TromboneChat

Indeedy, zemry

Nice solo on a not so nice trombone!

http://www.youtube.com/watch/v/bPzy4yKruJY

Quote from: zemry on Nov 07, 2007, 05:40PMCount Basie - Dickie's Dream

Great trombonists, great band! This is what a big band should sound like!

http://youtube.com/watch/v/iDeUlMwCbWk

Time.

Time time time time time time time time time time time time time time.

Jo Jones!!!

Basie!!!

Freddie Green!!!

O my Lord!!!

Time time time time time time time time time time time time time time.

Why did these people play so well?

How could you NOT play well with time like that going on?

Jimmy Rushing (The heavy-set man who is not playing...ever listen to HIM sing?) has better time just STANDING THERE than do most musicians today in full swing.

And a special heads up for the first trumpet soloist...my second or third father in many respects, the great Joe Wilder. Still playing, touring and teaching today, in his '80s. This is the man who essentially broke the color barrier in the NYC studios in the late '40s/early '50s, someone who could play jazz on that level (Check out the bridge !!!) AND be Toscanini's first call principal trumpet.

Think about the likelihood of THAT happening in 1950s America for a minute or two.

For that matter...think about the likelihood of it happening today.

Yup.

Plus...he is sincerely the most unassuming, humble human being about his own gifts that it is possible to be.

What a man.

What a band.

Check out Jo Jones catching the hits near the end.

Priceless.

The joy of good time.

Priceless.

Now...lemme ask you something. Alla you metronome addicts out there.

Can you picture ANY of these people practicing with a metronome a great deal?

Please.

Learn how to tap your foot and rely on your own well subdivided internal time.

You be bettah off.

Bet on it.

Later...

S.

Wow!

Isn't it great how these old clips are surfacing again.

And dig Gerry on baritone. Mulligan the modernist knows how to get down too. Miles away from his work with Chet and the pianolesss rhythm section What a huge talent he was.

I'm more and more convinced that great time as exhibited in this clip is a cultural gift. You got it or you ain't.

QuoteTime time time time time time time time time time time time time time.
In a way, if you play with time like that it really doesn't matter if you just fart into the horn.

Almost.

Here's your Jimmy Rushing right here! Listen to the band's introduction at the beginning. What a line-up!
Is that Vic Dickenson playing the trombone solo?


http://www.youtube.com/watch/v/s2s4a8ma3tA

Did I ever post this one of the Basie band with Booty Wood playing Booty's Blues?

http://www.youtube.com/watch/v/Ct_tBKgQAxw

Quote from: BoneCall on Nov 12, 2007, 05:50AM
---snip---

I'm more and more convinced that great time as exhibited in this clip is a cultural gift. You got it or you ain't.
I think that it is more experiential than cultural, Jerry.

And NOT a "gift". It must be earned.

Sure, it's easier to earn it if you grow up hearing Basie from the cradle.

But...how do we explain Niels-Henning Ørsted Pedersen or Valery Pomonarev or Barry Rogers or any OTHER people who master time feels on that level without the benefit of growing up in the cultures that produced them?

S.

Yep, it's always about the time. I am extremely fortunate to have been exposed to this music since a young age. My dad, a non musician but devotee of the great big bands constantly played Basie, Duke, Tommy, Jazz at the Phil, around the house from the time I was a little boy. Plus, whenever any of the bands came to town he would take me to hear them. There is no question in my mind that all of the exposure I got as a little boy was what got me into the trombone and jazz at the age of ten.

Quote from: sabutin on Nov 12, 2007, 05:32AMTime.

Time time time time time time time time time time time time time time.

Jo Jones!!!

Basie!!!

Freddie Green!!!

O my Lord!!!

Time time time time time time time time time time time time time time.

Why did these people play so well?

How could you NOT play well with time like that going on?

Jimmy Rushing (The heavy-set man who is not playing...ever listen to HIM sing?) has better time just STANDING THERE than do most musicians today in full swing.

