TromboneChat

I'll start

Tenor: Jeremy Wilson

Bass: Blair Bollinger

Urbie

This may be a bit of a curveball but I really enjoy the sound Keith Hilson at Schmitt Music makes on his many instrument test videos. No matter what he plays and whatever differences in tone there are between horns, there’s always a strong element of Keith in the sound, and it’s a concept I like very much.

Weston Sprott (NY Metropolitan Opera Orchestra). He has a vocal style that just sends me. Wish I could capture that.

Max Siegel, because if his playing on Bluebird is anything indicative, then his range is extraordinary, his sound is excellent, his timing is great and his improv skills are enviable. I knew a bass trombonist could play well down into the contrabass range, but I didn't know one could go down THAT far musically, then turn right around and play well up into the tenor range as far as any tenor player. Whew! I think he is in the process of doing for bass trombone what Urbie did for tenor trombone and I hope to hear a lot more from him, the sooner the better.

*Edited for explanation

For me, the jazz trombone sound always comes back to JJ Johnson. There’s a lot of Steve Davis’ sound and style that I love too, and you can hear the JJ influences in his playing.

I'm a huge fan of Frank Rosolino's playing and the energy he brought, and try to emulate his articulations and the driving "pressure" he had on my small bore, but the tone concept is more like JJ. I'm not even close though.

Again, for large bore I am a huge fan of Lindberg's energy and articulations, and try to capture that. Especially how he can make the lower register just growl. I'm thinking of the pedals in the R. Korsakov concerto that just growl into existence, or the cataclysmic pedal Bb in the Sulek recording. Nobody plays pedals like that, and I think it comes down to his mouthpiece choice. I think his legato and melodic playing is gorgeous and most of that comes down again to the articulations and slide technique. That said, I think I've taken more inspiration from Alessi's tone. I would love to be able to play with the phrasing and articulations and energy of Lindberg, with Alessi's tone and some of his lip slur connections, especially for large intervals, so I strive for that. But I'm not even close.

In all cases, I think I'm more drawn to someone who is able to really interpret a piece of music, and makes the phrasing memorable. There is a hand-written note in the "motorbike concerto" that tells you "don't worry about the pitches. who cares about the pitches? The gestures are what's important" and that says a lot (of course, in the recording no pitches are missed...). You splice into any note in the Alessi recording(s) of the Rouse concerto and the sound is the best -- nobody sounds like that. But if you take the whole recording, somehow the Lindberg one wins, and that *@$#&$__# makes it sound like Rouse composed the piece especially for him. What an insane gift, to make any piece of music unquestionably yours. I want both.

Striving for all this, I just sound like me. I'm happy enough with it.

To many to choose from nowdays that influence me. I just mention the ones I think of.

Jazz solos tenor: Urbie Green, Frank Rosolini, Carl Fontana, Bill Watrous, JJ, Kay Winding
Big band lead: Åke Persson
Classical tenor: Miles Andersson, J Alessi, C Lindberg, J Freedman, Håkan Björkman
Classical alto: Branimir Slokar (early recordings).
Bass Jazz: G Roberts, Sven Larsson (heard on lots of recordings in Sweden)
Bass classical: Raymond Premru

/Tom

It's really hard for me to pinpoint a sound I aim for, since I really haven't heard that many players live (at least relative to how many I would LIKE to have heard live).

I think I identify closest with some of the brighter players out there- I prefer to bring a more soloistic style to any part. I just enjoy listening to a group where it sounds like everyone is expressing their individuality.

Based on recordings, I think my sound is closest to Glenn Dodson. Different equipment, hopefully same approach.

The best lesson I learned from hearing some great players in person, though, was that there's an element of physical presence to a great player. That's really what I try to drive for when I practice, as opposed to some "end product." I think that's how people discover their own truly unique sound- establish a confident and unrelenting presence.

Difficult question to answer since I rarely record myself.

