things. is it so hard to understand why so-and-so would get "protective" in this situation?

Jeff,
i guess we do speak different languages!!!!!
You don't get what i'm at one iota.
Why do you keep mentioning the F blues like it's some kind of musical test?
It was just an example!!!!
Can you play a blues in F Jeff?
When i say "real" musician i am actually talking about musicians that can A. Play their instrument to a high level and B. Are able to fit into just about any musical situation. And C. Are able to express themselves and create emotion.
A "well rounded musician" where i come from is a rather large around the waist musician!!!!!!!
If you know anything about free jazz history then you will know that there is a great tradition here in Europe. We have some of the greatest innovators of free jazz in the world.
We also just as in the USA have some great pretenders.
What i mean by that are folk playing free jazz thet don't know A. How to play their instrument to a high level. B. Are unable to fit into just about any musical situation. And C. Are unable to express themselves and create emotion.
AND getting away with it!!!!!!!!!!!!!
Are you any closer to understanding where i'm coming from.......
   
Good luck,
Bean..........    
BTW Paul Rutherford KNOWS HOW..........  

Seems to me that the iota and not getting it is not Jeff's problem, rather seems to be Trombeanbloke's. I have no problem with, and don't consider Jeff's answer to be 'protective' - rather to the point. As to pretenders? Well, there are som 'real musicians' who know it all, can play it all, wear any hat - and don't make a gxxxxxx difference. Just reproducing a sad facsimile of the really great innovators. Slippin' and slidin'  - - - -
It's not whether one can play the blues in F or wear any hat. It's whether one has anything to say in any idiom(s) - and masters that, on those premises.
- - I'd say
erling

Hi Erling,
you know the internet has never been my favorite place to express myself.
Much better to let the music do the talking......That's where it's at man, and you know that too......    
Therefore after obviously not being able to say it as i see it in words, i'm off to practice for my 'REAL" gigs..........        
Taraa,
Bean...........  

[font=Verdana, Geneva, sans-serif]quote:[/font][font=Verdana, Geneva, sans-serif]Originally posted by Erling Kroner:
there are som 'real musicians' who know it all, can play it all, wear any hat - and don't make a gxxxxxx difference. Just reproducing a sad facsimile of the really great innovators. Slippin' and slidin'  - - - -
It's not whether one can play the blues in F or wear any hat. It's whether one has anything to say in any idiom(s) - and masters that, on those premises.
- - I'd say
erling [/font]

[font=Verdana, Geneva, sans-serif]P.S.
I believe my point C. covered that Erling.......    
"Are able to express themselves musically and emotionally."
Let's also add innovate to that.

[font=Verdana, Geneva, sans-serif]quote:[/font][font=Verdana, Geneva, sans-serif]  Can you play a blues in F Jeff? [/font]

[font=Verdana, Geneva, sans-serif]please don't turn this into a bunch of personal attacks. that's where it looked like you were heading with that statement. we're not talking about me here.

your description of what makes a real musician is problematic, but i don't feel like going into that 'cause it would take a long time to type out. so i'll say this instead: assuming that there are so-called "pretenders" (and i'm not denying that there are), what makes you so sure that your set of rules can sort them out? what gives them more authority in sorting out the pretenders than someone else's set of rules? that's the thing i don' t yet understand.

"There are only two types of music. Good and bad."
 -(Duke Ellington)

 justin

Take it outside.

Okay, back on track...

 Classical/"Legit"-

Alain Trudel
Joe Alessi
Charles Vernon

 Jazz/Big Band-

Michael Davis
Frank Rosolino
JJ Johnson


 Lead Trombone (different category than above)

Dick Shearer
Dave Steinmeyer
Bobby Burgess

 Bass Trombone

George Roberts
Bill Reichenbach
Kenny Shroyer

...and that's my list.

[font=Verdana, Geneva, sans-serif]quote:[/font][font=Verdana, Geneva, sans-serif]Originally posted by freeimprovjeff:
  [/font]

[font=Verdana, Geneva, sans-serif]quote:[/font][font=Verdana, Geneva, sans-serif]  Can you play a blues in F Jeff? [/font]

[font=Verdana, Geneva, sans-serif]please don't turn this into a bunch of personal attacks. that's where it looked like you were heading with that statement. we're not talking about me here.

your description of what makes a real musician is problematic, but i don't feel like going into that 'cause it would take a long time to type out. so i'll say this instead: assuming that there are so-called "pretenders" (and i'm not denying that there are), what makes you so sure that your set of rules can sort them out? what gives them more authority in sorting out the pretenders than someone else's set of rules? that's the thing i don' t yet understand. [/font]

[font=Verdana, Geneva, sans-serif]Hello again Jeff,
i see from your profile that you are at a learning stage at the moment.
My question was not a personal attack on you at all. It was a perfectly simple question.