What he said... This is why the Basie band will, for me, always represent the pinnacle of what's possible (along with that other gentleman named Ellington) and why Freddie Green is the greatest Jazz Guitarist of all time, no matter how much I like listening to Herb Ellis take a solo!

Amen, brother.

Well I know how to explain Valery. He told me he memorized all of Clifford's solos. To the point where he sounded like Clifford. There's some work right there going to your point about earning a sense of time. You can hear the work he did.

But the gift part exists too. Might not the kind of time we're discussing in Jazz be a handed down collective experience of the the trials and suffering and joy of afro American culture? A legacy of sorts from them to us. Daily contact with that culture, add some talent and with some hard work and maybe a musican might be able to capture the kind of feeling in the Basie clip.

Many European jazz musicians over here have a problem with the time part of the music because they don't have a connection to the culture that created the music and don't put in the work that Valery did. Its not that they aren't good musicans or aren't well trained on their instruments but they get caught up in the technique trap. You know, music as an Olympic sport.

Time and feeling trump everything. To misquote Ellington about music "If it feels good it is good".

"But the gift part exists too. Might not the kind of time we're discussing in Jazz be a handed down collective experience of the the trials and suffering and joy of afro American culture? "

And maybe even some genetic imprinting.

"A legacy of sorts from them to us. Daily contact with that culture, add some talent and with some hard work and maybe a musican might be able to capture the kind of feeling in the Basie clip."

Yes, no doubt it happens. Look at many of the bands of 30's and 40's.

"Many European jazz musicians over here have a problem with the time part of the music because they don't have a connection to the culture that created the music and don't put in the work that Valery did. Its not that they aren't good musicans or aren't well trained on their instruments but they get caught up in the technique trap. You know, music as an Olympic sport."

I've always felt that was true of the european bands, but it's happening here too. I don't care for the time feel of most of the bands out of Los Angeles, or the US military bands, for example.

Quote from: The Sheriff on Nov 12, 2007, 03:33PM I don't care for the time feel of most of the bands out of Los Angeles, or the US military bands, for example.
Yo Scott,

Maybe since I am from LA, I feel the need to stick up for my peeps  ...

But I am skeptical about the role geography plays here [at least within the US] with a band's time feel. Actually, many of the players/composers/arrangers making up the "bands out of Los Angeles" you might be refering to moved here as adults from somewhere else; presumably each with his/her sense of "time" already well established. In fact, many of the players I see/play with in bands out here hail from Chicago [Don Shelton, Bruce Otto, Craig Ware immediately come to mind]. Their sense of time seems to fit in very well with the "time feel" out here--no problem.

So how do account for the difference you sense?

Some bands collectively push or pull the time in good and/or bad ways. There are some bands I hear/play in that tend to put it "right down the middle" [Basie comes to mind], some bands that seem to successfully push the front end of the time [especially a lot of great Latin-jazz big bands!], some put it on the back side [some of Woody's mid 60's band]. There are musical examples of greatness and not-so-greatness in all three cases. But I don't really see "time" as having anything directly to do with geography.

It might have more to do with a group of players in a certain place [be it Atlanta, Venice, Queens, Rio, Ottawa, St Louis, Tokyo, ON THE ROAD...etc, etc] all finding a way to swing together. If you come from an "on top" kind of band and jump in to a "pulling back" kind of band, you will stick out until you adjust to your surroundings--like the old story of the ONE soldier who was "in step" and everyone else was wrong. Like pitch, time feel is usually arrived at collectively.  When everyone hears it and feels it collectively, that's when the magic happens.

I agree with you that many of the military jazz bands might not have swung as hard for a variety of reasons, but from what I have heard lately, that seems to have really changed a lot in the last several years.

Not trying to pick a fight or anything here, Scott...just curious!!

LX

I hear ya LX, so it's the culture, sub-cultures, concepts of where you live. Like LA, there are bands in Chicago that play in a manner that I don't care for, but by and large Chicago bands swing hard and play with a time feel that I like.