Jazz (I wish I had the ability to improvise, but I don't): the riffs and phrasing of Bill Watrous with the tone of Urbie Green.

Orchestral tenor: the core and tone of Joe Alessi (on his Edwards) with the pinging articulations of Ian Bousfield

Orchestral bass: the core and tone of Brian Hecht with the flexibility of Martin Schippers

Contrabass (I don't own one presently): Brandt Attema

I get inspired when listening to the sound of George Roberts, Ray Premru, Bob Hughes and others in that direction. Like Chris Stearn when I listen him close over a year ago. Listening close gives more inspiration and sit better in the memory. I can't sound like any of these, but it gives a kick to pick up the horn and play.
On tenor I have always been weak for the sound of Ian Bousfield. He has some teaching videos on YouTube which gives me lot of inspiration. Something about his concept of making music that makes me pick up the horn. I can't sound like him of course and can't even play tenor but still, "a man got to try" isn't that what we say sometimes?

Leif

Leif... we can always rely on you!! I second you on the bass trombone stuff, George Roberts and Ray Premru rule for me and Bob has inspired me in the past too. Dont want to say too much about that Stearn bloke - it might go to his head, we like him the way he is I cant play tenor in public either - frightened someone would call the police. Best wishes from the UK, just waiting for Norway to let me in with my motorbike but we are apparently still 'unclean'... Doug

Well, I never expected to be mentioned here ! To add a context, or underline what Leif said, hearing a player live gives so much more information....even players like me can sound okay in the right setting, though I need a car park to work the magic.
Ray Premru was a big influence on me as a youngster ....I got to hear him a lot, both in the Philharmonia and with the Philip Jones. Bob Hughes is younger than me, but still had a big influence when we would play duets before cooking mega meals...Bob was always pure class ....a good cook too !
Chris

Savio wrote: ↑Mon Jul 05, 2021 9:46 am I get inspired when listening to the sound of George Roberts, Ray Premru, Bob Hughes and others in that direction. Like Chris Stearn when I listen him close over a year ago. Listening close gives more inspiration and sit better in the memory.

Leif

Hi Leif, I agree that listen close is what really stays. That's why I value some Swedish players the most. I had Sven Larsson as my teacher 1980-82 and then again 1984-88 and that sound stays on bass. I also have memories from Jan Andersson who I studied with who was the co-principal at the Royal Opera House. I even have played with Håkan Björkman a few times, and was then able to hear him "juggling" with some difficult technical stuff in close up. Oh, man that also stays. Through the years I have also played with some phenomenal swedish lead trombone players; Torgny Nilsson and Olav Holmqvist. All these meetings leave something in my head. All are more important than the sum of trombone recordings I've heard. Listening live is different and closeup is then even better than visiting a concert. I understand your meeting with Chris Stern was very fruitful. It must have been like a lesson.

It was years since I had a lesson, but I'm lucky to still meet with very good trombone players. I pick up things from my pro friends now when we meet and play, but I'm not paying anything for these lessons.

Last year I saw a masterclass with Harry Watters, and was mightily impressed with his amazing sound. It's not captured in recording; he had great articulation clarity and an easy, seemingly effortless projection.

Leif travelled hundreds of miles over difficult roads to meet up with me. I didn't realise how hard it was for him and I was so touched that he had made the effort. I was unable to find a room at the hotel or the performance venue but I HAD to try his trombones and give my opinion, so we used the car park. Leif comes across as such a great guy on the forum but he is even more of a star in person....a special man indeed. Amazed he thought I sounded good just testing his horns.
Chris

FOSSIL wrote: ↑Mon Jul 05, 2021 1:38 pm Leif travelled hundreds of miles over difficult roads to meet up with me. I didn't realise how hard it was for him and I was so touched that he had made the effort. I was unable to find a room at the hotel or the performance venue but I HAD to try his trombones and give my opinion, so we used the car park. Leif comes across as such a great guy on the forum but he is even more of a star in person....a special man indeed. Amazed he thought I sounded good just testing his horns.
Chris

Thanks Chris, I did drive nearly the hole night but would have done it many times to meet you! You played all my trombones, and they all suddenly sounded so good! Really an eye-opener for me! Even the ones I thought was not so good.