Why do you find my discription of a "Real" musician problematic!
What exactly do you find wrong with my three statements (Not rules per say) of what makes a real musician?
The three statements were put in a nutshell. (Short form.)
Come take a lesson i'm sure you could learn a lot more from me personally than over the net.
I'm pretty sure that my 20+ years of experience as a professional working musician have not all been for nothing.
BTW,
Just to try and keep on topic, two of my favorite bone players from the more free style of jazz playing are,
Nils Wogram and Albert Manglesdorff......Both absolutely "Real" musicians!!!!!!!!

trombeanbloke! Just objected to your tendency to evaluate one type of music by the values of a different kind of music. If we judge, we should judge from the point of view of the judgee. Imagine what people thought of Aylers playing, when he came on the scene. (I was right there). He couldn't this or he couldn't that, but he most surely could play Ayler, one of the greatest experiences (not the only one) I've had - man! that SOUND filling the room was like a live animal. Incredible. I just thought you came down a little squarely on young Jeff. He seems to be going for something, not in the vogue where he lives, fighting a lonely battle for what he hears and experiences in music. More power to him, I'd say, with all this 'middle of the road' eccoing without an aeota of originality the 'trends' in jazz today - even on a 'high technical & musical level'.
Me too, not the internet, the axe - but it's nice to be able to use the spoken/written language for a different, albeit inadequate, expression of our minds, feelings and thoughts. I mean, we wouldn't be playing at all, if we could get it out better through other means, would we?
I'm just a half-wit turning eloquent behind a trombone. Ain't that something?
love to y'all
erling

I hear ya Erling, sometimes it's difficult speaking English, German AND music.........and i'd much rather be behind the horn.
I know what you mean about Ayler, one of a kind!!!!
Maybe Jeff is also one of a kind!!! I really hope so.
But man is it difficult to be one of a kind in todays musical climate.
The bar has certainly been raised in expectations these days.
Even if you are special it pays to hone yer styles!
We gotta keep moving.
Keep it real,
Bean........  

trombonebloke-

well, sure i'm in a learning stage at the moment, but i think that'd be true whether or not i was a student or an old man. just as sure as i could learn something from you in person, you could learn something from me in person. you pay for the ticket, though.

look, if you want to make value judgements about who's a real musician and who's not, that's fine. just be aware that there are people out there (me) who think your judgements aren't worth much at all because they rest on a set of suppositions which either are contradictions in themselves or the conclusions of which bring out contradictions in the system as a whole. sure, i may very well do this too, but, as you noted, i'm still learning (i think).

have fun in your world in which the line between real and not-real musicians is very clear...

Jeff,
true we never stop learning.
So in the grand scheme of things please learn to listen with an open mind and an open heart......Even if you don't agree or understand.
Enjoy your search in your world for peace and happiness and i'll do the same in mine........    
Good luck on your journey.
Bean.........  

my favorite trombonists...

Classical/Legit...

Joe Alessi
Christian Lindberg
Scott Hartman
Mark Hetzler (no bias, although he is my teacher!)
Norman Bolter
Doug Yeo
 
Jazz...

Bill Watrous
J.J Johnson
Curtis Fuller (nice guy)
Mike Davis
Bill Reichenbach

my favorite bass trombonist has to be  douglas purviance . his sound continues to inspire me everytime i listen to a recording he's on, most recently steve turre's tribute to jj and also with the dizzy gillespie alumni all-star big band.

my tenor trombonist of choice is fred wesley but slide hampton runs a close second.

I have to add Jim Markey to any list I may have made - fantastic player!  I just got his CD yesterday, and it's phenomenal.