LX, two things that happened to me in Chicago with LA connections.

I remember when Bruce Otto moved back to Chicago after his first attempt in LA. He sat in with the Jazz Members Band (now Chicago Jazz Orchestra), and he turned to me after a few tunes and said "man, the bands in LA don't swing anywhere near as hard as this band does".

I also played in Buddy Childers band when he lived in Chicago. He was always bitchin' and moanin' about how we didn't swing like the bands in LA. One particular night he was holding court with a bunch of his current Chicago band members and basically telling us we weren't worth a s__t. So he proceeds to play a tape of a band from LA that he had played in and they were playing many of the exact same charts we had been playing. He was yelling at us and saying "this is how you play it". One of the guys then produced a tape of the Chicago band from a recording the night before at the club we played. And guess what? He shut his big mouth instantly because it was so obvious that we absolutely burned the LA band. He finally admitted it and actually apologized to us. That's right, Buddy Childers apologized.

Chicago has its own vibe like any other place does, and it's a vibe that is not like the vibe where you live. I don't find it unusual that guys here play differently than they do in LA or New York regardless of where the guys are originally from. Where and how you live affects the way you play. So yeah, geography does have something to do with it, in my opinion.

Chicago is a big R&B town so it rubs off on all of us guys on the scene here. It also has a rich jazz history. We eat a lot of meat and potatoes, drink a lot of coffee, and deal with miserable winters. It definitely affects how you play. We're not a polished or sophisticated lot, and it shows up in the earthiness and honesty in the bands here.

Please know that I loved Buddy Childers even though it may have sounded like I was beatin' him up a bit. We became good friends and I got to know him well when I was fortunate enough to do many of the "Golden Jubilee" tour gigs with F.A.S. For those that don't know, Buddy was one of the all time great lead trumpet players, and I'm glad I got to know him.

I do think there ARE differences brought about by the way people in a certain area/culture come to feel and hear music. That's probably why this music first flourished primarily in and around New Orleans!!

But the prevailing "way" people from a certain place come to play music usually develops out of the legacy left by the prominent and influential players [and teachers] living in that the area. When Dick Nash arrived on the scene here, everyone changed. When George Roberts arrived, everyone changed.  When Shelly Manne arrived, everyone changed. When Snooky Young arrived here, everyone changed. When Gary Grant and Jerry Hey arrived, everyone changed. So it goes. Most of these players were well on the way to developing a style of playing music long before they arrived here, yet they are all now considered "West Coast/LA" players.

I have unsubstantiated theory that the musicians make the place more than the place makes the players. For example, I might hear what I would call a "New York" sounding band on a recording [my criteria here is far-reaching and HIGHLY subjetive. but suffice to say that most of you probably know what I mean by this]. There are certain qualities of sound/feel that seem to jump out and bring me to attach that label. But I can think of several "New York' sounding bands that, as it turned out, were actually from Los Angeles, Orlando, Pittsburgh, Tucson and even one from Vienna and another from Finland!

Maybe the actual geography played more of a role 50 or 60 years ago than it does today. 

But from what I hear these days, there are bands playing all kinds of music in different ways and, perhaps more importantly, people have the access to HEAR more music than ever before.

I think a given band's feel is probably more dependent on the relationship between the drummer and bass player [or the lead trumpet and drummer] than where those two players might live.

Scott, I really do agree that there are differences in the way musicians from different places approach music. Some of this is might have an economic component. Many brass players in NY and LA, for instance have been connected [for better or worse] to the entertainment/recording biz. That affects how people approach making music. Interesting how differences exist even with similar economic pressures.

Also, with certain pockets of ethnic musics blossoming in many cities [for instance, there is a growing Eastern European population here] that music [and the players who play it best] will come here. And poof...things change!!

Which reminds me, I gotta go practice some stuff in 13/8!!

Interesting topic. [Thank you, Bill Harris and Dick Nash!!]