I thought the police would come when he played the orchestra stuff in the garage, but when he played the soft Roberts ballads I relaxed. It was that nice sound you all know.

Most of all it was inspiration for me and yes, listen somebody live and close is the real thing.

Thanks Chris, both the meeting and your always wise words is an inspiration and learning experience for me!

Leif

Sound concept is also about finding our own sound and approach? We always have to listen, both our self and others?Find inspiration!

Leif

Matt Niess 100%. He & the Capitol Bones came to where I lived when I was in middle school. I didn't see them live, but my parents got their hands on the two albums they had released at the time just a few years prior. It was the first jazz albums I had ever listened to too, which is kind of funny in hindsight. I've absolutely loved those albums since. I just listened to them back-to-back-to-back-to-back on a plane ride a few days ago! At any rate I eventually went to study with Matt at Shenandoah, which was one of the highlights of my life.

In the late 90s, Michael Davis and Bill Reichenbach came to town with a rhythm section that included Tom Brechtlein (I still remember his name) on drums. A great concert but Bill, I thought, stole the show. I spoke to him afterwards and said I had to go home and do my long tones. “Me too,” he replied.

Without a doubt, it is Roy Williams, a British trombonist who played with Alex Welsh from 1965 to 1978 and then Humphrey Lyttelton from 1978 to 1983. I must admit that he was not my first inspiration as far as sound and improvising was concerned. In fact, I was in my twenties when I really got to like Roy's performances live and on record. Prior to that, my hero was George Chisholm.

Alto: Mick Mulcahy/Colin Williams

Tenor: Jesper Juul/Nitzan Haroz/Christian Lindberg

Bass: Don Harwood

Carl Fontana, but Urbie for lead.

MrHCinDE wrote: ↑Fri Jul 02, 2021 4:28 pm This may be a bit of a curveball but I really enjoy the sound Keith Hilson at Schmitt Music makes on his many instrument test videos. No matter what he plays and whatever differences in tone there are between horns, there’s always a strong element of Keith in the sound, and it’s a concept I like very much.

+1 on Keith Hilson's sound. Maybe not my exact sound concept, but he is talented and as you say HIS sound comes through consistently which really helps to highlight the differences in the horns he is demonstrating. If you haven't, check out his youtube channel! -Joe

I was never directed to an individual player as a model. Who would that have been when i was in 7th grade?

I recall my junior high band director saying that "Urbie Green" was a "famous trombone player" but there were no "Urbie Green" records in the record store I might get and listen to. Not in any record store I knew of.

The recordings that made me begin to think, "ah... that's what it's supposed to sound like," were those LPs by the Eastman Wind Ensemble with Frederick Fennell. The circus "Screamers" and the "Wagner for Band" albums. The trombone sections figure very prominently in those and and became a sound concept for me.

I'm not saying I ever sounded like the EWE trombone section, or even one of them.

I'm saying that is what i wanted to sound like.

Ralph Sauer always inspires me, although my sound doesn't resemble his in any way. Harry Watters has a range of expression that I strive to learn bits of. I can relate to parts of Watrous' sound, but can't touch his technique or mental skills. Ben van Dijk has an amazing sound, quite sure I don't sound like that, but that's what's going through my mind when I play. Max Siegel has a great conversational style on bass that I can only wish for.

