In God’s eyes
I see my body
Running wild into the sea
In God’s eyes
I see a river
Sparkling dark over the rocks
In God’s eyes
I see a spring
Erupting sweet from red earth
In God’s arms sleep our mothers
And in their arms we sleep
Come young soul and drink from the spring
Come old friend and swim in the stream
Dance my feet and twirl into smoke,
Whirl my body back to the sea, the sea.
A genius has a knack for seeing the future, when others seem so deeply rooted in the past. Of seeing so far beyond the box, that the box never was. With integrity & heart, grit and wisdom, the implacable Abbey Conant advances. Beyond the horizons of New Mexico, and deeper than the Black Forest, she has sought expression, beauty and relevance. “1385” tm invites you to come along as she re-invents the trombone….enjoy!
1. If you HAD to choose…which would you live without, words or music?
Definitely words, though I love them too.
2. As an instrumentalist turned vocalist, what insights have the differing approaches to breath wrought?
AC Hmmm…There is wholeness to singing in that the whole body must participate. The sound is produced within the body and resonates from there. The empty spaces in the body create the resonance and every cell vibrates with the vocal chords. When we sing, billions of activities must coordinate and cooperate. The sound image in one’s mind makes the direct, instantaneous journey into material existence.
When we sing what we will then play, the integration that is necessary for making a whole, complete musical idea real has already been achieved. When we then play the same passage, so many subtle aspects of the music are improved, sometimes in indescribable ways. There is a richness added. The basics are all there, sound, style, phrasing, aliveness, connection, etc.
Many say, if you can sing it, you can play it. I guess I would say, if you can sing it, you can sing it. Why wouldn’t we want to sing with our instrument? To have that intimate, heart-connection with our listeners? To be moved and to move others just as singers do?
3. The instrumentalist then singer is a special category, Chet Baker, Nat King Cole, Sarah Vaughan. Have you found inspiration or interest with any colleagues in the club, either historic or living?
Well, the artists you just named all blow me away with their deep connection to their instruments. Louis Armstrong constantly demonstrated that trumpet and voice were just different timbres. Our instruments, our voices are crucibles that can turn our pain and sorrow into music. I hear many players who turn narcissism into music and it sounds like look what I can do instead of hey, listen to this beautiful melody, isn’t it miraculous?
In Winter Dog Time, by Abbie Conant
Though it is below zero I must walk.
This third day of the new year fell on Taos like Dorothy’s house. Whether it killed the wicked witch of 2010 remains to be discovered.
Paralytic, All numb except wild eyes set in a tar baby wired to a post.
Only January feels this way:
Aware but motionless.
A month of chrysalis and ice crystals.
Looking into the Snow Queen’s deep north blue eyes and dying there: a glass body splayed on dry powder snowy expanse.
Horizonless and dark as the pole star is bright.
The old black dog lies motionless in a pile of brown leaves.
I have seen him there many times before. Belly on the earth, his only chance to heal. Part spaniel, part shepard,
part shag rug. He becomes part of the pile of leaves, part of the snow patches, as silent as the line of trees that border his sagging house.
How many times have I thought, he is dead. Poor thing. And then the next day he is back, faintly breathing, passionate in his stillness, agog in sleep as if sleeping for the wintering earth herself.
I walk carefully so as not to slip on the ice. The small, tidy houses of Montoya Street look hermetically sealed, still as frozen toys, dreaming of spring antics and colored socks.
My winter dog lies as a frigid vision over the town which sleeps without knowing it, awakens into further dreaming.
Step after carefully prepared step I precede further into the stilled world of the dreaming dog.
I know that by the time I reach Kit Carson Road I will be in full immersion—in winter dog time. Knowing without knowing, I know. My ears loping toward every faint sound, my nose inhaling the palette of the bluish peach morning, stiff-legged, uncollared, prevailing toward someone perhaps calling my name as the cold settles further into the earth and the morning seems to stop time itself.
The heap of dog has not moved. Somehow I know he still breathes. I see the mountain now, indigo, watching, the only being awake in this season.