LX

Quote from: LX on Nov 12, 2007, 05:12PMSome bands collectively push or pull the time in good and/or bad ways. There are some bands I hear/play in that tend to put it "right down the middle" [Basie comes to mind], some bands that seem to successfully push the front end of the time [especially a lot of great Latin-jazz big bands!], some put it on the back side [some of Woody's mid 60's band]. There are musical examples of greatness and not-so-greatness in all three cases. But I don't really see "time" as having anything directly to do with geography.LX

It is interesting that you hear Basie as playing "right down the middle". It might depend a little on 'when' in the band's life but I would have quoted Basie as pushing nearly all the time. Especially my favourite band of the late 50's 'Atomic Basie'. Maybe that was the influence of Neal Hefti? Those charts definitely seem to call for it.

As far as the argument about culture is concerned, especially black culture, I think it was a necessary ingredient in the early days of jazz but people from many differing cultural backgrounds are able to 'swing' these days. Now talent..........., that is another question. Practice does not always make perfect.

There is an argument for some of the elements of our playing of jazz being due to one's cultural background. I tend to like British/European jazz more than I do a lot of the current output from the US. But it depends on 'who'.

E=MC²

I believe this is the first time in my musical life I've ever heard any of Basie's bands described as "pushing" the time.   

US vs Euro vs Asian vs Aussie......aren't these broad geographic generalizations almost useless since each contains so many sub-cultures, scenes, influential artists with followers, etc....??  Would "US" include NYC, Chicago, LA, New Orleans, Boston, San Francisco....you get my drift....all under one umbrella?  You could break down NYC itself in the same way, scene by scene.

Sorry Graham, but I just have to respectfully disagree.

I don't know that I was proposing ANY argument one way or the other for the cultural question. I was just pointing out that I am influenced by my cultural background.

As for time, do this. Plot a sound graph of the Basie band playing something like "Cute" or "Flight Of The Foo Birds" and then plot the bar and beat lines - there is software you can use for this. If most of the notes are not just the fraction before the beat, I'll be very surprised, because I've done it in an effort to find out why one band swings and another does not. I should add that it did not help in what I was trying to discover but that is beside the point.   

I think Chip and Grah are not far from each other here. The "sound" we often associate with a certain place can often be found outside that place. And any given "place" might have MANY representative sounds, camps and scenes. You can't lump all musicians together that easily. As hard as we all try to do so.

Plug circa 1970 Mel Lewis in on drums into just about ANY name LA big band today [including those notoriously "LA-ish" bands Scott might be refering to... ] and I bet you'll feel like you're at the Village Vanguard!!!

I bet the opposite would happen if you put Wayne Bergeron on lead trumpet with the Village Vanguard band...

Great players, regardless of where they are from strive to listen and make music with whomever is sitting near them.

At a certain point, like it or not...

Music is music.

LX

On the subject of Mel Lewis, it would be interesting to look at the players he influenced in LA before he left for NYC.  I know comparatively little of the history and lineage of LA drummers, but it would seem to me that Nick Ceroli was heavily influenced by Mel.  Maybe Alex will be kind enough to lend an experienced historical perspective on the subject.

Wayne Bergeron in the VJO - this thought really made my head spin for a minute.  Would Wayne bend to them, or the band to Wayne, or somewhere in the middle?

I remember hearing Danny Gottlieb play with the VJO soon after Mel's passing, and back when the band demanded that each drummer use Mel's cymbals.....I had no idea the Danny Gottlieb I had been listening to for years could actually sound like that....bending way toward the band and history of sound and style.

I ramble onward....time to find some more bonistas on youtube, like the title says.

Cheers,

Quote from: ctingle on Nov 13, 2007, 11:56PMOn the subject of Mel Lewis, it would be interesting to look at the players he influenced in LA before he left for NYC.  I know comparatively little of the history and lineage of LA drummers, but it would seem to me that Nick Ceroli was heavily influenced by Mel.  Maybe Alex will be kind enough to lend an experienced historical perspective on the subject.

