Famous bass trombonists with 1 valve
- u_8parktoollover
- Posts: 206
- Joined: Jul 06, 2018
Who are some famous bass trombonists who only play on a one valve bass. The only one I can think of is Micha davis of the isreal philharmonic.
- Savio
- Posts: 688
- Joined: Apr 26, 2018
I believe many symphony players use 1 valve trombone. But they change when they need two triggers. I don't know about all but think Douglas Yeo, Jeff Reynolds, Bob Hughes Chris Stearn use it sometimes, depending on the music.
Raymond Premru and George Roberts always used 1 trigger.
In the opposite scale of famous, I play a 1 trigger trombone :mrgreen:
Leif
Raymond Premru and George Roberts always used 1 trigger.
In the opposite scale of famous, I play a 1 trigger trombone :mrgreen:
Leif
- ngrinder
- Posts: 294
- Joined: Apr 24, 2018
I believe Tony Studd also played a single trigger TIS Conn.
- CalgaryTbone
- Posts: 1460
- Joined: May 10, 2018
Donald Knaube (sp?) - Rochester Phil., Eastman and later at University of Texas Austin. I believe he played a Conn 72H and later, a Yamaha of similar design.
- GabrielRice
- Posts: 1496
- Joined: Mar 23, 2018
Micha is the only symphony player I know of who currently uses a single valve exclusively, but lots of professional symphonic players use them occasionally, myself included. Brian Hecht, George Curran...Matt Guilford played one most of the time back in the 90s, not sure if he does sometimes now.
- imsevimse
- Posts: 1765
- Joined: Apr 29, 2018
Swedish bass trombone player Sven Larsson has made his whole career on the single bass trombone.
Sven has performed and recorded with all the greatest Swedish artists and also was a member of the James Last band and the Paul Kuhn band in Germany to name a few. He played in the band of legendary trumpeter Roffe Eriksson (who went to USA) and was a member of "The Swedish Radio Jazz Group" for many years and played bass trombone for eight years with The Swedish Radio Symphony Orchestra. He the first call in Sweden on TV/Radio shows and recording sessions during the 70'ies, 80'ies and 90'ies. He did everything with the single. You can hear him on countless Swedish recordings from these years. I recently discovered the record "String on the Air" with music by the Swedish jazz piano player and composer Bengt Hallberg. Written for The Swedish Radio Jazz Group. There you hear his great sound on those low parts. It is really fabulous playing. Another classical jazz record if you want to hear him in action is the record "Brass Galore" with music composed by Nils Lindberg (It is on Spotify) with music for three trumpets and two trombones. It is a record with some great solo playing from trumpeters Jan Allan, Allan Botschinsky and Markku Johansson and also great solos by trombone player Torgny Nilsson. Sven Larsson plays the bass trombone and tuba parts. What great players.
/Tom
Sven has performed and recorded with all the greatest Swedish artists and also was a member of the James Last band and the Paul Kuhn band in Germany to name a few. He played in the band of legendary trumpeter Roffe Eriksson (who went to USA) and was a member of "The Swedish Radio Jazz Group" for many years and played bass trombone for eight years with The Swedish Radio Symphony Orchestra. He the first call in Sweden on TV/Radio shows and recording sessions during the 70'ies, 80'ies and 90'ies. He did everything with the single. You can hear him on countless Swedish recordings from these years. I recently discovered the record "String on the Air" with music by the Swedish jazz piano player and composer Bengt Hallberg. Written for The Swedish Radio Jazz Group. There you hear his great sound on those low parts. It is really fabulous playing. Another classical jazz record if you want to hear him in action is the record "Brass Galore" with music composed by Nils Lindberg (It is on Spotify) with music for three trumpets and two trombones. It is a record with some great solo playing from trumpeters Jan Allan, Allan Botschinsky and Markku Johansson and also great solos by trombone player Torgny Nilsson. Sven Larsson plays the bass trombone and tuba parts. What great players.
/Tom
- imsevimse
- Posts: 1765
- Joined: Apr 29, 2018
Swedish bass trombone player Sven Larsson has made his whole career on the single bass trombone.
Sven has performed and recorded with all the greatest Swedish artists and also served abroad with James Last Band and Paul Kuhn im Germany to name a few. He played with legendary trumpeter Roffe Eriksson (who went to USA) and was also member of The Swedish Radio Jazz Group for many years and played classical bass trombone for eight years with The Swedish Radio Symphony Orchestra. He the first call in Sweden on TV/Radio shows and recording sessions during the 70'ies, 80'ies and 90'ies. He did everything with the single. You can hear him on countless Swedish recordings during these years. I recently discovered the record "String on the Air" with music by the Swedish jazz piano player and composer Bengt Hallberg. Written for The Swedish Radio Jazz Group. There you hear his great sound on those low parts. It is really fabulous playing. Another classical jazz record if you want to hear him in action is the record "Brass Galore" with music composed by Nils Lindberg (It is on Spotify) with music for three trumpets and two trombones. It is a record with some great solo playing from trumpeters Jan Allan, Allan Botschinsky and Markku Johansson and also great solos by trombone player Torgny Nilsson. Sven Larsson played the bass trombone and tuba parts. What a great player.
/Tom
Sven has performed and recorded with all the greatest Swedish artists and also served abroad with James Last Band and Paul Kuhn im Germany to name a few. He played with legendary trumpeter Roffe Eriksson (who went to USA) and was also member of The Swedish Radio Jazz Group for many years and played classical bass trombone for eight years with The Swedish Radio Symphony Orchestra. He the first call in Sweden on TV/Radio shows and recording sessions during the 70'ies, 80'ies and 90'ies. He did everything with the single. You can hear him on countless Swedish recordings during these years. I recently discovered the record "String on the Air" with music by the Swedish jazz piano player and composer Bengt Hallberg. Written for The Swedish Radio Jazz Group. There you hear his great sound on those low parts. It is really fabulous playing. Another classical jazz record if you want to hear him in action is the record "Brass Galore" with music composed by Nils Lindberg (It is on Spotify) with music for three trumpets and two trombones. It is a record with some great solo playing from trumpeters Jan Allan, Allan Botschinsky and Markku Johansson and also great solos by trombone player Torgny Nilsson. Sven Larsson played the bass trombone and tuba parts. What a great player.
/Tom
- imsevimse
- Posts: 1765
- Joined: Apr 29, 2018
Swedish bass trombone player Sven Larsson has made his whole career on the single bass trombone.
Sven has performed and recorded with all the greatest Swedish artists and also was a member of the James Last band and the Paul Kuhn band in Germany to name a few. He played in the band of legendary trumpeter Roffe Eriksson (who went to USA) and was a member of "The Swedish Radio Jazz Group" for many years and played bass trombone for eight years with The Swedish Radio Symphony Orchestra. He the first call in Sweden on TV/Radio shows and recording sessions during the 70'ies, 80'ies and 90'ies. He did everything with the single. You can hear him on countless Swedish recordings from these years. I recently discovered the record "String on the Air" with music by the Swedish jazz piano player and composer Bengt Hallberg. Written for The Swedish Radio Jazz Group. There you hear his great sound on those low parts. It is really fabulous playing. Another classical jazz record if you want to hear him in action is the record "Brass Galore" with music composed by Nils Lindberg (It is on Spotify) with music for three trumpets and two trombones. It is a record with some great solo playing from trumpeters Jan Allan, Allan Botschinsky and Markku Johansson and also great solos by trombone player Torgny Nilsson. Sven Larsson plays the bass trombone and tuba parts. What great players.
/Tom
Sven has performed and recorded with all the greatest Swedish artists and also was a member of the James Last band and the Paul Kuhn band in Germany to name a few. He played in the band of legendary trumpeter Roffe Eriksson (who went to USA) and was a member of "The Swedish Radio Jazz Group" for many years and played bass trombone for eight years with The Swedish Radio Symphony Orchestra. He the first call in Sweden on TV/Radio shows and recording sessions during the 70'ies, 80'ies and 90'ies. He did everything with the single. You can hear him on countless Swedish recordings from these years. I recently discovered the record "String on the Air" with music by the Swedish jazz piano player and composer Bengt Hallberg. Written for The Swedish Radio Jazz Group. There you hear his great sound on those low parts. It is really fabulous playing. Another classical jazz record if you want to hear him in action is the record "Brass Galore" with music composed by Nils Lindberg (It is on Spotify) with music for three trumpets and two trombones. It is a record with some great solo playing from trumpeters Jan Allan, Allan Botschinsky and Markku Johansson and also great solos by trombone player Torgny Nilsson. Sven Larsson plays the bass trombone and tuba parts. What great players.
/Tom
- imsevimse
- Posts: 1765
- Joined: Apr 29, 2018
Swedish bass trombone player Sven Larsson made his successful career on the single bass trombone.
Sven has performed and recorded with all the greatest Swedish artists and also was a member of the James Last band and the Paul Kuhn band in Germany to name a few. In Sweden he played in the band of legendary trumpeter Roffe Eriksson who later moved to US and made a great career there. Sven also was a member of "The Swedish Radio Jazz Group" for many years as well as "The Gugge Hedrenius Big Blues Band", and for eight years was the bass trombone player of The Swedish Radio Symphony Orchestra. He was first call in Sweden on TV/Radio shows and recording sessions during the 70'ies, 80'ies and 90'ies. He did everything an a single trigger bass trombone. You can hear his broad lush sound on countless Swedish recordings from these years. I recently discovered the record "String on the Air" with music by the Swedish jazz piano player and composer Bengt Hallberg from 1990, written for The Swedish Radio Jazz Group. There you can hear his characteristic sound on all those low parts. It is really some fabulous playing and the secret is great false notes of course. Another classical jazz record if you want to hear more is the record "Brass Galore" with music composed by Nils Lindberg with music for three trumpets and two trombones. It is a record with some great solo playing from trumpeters Jan Allan, Allan Botschinsky and Markku Johansson and also great solos by trombone player Torgny Nilsson. Sven Larsson plays the bass trombone and tuba parts. That record can be found on Spotify.
/Tom
Sven has performed and recorded with all the greatest Swedish artists and also was a member of the James Last band and the Paul Kuhn band in Germany to name a few. In Sweden he played in the band of legendary trumpeter Roffe Eriksson who later moved to US and made a great career there. Sven also was a member of "The Swedish Radio Jazz Group" for many years as well as "The Gugge Hedrenius Big Blues Band", and for eight years was the bass trombone player of The Swedish Radio Symphony Orchestra. He was first call in Sweden on TV/Radio shows and recording sessions during the 70'ies, 80'ies and 90'ies. He did everything an a single trigger bass trombone. You can hear his broad lush sound on countless Swedish recordings from these years. I recently discovered the record "String on the Air" with music by the Swedish jazz piano player and composer Bengt Hallberg from 1990, written for The Swedish Radio Jazz Group. There you can hear his characteristic sound on all those low parts. It is really some fabulous playing and the secret is great false notes of course. Another classical jazz record if you want to hear more is the record "Brass Galore" with music composed by Nils Lindberg with music for three trumpets and two trombones. It is a record with some great solo playing from trumpeters Jan Allan, Allan Botschinsky and Markku Johansson and also great solos by trombone player Torgny Nilsson. Sven Larsson plays the bass trombone and tuba parts. That record can be found on Spotify.