4. Can you discuss the development of your “out-of-the-box” approach to soloing-almost a new genre, “micro-opera”, with sets, plot and electronic accompaniment to your singing, acting and trombone playing?
It all started when my composer/husband, William Osborne, couldn’t find a soprano willing to sing one of his music theater pieces, called Winnie, a character portrait from Samuel Beckett’s play, Happy Days. He was originally going to have me play the trombone solos dressed as Winnie’s husband, Willie and a soprano would sing Winnie.
He said, ok you have a year to learn how to sing and work up this piece. Now, I hardly had a speaking voice, let alone a singing voice! But serendipity brought me to a wonderful voice teacher I met in the dorm at a music festival in Switzerland. It turned out she also lived in Munich and she offered to take up the challenge.
It took weeks before I could stop making an embouchure when I sang!
I had to learn to back off a lot in in terms of support so as not to force my voice and wreck my vocal chords. She was patient but relentless and taught me classic bel canto technique. She told me I was a dramatic soprano and that if I worked hard I could be an opera singer. My goal was specific and she brought me to the point where I could sing this difficult 45-minute-long piece and play the tricky trombone part as well, not to mention acting Beckett…a year later we premiered Winnie in Rome.
I should mention that I could not have done this without the Alexander Technique. It helps a person learn new things. One is then able to transcend preconceptions and assumptions about how to do something and truly open to the new. It allows you to be a clean slate. After Winne,came The Miriam Trilogy, a 90-minute program without pause that included: pantomime, having clamps come down on my wrists, and baring a breast for 25min…among many other things.
After Miriam came Street Scene for the Last Mad Soprano—about a homeless woman who thinks she has an audition for the Met. Then came Cybeline, an odd combination of Schubert, Electronics and cartoons. Cybeline is a cyborg who tires to prove to the scientists that she is human by being a talk show host. Wacky.
Aletheia is the new one we just premiered at the ITF 2017. She is in a cage the whole piece. She is an opera singer who doesn’t want to sing for the patrons and who searches for transcendence thought truly being herself and living her truth.
5. What is your voice type?
I started out as a soprano and I guess I am a mezzo now.
6. And are you concerned about the unique requirements of producing the music for its longevity, or does that motivate you to record, or seek proteges?
Unique it is! I believe that this kind of performance art is the future. Just playing the trombone seems so “one-dimentional” to me now.
I would love to coach students on these works!
It takes tremendous courage (or insanity) to undertake this kind of work. One has to play the trombone, sing, act and move—all at world class levels. No single aspect can be halfway.
William and I are busy making video documentation of our various pieces. Right now we are working on The Mirror which is all pantomime, mask-work and trombone playing. We want musicians of the future to be able to do these works. Every gesture I make is notated in each score. The scores are not just musical scores but also stage directions as well. It is all spelled out.
c. 2017 David William Brubeck All Rights Reserved. www.davidbrubeck.com
Have you ever had a chamber music gig, and SOMEONE was running a bit late?
Ever wanted to play chamber music, but just couldn’t quite seem to schedule 4 or 5 people at the same time?
Or have you ever just wanted a change of pace in one of your programs?
These duos might be just the right thing…
Because the first part is published in BOTH C and Bb transposition (both are included with each purchase), these duos will work in almost any combination:
Violin-‘Cello
Flute-Bassoon or Cello
Clarinet-Bassoon or Cello
Trumpet-Trombone or Euphonium
Oboe-Euphonium or Bassoon
(and, of course, bass trombone goes with everything….)
As presented at the 40th International Trumpet Guild Conference in Columbus, Ohio by DUO BRASS-Craig Morris, Peter Wood, Marc Reese & Jason Carder trumpets with David William Brubeck bass trombone. Each of these ten concert duos have been arranged, performed and refined by Brian Neal, solo trumpet of the Dallas Brass, and David Brubeck, bass trombonist. During four seasons, the Brubeck-Neal Duo presented these arrangements in dozens of concerts. A significant milestone in the development of the under-served duo genre. Available NOW from Cherry Classics!