Wayne Bergeron in the VJO - this thought really made my head spin for a minute.  Would Wayne bend to them, or the band to Wayne, or somewhere in the middle?

I remember hearing Danny Gottlieb play with the VJO soon after Mel's passing, and back when the band demanded that each drummer use Mel's cymbals.....I had no idea the Danny Gottlieb I had been listening to for years could actually sound like that....bending way toward the band and history of sound and style.

I ramble onward....time to find some more bonistas on youtube, like the title says.

Cheers,

Yes...add Mel Lewis to the list of "people from out of town that came to LA and changed the way everyone played". And I am not totally certain of the timeframe, but I could imagine Nick was one of people changed by Mel's presence. Nick was gone by the time I was regular on Bob Florence's Limited Edition, but I did get to play a few rehearsals with him. A very special player. Bob writes almost all his charts with Nick in the back of his head.  Like the VJO guys do, Bob still has drummers use Nick's old "trash can ride cymbal".

I have heard similar things about Danny Gottlieb. Great musician.

As far as Wayne [or any comparable lead trumpet player from anywhere else in the world for that matter] playing lead with the VJO it would HAVE to be a bit of both. For instance, Wayne approaches lead quite differently on Joey Sellers Jazz Aggregation than he does on Gordon Goodwin's Big Phat Band..and TOTALLY different from the time we played together on a vintage Swing Band led by Bill Elliot. He remains himself, but finds different "forms" of himself to suit different musical situations.

He accomodates and bends so well that many years ago, several of us bone players even took him out for beverages and dubbed him "An Honorary Trombone Player"!

With the VJO, I think he would bend, but so would the rest of the band, I bet.

Yes, sorry for the digression from topic.

I eagerly anticipate zemry's [or whomever else's] next youtube discovery!!

LX

Nils Wogram is the biznis:

http://www.youtube.com/v/gRVImHnD5yU&rel=1

He's a happening composer (check out the ostinato for the bass solo for example)
and a very open, creative improvisor.

I especially like that all of his projects sound like a >real band<

He also knows how to play >with< a rhythm section, very dynamically- rather than just over them.

He's got a well-developed rhythm-trombone concept, superb time and a ton of patience and stamina, mentally speaking. 
An inspiring cat, good guy.

Nice, Josh!

It's not exactly my bag, but they do it so well! Good to hear a band that listens to each other, and goes in whatever direction the music takes them. I like that they DON'T have a chordal instrument (not counting his multiphonics). I don't miss having a piano or guitar sticking scads of notes in there, nice to have that less-structured, more conversational vibe.

Josh, fantastic!  Thank you.

Great stuff, Josh. That tune has a bit of a Dave Holland-ish vibe to me--not meant as a cut--Nils sure sounds like his own guy as a composer.

I have always found playing with in a front line with just an alto very challenging. This alto player really tucks in nicely with the bone...maybe that is the key to getting it right. Great sounding group. Very interactive and spontaneous with all the rhythm... but SMOOOTH!!

Thanks for posting this one...

AHA!!

There's more Nils on youtube, I see!!

LX

Bruce Fowler solos on the Frank Zappa's tune "Don't you ever wash that Thing ?" Brunin'

http://www.youtube.com/v/s8M-LTogAqI&rel=1

http://www.youtube.com/watch?v=G36UD0TNih0

and more adventurous, no-net Bruce Fowler with Zappa....from '73

Quote from: ctingle on Nov 13, 2007, 07:28PMI believe this is the first time in my musical life I've ever heard any of Basie's bands described as "pushing" the time.   

US vs Euro vs Asian vs Aussie......aren't these broad geographic generalizations almost useless since each contains so many sub-cultures, scenes, influential artists with followers, etc....??  Would "US" include NYC, Chicago, LA, New Orleans, Boston, San Francisco....you get my drift....all under one umbrella?  You could break down NYC itself in the same way, scene by scene.

Sorry Graham, but I just have to respectfully disagree.