It kind of depends on the musical context I`m in.
Sometimes I can bring out my "Inner Watrous" I can hear bits of Rosolino and Fontana
I was heavily influenced by Wayne Henderson and Jimmy Pankow early on and those still come thru.
Al Grey is a HUGE influence and in certain situations Gary Valente enters the mix.
It all depends n what the music calls for as to what path is taken

Will do my best to emulate and will always admire:

from sounds I love most on recordings:
Large Tenor - Keith Brown, Ian Bousfield, Denis Wick, Jay Friedman
Small Tenor - Miles Anderson, Lloyd Ulyate, Ian McDougall, James Pankow, Ed Neumeister, Bill Watrous, Mark Nightingale
Bass Trombone - Dave Taylor, Charlie Vernon (tenor bone too!)

from sounds coming from being lucky enough to have heard them live:
Ian Bousfield, Dave Taylor, Ian McDougall, Ed Neumeister, Bill Watrous, Charlie Vernon, Jay Friedman, Jim Pugh

from sounds deserving more recognition:
Philip Brink - bass trombone/tenor trombone with Thailand, Hong Kong, Chicago area including performing with CSO, Seattle Ring Cycle orchestra, formerly with Calgary Philharmonic when I was fortunate to have a year of formative lessons with him. Unfortunately, I think Phil is kind of retired now and living upstate NY. Hope he's still playing!
https://cherryclassics.com/pages/brink

To include a couple of my favorites that I model after that haven’t been mentioned yet:

Randy Purcell
Glenn Ferris

James Markey when he was sitting 1st in Pittsburgh
That guy is just amazing
His euphonium was (probably still is) pretty great, too

Ben van Dijk

Bob Edmondson. Just the right balance of smooth, rich, and brassy.

Jimkinkella wrote: ↑Sat Jul 10, 2021 7:55 pm To include a couple of my favorites that I model after that haven’t been mentioned yet:

Randy Purcell
Glenn Ferris

James Markey when he was sitting 1st in Pittsburgh
That guy is just amazing
His euphonium was (probably still is) pretty great, too

Ben van Dijk

Randy Purcell!

He sure did have a big sound, with a lot of musical technique and exquisite control!





I wish there was some vinyl!

Must add to the list:

Mark Hetzler (formerly of Empire Brass Quintet, and much more).

Bass trombone, Edward Kleinhammer. I heard him play La gazza ladra at Orchestra Hall in the early 80s, about the same time I started playing in youth orchestra. Completely changed my perception how a trombone should sound. Each note was dead center of the pitch, every articulation was exactly the same, and the sound was huge but effortless.

there are many, but my "go to" players are Dave Steinmeyer and Alan Caplan

Cmillar wrote: ↑Sun Jul 11, 2021 8:08 am Must add to the list:

Mark Hetzler (formerly of Empire Brass Quintet, and much more).

I got to study with Mark when I was in HS. I would have probably not discovered him for a long time otherwise. He has some really wonderful albums of contemporary classical as well.

Michel Becquet and Megumi Kanda are at the top of my list for tenor.

In terms of both orchestral and solo modern playing, Jorgen van Rijen. I think his represents the best balance of a sound that works fantastically in both an orchestral and solo setting, and a sound that is full and resonant but also not too dark, with a fair amount of brightness, and articulations that are clear but subtle varied and not just square shaped.
For modern alto, my ideal sound concept was always Alain Trudel's playing.
For sackbut, most importantly my long-time teacher Catherine Motuz, as well as Simen van Mechelen and some elements of Adam Woolf's playing.

On a related note, I had a very interesting experience a couple years ago. I had kind of wondered where my teacher got her sound concept (which I have based mine on). Now there aren't that many sackbut players and there's quite a variety of sounds (more than in modern playing, considering the number of players, I would say) but I hadn't heard anyone who sounded like her. We both also studied with the same teacher, and yet while they have a very similar approach to the music and repertoire, they don't really have the same sound, so that was puzzling to me. But then I played a gig with her first sackbut teacher whom I had never met or heard play, and as soon as we started playing, everything fit instantly, with the same style of tone and a very similar approach to phrasing and articulation. It was quite a revelation, suddenly discovering where substantial elements of my own playing stemmed from!

Charlie Loper!

Slidehamilton wrote: ↑Mon Jul 19, 2021 10:13 pm Charlie Loper!