I have personally played these with bass trombone on the second part and
violin, oboe, Bb trumpet and C trumpet on the top part, and the editors for the duos included not only many of the personnel listed above, but also violinists Geremy Miller and Erika Venable, as well as oboist Erin Gittelsohn.
DUO BRASS featuring Marc Reese davidbrubeck.com
If you play chamber music, these just may improve your life, your performance and bring a smile to the faces in your audience. That is why they were created….
J. S. Bach: Air in G, Badinerie, Aria, Two part Invention No. IV & VI, Siciliana
R. Gliere: Berceuse, Op. 39,
L. Beethoven: Fur Elise,
J. Dowland: Flow, My Tears
Traditional Shaker Melody: Simple Gifts.
c. 2017 David William Brubeck All Rights Reserved www.davidbrubeck.com
Posted inUncategorized|Comments Off on Treble/Bass Concert Duos! Top Parts in BOTH Bb AND C!
It might seem an impossible mission for some; patch the hole left by the departure of Vern and Jan Kagarice at UNT. Call in Navy specialist Natalie Mannix, recruited from Juilliard by way of Michigan, and your problem is well on its way to being solved. Graceful, assured, powerful, never shaken, and stirring! “1385” tm, the tenor trombonist interview series, heads ashore with Ms. Mannix….Enjoy!
1. What was it like to attend a “Public Ivy” such as Michigan, and how have you found your liberal arts preparation valuable?
Going to a large university was such an important part of my growth as a person and a musician. I have always been interested in many things, so much so that I wasn’t ready to pour all of my energies into trombone at that age. I wanted to experience everything, and I guess I can still stay that. I played in the marching band and hockey band for two years, joined clubs, went to parties with friends, worked toward a pre-med degree, held five part-time jobs and cheered on sports teams. I had a lot of fun but worked very hard. In order to pursue both degrees, I took an overload of credits and took classes two summers. I received a very well-rounded education and enjoyed so many experiences that prepared me for life and the sacrifice of spending the next two years in a practice room.
2. You were ensconced and successful in the DC area, with friends and a hard won reputation. Why North Texas, and how do you see the mission of that school and it’s lauded trombone studio?
I loved my life and career in the Baltimore/DC area, but I thought a new adventure would be very rewarding. I would not have made such a big change for just anywhere. The reputation and culture of UNT really excited me. When I interviewed there I was so impressed with the support from the administration and the faculty members, and the students were so excited to learn. One thing I love about UNT is the autonomy given to the professors to design a curriculum for their students. We have three professors in the trombone studio, five teaching fellows and an adjunct jazz professor. Because of the size of our department, we are able to offer many choices to the students: four trombone choirs, nine trombone quartets, an orchestral excerpt class, a low brass section excerpt class, jazz fundamentals, trombone literature and trombone pedagogy, not to mention the offerings outside the trombone area. We put equal importance on classical and jazz studies since we want our students to be well-rounded musicians when they graduate. The college of music encourages this and offers additional innovative programs to help students be marketable when they graduate, like music entrepreneuriship and performing health.
3. What do you think are the biggest factors that lead to a successful career in music during the transition of having just graduated college with a Bachelor or Masters?
Keep learning! Musicians need to be life-long students in order to be successful. Now that your teachers and friends from college are no longer there all the time, you need to be self-motivated. Go to concerts, take every gig that comes your way, meet people, start your own ensembles, take lessons with professionals in the area, start a teaching studio. If you love it and have the passion to succeed, all of this will be fulfilling. You never know what opportunity will lead to something else. If you are on the orchestra/band performing path, keep taking auditions. Don’t be discouraged by a few negative results. Many trombonists have won great jobs after losing auditions. Be open to ancillary paths that may lead to a musically fulfilling career outside of the one you imagined.