I'm sure that regional dialects were much more definitive before the advent of many of the technological advances that allow us to communicate with folks around the world.  But, isn't "time" just another facet of one's musical accent?  If we can still hear in one's speech what region they are from, would it not make sense that their musical accent would also be affected by that region?  I'm from Oklahoma, and my speech used to be an indicator that I was from Oklahoma.  But, in the years since I left there, my accent has softened and now reflects more of my current surroundings.  Also, don't musicians who move choose a locale that reflects their musical ideals and/or aspirations?  I moved to NYC because I identified with the New York sound that has been mentioned here.  I think I understand all parts of this discussion and am disappointed that it, like many discussions here, has become a skirmish in determining who's approach is the most correct.  I have a mental image of what the West Coast sound is....and I have an image of the East Coast sound.  Both are highly respectable.  I prefer the East Coast....but mostly I love good music, from whatever region is originates.  I do think that musical accents exist....and within the general accents, you may find sub-dialects....the same as you find in speech.  There is a NYC accent, but there are variations if you're from Long Island, Brooklyn, New Jersey, etc...  There's nothing wrong with that, and I would say that it makes the world a much more interesting place.  I'm sure that McDonald's would love to be the only restaurant in the world.  But, I'm happy to have options.  I prefer some options over others, but am happy to try them all to entertain my palette. 

DG

Love that Nils clip Josh.

Quote from: ctingle on Nov 16, 2007, 08:35AMhttp://www.youtube.com/watch?v=G36UD0TNih0
and more adventurous, no-net Bruce Fowler with Zappa....from '73

wow, what a smoking composition-
Bruce is really amazing

Here's one I posted this morning:

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

 

Wes Funderburk
www.funderbone.com

Josh,

Nils Wogrom is awesome, I've got to check him out.

Quote Here's one I posted this morning
Well I suppose that can be forgiven for its impressiveness and put down to far too much spare time.

Quote from: martian on Nov 19, 2007, 07:03PMWell I suppose that can be forgiven for its impressiveness and put down to far too much spare time.

10 minutes is hardly too much spare time...

I was hoping to make everyone laugh...

I fail yet again...

...tough room.

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

Wes Funderburk
www.funderbone.com

Quote from: josh roseman on Nov 18, 2007, 07:04AMwow, what a smoking composition-
Bruce is really amazing

Yeah... sweet jesus. Where did Zappa find these guys? He always had such interesting bands... incredible technically, but out on the edge creatively, and never losing the humor in the music. We should all aspire to play that way.

I love that there's all this very complex through composed stuff and no music stands.

**** music stands.

QuoteI was hoping to make everyone laugh...

I fail yet again...

...tough room.
Oh but I did!

(my sarcastic tone was lost I think)

I hate it when my dry jokes get missed

Quote from: Wes Funderburk on Nov 19, 2007, 07:50PM10 minutes is hardly too much spare time...

I was hoping to make everyone laugh...

I fail yet again...

...tough room.

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

Wes Funderburk
www.funderbone.com

Wes,

Life imitating art!!! Did you see the Peterson Project with the horn player prescribing 100 high C's a day?

I think a lot of guys wouldn't think that that's funny because they can't do it. Some sort of machismo ********.

I really don't give a **** whether I can do it or not... ever. I think it's great that you have a sense of humor about virtuosity. I mentioned Zappa... I think Bobby McFerrin has this thing happening too.

By the way, I really enjoyed your short solo clips on youtube. It showed the same sense of grounded humor, great technique, and (most importantly) real musicianship.

Keep bringing it.

Quote from: malec on Nov 19, 2007, 08:18PMWes,

Life imitating art!!! Did you see the Peterson Project with the horn player prescribing 100 high C's a day?

I think a lot of guys wouldn't think that that's funny because they can't do it. Some sort of machismo ********.

I really don't give a **** whether I can do it or not... ever. I think it's great that you have a sense of humor about virtuosity. I mentioned Zappa... I think Bobby McFerrin has this thing happening too.

By the way, I really enjoyed your short solo clips on youtube. It showed the same sense of grounded humor, great technique, and (most importantly) real musicianship.