/Tom
- HawaiiTromboneGuy
- Posts: 1025
- Joined: Sep 03, 2018
[quote="imsevimse"]Swedish bass trombone player Sven Larsson made his successful career on the single bass trombone.
Sven has performed and recorded with all the greatest Swedish artists and also was a member of the James Last band and the Paul Kuhn band in Germany to name a few. In Sweden he played in the band of legendary trumpeter Roffe Eriksson who later moved to US and made a great career there. Sven also was a member of "The Swedish Radio Jazz Group" for many years as well as "The Gugge Hedrenius Big Blues Band", and for eight years was the bass trombone player of The Swedish Radio Symphony Orchestra. He was first call in Sweden on TV/Radio shows and recording sessions during the 70'ies, 80'ies and 90'ies. He did everything an a single trigger bass trombone. You can hear his broad lush sound on countless Swedish recordings from these years. I recently discovered the record "String on the Air" with music by the Swedish jazz piano player and composer Bengt Hallberg from 1990, written for The Swedish Radio Jazz Group. There you can hear his characteristic sound on all those low parts. It is really some fabulous playing and the secret is great false notes of course. Another classical jazz record if you want to hear more is the record "Brass Galore" with music composed by Nils Lindberg with music for three trumpets and two trombones. It is a record with some great solo playing from trumpeters Jan Allan, Allan Botschinsky and Markku Johansson and also great solos by trombone player Torgny Nilsson. Sven Larsson plays the bass trombone and tuba parts. That record can be found on Spotify.
/Tom[/quote]
If I remember correctly from the old forum, wasn’t Sven playing a Williams 10? I recall chatting with him about it and he mentioning that he eventually sold it to a student of his.
Sven has performed and recorded with all the greatest Swedish artists and also was a member of the James Last band and the Paul Kuhn band in Germany to name a few. In Sweden he played in the band of legendary trumpeter Roffe Eriksson who later moved to US and made a great career there. Sven also was a member of "The Swedish Radio Jazz Group" for many years as well as "The Gugge Hedrenius Big Blues Band", and for eight years was the bass trombone player of The Swedish Radio Symphony Orchestra. He was first call in Sweden on TV/Radio shows and recording sessions during the 70'ies, 80'ies and 90'ies. He did everything an a single trigger bass trombone. You can hear his broad lush sound on countless Swedish recordings from these years. I recently discovered the record "String on the Air" with music by the Swedish jazz piano player and composer Bengt Hallberg from 1990, written for The Swedish Radio Jazz Group. There you can hear his characteristic sound on all those low parts. It is really some fabulous playing and the secret is great false notes of course. Another classical jazz record if you want to hear more is the record "Brass Galore" with music composed by Nils Lindberg with music for three trumpets and two trombones. It is a record with some great solo playing from trumpeters Jan Allan, Allan Botschinsky and Markku Johansson and also great solos by trombone player Torgny Nilsson. Sven Larsson plays the bass trombone and tuba parts. That record can be found on Spotify.
/Tom[/quote]
If I remember correctly from the old forum, wasn’t Sven playing a Williams 10? I recall chatting with him about it and he mentioning that he eventually sold it to a student of his.
- imsevimse
- Posts: 1765
- Joined: Apr 29, 2018
[quote="HawaiiTromboneGuy"]If I remember correctly from the old forum, wasn’t Sven playing a Williams 10? I recall chatting with him about it and he mentioning that he eventually sold it to a student of his.[/quote]
He was at one time playing a William's 10, but sold it just as your information says. At one time all the trombone players in the Radio Jazz group played Wiliams. We think the William's 9 is the one that belonged to Bengt Edvardsson who played third in the band. What the seller said makes this possible, because he bought it used in the early 90'ies in Stockhlom in the shop that we think sold that trombone on commission, and there were not many William's sent to Sweden. This means I'm the third owner of that Williams 9. All members in the section soon abandoned the William's. As I've heard it Sven was the first who changed to something else. You correct me if I'm wrong, Sven.
/Tom
He was at one time playing a William's 10, but sold it just as your information says. At one time all the trombone players in the Radio Jazz group played Wiliams. We think the William's 9 is the one that belonged to Bengt Edvardsson who played third in the band. What the seller said makes this possible, because he bought it used in the early 90'ies in Stockhlom in the shop that we think sold that trombone on commission, and there were not many William's sent to Sweden. This means I'm the third owner of that Williams 9. All members in the section soon abandoned the William's. As I've heard it Sven was the first who changed to something else. You correct me if I'm wrong, Sven.
/Tom
- HawaiiTromboneGuy
- Posts: 1025
- Joined: Sep 03, 2018
[quote="imsevimse"]<QUOTE author="HawaiiTromboneGuy" post_id="88853" time="1562281578" user_id="3695">
If I remember correctly from the old forum, wasn’t Sven playing a Williams 10? I recall chatting with him about it and he mentioning that he eventually sold it to a student of his.[/quote]
He was at one time playing a William's 10, but sold it just as your information says. At one time all the trombone players in the Radio Jazz group played Wiliams. We think the William's 9 is the one that belonged to Bengt Edvardsson who played third in the band. What the seller said makes this possible, because he bought it used in the early 90'ies in Stockhlom in the shop that we think sold that trombone on commission, and there were not many William's sent to Sweden. This means I'm the third owner of that Williams 9. All members in the section soon abandoned the William's. As I've heard it Sven was the first who changed to something else. You correct me if I'm wrong, Sven.
/Tom
</QUOTE>
Would have loved to hear that section! Do you know if there are any recordings available from that time when the entire section were playing on Williams?
If I remember correctly from the old forum, wasn’t Sven playing a Williams 10? I recall chatting with him about it and he mentioning that he eventually sold it to a student of his.[/quote]
He was at one time playing a William's 10, but sold it just as your information says. At one time all the trombone players in the Radio Jazz group played Wiliams. We think the William's 9 is the one that belonged to Bengt Edvardsson who played third in the band. What the seller said makes this possible, because he bought it used in the early 90'ies in Stockhlom in the shop that we think sold that trombone on commission, and there were not many William's sent to Sweden. This means I'm the third owner of that Williams 9. All members in the section soon abandoned the William's. As I've heard it Sven was the first who changed to something else. You correct me if I'm wrong, Sven.
/Tom
</QUOTE>
Would have loved to hear that section! Do you know if there are any recordings available from that time when the entire section were playing on Williams?
- imsevimse
- Posts: 1765
- Joined: Apr 29, 2018
[quote="HawaiiTromboneGuy"]Would have loved to hear that section! Do you know if there are any recordings available from that time when the entire section were playing on Williams?[/quote]
I met with Sven today and asked him about the Williams trombone section and apparently Torgny Nilsson (first), Bengt Edvardsson (third) and Sven Larsson (fourth) all had their Williams at the same time. Lars Olofsson (second) had a Williams too but that was not unti later. Sven said they did a lot of recordings with that "almost" complete Williams section but could not recall a specific recording right now. If we are lucky he might tune in to this thread and help us out.
/Tom
I met with Sven today and asked him about the Williams trombone section and apparently Torgny Nilsson (first), Bengt Edvardsson (third) and Sven Larsson (fourth) all had their Williams at the same time. Lars Olofsson (second) had a Williams too but that was not unti later. Sven said they did a lot of recordings with that "almost" complete Williams section but could not recall a specific recording right now. If we are lucky he might tune in to this thread and help us out.
/Tom
- HawaiiTromboneGuy
- Posts: 1025
- Joined: Sep 03, 2018
[quote="imsevimse"]<QUOTE author="HawaiiTromboneGuy" post_id="88881" time="1562316806" user_id="3695">
Would have loved to hear that section! Do you know if there are any recordings available from that time when the entire section were playing on Williams?[/quote]
I met with Sven today and asked him about the Williams trombone section and apparently Torgny Nilsson (first), Bengt Edvardsson (third) and Sven Larsson (fourth) all had their Williams at the same time. Lars Olofsson (second) had a Williams too but that was not unti later. Sven said they did a lot of recordings with that "almost" complete Williams section but could not recall a specific recording right now. If we are lucky he might tune in to this thread and help us out.
/Tom
</QUOTE>
Thanks, Tom, for asking about the section! I hope Sven chimes in and can give us a bit more info about the section and any possible recordings out there.
Would have loved to hear that section! Do you know if there are any recordings available from that time when the entire section were playing on Williams?[/quote]
I met with Sven today and asked him about the Williams trombone section and apparently Torgny Nilsson (first), Bengt Edvardsson (third) and Sven Larsson (fourth) all had their Williams at the same time. Lars Olofsson (second) had a Williams too but that was not unti later. Sven said they did a lot of recordings with that "almost" complete Williams section but could not recall a specific recording right now. If we are lucky he might tune in to this thread and help us out.
/Tom
</QUOTE>
Thanks, Tom, for asking about the section! I hope Sven chimes in and can give us a bit more info about the section and any possible recordings out there.
- imsevimse
- Posts: 1765
- Joined: Apr 29, 2018
[quote="HawaiiTromboneGuy"]Thanks, Tom, for asking about the section! I hope Sven chimes in and can give us a bit more info about the section and any possible recordings out there.[/quote]
Another thing that needs clarification is if the section really was within "The Radio Jazz Group" there was also a band called "The Swedish Radio Big Band" existing at the same time. Sven mentioned he first was the only trombone player in the "The Radio Jazz Group" and that it was later extended with Lars Olofson. There were only two trombone players on contract. Some projects were bigger and then some players were added. "The Swedish Radio BIg Band" had a full section with four players which leads me to think that the band with the "allmost" William's section was "The Swedish Radio Big Band". The players were often the same in both bands because they were the best available at the time.
/Tom
Another thing that needs clarification is if the section really was within "The Radio Jazz Group" there was also a band called "The Swedish Radio Big Band" existing at the same time. Sven mentioned he first was the only trombone player in the "The Radio Jazz Group" and that it was later extended with Lars Olofson. There were only two trombone players on contract. Some projects were bigger and then some players were added. "The Swedish Radio BIg Band" had a full section with four players which leads me to think that the band with the "allmost" William's section was "The Swedish Radio Big Band". The players were often the same in both bands because they were the best available at the time.
/Tom
- Basbasun
- Posts: 496
- Joined: Mar 26, 2018
[quote="HawaiiTromboneGuy"]
Thanks, Tom, for asking about the section! I hope Sven chimes in and can give us a bit more info about the section and any possible recordings out there.[/quote]
Hi guys, talking about old times are we? There is one LP with Lars Samuelson orchestra (it is also on CD FLCD 168)
it called Lars Samuelson orchestra HET SOMMAR (hot summer) the trombones are Torgny Nilsson lead Bengt Edvardson second Lars Olofsson third me on bass and tuba, Torgny Bengt and me on williams horns I think Lars was still playing king. Another LP is Greeting and Salutations composed and conducted byThad Jones the Swedish Radio Jazz Group featuring Mel Lewis and Jon Faddis, LPFLC 5001, the same trombone section, both recordings are done 1975.