4. What is your secret to a good legato?
The answer for me is part mental, part physical. Dennis Smith, my teacher at Michigan, had the most silky smooth legato. I can still hear it. Every time I hear a soloist play with great legato or a singer shape a beautiful phrase, I try to take a mental recording of it. Imitation has always been a very important part of my learning. For the physical execution of legato, the projection and smoothness of the air stream makes all the difference. If the air has someplace to aim, it becomes smoother and more beautiful. Always focus on the music! Every note goes or comes back from a musical peak in the phrase. For some players, the coordination of slide and tongue is problematic. Record yourself often! Many slide connection problems become obvious when hearing your playing back.
5. What did you learn recording a CD? What would you do the same and differently next time?
I learned that it is nearly impossible to get everything perfect, and that is ok! I am hard on myself when listening to takes. It is especially difficult in a dry recording studio where you hear every little thing. If I record another CD, I would record in a nice hall with good acoustics. It would allow me to enjoy the music more and direct the focus away from my critical thoughts. As I went, I got better at thinking less and focusing on the music more. What I set out to do was get people excited about new composers and new music. To me, that is the most important and rewarding part of recording and performing.
6. What has your rich career in the military added to your resilience and outlook that you emphasize to students?
There were many days in the Navy Band that I struggled with fatigue, the weather or the physical demands. At the end of the day though, I always tried to remember how grateful I was to be able to play trombone for a living. After all, how many people can say that? I try to carry that gratitude with me in every part of my life. It keeps things in perspective. We may find ourselves on some pretty terrible gigs (I once marched dressed like a clown in a rainy parade through Newark, NJ!), but we are still lucky to do what we want for a living. On the same note, I hate to see students take the trombone so seriously that they are brought to tears or depression. Being grateful and remembering the original joy in making music can help with that mindset.
7. When you arrived at Juilliard, did you have the feeling that you should have been there all along, or were you glad that you saved it for grad school?
I am so glad I saved it for grad school. I don’t know if I would have seen it through if I went when I was 18. I didn’t know what I wanted yet, and I wanted to try everything first. I did not have the discipline and drive to put enough hours in the practice room. It was hard enough at the age of 22 when I was totally committed. That being said, what great training it was! The attention I gave the trombone in those two years and everything I learned from Joe Alessi is the basis for everything I can do now.
8. How have your accomplishments on euphonium colored your perspectives on trombone? Euphonium players tend to orient as soloists, where as trombonists are more ensembley oriented as a rule.
I have always been more drawn to solo playing. I fell in love with euphonium for this reason, and I much prefer playing it over trombone in any wind ensemble because of it’s melodic solo lines. I was a self-taught euphonium player. When I competed in the Falcone competition at the age of 18, I didn’t have a teacher, so I listened and played along with recordings to learn the style. At first I borrowed musicality from great soloists then ultimately developed my own. This was great musical training for the trombone. Even in the uniformity of orchestral playing, phrasing and musical style are just as important. Every note has to be musical.
9. How do you achieve such consistent articulation, and what is your ideal of beauty with regards to articulation?
In training to be an orchestral trombonist, consistency is everything: repetitive, but concentrated practice of fundamentals. I used to do attack exercises from the Marsteller Daily Routines book, and if I missed an attack I would start from the beginning. Joe Alessi later reinforced this attention to detail and focused concentration. I took it to a whole new level by playing Arbans every day for three years. I guess you can say that I am a recovering perfectionist!
A beautiful articulation is one that isn’t noticed! The tongue is just a release valve for the air and sound. I use a “do” tongue for most everything, unless needing more percussiveness for contrasting style. Variety in articulation, as well as color and dynamics, are the key to playing expressively. I strive for consistency, so that I always make intentional decisions in the execution of beautiful music.
c. 2017 David William Brubeck All Rights Reserved www.davidbrubeck.com
Images courtesy of Natalie Mannix and Towson University
The heroes on the screen are telling the story with images while the heroes behind the screen tell it with sound. If you’ve been to the movies more than once, you just may have heard Bob Sanders play..Avatar, X-men, Planet of the Apes…. From big bands to the Hollywood Bowl, live to recorded, the Los Angeles area benefited from some very good vibration from the bell of Mr. Sanders, now you can too! Good & Low Vibrations! “Seven Positions” tm brings you the demur Bob Sanders…Enjoy!