Great sound. Have a memory of him playing a ballad on a
Toshiko Akiyoshi record for example. I whish I could sound like that at will.

/Tom

I don't think there's enough room to list everything that has influenced my sound. And depending on the situation my concept of sound and style change. Starting out my concept of trombone/baritone/ tuba sound was string instruments. Deep resonate sound of cellos and basses. But I'll give a brief list of inspirations for certain situations.

Bigband lead- Dick Shearer, James Pankow, Bob Fitzpatrick, Archie LeCoque

Jazz soloing- i suck at it but i try to channel Slide Hampton and Carl Fontana tone wise. Playing wise I'm lucky i can make changes. I have been told i solo quite lyrically.

Bigband bassbone- I've been told i sound like George Roberts on occasion and Rich Bullock. I'm flattered that people think so. I try to channel Kenny Shroyer when possible.

Legit tenor- got no idea. Depends on piece and who's in my section and over all horsepower of the group. Soloistically i shoot for Ralph Sauer since he's my favorite legit player.

Legit bass- George Roberts lol. Frankly, like tenor, there are a lot of variables that go into this. I'd like to think i get some Jeff Reynolds in my legit bass playing, but that's more hope than anything else.

I learned early in my playing career (or rather told myself) that i needed to be a rolodex for trombone styles and sound since i live in a commercial environment. But as i started my post with, i learned to play trombone with a non-trombone sound concept.

I just happened upon this multitrack on youtube amd I really like this guys sound. Definetly something I would like to emulate

I found it on youtube today. It was interesting to listen to.
Maria Goryacheva, 3rd prize winner of the Moscow Conservatory competition, plays her own arrangement of Dunaevsky's march. She has a good sound, although on this recording it is not the same as usual.

I was listening to a Curtis Fuller recording today. I like a lot of his approach (although not a fan of his solo on Blue Train).

My own style in big band is influenced primarily by the lead bones of the Kenton band, especially Dick Shearer. For lyrical jazz the sound concept in my head is a combination of Bill Watrous and Alan Kaplan.

The sound I hear in my head every time I play bass bone is a guy named John Pranter. He used to drop by our band room and sit in with our jazz band when I was in high school. Phenomenal player. I was the lead bone in the band and he set a fantastic foundation to play against.

Our own bass bones in our jazz bands were excellent - but Pranter was far beyond where they were.

--Andy in OKC

Urbie Green and Ian Bousfield

Blair Bollinger woke me up out my sleeping "stupor" , one spring. I had woke up to Abbie Conant, sitting beside me listening to Blair with me at the what was the "ETW." That sound stuck in my head ever since then. Annnnnd. Dave Taylor on the Ray Anderson Big Record.

I haven’t heard that RA album in years. I think I’ll fire it up!

Anyone know if any of these charts were ever published?

AndrewMeronek wrote: ↑Mon Jul 05, 2021 1:15 pm Last year I saw a masterclass with Harry Watters, and was mightily impressed with his amazing sound.

I remember Harry! We were in the trombone choir at U of North Texas.

I'll admit I don't recall anything unusual about his sound at that time other than that he was a strong player but he was clearly a serious aspirant.

Harry was unlike other very serious trombone players there in that he did not pepper his conversation with knowing insights like "Mehta doesn't understand Wagner..." He was a regular guy without pretensions.

I'm glad to see that he made good and got to be the trombone player he wanted to be.

Bach5G wrote: ↑Wed Aug 18, 2021 1:48 pm I haven’t heard that RA album in years. I think I’ll fire it up!

Anyone know if any of these charts were ever published?

I wish man, those sounds needed to be replicated! Unbelievable playing from the whole band!!

Tenor: Urbie Green, Frank Rosolino, Dick Shearer, Dave Steinmeyer, Fred Wesley, Barry Rogers, Olaf Ott

Bass: George Roberts, Stefan Schultz, Charlie Vernon, Pete Norton