My Williams #10 was very good horn, I a hade tendency to play to loud with that horn though, it was VERY easy to got a lot of sound out of it, I didn´t reliza how loud I played many times. The guy who owns it now sounds beautiful on it.
Thanks, Tom, for asking about the section! I hope Sven chimes in and can give us a bit more info about the section and any possible recordings out there.[/quote]
Hi guys, talking about old times are we? There is one LP with Lars Samuelson orchestra (it is also on CD FLCD 168)
it called Lars Samuelson orchestra HET SOMMAR (hot summer) the trombones are Torgny Nilsson lead Bengt Edvardson second Lars Olofsson third me on bass and tuba, Torgny Bengt and me on williams horns I think Lars was still playing king. Another LP is Greeting and Salutations composed and conducted byThad Jones the Swedish Radio Jazz Group featuring Mel Lewis and Jon Faddis, LPFLC 5001, the same trombone section, both recordings are done 1975.
My Williams #10 was very good horn, I a hade tendency to play to loud with that horn though, it was VERY easy to got a lot of sound out of it, I didn´t reliza how loud I played many times. The guy who owns it now sounds beautiful on it.
- Basbasun
- Posts: 496
- Joined: Mar 26, 2018
Oh maybe I should mention that I was using 1 valve only, still am, I played Conn, Bach, Holton with 1 valve. I do prefer it that way. False notes, yes my first false notes I played was 1953 or 4. I hade teachers in the 60th who included false tones in their teaching, Carl-Otto Naesén, Bertil Jacobsson, (it is actually a German tradition that Paul Weschke taught to Anton Hansé and Palmer troulsen.) They are in the instruments, the pedaltones are not the fundamentel tone of the tube length as you may know.
- HawaiiTromboneGuy
- Posts: 1025
- Joined: Sep 03, 2018
[quote="Basbasun"]<QUOTE author="HawaiiTromboneGuy" post_id="89016" time="1562485316" user_id="3695">
Thanks, Tom, for asking about the section! I hope Sven chimes in and can give us a bit more info about the section and any possible recordings out there.[/quote]
Hi guys, talking about old times are we? There is one LP with Lars Samuelson orchestra (it is also on CD FLCD 168)
it called Lars Samuelson orchestra HET SOMMAR (hot summer) the trombones are Torgny Nilsson lead Bengt Edvardson second Lars Olofsson third me on bass and tuba, Torgny Bengt and me on williams horns I think Lars was still playing king. Another LP is Greeting and Salutations composed and conducted byThad Jones the Swedish Radio Jazz Group featuring Mel Lewis and Jon Faddis, LPFLC 5001, the same trombone section, both recordings are done 1975.
My Williams #10 was very good horn, I a hade tendency to play to loud with that horn though, it was VERY easy to got a lot of sound out of it, I didn´t reliza how loud I played many times. The guy who owns it now sounds beautiful on it.
</QUOTE>
Hi Sven,
It’s good to hear from you. It’s been awhile since we last chatted on the old TTF. I’ll see if I can look up the recordings you’ve mentioned. I remember you saying on the old forum about how easy it was for you to be heard with your old Williams. Special horns these are!
Thanks, Tom, for asking about the section! I hope Sven chimes in and can give us a bit more info about the section and any possible recordings out there.[/quote]
Hi guys, talking about old times are we? There is one LP with Lars Samuelson orchestra (it is also on CD FLCD 168)
it called Lars Samuelson orchestra HET SOMMAR (hot summer) the trombones are Torgny Nilsson lead Bengt Edvardson second Lars Olofsson third me on bass and tuba, Torgny Bengt and me on williams horns I think Lars was still playing king. Another LP is Greeting and Salutations composed and conducted byThad Jones the Swedish Radio Jazz Group featuring Mel Lewis and Jon Faddis, LPFLC 5001, the same trombone section, both recordings are done 1975.
My Williams #10 was very good horn, I a hade tendency to play to loud with that horn though, it was VERY easy to got a lot of sound out of it, I didn´t reliza how loud I played many times. The guy who owns it now sounds beautiful on it.
</QUOTE>
Hi Sven,
It’s good to hear from you. It’s been awhile since we last chatted on the old TTF. I’ll see if I can look up the recordings you’ve mentioned. I remember you saying on the old forum about how easy it was for you to be heard with your old Williams. Special horns these are!
- Savio
- Posts: 688
- Joined: Apr 26, 2018
I belive Sven also played the music in some of the movies by Astrid Lindgren books for children? The music was composed by Georg Riedel. A Swedish jazz musician and composer. Very nice and exposed bass trombone playing. Reminds me a little of the George Roberts style of playing.
- imsevimse
- Posts: 1765
- Joined: Apr 29, 2018
[quote="Savio"]I belive Sven also played the music in some of the movies by Astrid Lindgren books for children? The music was composed by Georg Riedel. A Swedish jazz musician and composer. Very nice and exposed bass trombone playing. Reminds me a little of the George Roberts style of playing.[/quote]
I know for a fact he's been compared with George Roberts by that expressen: "The Swedish George Roberts". I don't know if he knows that himself?
/Tom
I know for a fact he's been compared with George Roberts by that expressen: "The Swedish George Roberts". I don't know if he knows that himself?
/Tom
- ddsbstrb
- Posts: 51
- Joined: Apr 29, 2019
I am so glad that someone happened to mention Tony Studd! Do any of you happen to own or might have listened to Manny Album's great recording on Solid State (vinyl) called "Brass On Fire?" I have it on the original vinyl and am not sure if it was ever done on CD.
First of all, it is some very fine ensemble playing, with just brass and rhythm, used for the recording. The plus is, get your headphones on and listen very carefully to Tony Studd. The sound he produces is perfect, for the recording. He is recorded very well, which really helps; but, it is one of the best bass trombone sounds of his day (1966) or, for ANY day!
Here is one track from you tube:
<YOUTUBE id="RCZzxhM0YLw">https://www.youtube.com/watch?v=RCZzxhM0YLw</YOUTUBE>
Make sure you listen to the very end for the bass trombone.
From looking at the photos of this session on the record jacket, it sure looks like Tony might be playing just a 72H. When I find the album, in my collection, I will look once again. It was, for sure, a single valve bass bone!
First of all, it is some very fine ensemble playing, with just brass and rhythm, used for the recording. The plus is, get your headphones on and listen very carefully to Tony Studd. The sound he produces is perfect, for the recording. He is recorded very well, which really helps; but, it is one of the best bass trombone sounds of his day (1966) or, for ANY day!
Here is one track from you tube:
<YOUTUBE id="RCZzxhM0YLw">https://www.youtube.com/watch?v=RCZzxhM0YLw</YOUTUBE>
Make sure you listen to the very end for the bass trombone.
From looking at the photos of this session on the record jacket, it sure looks like Tony might be playing just a 72H. When I find the album, in my collection, I will look once again. It was, for sure, a single valve bass bone!
- BGuttman
- Posts: 7368
- Joined: Mar 22, 2018
There's some luscious bass trombone playing throughout that recording. And the solo is something to strive for.
- FOSSIL
- Posts: 688
- Joined: Jul 09, 2019
Sublime.
Why did people stop trying to sound like that ?
Because it's too hard to do.
Chris
Why did people stop trying to sound like that ?
Because it's too hard to do.
Chris
- Pre59
- Posts: 372
- Joined: May 12, 2018
You'll be sure to like this then. Ok, the reverb is set to 11, but great trombone playing with two bass trombones in the section, and beautiful exposed bass tbn throughout.
Now re-released c/w with a Kai Winding quartet jazz album.
https://en.wikipedia.org/wiki/Kai_Olé
This is a more restrained track, with nice Tony Studd part.
<YOUTUBE id="MDc5Qh7wbSA">https://www.youtube.com/watch?v=MDc5Qh7wbSA</YOUTUBE>
...and found another track. <YOUTUBE id="yYp0MGSzM-I">https://www.youtube.com/watch?v=yYp0MGSzM-I</YOUTUBE>
Now re-released c/w with a Kai Winding quartet jazz album.
https://en.wikipedia.org/wiki/Kai_Olé
This is a more restrained track, with nice Tony Studd part.
<YOUTUBE id="MDc5Qh7wbSA">https://www.youtube.com/watch?v=MDc5Qh7wbSA</YOUTUBE>
...and found another track. <YOUTUBE id="yYp0MGSzM-I">https://www.youtube.com/watch?v=yYp0MGSzM-I</YOUTUBE>
- Basbasun
- Posts: 496
- Joined: Mar 26, 2018
Yes Tony studd was a really great player, lots of good playing with Gil Evans. Yes I heard the mem "the Swedish George Roberts", I feel really honoured, but I can not compare my self with GR, he the greatest. I am not in that leag.
Did anybody mention Kenny Schroyer?
Did anybody mention Kenny Schroyer?
- ddsbstrb
- Posts: 51
- Joined: Apr 29, 2019
Basbasun………Now your talkin'! I would like to point out another of my very favorite Capitol vinyl's called Bill Holman's Great Big Band. This recording uses the standard big band with 2 horns added to the brass. This album was recorded in LA in 1960. You could probably guess who most of the great players are. This was one of the first big band recordings I heard; as, I was kind of new to jazz in those days. I was a senior in high school and played tuba. It was so great on hearing Kenny Shroyer! Check him out, on Bill's beautiful chart of Speak Low.
I have had the pleasure of meeting Kenny several times, when he toured our area in SW Ohio with the Mike Vax Kenton Alumni Band. Kenny also grew up in the city where the ITF was, Muncie IN. When Kenny returned home to Muncie, probably after a Kenton-tour, in the 1950's, he did a four bone gig for several weeks in a club in Dayton OH, with a good trombone-friend of mine, by the name of Ian Polster. I have also had the pleasure of calling Kenny several times and talking what kind of equipment (bass bones) those guys were playing in the 1950's-70's in LA. A very interest guy, with a fantastic memory for facts!
Kenny also has that "classic" sound like George Roberts, Tony Studd, Dick Hixon, Alan Raph, and Thomas "Tommy" Mitchell Their sounds "spoke" with great clarity, focus and a note-front-end, to kill-for! Some how, over the years, some of these great qualities, might have been lost, if only temporarily?
I am sure that great Willis Holman album has to be on You Tube.
I have had the pleasure of meeting Kenny several times, when he toured our area in SW Ohio with the Mike Vax Kenton Alumni Band. Kenny also grew up in the city where the ITF was, Muncie IN. When Kenny returned home to Muncie, probably after a Kenton-tour, in the 1950's, he did a four bone gig for several weeks in a club in Dayton OH, with a good trombone-friend of mine, by the name of Ian Polster. I have also had the pleasure of calling Kenny several times and talking what kind of equipment (bass bones) those guys were playing in the 1950's-70's in LA. A very interest guy, with a fantastic memory for facts!