How did things look from your chair in Hoyt Bohannon’s Garage?
Initially, overwhelming! I don’t think I am alone in that. There was this stunning array of trombone players. The music was extraordinarily challenging. The contrast between Hoyt Bohannon and Tommy Pederson’s personalities and their mutual respect and friendship was a joy to behold. This difference was clear in their music. Hoyt’s was largely adaptations and arrangements of orchestral, chamber and vocal music as well as music by great film composers; Tommy’s was mostly original music that reflected his bravura approach to life in general. Alan Kaplan’s Secrets of Hoyts Garage CD and All My Concertos, produced by Jim and Debbie Boltinghouse (JMD Music) illustrate this contrast vividly.
Planet of the Apes – heavy brass section — with Phillip A. Teele, Bill Reichenbach, Bob Sanders, John Van Houten, Dick Nash, Steve Holtman, Alan Kaplan, Alex Iles and Andy Martin.
Neither Tommy nor Hoyt were shy about clarifying the standard they expected – particularly Tommy. Comments like “Who’s the sloppy S.O.B. playing long eighth notes,” “Not your kind of loud,” “Meh!” and “COME ON!!” were interspersed with “Atta boy!” The signature stylistic element of the Garage was the pretty much constant slide vibrato – in ensemble, not just soloistically. Bass trombone, not so much, but it was mandatory for tenors! Hoyt felt, “the string section vibrates, so should we.” This was a deal breaker for some.
(More from Bob on Hoyt Bohannon, Tommy Pederson and the Garage at the end)
How would you compare the Hollywood Bowl Orchestra to the Pacific Symphony?
Their missions are different. Pacific Symphony is just that, a symphony orchestra. It plays, perhaps, a better than average pops concert because many of its members are also active the LA commercial music industry, but it’s focus is on standard (and new) orchestral repertoire. The HBO was formed to augment the Los Angeles Philharmonic’s summer season at the Bowl; the standard orchestral heavy lifting was and is done by the Phil. The HBO is focused on popular music, film music and concert music by composers usually associated with those genres. We would usually perform a semi-staged musical each summer, occasionally an opera. We toured Japan every other year for a while. What I loved most about the HBO was that we treated every style we performed seriously and respectfully; the HBO recorded catalogue reflects that. That is not always the case with other orchestras.
What do you look for in a horn, and how did it change over the years?
In the 70’s, I was pretty much a “big band” bass trombonist; I looked for “float like a butterfly, sting like a bee” equipment. In the 80’s, I began doing a lot of symphony, opera and ballet work; movie scores became more “orchestral” and my equipment choices changed accordingly – I moved towards a broader, weightier sound. Y2K found me struggling with focal dystonia, so for the next fourteen years, ease of production became paramount. Regardless of all of that, what I look for in a horn is efficiency, resonance and “character” – without a lot of peripheral fluff – “core” is good.
How would you describe the courage playing brass, and perhaps bass trombone in particular, requires?
Bob Sanders with Lloyd Ulyate
The classic description of recording work is “90% boredom, 10% terror.” It can be quite stressful sometimes. Legendary golfer, Harry Vardon, reputedly said “There are only two types of player—those who keep their nerves under control and win championships, and those who do not.” The music business is like that. Roy Main, who taught scores of successful trombonists out here, told me “Anything you are not used to doing will make you nervous” – experience has a lot to do with it.
A lot of the time, our part is not all that obvious to the listener and we feel safe; but all too frequently, there is no doubt in the room as to “who did that?” Sometimes you have play something that is not in your wheelhouse and there is no escape; that can be scary. And it is different with recording and live playing. A concert can be nerve-wracking but when it’s over, it’s over; the whole world can listen to the same recorded clam for the next 20 years in re-runs. My favorite bit of dialogue from Bridge of Spies comes to mind: “You don’t seem alarmed.” – “Would it help?”
What impact did George Roberts have on your life and musicianship?