Keep bringing it.


....whew!  Thanks...and now, on with More YouTube Trombonists....

Quote from: Wes Funderburk on Nov 19, 2007, 07:50PM10 minutes is hardly too much spare time...

I was hoping to make everyone laugh...

I fail yet again...

...tough room.

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

Wes Funderburk
www.funderbone.com

I thought is was a riot!

some of us are far to serious.

btw, i love the podcast funderbone.
lots of fun little songs.

now i understand your youtube video.

Quote from: paul1662 on Nov 20, 2007, 12:15PMsome of us are far to serious.

btw, i love the podcast funderbone.
lots of fun little songs.

now i understand your youtube video.

ahhhhhh.....sweet relief.  Thanks, dude!

How about something a little different ?


Jimmy Bosch playing in the pocket:   http://www.youtube.com/watch?v=g7N0vpjIW0s&feature=related
and

Miguel Sanchez -- trombone+maracas duet:  http://www.youtube.com/watch?v=GTP499LxUVs&feature=related

Hey Wes,

Have you started your bone version of Tastee Bros yet?  You've seen the original site, yes?  Trumpet madness and mayhem.

Happy F'ing Thanksgiving.....wish I could do that, but not going to try.

Cheers,

Quote from: Wes Funderburk on Nov 19, 2007, 07:50PM10 minutes is hardly too much spare time...

I was hoping to make everyone laugh...

I fail yet again...

...tough room.

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

Wes Funderburk
www.funderbone.com

I think I'm in love with Selena Brandsma

Why can't I find a wholesome beautiful girl that plays trombone( french horn would do too).

http://www.youtube.com/v/HyFTQzeiDh0&eurl

Nice lines also.

Gees, judging by the previously published videos, I thought you were fighting them off.

We did once have two lady jazz trombonists on stage at our jazz club - Christine Woodcock and Niki Shaw:



Sorry, no videos.

Quote from: Silver3B on Nov 22, 2007, 10:40AMI think I'm love with Selena Brandsma

Why can't I find a wholesome beautiful girl that plays trombone( french horn would do too).

i'm with graham on this one -- you can't call your, ah, trombone models 'beautiful women with trombones'? 

Quotei'm with graham on this one -- you can't call your, ah, trombone models 'beautiful women with trombones'?
Naw....the ones around here ...

1> Don't play trombone or any other musical instrument but yes look nice standing next to a trombone or two.

2> They're only housemates..no romantic involvement

3> I'm older, I'm temporary Dad to them till they leave, finish school or find a boyfriend to live with or share house. Maybe a bit too much of a Dad cause I'm usually reacting while uttering "Young lady,....you're NOT going out dressed like that? "

But by the time they move out I do teach them to dance Argentine Tango, Salsa, Meringue, cha cha, Jitterbug swing and West Coast swing. The house has hardwood floors that are excellent for dancing.

Hmmm. That Selena's better than me.

And younger.

But I'm louder!

And we both look extremely silly in a straw boater!

Quote from: Silver3B on Nov 22, 2007, 10:40AMI think I'm in love with Selena Brandsma

Why can't I find a wholesome beautiful girl that plays trombone( french horn would do too).


Hell, who wants "wholesome"??  I'd rather have "interesting." 

- Stephen

My Funny Valentine - Duke Ellington 1958

Listen to Quentin "Butter" Jackson around the 3:22 mark and beyond! Great plunger work!


http://youtube.com/watch/v/JfmNx3BdaAU&feature=related

Quote from: zemry on Nov 28, 2007, 03:17PMMy Funny Valentine - Duke Ellington 1958

Listen to Quentin "Butter" Jackson around the 3:22 mark and beyond! Great plunger work!


While you're at it...CHECK OUT JIMMY HAMILTON!!!

Talk about AIR!!!

I got yer lesson.. right here!!!

And also Lawrence Brown a few bars before Butter starts to play.

Lord!

What a blessing that band was.

S.