Kenny also has that "classic" sound like George Roberts, Tony Studd, Dick Hixon, Alan Raph, and Thomas "Tommy" Mitchell Their sounds "spoke" with great clarity, focus and a note-front-end, to kill-for! Some how, over the years, some of these great qualities, might have been lost, if only temporarily?
I am sure that great Willis Holman album has to be on You Tube.
- FOSSIL
- Posts: 688
- Joined: Jul 09, 2019
How have these great qualities been lost ?
Big mouthpieces and small minds.
Chris
Big mouthpieces and small minds.
Chris
- dukesboneman
- Posts: 935
- Joined: Apr 02, 2018
George Roberts - Need I say more?
- jthomas105
- Posts: 148
- Joined: Apr 08, 2018
Another recording to hear Tony Studd on is, Quincy Jones' Walking in Space
- bigbandbone
- Posts: 602
- Joined: Jan 17, 2019
Rookie bass bone player question - False tones were mentioned above. What are false tones?
- JohnL
- Posts: 2529
- Joined: Mar 23, 2018
[quote="bigbandbone"]Rookie bass bone player question - False tones were mentioned above. What are false tones?[/quote]
In a general sense, it's any time you make your chops buzz a different note than your horn wants to play. Like playing an Eb below the staff on a straight tenor. It's an acquired skill.
When bass trombone players use the term they're usually talking about playing low B (and possibly C) without the benefit of a second valve or pulling the F-attachment to E.
In a general sense, it's any time you make your chops buzz a different note than your horn wants to play. Like playing an Eb below the staff on a straight tenor. It's an acquired skill.
When bass trombone players use the term they're usually talking about playing low B (and possibly C) without the benefit of a second valve or pulling the F-attachment to E.
- imsevimse
- Posts: 1765
- Joined: Apr 29, 2018
[quote="bigbandbone"]Rookie bass bone player question - False tones were mentioned above. What are false tones?[/quote]
Tangent
Here is a couple of excerpts on false notes on a straight trombone. There are more videos on the webpage that you find at the end of my post, in the signature.
On the page there are examples with both tenor and bass trombone and sheet music that shows where to find the false notes on both the valve and the straight horn.
You need the technique with false notes to play the low B without pulling the F-tuningslide to flat E-tuning. On a trigger trombone It enables you to still have the F just below the staff and the C within the staff on T1 and you also have the low C and B on the upper part of the slide as false notes. This is very convenient and you have a fully chromatic single valve horn down to the pedals.
<YOUTUBE id="fk6kDPGuxbw">[media]https://youtu.be/fk6kDPGuxbw</YOUTUBE>
<YOUTUBE id="M83mrOympwI">[media]https://youtu.be/M83mrOympwI</YOUTUBE>
/Tom
Tangent
Here is a couple of excerpts on false notes on a straight trombone. There are more videos on the webpage that you find at the end of my post, in the signature.
On the page there are examples with both tenor and bass trombone and sheet music that shows where to find the false notes on both the valve and the straight horn.
You need the technique with false notes to play the low B without pulling the F-tuningslide to flat E-tuning. On a trigger trombone It enables you to still have the F just below the staff and the C within the staff on T1 and you also have the low C and B on the upper part of the slide as false notes. This is very convenient and you have a fully chromatic single valve horn down to the pedals.
<YOUTUBE id="fk6kDPGuxbw">
<YOUTUBE id="M83mrOympwI">
/Tom
- Savio
- Posts: 688
- Joined: Apr 26, 2018
[quote="FOSSIL"]How have these great qualities been lost ?
Big mouthpieces and small minds.
Chris[/quote]
Chris, you made my day!! :good: Why do all think they need a big mouthpieces to make a great sound?
See you soon!
Leif
Big mouthpieces and small minds.
Chris[/quote]
Chris, you made my day!! :good: Why do all think they need a big mouthpieces to make a great sound?
See you soon!
Leif
- bigbandbone
- Posts: 602
- Joined: Jan 17, 2019
ddsbstrb eloquently said, "Kenny also has that "classic" sound like George Roberts, Tony Studd, Dick Hixon, Alan Raph, and Thomas "Tommy" Mitchell Their sounds "spoke" with great clarity, focus and a note-front-end, to kill-for! Some how, over the years, some of these great qualities, might have been lost."
How did they get that sound? We've discussed their horns, how about mouthpieces. Big or small? Bowel or V cup? Thick or thin rim. Deep or shallow cup?
And of course practice, practice, practice!
How did they get that sound? We've discussed their horns, how about mouthpieces. Big or small? Bowel or V cup? Thick or thin rim. Deep or shallow cup?
And of course practice, practice, practice!
- FOSSIL
- Posts: 688
- Joined: Jul 09, 2019
[quote="bigbandbone"]ddsbstrb eloquently said, "Kenny also has that "classic" sound like George Roberts, Tony Studd, Dick Hixon, Alan Raph, and Thomas "Tommy" Mitchell Their sounds "spoke" with great clarity, focus and a note-front-end, to kill-for! Some how, over the years, some of these great qualities, might have been lost."
How did they get that sound? We've discussed their horns, how about mouthpieces. Big or small? Bowel or V cup? Thick or thin rim. Deep or shallow cup?
And of course practice, practice, practice![/quote]
Nobody who made that classic sound, did it on a big mouthpiece. Getting a great low register on a 2G or 1 1/2G takes a lot of work. Obviously it is possible as these great players have shown. There are many great contemporary players using much bigger equipment and making wonderful sounds, but they are different sounds to these classic players.
MYTH-BUSTER ALERT
Mouthpieces are NOT like shoes. The mouthpiece needs to suit the instrument ... try playing a tuba with a trumpet mouthpiece. Faces can adapt. The mouthpiece has to join together the player and instrument, sure... but it has to match the instrument in acoustic terms and help the player get their sonic concept out of the bell. I've played very big mouthpieces, I've played small mouthpieces.... some instruments work better with one or the other. No big mouthpiece has gotten me quite the sound I want... very close at times, but not quite there, so I play smaller.
Chris
How did they get that sound? We've discussed their horns, how about mouthpieces. Big or small? Bowel or V cup? Thick or thin rim. Deep or shallow cup?
And of course practice, practice, practice![/quote]
Nobody who made that classic sound, did it on a big mouthpiece. Getting a great low register on a 2G or 1 1/2G takes a lot of work. Obviously it is possible as these great players have shown. There are many great contemporary players using much bigger equipment and making wonderful sounds, but they are different sounds to these classic players.
MYTH-BUSTER ALERT
Mouthpieces are NOT like shoes. The mouthpiece needs to suit the instrument ... try playing a tuba with a trumpet mouthpiece. Faces can adapt. The mouthpiece has to join together the player and instrument, sure... but it has to match the instrument in acoustic terms and help the player get their sonic concept out of the bell. I've played very big mouthpieces, I've played small mouthpieces.... some instruments work better with one or the other. No big mouthpiece has gotten me quite the sound I want... very close at times, but not quite there, so I play smaller.
Chris
- bigbandbone
- Posts: 602
- Joined: Jan 17, 2019
[quote="FOSSIL"]<QUOTE author="bigbandbone" post_id="90855" time="1564616107" user_id="4328">
ddsbstrb eloquently said, "Kenny also has that "classic" sound like George Roberts, Tony Studd, Dick Hixon, Alan Raph, and Thomas "Tommy" Mitchell Their sounds "spoke" with great clarity, focus and a note-front-end, to kill-for! Some how, over the years, some of these great qualities, might have been lost."
How did they get that sound? We've discussed their horns, how about mouthpieces. Big or small? Bowel or V cup? Thick or thin rim. Deep or shallow cup?
And of course practice, practice, practice![/quote]
Nobody who made that classic sound, did it on a big mouthpiece. Getting a great low register on a 2G or 1 1/2G takes a lot of work. Obviously it is possible as these great players have shown. There are many great contemporary players using much bigger equipment and making wonderful sounds, but they are different sounds to these classic players.
MYTH-BUSTER ALERT
Mouthpieces are NOT like shoes. The mouthpiece needs to suit the instrument ... try playing a tuba with a trumpet mouthpiece. Faces can adapt. The mouthpiece has to join together the player and instrument, sure... but it has to match the instrument in acoustic terms and help the player get their sonic concept out of the bell. I've played very big mouthpieces, I've played small mouthpieces.... some instruments work better with one or the other. No big mouthpiece has gotten me quite the sound I want... very close at times, but not quite there, so I play smaller.
Chris
</QUOTE>
Thanks for the reply Chris. So where in the spectrum of small verses large does a 1 1/2 Marcinkiewicz fall. The reason I ask is I just transitioned from doubler to primarily bass and am looking for the "sound" we've discussed in this thread. Just before this thread appeared I ordered a 1 1/2G Marcinkiewicz with B&S taper shank for my 72H and I'm hoping I'm on the right track. I haven't been on the mouthpiece merry go round since the early 70's and it's definitely more expensive today. I'm hoping not to make too many mis-steps.
ddsbstrb eloquently said, "Kenny also has that "classic" sound like George Roberts, Tony Studd, Dick Hixon, Alan Raph, and Thomas "Tommy" Mitchell Their sounds "spoke" with great clarity, focus and a note-front-end, to kill-for! Some how, over the years, some of these great qualities, might have been lost."
How did they get that sound? We've discussed their horns, how about mouthpieces. Big or small? Bowel or V cup? Thick or thin rim. Deep or shallow cup?
And of course practice, practice, practice![/quote]
Nobody who made that classic sound, did it on a big mouthpiece. Getting a great low register on a 2G or 1 1/2G takes a lot of work. Obviously it is possible as these great players have shown. There are many great contemporary players using much bigger equipment and making wonderful sounds, but they are different sounds to these classic players.
MYTH-BUSTER ALERT
Mouthpieces are NOT like shoes. The mouthpiece needs to suit the instrument ... try playing a tuba with a trumpet mouthpiece. Faces can adapt. The mouthpiece has to join together the player and instrument, sure... but it has to match the instrument in acoustic terms and help the player get their sonic concept out of the bell. I've played very big mouthpieces, I've played small mouthpieces.... some instruments work better with one or the other. No big mouthpiece has gotten me quite the sound I want... very close at times, but not quite there, so I play smaller.
Chris
</QUOTE>
Thanks for the reply Chris. So where in the spectrum of small verses large does a 1 1/2 Marcinkiewicz fall. The reason I ask is I just transitioned from doubler to primarily bass and am looking for the "sound" we've discussed in this thread. Just before this thread appeared I ordered a 1 1/2G Marcinkiewicz with B&S taper shank for my 72H and I'm hoping I'm on the right track. I haven't been on the mouthpiece merry go round since the early 70's and it's definitely more expensive today. I'm hoping not to make too many mis-steps.
- pompatus
- Posts: 434
- Joined: Mar 23, 2018
The Marcinkiewicz 1 1/2 uses the same spec as their old George Roberts model. George Roberts was known to use mouthpieces in the area of the Bach 1 1/2G or very slightly larger, iirc. Mr. Roberts, aka Mr. Bass Trombone, is one of the guys whose name is synonymous with that "classic" sound.