Well, his musical examples are numerous and seminal. He blazed the trail for us all. He was a great player of melody’s. While I can play a melody, nearly everything I do is as an ensemble musician. George’s ensemble playing was the biggest influence on me: in tune, in time, in balance and in character. As an example, when George was starting out, his reputation was as a “jazzer” – not really qualified for “legit” dates. He got a last-minute call because a bass trombone player had walked off a session. He races down there and Igor Stravinsky is on the podium – surprise, surprise! – it’s a “legit” date! So there’s a exposed duo passage with bass trombone and harp (which may have precipitated the other guy’s exit). Stravinsky stops the take and says to the harpist, “He’s right, you’re wrong – play with him.” That put George on the map as a “legit” player in the studios from then on.
One of the things about bass trombonists is we don’t see each other much – there is usually just one of us. (That is less true now with the very large sections that are sometimes called.) I did not have a lot of up close and personal time with him at work. I did go down to Bones West, which he founded, several times early on and had a more than few beers and cheeseburgers with him after rehearsals.
George’s generous spirit certainly had an impact on me. One of the few times we were in the section together, very early in my career, George paid me a wonderful compliment: “most guys would be pretty nervous.” Made my day! Another example of his generosity was at ITF at Ithaca College in 2004. Charlie Vernon was going to do a presentation of some sort, but realized that both George and Ed Kleinhammer were in the house and switched it to an impromptu panel discussion with these two icons. George, seeing me in the audience, beckoned me to join them on the stage; needless to say, I demurred; but it was really sweet.
What are your fondest memories from the recording studios? Music, people and situations?
Some of the most fun I’ve had at work (and some not insignificant nostalgia now) was the Flying Circus cue from James Horner’s great score to The Rocketeer. BTW, Horner was a huge part of my career. He was very loyal to me for the better part of 20 years; that is not always the case in this business. It is sad he left us so soon. I started doing movie work right around when George Roberts had moved to Reno for a period of time (another reason for not much face time with him). I found myself starting to work with Dick Nash, Lloyd Ulyate and Tommy Johnson for several composers – sitting where George had been. Again, talk about generosity of spirit! They were wonderful; showing me the ropes, telling when to keep my mouth shut (very important) and taking me to their time-honored lunch dives. That reminds me of the only “lesson” George ever gave me: “Play great, smile a lot and keep your mouth shut!” I think he used that line with a lot of young players.
One of my favorite memories is of Tommy Johnson’s impish sense of humor. Having just purchased a new contrabass trombone, I brought it to work one day to show it off to Phil Teele. Phil, Tommy and I were working together on Elmer Bernstein’s score to Wild Wild West (the Will Smith movie). My part was quite low and Phil kept nudging me and whispering repeatedly, “Sell the contra, sell the contra!” So . . . I asked Mr. Bernstein if he would like to hear the part on the contrabass trombone. He replied, “I don’t know, what does a contrabass trombone sound like?” As I was reaching for the instrument to demonstrate, Tommy spoke up, “It sounds like a CIMBASSO!” When all we stopped laughing, I played a pretty good pedal C and the contra was “sold.”
On another memorable occasion, on a Thursday evening, I received a call from a copyist friend, asking if I was aware that I would be (re)recording the tuba solo from Jaws on a movie date Monday morning – I was not. He thought that was asking a lot of a bass trombonist and I agreed! He faxed me the part, I practiced nothing else for the intervening 3 days and survived the session, even receiving a chorus of “yo, Bob” from my colleagues. It’s good to have friends (and an F tuba).
What is your secret to a monster low register?
Heavy lips and copious, immediate, but SLOW air; nothing kills low notes like fast air. I should clarify what I mean by “slow.” I feel the terms “slow” and “fast” are frequent used imprecisely. Many folks say “fast” air when they mean “high flow rate” air. “Fast” is measured in distance over time – the time it takes one molecule to go from point A to point B – feet per second. “Flow” is measured in volume over time – the number of molecules that move past point C in a unit of time – liters per minute. These are two very different quantities and usually mutually exclusive. So, when I say “slow” airflow I mean “Mississippi River” airflow, not “fire hose” airflow. Some adjectives I use (borrowed from I can’t remember whom) include “hot, humid, germ-laden” air. Hopefully, this pedantry won’t ignite an online pedagogic conflagration.