George Lewis... listening to his disc "Homage to
 Charlie Parker."... man alive.

 justin

My favorites:I was lucky enough to hear them all at concerts and also attended clinics with them at The Eastern Trombone Workshop at Towson State from 1976-78.
Legit:1.The Awesome sound of Glenn Dodson.He had no problem projecting over the Marcellus-Mellick ensemble.And remember my teacher Mr.Mellick(former principal BSO) and the much-better known John Marcellus were part of that 12-16 piece ensemble.They were certainly no slouches themselves.
       2.Charles Vernon
       3.James Olin
       4.Ron Barron
Jazz:1.Bill Watrous
     2.Wayne Andre-The Best Lead and Studio Player
     3.Urbie Green
     4.Buddy Morrow-I got to hear him and talk to him between sets 20+ years later in Newark,De.What a gracious gentleman and incredible chops at age 78.Better player that night than the 20-somethings in the Dorsey Band he was fronting.
     5.Slide Hampton
     6.Phil Wilson
     7.Frank Rosolino
     8.Randy Purcell
     9.Warren Covington
Special mention to those I've heard on the net and respect as well.Allessi,Lindberg and Steve Davis.
       Oop!Also at Towson how could I forget another great guy and the pioneer of commercial Bass Trombone -"Mr. Bass Trombone"-George Roberts.

Matt--thank you very much for mentioning
my teacher, Glenn Dodson. Phenomonal player who I think did much to revolutionize and upgrade modern symphony playing. I studied with Glenn from 1968-1973 as I was one of his first students upon his arrival as principal of the Phila. orch. Also , one of my all time favorites from way back was Neal Dibiase who most famously was 1st trombone with the NBC symphony under Toscanini. He also played in the NY Ph9il; and the Phila Orch. He graduated Cutiss institute in the late twenties and was a contemporary of Arnold Jacobs, William Gibson and Charles Gussikoff

amen.

justin.

Solo/orchestral:
- Jörgen van Rijen (Concertgebouw)
- Espen Aareskjold (principal, Royal Swedish Opera)
- Nitzan Haroz
- Olaf Ott (Berlin Phil)
- Jesper Juul Sørensen (Danish Radio)
- Joe Alessi
- Christian Lindberg
- Michel Becquet
- PK Svensen (Malmö Symphony)
- Ian Bousfield
- Jonas Bylund

Jazz:
- Nils Landgren!!! (www.nilslandgren.com)
- Bart van Lier
- Nils Wogram
- John Fedshock

Contemporary:
- Marius Hesby (Norway)
- Christian Lindberg
- John Kenny
- Nils Wogram

Bass:
- Eirik Devold (Malaysian Philarmonic / Oslo Philharmonic)
- Ben van Dijk
- Blair Bollinger
- Kjell Erik Husom (Bergen Phil, Norway)
- Dave Taylor
- Hermann Baümer (Berlin Phil)

Ensemble:

- New Trombone Collective (Netherlands)
- Alessi alumni choir

There are dozens of bone players who fill me with awe with their tone, technical ability, speed etc.

But when I first heard Ray Anderson I thought "What was that?!!!"

I had never heard anything like it. He turns all the wierd noises you're not supposed to hear from a trombone into sublime music. And notes so high the neighbour's dog starts to howl!

He inspired me to take up the bone again after not playing for 8 years.

my favorite trombonetist is jack teagarden beacouse i dont think i should try to play like meny others.

my all-time favorite has got to be Bill Watrous . fell in love with the stuff he did with his Manhattan Wildlife Refuge first time i heard it

close second is jj

honorable mention to kai, alain trudel, alessi, warwyck tyrwell,carl fontana, fran rosolino and lindberg
and many others

As far as actually playing the trombone, I don't have a favorite, but my favorite musician who did play trombone was Glenn Miller.

Rosolino will prolly always be my favorite, but I really like Mark Nightingale a lot and if Steve Weist ever records a solo CD, I'm buying that sucker before the ink gets dry on the liner notes.

I'll keep this brief... all these lists are roughly in order:

Favorite orchestral players

Christian Lindberg
Joe Alessi
Mark Lawrence
Blair Bollinger
Jay Friedman
Ben van Dijk

Favorite orchestral section

Philadelphia
Chicago

Favorite jazz players

Billl Watrous (right there with you on Manhattan Wildlife Refuge, trejp)
Carl Fontana
Michael Davis
Lawrence Brown
Bill Richenbach
Conrad Herwig
Urbie Green

Favorite jazz section

Ellington; early 40's (or so... after Tizol left but before Tricky Sam died)
Kenton; late 50's/early 60's


I've been getting CD's at the library left and right since this thread started... lots of amazing players I hadn't heard of!

My Teacher and Friend, Byron Peebles.

I've never heard a more clear, wonderful trombone sound and precise attack from any player. He is an amazingly kind and genuine person. Anyone that has met him or heard him play would agree I am sure.