- FOSSIL
- Posts: 688
- Joined: Jul 09, 2019
You are probably on the right track bigbandbone. I cannot remember what their 11/2g is like but I've heard great sounds coming from their smaller pieces with the right player. With that gear and a clear concept in your head, you're on your way !!
Chris
Chris
- bigbandbone
- Posts: 602
- Joined: Jan 17, 2019
Wow, this has been a great thread for me! Thanks to everyone who has contributed. Now I know who to listen to for sound concept and know my equipment is in the ballpark for a good start. Love the single valve path!
- JoeStanko
- Posts: 135
- Joined: Apr 11, 2018
Donald Knaub played a 72H with a 1 1/2G and a 73H at times prior to switching to Yamaha. His first two solo recordings and the Eastman Brass Quintet recordings playing the trombone parts are wonderful examples of crystal clear and resonant sound.
Hi Denny: <<Kenny also has that "classic" sound like George Roberts, Tony Studd, Dick Hixon, Alan Raph, and Thomas "Tommy" Mitchell Their sounds "spoke" with great clarity, focus and a note-front-end, to kill-for! Some how, over the years, some of these great qualities, might have been lost, if only temporarily?>>
..add Paul Faulise! Not 100% on topic as these players used double valve instruments. Dave Taylor used a Holton 169 with the detachable second valve in E'ish for quite a while before having it extended to D.
jthomas105 wrote: <<Another recording to hear Tony Studd on is, Quincy Jones' Walking in Space>>
Note that Alan Raph is listed on the credits - if there a listing that could indicate who recorded this track..terrific sound!
Joe Stanko
Hi Denny: <<Kenny also has that "classic" sound like George Roberts, Tony Studd, Dick Hixon, Alan Raph, and Thomas "Tommy" Mitchell Their sounds "spoke" with great clarity, focus and a note-front-end, to kill-for! Some how, over the years, some of these great qualities, might have been lost, if only temporarily?>>
..add Paul Faulise! Not 100% on topic as these players used double valve instruments. Dave Taylor used a Holton 169 with the detachable second valve in E'ish for quite a while before having it extended to D.
jthomas105 wrote: <<Another recording to hear Tony Studd on is, Quincy Jones' Walking in Space>>
Note that Alan Raph is listed on the credits - if there a listing that could indicate who recorded this track..terrific sound!
Joe Stanko
- HawaiiTromboneGuy
- Posts: 1025
- Joined: Sep 03, 2018
I recently acquired a Conn 3B (non-Connstellation) bass mouthpiece and have been using it exclusively with my Williams 10 and Fuchs. Prior to this I was playing on a Laskey 93D and although I still love it, there’s something special about the 3B. Much more focused sound and it just feels more “solid” all around the horn. I haven’t played a 1 1/2G variant in awhile now, but from what I remember, they never really worked well with me. Even the couple of Mt. Vernon copies I had I ended up selling not long after acquiring them.
- FOSSIL
- Posts: 688
- Joined: Jul 09, 2019
[quote="HawaiiTromboneGuy"]I recently acquired a Conn 3B (non-Connstellation) bass mouthpiece and have been using it exclusively with my Williams 10 and Fuchs. Prior to this I was playing on a Laskey 93D and although I still love it, there’s something special about the 3B. Much more focused sound and it just feels more “solid” all around the horn. I haven’t played a 1 1/2G variant in awhile now, but from what I remember, they never really worked well with me. Even the couple of Mt. Vernon copies I had I ended up selling not long after acquiring them.[/quote]
The Williams 10 and the Fuchs were designed using smaller mouthpieces... much smaller in the case of the Fuchs, so they come into their own using such pieces. On the other hand, try playing a modern Yamaha bass with a small mouthpiece and it sounds wrong. Mt Vernon copies are never really like an original, though taken overall, I prefer the Symington copy that I am using now.
Chris
The Williams 10 and the Fuchs were designed using smaller mouthpieces... much smaller in the case of the Fuchs, so they come into their own using such pieces. On the other hand, try playing a modern Yamaha bass with a small mouthpiece and it sounds wrong. Mt Vernon copies are never really like an original, though taken overall, I prefer the Symington copy that I am using now.
Chris
- HawaiiTromboneGuy
- Posts: 1025
- Joined: Sep 03, 2018
[quote="FOSSIL"]<QUOTE author="HawaiiTromboneGuy" post_id="90920" time="1564689752" user_id="3695">
I recently acquired a Conn 3B (non-Connstellation) bass mouthpiece and have been using it exclusively with my Williams 10 and Fuchs. Prior to this I was playing on a Laskey 93D and although I still love it, there’s something special about the 3B. Much more focused sound and it just feels more “solid” all around the horn. I haven’t played a 1 1/2G variant in awhile now, but from what I remember, they never really worked well with me. Even the couple of Mt. Vernon copies I had I ended up selling not long after acquiring them.[/quote]
The Williams 10 and the Fuchs were designed using smaller mouthpieces... much smaller in the case of the Fuchs, so they come into their own using such pieces. On the other hand, try playing a modern Yamaha bass with a small mouthpiece and it sounds wrong. Mt Vernon copies are never really like an original, though taken overall, I prefer the Symington copy that I am using now.
Chris
</QUOTE>
Whoops, that was a typo. It should’ve read Mt. Vernon “pieces” instead of “copies.” I had two Mt. Vernon 1 1/2G’s and never really felt comfortable on them. Then again that was probably more “me” instead of pieces not working out as I was playing a much bigger piece at the time (Schilke 60) and just couldn’t adjust/jive with them. But yes, the smaller bass pieces are wonderful with the 10 and Fuchs.
I recently acquired a Conn 3B (non-Connstellation) bass mouthpiece and have been using it exclusively with my Williams 10 and Fuchs. Prior to this I was playing on a Laskey 93D and although I still love it, there’s something special about the 3B. Much more focused sound and it just feels more “solid” all around the horn. I haven’t played a 1 1/2G variant in awhile now, but from what I remember, they never really worked well with me. Even the couple of Mt. Vernon copies I had I ended up selling not long after acquiring them.[/quote]
The Williams 10 and the Fuchs were designed using smaller mouthpieces... much smaller in the case of the Fuchs, so they come into their own using such pieces. On the other hand, try playing a modern Yamaha bass with a small mouthpiece and it sounds wrong. Mt Vernon copies are never really like an original, though taken overall, I prefer the Symington copy that I am using now.
Chris
</QUOTE>
Whoops, that was a typo. It should’ve read Mt. Vernon “pieces” instead of “copies.” I had two Mt. Vernon 1 1/2G’s and never really felt comfortable on them. Then again that was probably more “me” instead of pieces not working out as I was playing a much bigger piece at the time (Schilke 60) and just couldn’t adjust/jive with them. But yes, the smaller bass pieces are wonderful with the 10 and Fuchs.
- jthomas105
- Posts: 148
- Joined: Apr 08, 2018
[quote="JoeStanko"]Donald Knaub played a 72H with a 1 1/2G and a 73H at times prior to switching to Yamaha. His first two solo recordings and the Eastman Brass Quintet recordings playing the trombone parts are wonderful examples of crystal clear and resonant sound.
Hi Denny: <<Kenny also has that "classic" sound like George Roberts, Tony Studd, Dick Hixon, Alan Raph, and Thomas "Tommy" Mitchell Their sounds "spoke" with great clarity, focus and a note-front-end, to kill-for! Some how, over the years, some of these great qualities, might have been lost, if only temporarily?>>
..add Paul Faulise! Not 100% on topic as these players used double valve instruments. Dave Taylor used a Holton 169 with the detachable second valve in E'ish for quite a while before having it extended to D.
jthomas105 wrote: <<Another recording to hear Tony Studd on is, Quincy Jones' Walking in Space>>
Note that Alan Raph is listed on the credits - if there a listing that could indicate who recorded this track..terrific sound!
Joe Stanko[/quote]
Joe,
I was stating that about "Tony Studd" (What a name for a bass trombone player) from my memory from when I used to listen to Walking in Space many years ago after it was introduced me in college. Tony Studd was the only name I could remember from his liner notes from the late '70s. Never had the record, just a copy from him. I did buy the CD a couple of years ago and added to my iTunes so I just got it out to check it.
Here's what it said about the trombone "section/s" on my CD notes that says the info was taken from the original.
Tracks - 1 (Dead End) 2 (Walking in Space) & 5 (I Never Told You) recorded June 19, 1969 at Van Gelder studio
Jimmy Cleveland, Tony Studd, Kai Winding (Trombone) George Jeffers (Bass Trombone)
Track 3 - Killer Joe recorded June 18, 1969 at Van Gelder studio
Jimmy Cleveland, J. J. Johnson, Alan Raph, Tony Studd (Trombone)
Tracks - 4 (Love and Peace) & 6 (Oh, Happy Day) recorded June 19, 1969 at Van Gelder studio
Jimmy Cleveland, J. J. Johnson, Norman Pride, Tony Studd, (Trombones) Alan Raph (Bass Trombone)
What an amazing group of players. When I was referencing Tony Studd to this I always assumed it was him on "Walking in Space" but according the notes it was George Jeffers on bass trombone for that.
Then Alan Raph is has some outstanding bass trombone work also on track 4 - Love and Peace
John Thomas
Hi Denny: <<Kenny also has that "classic" sound like George Roberts, Tony Studd, Dick Hixon, Alan Raph, and Thomas "Tommy" Mitchell Their sounds "spoke" with great clarity, focus and a note-front-end, to kill-for! Some how, over the years, some of these great qualities, might have been lost, if only temporarily?>>
..add Paul Faulise! Not 100% on topic as these players used double valve instruments. Dave Taylor used a Holton 169 with the detachable second valve in E'ish for quite a while before having it extended to D.
jthomas105 wrote: <<Another recording to hear Tony Studd on is, Quincy Jones' Walking in Space>>
Note that Alan Raph is listed on the credits - if there a listing that could indicate who recorded this track..terrific sound!
Joe Stanko[/quote]
Joe,
I was stating that about "Tony Studd" (What a name for a bass trombone player) from my memory from when I used to listen to Walking in Space many years ago after it was introduced me in college. Tony Studd was the only name I could remember from his liner notes from the late '70s. Never had the record, just a copy from him. I did buy the CD a couple of years ago and added to my iTunes so I just got it out to check it.
Here's what it said about the trombone "section/s" on my CD notes that says the info was taken from the original.
Tracks - 1 (Dead End) 2 (Walking in Space) & 5 (I Never Told You) recorded June 19, 1969 at Van Gelder studio
Jimmy Cleveland, Tony Studd, Kai Winding (Trombone) George Jeffers (Bass Trombone)
Track 3 - Killer Joe recorded June 18, 1969 at Van Gelder studio
Jimmy Cleveland, J. J. Johnson, Alan Raph, Tony Studd (Trombone)
Tracks - 4 (Love and Peace) & 6 (Oh, Happy Day) recorded June 19, 1969 at Van Gelder studio
Jimmy Cleveland, J. J. Johnson, Norman Pride, Tony Studd, (Trombones) Alan Raph (Bass Trombone)
What an amazing group of players. When I was referencing Tony Studd to this I always assumed it was him on "Walking in Space" but according the notes it was George Jeffers on bass trombone for that.