Who is the best trombonist you have ever heard live? Jazz trombonist? That’s a tough one; there are way too many. I will say that Bill Booth, during the recital he split with Tommy Johnson at UCLA in 1992, is in the running for the best I ever heard live; check out his CD, Balancing Act. Not being an improviser, I don’t feel I have the “vocabulary” to really comment cogently on jazz trombonists, and again, there are so many; but I have certainly enjoyed working with and listening to Andy Martin and Bob McChesney.
Hoyt’s a long time ago. — with Loren Marsteller, Steve Holtman, Hoyt Bohannon, Alan Kaplan, Tommy Pederson, Rick Culver, John Leys and Morris Repass.
Where do you see the direction of the bass trombone heading, and what advice do you give to younger players?
The state of the art is advancing so rapidly it amazes me. Also, there seems to be a trend towards multi-instrumentalism. That said, I do feel some nostalgia for the bass trombone as a specialty instrument. There is a plethora of doublers these days and I feel something is lost. But I have been as “guilty” as the next guy; it is the way of the world; bills must be paid. The more you bring to the party . . .
My advice for young players? The standard keeps getting higher and the market keeps shrinking at the same time it is globalizing. It’s going to become more and more competitive with each passing year. If you can imagine doing something else for a living, do that. There are many ways to have fulfilling musical life without doing it for a living. If you cannot imagine doing anything else for a living, get serious – yesterday! Find great teachers. Inhabit the most competitive musical community you can find. Buy a tuba – practice it. Become as fluent in as many musical genres as possible. Compare yourself to the best and take it to the next level. There is absolutely zero guarantee of success, but somebody is going to be doing this and there’s no reason it can’t be you.
c. 2017 David William Brubeck All Rights Reserved www.davidbrubeck.com
Photos courtesy of Bob sanders
MORE ON HOYT, TOMMY and THE GARAGE..
Some folks may not know what “Hoyt’s Garage” was. From 1946, Hoyt Bohannon hosted trombone ensemble rehearsals; from 1951, they took place in his garage, hence the. In the mid-fifties, Tommy Pederson joined the group; the rest is history. Hoyt’s Garage link http://www.alankaplan.org/hoyts-garage/
Hoyt was on staff at Warner Brothers for more than a decade, principal trombone of the Glendale Symphony, a featured soloist with Harry James, played with Paul Whiteman and freelanced in LA for years. Leopold Stokowski programmed the Nathaniel Shilkret Concerto for Trombone to be performed July 28, 1945 at the Hollywood Bowl. Tommy Dorsey had premiered the work earlier that year, but a fee for Mr. Dorsey could be agreed. So 27 year-old Army Air Corps Sergeant, Hoyt Bohannon was tapped to replace Dorsey.
Pullman Gerald “Tommy” Pederson, the self-proclaimed “foremost authority on the art of playing the trombone” was way, way, way larger than life. He went the road with Orrin Tucker’s band at the age of 13, moved to LA six years later a was a first-call trombone player for more than two decades thereafter. He composed over 300 works for solo trombone and trombone ensemble and arranged works such as Ravel’s Alborado del Gracioso, Albeniz’ El Puerto and Festival of Seville (from Iberia Suite) and Debussy’s Prelude (from Suite Bergamasque) for trombones. His record All My Friends Are Trombone Players should be in every trombonist’s library. Michelle Poland Devlin’s doctoral dissertation, https://tinyurl.com/yd4yghhr, is a gold mine of information about Tommy! There is a wonderful video of Tommy playing Flight of the Bumblebee on the Spike Jones TV show here: https://www.youtube.com/watch?v=IzuVX7J9RN8.