Then Alan Raph is has some outstanding bass trombone work also on track 4 - Love and Peace
John Thomas
- ssking2b
- Posts: 487
- Joined: Sep 29, 2018
Tony Studd switched to tenor trombone quite successfully after years of playing bass bone. If you want to hear the best examples of his bass trombone try the BRASS ON FIRE album by Mann Albam from 1966. It is great, and he is fantastic. He influenced my bass trombone playing immeasurably by listening to that recording. I still have, and I stiil listen to it! Here is a listing for the vinyl version on AMAZON:
<LINK_TEXT text="https://www.amazon.com/Brass-Fire-Manny ... B001P7AK66">https://www.amazon.com/Brass-Fire-Manny-Albam/dp/B001P7AK66</LINK_TEXT>
He is listed on the AMAZON site incorrectly as TONY STUFF! This copy is MONO, I have it in STEREO!
<LINK_TEXT text="https://www.amazon.com/Brass-Fire-Manny ... B001P7AK66">https://www.amazon.com/Brass-Fire-Manny-Albam/dp/B001P7AK66</LINK_TEXT>
He is listed on the AMAZON site incorrectly as TONY STUFF! This copy is MONO, I have it in STEREO!
- Savio
- Posts: 688
- Joined: Apr 26, 2018
[quote="8parktoollover"]Who are some famous bass trombonists who only play on a one valve bass. The only one I can think of is Micha davis of the isreal philharmonic.[/quote]
I believe there is lot of bass players with 1 valve. After all the most obvious one is George Roberts.
[url]https://www.youtube.com/watch?v=XSQEG5iZD6w
He was the first bass trombone player to play a melody! He even did it when he got old;
[url]https://www.youtube.com/watch?v=gPSQ3O75pfw
Here is a link where he tell the bass trombone should be a lyrical horn.
[url]https://www.youtube.com/watch?v=ZCaH6tWqcpg
Today we play solo but its mostly to show technicality and range.
Leif
I believe there is lot of bass players with 1 valve. After all the most obvious one is George Roberts.
He was the first bass trombone player to play a melody! He even did it when he got old;
Here is a link where he tell the bass trombone should be a lyrical horn.
Today we play solo but its mostly to show technicality and range.
Leif
- Inspector71
- Posts: 36
- Joined: Mar 23, 2018
[quote="CalgaryTbone"]Donald Knaube (sp?) - Rochester Phil., Eastman and later at University of Texas Austin. I believe he played a Conn 72H and later, a Yamaha of similar design.[/quote]
Yep...Knauby, as we called him, played a 72H for most, if not all, of his time with Rochester. All of his first album and most of his second album was on the 72 as well. Once at Texas, I believe, he switched to the Yamaha 613R double independent. He also had a Bach 50B3 but rarely played it.
MDM
Yep...Knauby, as we called him, played a 72H for most, if not all, of his time with Rochester. All of his first album and most of his second album was on the 72 as well. Once at Texas, I believe, he switched to the Yamaha 613R double independent. He also had a Bach 50B3 but rarely played it.
MDM
- imsevimse
- Posts: 1765
- Joined: Apr 29, 2018
[quote="Savio"]<QUOTE author="8parktoollover" post_id="88711" time="1562159833" user_id="3494">
Who are some famous bass trombonists who only play on a one valve bass. The only one I can think of is Micha davis of the isreal philharmonic.[/quote]
I believe there is lot of bass players with 1 valve. After all the most obvious one is George Roberts.
[url]https://www.youtube.com/watch?v=XSQEG5iZD6w
He was the first bass trombone player to play a melody! He even did it when he got old;
[url]https://www.youtube.com/watch?v=gPSQ3O75pfw
Here is a link where he tell the bass trombone should be a lyrical horn.
[url]https://www.youtube.com/watch?v=ZCaH6tWqcpg
Today we play solo but its mostly to show technicality and range.
Leif
</QUOTE>
George Roberts with Nelson Riddle <EMOJI seq="1f642" tseq="1f642">🙂</EMOJI><EMOJI seq="1f44d" tseq="1f44d">👍</EMOJI>That's the sound, right there on that recording that I want.
I have never liked the big bass trombone sound of our time. It has never touched my heart really. Not the sound. There are indead fantastic classical bass trombone soloists today, no question about that and they are technical and musical enough but none of the ones I'm thinking of seem to have this sound concept in their mind and yet this is the best sound, at least to me this is the sound I like the most. Thanks Leif!
/Tom
Who are some famous bass trombonists who only play on a one valve bass. The only one I can think of is Micha davis of the isreal philharmonic.[/quote]
I believe there is lot of bass players with 1 valve. After all the most obvious one is George Roberts.
He was the first bass trombone player to play a melody! He even did it when he got old;
Here is a link where he tell the bass trombone should be a lyrical horn.
Today we play solo but its mostly to show technicality and range.
Leif
</QUOTE>
George Roberts with Nelson Riddle <EMOJI seq="1f642" tseq="1f642">🙂</EMOJI><EMOJI seq="1f44d" tseq="1f44d">👍</EMOJI>That's the sound, right there on that recording that I want.
I have never liked the big bass trombone sound of our time. It has never touched my heart really. Not the sound. There are indead fantastic classical bass trombone soloists today, no question about that and they are technical and musical enough but none of the ones I'm thinking of seem to have this sound concept in their mind and yet this is the best sound, at least to me this is the sound I like the most. Thanks Leif!
/Tom
- bigbandbone
- Posts: 602
- Joined: Jan 17, 2019
[quote="ssking2b"]Tony Studd switched to tenor trombone quite successfully after years of playing bass bone. If you want to hear the best examples of his bass trombone try the BRASS ON FIRE album by Mann Albam from 1966. It is great, and he is fantastic. He influenced my bass trombone playing immeasurably by listening to that recording. I still have, and I stiil listen to it! Here is a listing for the vinyl version on AMAZON:
<LINK_TEXT text="https://www.amazon.com/Brass-Fire-Manny ... B001P7AK66">https://www.amazon.com/Brass-Fire-Manny-Albam/dp/B001P7AK66</LINK_TEXT>
He is listed on the AMAZON site incorrectly as TONY STUFF! This copy is MONO, I have it in STEREO![/quote]
Does anyone have a source for "Brass on Fire" on CD?
<LINK_TEXT text="https://www.amazon.com/Brass-Fire-Manny ... B001P7AK66">https://www.amazon.com/Brass-Fire-Manny-Albam/dp/B001P7AK66</LINK_TEXT>
He is listed on the AMAZON site incorrectly as TONY STUFF! This copy is MONO, I have it in STEREO![/quote]
Does anyone have a source for "Brass on Fire" on CD?
- bigbandbone
- Posts: 602
- Joined: Jan 17, 2019
I just listened to Nelson Riddles "The Joy Of Living" album in it's entirety on YouTube. Wow! What a tour-de-force for GR. Definitely a sound to emulate! How much "sweetening" was done in the recording studios in that period (late 50's-early 60's)? For those of you that played with or heard George Roberts live, was there a difference between his live sound and recorded sound?
- Jimprindle
- Posts: 103
- Joined: Apr 16, 2018
[quote="bigbandbone"]I just listened to Nelson Riddles "The Joy Of Living" album in it's entirety on YouTube. Wow! What a tour-de-force for GR. Definitely a sound to emulate! How much "sweetening" was done in the recording studios in that period (late 50's-early 60's)? For those of you that played with or heard George Roberts live, was there a difference between his live sound and recorded sound?[/quote]
I went to live concerts that featured GR from 1963-68. No matter where you sat in the auditorium (usually HS or college, once in a convention hall) with no mic, his sound projected above the accompaniment (usually not very good student bands) with no effort. A jazz sax player friend said, "Listening to him is like taking a bath in melted chocolate".
All the times I heard him, live and recorded, it was (as the studio recording guys called him) Mr. Bass Trombone.
I went to live concerts that featured GR from 1963-68. No matter where you sat in the auditorium (usually HS or college, once in a convention hall) with no mic, his sound projected above the accompaniment (usually not very good student bands) with no effort. A jazz sax player friend said, "Listening to him is like taking a bath in melted chocolate".
All the times I heard him, live and recorded, it was (as the studio recording guys called him) Mr. Bass Trombone.
- u_2bobone
- Posts: 474
- Joined: Mar 25, 2018
I'm replying to comments by "Inspector 71". I was a student of Donald Knaub in 1956-61 at The Eastman School of Music. Hearing him play on a Reynolds Contempora back then was my inspiration to follow the bass trombone path [ I began studying with him as a euphonium player]. He did, indeed, switch to a Conn 72H from the Reynolds and always used a Bach 1 1/2 G --- and even a Bach 2G --- on his horns. He had an accident on a construction site as a student where he worked a summer job, during which his front teeth and lips were smashed by the collapse of a scaffold. He credits a dentist who repaired the damage sufficiently for him to manage a long and successful career as a performer and teacher. I remember vividly him showing me the lumps of scar tissue that still resided in his upper lip. He contacted me me to re-master the analogue vinyl recordings he had done throughout his career because he feared that his legacy as a performer would die away without digital replications of his work. I did so, and the resultant recording is available as "RETREAD". A remarkable man, friend and teacher. He did eventually play a Yamaha and made a video for them while being a Yamaha clinician. It is very difficult to believe that he EVER owned a Bach trombone, but not difficult to believe at all that he rarely used it. His sound was distinctive, to say the least, and a Bach would have never been his first choice. RIP, Don.
- Basbasun
- Posts: 496
- Joined: Mar 26, 2018
On what record did Donald Knaub play a singel valve trombone?
- BGuttman
- Posts: 7368
- Joined: Mar 22, 2018
[quote="Basbasun"]On what record did Donald Knaub play a singel valve trombone?[/quote]
I have an Ithaca Brass Quintet record where Knaub is playing a 72H for the trombone line. Not really "bass trombone with 1 valve" in the sense the OP was asking.
I have an Ithaca Brass Quintet record where Knaub is playing a 72H for the trombone line. Not really "bass trombone with 1 valve" in the sense the OP was asking.
- u_2bobone
- Posts: 474
- Joined: Mar 25, 2018
Reply to "Babasun" about Donald Knaub : There is a spectacular recording of The Eastman Brass Quintet performing "German & English Renaissance Brass" on which Donald Knaub plays a Conn 72H single trigger horn. I just saw a vinyl copy of it on EBay. It is on the "CANDIDE" label. Dan Patrylak and Philip Collins on trumpet -- Verne Reynolds on French Horn, Donald Knaub doing the honors of playing the tenor trombone parts on a Conn 72H single trigger bass trombone, and Cherry Beauregard , tuba. I think I got all the players right since I don't have the recording at hand for reference. To my knowledge, the solo recordings that I re-mastered for Don's "RETREAD" album were all of the solo recordings that he had done up to that time. I just saw the "RETREAD" CD online at "Cherry Classics.com". He only started using a double trigger horn regularly when he became a Yamaha Clinician. My recollection is that the Reynolds Contempora he played back in 1961 was a single trigger horn also. If we'd only had cell phones with those wonderful, ready-to-go cameras back then !
- BGuttman
- Posts: 7368
- Joined: Mar 22, 2018
That's the Ithaca Brass Quintet that I have a vinyl album of. Mine has a different title, so there must be a few of them. Given that these recordings are some 60 years old, the playing is excellent.
- u_2bobone
- Posts: 474
- Joined: Mar 25, 2018
When you think of all the albums of fine performances of every genre that are re-issued, and consider that the performers themselves probably never saw a dime's worth of the profits that the company that did the re-issue made, it makes you wonder if you are on the right side of the horn ! Nonetheless, it perpetuates the art of so many of our brethren, that I suppose it actually borders on being a public service. Shades of Laurel & Hardy ! I'm going to spin that Candide / ESM Brass Quintet album at my first opportunity !
- CalgaryTbone
- Posts: 1460
- Joined: May 10, 2018
I'm not aware of Don Knaub teaching at Ithaca, but perhaps he did briefly? I have a couple of old Eastman Brass Quintet recordings, and I know that he's playing the tenor part on a 72H (or similar, based on the album pictures). 2bobones had the personnel correct.
Jim Scott
Jim Scott
- Savio
- Posts: 688
- Joined: Apr 26, 2018
[quote="Jimprindle"]<QUOTE author="bigbandbone" post_id="91102" time="1564922892" user_id="4328">
I just listened to Nelson Riddles "The Joy Of Living" album in it's entirety on YouTube. Wow! What a tour-de-force for GR. Definitely a sound to emulate! How much "sweetening" was done in the recording studios in that period (late 50's-early 60's)? For those of you that played with or heard George Roberts live, was there a difference between his live sound and recorded sound?[/quote]
I went to live concerts that featured GR from 1963-68. No matter where you sat in the auditorium (usually HS or college, once in a convention hall) with no mic, his sound projected above the accompaniment (usually not very good student bands) with no effort. A jazz sax player friend said, "Listening to him is like taking a bath in melted chocolate".
All the times I heard him, live and recorded, it was (as the studio recording guys called him) Mr. Bass Trombone.
</QUOTE>
Thanks Jim! :good: :good: Wish I could talk to you some day!
Leif
I just listened to Nelson Riddles "The Joy Of Living" album in it's entirety on YouTube. Wow! What a tour-de-force for GR. Definitely a sound to emulate! How much "sweetening" was done in the recording studios in that period (late 50's-early 60's)? For those of you that played with or heard George Roberts live, was there a difference between his live sound and recorded sound?[/quote]
I went to live concerts that featured GR from 1963-68. No matter where you sat in the auditorium (usually HS or college, once in a convention hall) with no mic, his sound projected above the accompaniment (usually not very good student bands) with no effort. A jazz sax player friend said, "Listening to him is like taking a bath in melted chocolate".
All the times I heard him, live and recorded, it was (as the studio recording guys called him) Mr. Bass Trombone.
</QUOTE>
Thanks Jim! :good: :good: Wish I could talk to you some day!
Leif
- JoeStanko
- Posts: 135
- Joined: Apr 11, 2018
[quote="Basbasun"]On what record did Donald Knaub play a singel valve trombone?[/quote]
I have this LP, and notes from Doug Yeo's website:
Donald Knaub, Bass Trombone (Recording 1). With Barry Snyder, piano. LP. Recorded 1971. Golden Crest RE-7040. Alec Wilder: Sonata, J. S. Bach: Cello Suite V - Sarabande, Jules Semler-Collery: Barcarolle et Chanson Bachique, Halsey Stevens: Sonata (for tuba or bass trombone), Samuel Adler: Canto II
In high school, I was at a summer program at Eastman and had lessons with him. In addition to the 72H, he played a silver plated 73H on a recital that summer. I think both instruments are on the album cover of his second album (notes also copied from Doug Yeo's web site):
Donald Knaub, Bass Trombone (Recording 2). With Barry Snyder, piano. LP. Recorded 1977. Golden Crest RE-7070. Johann Ernst Galliard: Sonata I, J. S. Bach: Cello Suite IV - Sarabande, Jean Michel Defaye: Deux Danses, J. S. Bach: Arias (Cantata 40 - Darzu ist erschienen der Sohn Gottes; Cantata 27 - Wer weiss, wie nae mir mein Ende; Cantata 145 - So du mit deinem Munde bekennest Jesum, Donald White: Tetra Ergon
<<The Eastman Brass Quintet performing "German & English Renaissance Brass">>..yes, terrific recording that I have on LP.
Joe Stanko
I have this LP, and notes from Doug Yeo's website:
Donald Knaub, Bass Trombone (Recording 1). With Barry Snyder, piano. LP. Recorded 1971. Golden Crest RE-7040. Alec Wilder: Sonata, J. S. Bach: Cello Suite V - Sarabande, Jules Semler-Collery: Barcarolle et Chanson Bachique, Halsey Stevens: Sonata (for tuba or bass trombone), Samuel Adler: Canto II
In high school, I was at a summer program at Eastman and had lessons with him. In addition to the 72H, he played a silver plated 73H on a recital that summer. I think both instruments are on the album cover of his second album (notes also copied from Doug Yeo's web site):
Donald Knaub, Bass Trombone (Recording 2). With Barry Snyder, piano. LP. Recorded 1977. Golden Crest RE-7070. Johann Ernst Galliard: Sonata I, J. S. Bach: Cello Suite IV - Sarabande, Jean Michel Defaye: Deux Danses, J. S. Bach: Arias (Cantata 40 - Darzu ist erschienen der Sohn Gottes; Cantata 27 - Wer weiss, wie nae mir mein Ende; Cantata 145 - So du mit deinem Munde bekennest Jesum, Donald White: Tetra Ergon
<<The Eastman Brass Quintet performing "German & English Renaissance Brass">>..yes, terrific recording that I have on LP.
Joe Stanko
- Savio
- Posts: 688
- Joined: Apr 26, 2018
Tony Studd played in lot of ensembles. His real name was not Tony Studd:
[url]https://www.discogs.com/artist/255111-Tony-Studd
[url]https://rateyourmusic.com/artist/tony_studd/credits/
There is more and more of this old recordings on youtube, just make a search.
He sounds amazing.....
Leif
There is more and more of this old recordings on youtube, just make a search.
He sounds amazing.....
Leif
- Inspector71
- Posts: 36
- Joined: Mar 23, 2018
[quote="2bobone"]I'm replying to comments by "Inspector 71". I was a student of Donald Knaub in 1956-61 at The Eastman School of Music. Hearing him play on a Reynolds Contempora back then was my inspiration to follow the bass trombone path [ I began studying with him as a euphonium player]. He did, indeed, switch to a Conn 72H from the Reynolds and always used a Bach 1 1/2 G --- and even a Bach 2G --- on his horns. He had an accident on a construction site as a student where he worked a summer job, during which his front teeth and lips were smashed by the collapse of a scaffold. He credits a dentist who repaired the damage sufficiently for him to manage a long and successful career as a performer and teacher. I remember vividly him showing me the lumps of scar tissue that still resided in his upper lip. He contacted me me to re-master the analogue vinyl recordings he had done throughout his career because he feared that his legacy as a performer would die away without digital replications of his work. I did so, and the resultant recording is available as "RETREAD". A remarkable man, friend and teacher. He did eventually play a Yamaha and made a video for them while being a Yamaha clinician. It is very difficult to believe that he EVER owned a Bach trombone, but not difficult to believe at all that he rarely used it. His sound was distinctive, to say the least, and a Bach would have never been his first choice. RIP, Don.[/quote]
Thanks for the info. I was unaware of the Reynolds....you learn something new everyday, I guess.
Knauby had told me the story about the teeth and all. He suggested that I get an impressions of my teeth made every so often to help curb such a crisis if it were to ever arise.
Many thanks to you for your work on his albums. I was glad that they were saved. I own a few copies of the Retread. Still a learning experience with every listen.
Thanks for the info. I was unaware of the Reynolds....you learn something new everyday, I guess.
Knauby had told me the story about the teeth and all. He suggested that I get an impressions of my teeth made every so often to help curb such a crisis if it were to ever arise.
Many thanks to you for your work on his albums. I was glad that they were saved. I own a few copies of the Retread. Still a learning experience with every listen.
- u_2bobone
- Posts: 474
- Joined: Mar 25, 2018
"Knauby had told me the story about the teeth and all. He suggested that I get an impressions of my teeth made every so often to help curb such a crisis if it were to ever arise. "
I heard a story about Bud Herseth's brother, who was a dentist and told Bud that he should have an impression made of his teeth in case of some bizarre accident. Unfortunately, it DID happen by way of a car accident during which Bud's face collided with the steering wheel of his car ! His brother's wise counsel was rewarded and Bud's career continued with only a slight bump in the road. I took the same advice and have plaster casts of my teeth still setting in my safe deposit box the last time I looked. By now, they are probably no longer relevant, but I hang onto them for laughs. At my age I have more important things to worry about than a bizarre accident ending my trombone playing career ! :lol:
I heard a story about Bud Herseth's brother, who was a dentist and told Bud that he should have an impression made of his teeth in case of some bizarre accident. Unfortunately, it DID happen by way of a car accident during which Bud's face collided with the steering wheel of his car ! His brother's wise counsel was rewarded and Bud's career continued with only a slight bump in the road. I took the same advice and have plaster casts of my teeth still setting in my safe deposit box the last time I looked. By now, they are probably no longer relevant, but I hang onto them for laughs. At my age I have more important things to worry about than a bizarre accident ending my trombone playing career ! :lol:
- bigbandbone
- Posts: 602
- Joined: Jan 17, 2019
I just listened to Stan Kenton's "The Stage Door Swings" album for the first time. The two bass bone players were listed as Bob Olson and Bill Smiley. They sound really good! Does anyone know what horn's they were playing and when this album was recorded?
- HawaiiTromboneGuy
- Posts: 1025
- Joined: Sep 03, 2018
[quote="bigbandbone"]I just listened to Stan Kenton's "The Stage Door Swings" album for the first time. The two bass bone players were listed as Bob Olson and Bill Smiley. They sound really good! Does anyone know what horn's they were playing and when this album was recorded?[/quote]
Not sure about this specific album, but I do know Bob Olson played a Williams 10.
Not sure about this specific album, but I do know Bob Olson played a Williams 10.
- Jnoxon
- Posts: 75
- Joined: Apr 09, 2018
Bob owned two horns. The Williams 10 and a Conn 8H. I don’t know what Bill played.
- smithr
- Posts: 6
- Joined: Sep 01, 2019
One name that I couldn't find in the posts In Robert Harper, long time bass trombonist for the PhILadelphia Orchestra.
He played a Conn Fuchs 70H Bass Trombone I believe. You can hear and see him on YouTube on a videorecording of Ormandy conducting the Planets.
He played a Conn Fuchs 70H Bass Trombone I believe. You can hear and see him on YouTube on a videorecording of Ormandy conducting the Planets.
- Massimo69
- Posts: 277
- Joined: Mar 23, 2021
I met George few times and I love him and are my favorite I met and played together with Kenny Shroyer too, you can hear George on his albums and on the joy of living by Nelson Riddle and in many Sinatra 's albums, Kenny' solos on Music for wives and lovers by Riddle, rendevouz with Kenton (Stan Kenton album) tutti's trombones by Tutti Cammarata also with George Roberts on 10 trombones like two pianos by Pete Rugolo, Kenny also did a short solo on Sammy Davies jr song Ocean 11.
Tony Studd works in many albums like The Cat by Jimmy Smith, Oscar Peterson"to Nat with respect "Kai Winding incredible trombones(with Paul Faulise) Kai Ole, the Kai Winding trombones. Gil Evans out of the cool.
George Roberts played 70h, olds George Roberts model with tis and P22. Kenny Shroyer 70h mostly then modified a lot many horns like 70h with Williams bell... He give to me for 10 days in LA his 73h with Holton valves(180)and 70h inner slide and 73h outer slide... Really funny person. Tony Studd mostly on 72h. Paul Faulise 70h, 72h, holton 185,conn 62h, olds p24g, Minick 62h. All on 1 1/2 g around(Paul on bach Minick 1 1/2g).
George Roberts gift to me his minick V (1 1/2g)Kenny mostly on 1 1/2 and also 2g.Tony Studd I know him played a 1 1/2 g little over sized.
Tony Studd works in many albums like The Cat by Jimmy Smith, Oscar Peterson"to Nat with respect "Kai Winding incredible trombones(with Paul Faulise) Kai Ole, the Kai Winding trombones. Gil Evans out of the cool.
George Roberts played 70h, olds George Roberts model with tis and P22. Kenny Shroyer 70h mostly then modified a lot many horns like 70h with Williams bell... He give to me for 10 days in LA his 73h with Holton valves(180)and 70h inner slide and 73h outer slide... Really funny person. Tony Studd mostly on 72h. Paul Faulise 70h, 72h, holton 185,conn 62h, olds p24g, Minick 62h. All on 1 1/2 g around(Paul on bach Minick 1 1/2g).
George Roberts gift to me his minick V (1 1/2g)Kenny mostly on 1 1/2 and also 2g.Tony Studd I know him played a 1 1/2 g little over sized.
- Massimo69
- Posts: 277
- Joined: Mar 23, 2021
You can hear Alan Raph on Cabin in the sky(C. Fuller) Gerry Mulligan concert jazz band, George Benson Shape of this thing to come(on last train to clarksville you can hear his low pedal G).
Tommy Mitchell and Dick Hixson on Kai Winding album Swingin states, Dick also on Ted Mcnabb e co. big band. All on conns 70h, 72h Alan on King all life...
Tommy Mitchell and Dick Hixson on Kai Winding album Swingin states, Dick also on Ted Mcnabb e co. big band. All on conns 70h, 72h Alan on King all life...
- Massimo69
- Posts: 277
- Joined: Mar 23, 2021
Ernie Tack also from LA with Luis Bellson, Tonight Show, Tutti ' s trombones by Cammarata. Maybe conn early 70h, 72h and from the 70's with p24g olds
- imsevimse
- Posts: 1765
- Joined: Apr 29, 2018
This is done on a single. Unfortunately I for some reason can not use a [media] [/media] tag to display this, only provide the actual url to the youTube clip.
Click at this link and you will go to youTube and have a listen to this remastered clip from 1977 with the Swedish Radio Jazz Group. Sven Larsson is the bass trombone player.
[url]https://m.youtube.com/watch?v=_Pg0SwzynjA
/Tom
Click at this link and you will go to youTube and have a listen to this remastered clip from 1977 with the Swedish Radio Jazz Group. Sven Larsson is the bass trombone player.
/Tom
- Savio
- Posts: 688
- Joined: Apr 26, 2018
[quote="imsevimse"]This is done in a single. Unfortunately I for some reason can not use a [media] [/media] tag to display this, only provide the actual url to the youTube clip.
Click at this link and you will go to youTube and have a listen to this remastered clip from 1977 with the Swedish Radio Jazz group. Sven Larsson is the bass trombone player.
[url]https://m.youtube.com/watch?v=_Pg0SwzynjA
/Tom[/quote]
Thanks for sharing Tom. Thats wonderful. Sven Larsson also play on some of the Astrid Lindgrens movies for children. Had lot of kids so I have seen them lot of times. Amazing bass trombone playing suddenly occurs in these movies. I think that was him. He is Basbasun on this site I think.
Lot of things we can do on a single. Lately I found out it's possible also for me to play C and B without thinking so much on all the difficulties or limits we make in our head. I just gave all these problems on the boat, and just had only one thing in mind; Put the slide wherever and just focus on the sound and pitch. Only sound and pitch, nothing else and it will come out the bell. We just have to make it simple and not be unsure like I often are. Have the pitch an sound in the ear and go straight on it. No hesitate or wondering.
Anyway Tom, thanks for the link!
Leif
Click at this link and you will go to youTube and have a listen to this remastered clip from 1977 with the Swedish Radio Jazz group. Sven Larsson is the bass trombone player.
/Tom[/quote]
Thanks for sharing Tom. Thats wonderful. Sven Larsson also play on some of the Astrid Lindgrens movies for children. Had lot of kids so I have seen them lot of times. Amazing bass trombone playing suddenly occurs in these movies. I think that was him. He is Basbasun on this site I think.
Lot of things we can do on a single. Lately I found out it's possible also for me to play C and B without thinking so much on all the difficulties or limits we make in our head. I just gave all these problems on the boat, and just had only one thing in mind; Put the slide wherever and just focus on the sound and pitch. Only sound and pitch, nothing else and it will come out the bell. We just have to make it simple and not be unsure like I often are. Have the pitch an sound in the ear and go straight on it. No hesitate or wondering.
Anyway Tom, thanks for the link!
Leif
- imsevimse
- Posts: 1765
- Joined: Apr 29, 2018
[quote="Savio"]<QUOTE author="imsevimse" post_id="167646" time="1641574750" user_id="3173">
This is done in a single. Unfortunately I for some reason can not use a [media] [/media] tag to display this, only provide the actual url to the youTube clip.
Click at this link and you will go to youTube and have a listen to this remastered clip from 1977 with the Swedish Radio Jazz group. Sven Larsson is the bass trombone player.
[url]https://m.youtube.com/watch?v=_Pg0SwzynjA
/Tom[/quote]
Thanks for sharing Tom. Thats wonderful. Sven Larsson also play on some of the Astrid Lindgrens movies for children.
...
Only sound and pitch, nothing else and it will come out the bell. We just have to make it simple and not be unsure like I often are. Have the pitch an sound in the ear and go straight on it. No hesitate or wondering.
Anyway Tom, thanks for the link!
Leif
</QUOTE>
Yes, that's him on those movies. Can't argue with you when it comes to what's important "sound and pitch" and make it simple. If all this is in order it doesn't matter where you put the slide..... but as I think Sven would agree "The factitious notes are privileged at certain places and therefore they speak a lot better at those positions" - as he taught and showed me - but when it comes to very short notes they do not need to be perfectly in tune because our brains "make them in tune". I heard Bob MacChesney play fast scales from the middle register and up without moving the slide at all. It was so fast the brain could not keep up. Our brains get confused but decides it must have been a scale beginning on one note and ending on the upper octave. We just decide to believe all notes in between were played perfectly in tune, but I'm sure if we could slow that down quite a bit we would hear that the pitches weren't that accurate.
/Tom
This is done in a single. Unfortunately I for some reason can not use a [media] [/media] tag to display this, only provide the actual url to the youTube clip.
Click at this link and you will go to youTube and have a listen to this remastered clip from 1977 with the Swedish Radio Jazz group. Sven Larsson is the bass trombone player.
/Tom[/quote]
Thanks for sharing Tom. Thats wonderful. Sven Larsson also play on some of the Astrid Lindgrens movies for children.
...
Only sound and pitch, nothing else and it will come out the bell. We just have to make it simple and not be unsure like I often are. Have the pitch an sound in the ear and go straight on it. No hesitate or wondering.
Anyway Tom, thanks for the link!
Leif
</QUOTE>
Yes, that's him on those movies. Can't argue with you when it comes to what's important "sound and pitch" and make it simple. If all this is in order it doesn't matter where you put the slide..... but as I think Sven would agree "The factitious notes are privileged at certain places and therefore they speak a lot better at those positions" - as he taught and showed me - but when it comes to very short notes they do not need to be perfectly in tune because our brains "make them in tune". I heard Bob MacChesney play fast scales from the middle register and up without moving the slide at all. It was so fast the brain could not keep up. Our brains get confused but decides it must have been a scale beginning on one note and ending on the upper octave. We just decide to believe all notes in between were played perfectly in tune, but I'm sure if we could slow that down quite a bit we would hear that the pitches weren't that accurate.
/Tom
- Massimo69
- Posts: 277
- Joined: Mar 23, 2021
George Roberts, Bart Varsalona, Kenny Shroyer until mid 70's maybe switch to the double at time... , Tony Studd, Tommy Mitchell switch also on double the same for Paul Faulise, Dick Lieb, Dick Hixon, Barrett O'Hara, Lew Mcreary, Dick Leith, Dick Nash played only single,
- Mikedorval1966
- Posts: 19
- Joined: Jun 07, 2022
Hi folks,
George Roberts come to my mind first with no doubt.
MD
George Roberts come to my mind first with no doubt.
MD
- GabrielRice
- Posts: 1496
- Joined: Mar 23, 2018
As long as this thread has come back up, I'll comment that I've found myself using my Shires single rotor option more and more often in recent months. For orchestra programs it's been about half single, half double...and for almost half of the programs when I chose a double it wasn't really necessary. More if I got even more comfortable with the low C on one valve.
- Matt_K
- Posts: 4809
- Joined: Mar 21, 2018
[quote="GabrielRice"]As long as this thread has come back up, I'll comment that I've found myself using my Shires single rotor option more and more often in recent months. For orchestra programs it's been about half single, half double...and for almost half of the programs when I chose a double it wasn't really necessary. More if I got even more comfortable with the low C on one valve.[/quote]
And thanks to CBS you’re famous! :lol:
And thanks to CBS you’re famous! :lol:
- BGuttman
- Posts: 7368
- Joined: Mar 22, 2018
Generations of bass trombone players used a single valve. John Coffey played in the Boston Symphony on a single. Bart Varsalona "invented" big band bass trombone on a single (actually a King 5B, which we consider a large tenor). Ed Kleinhammer and Alan Ostrander started on singles.
I'd bet there were a lot of famous British pros who played on a single valve G/D bass (G bass trombone with D valve). Can we get some names from our British contingent?
I'd bet there were a lot of famous British pros who played on a single valve G/D bass (G bass trombone with D valve). Can we get some names from our British contingent?