Thanks to Steve Wolfinbarger and Andrew Glendenning, we were honored to be invited to the perform at the 2017 International Trombone Festival to present Duo Brubeck featuring Lindsay Blair. What a privilege to see and make so many friends.
Apart from George Roberts and Bill Reichenbach, the bass trombone is often removed from the regular center of jazz music-making. A jazz duo featuring the complimentary timbres of guitar and bass trombone allows the instrument room to interpret and embellish melody, to accompany using walking/two-beat/Afro Cuban inspired bass lines, and to improvise solos. Not to mention arrange, compose and lead a “band”.
For bass trombonists, an great preparation is the independence of parts and internalized rhythm of soloing and accompanying which are found in the 36 dances which comprise the Cello Suites by J. S. Bach. These works of Bach are unparalleled, and stand alone. With over 50 Stereograms published by the ITA Press, Cherry Classics, davidbrubeck.com and yeodoug.com, another approach is offered in Stereograms, which have been tailored to the bass trombone with the incorporation of modern rhythms and grooves.
By switching back and forth between two or three parts when performing, the bass trombonist can choose to imbue each “part” or voice with distinct characteristics, not unlike a solo pianist might do, or a fine interpreter of art song. By varying dynamics, accents, articulation, embouchure tension and timbre, the bass trombonist can successfully delineate these different voices.
The ITF crowd in attendance was of a nice size and enthusiastic response. I was knocked out by the kind words of Bill Reichenbach and the autographs requested after the performance-where else but ITF can that happen to a bass trombonist? The thing that made it worth the trip was the acknowledgement and encouragement of master low-brass man Bob Sanders who said it was the most interesting thing he had heard up to that point (and that was saying something!); that I made it look easy when he knew it wasn’t; and that George Roberts would love what I am doing and be proud.
I’d like to dedicate that performance to my Dad, James Brubeck, and George-whose vision of the bass trombone as essentially a bass solo voice inspired me, while his solo performances into retirement with recorded accompaniment at coffee shops and restaurants emboldened me. Thanks Bob, for digging it, and passing along George’s love for our instrument.
Soon to follow…some recordings with Lindsey.
c. 2017 David William Brubeck All Rights Reserved. www.david brubeck.com
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“Seven Positions” tm is delighted to bring to the fore Randy Campora: a thinking man, fully human, and exceptionally musical. From the storied bass trombone chair of the Baltimore Symphony, to a brimming infusion of brass masters past and present, to a life of varied experiences fully absorbed-Campora is focused on exceptional symphonic performances. Join him as he wanders from California to Florida on the road to Baltimore. Enjoy!
1. What childhood memories do you have of California, and Florida?
My grandparents were Italian immigrants who owned a small orchard of almonds and walnuts just east of Stockton, California. As a child I lived first on the orchard, and then in the very small town of Linden, the center of which was the high school, at which my father was the head football coach. I remember the smell of the earth when the first raindrops fell, the taste of the ripe Bing cherries, swimming in the walnut paddies flooded in the summer, the sound of the nuts being shaken from the trees at harvest, and football games in the fall.
My father changed careers when I was 11 and we moved to the polar opposite of the country—geographically and culturally—Tallahassee, Florida. It was a huge adventure for our family and we loved it. We had African American friends and classmates for the first time, acquired something of a Southern accent, experienced the food, loved the jungle-esque flora and fauna, and generally came to appreciate the wonderful people and culture of the South.
We were also blessed by the fact that Tallahassee is a college town, with Florida State and Florida A&M universities, which brought the great things of the world to the relatively small city, including great music programs, nightly orchestra broadcasts on public radio, and golf courses everywhere. I am so glad I got to live in both those unique locales as a kid.
2. What made you decide to study Spanish? And where has it taken you, both musically and non-musically.
I first studied Spanish in my last two years in high school, which served as a decent foundation for when I really had to learn it in the Missionary Training Center for Latter-day Saint (Mormon) missionaries in Provo, Utah. I was assigned to the Houston, Texas Spanish-speaking mission, and only spent eight weeks in the training center—after that it was off to Houston and sink or swim with the language.
I loved the people I met there over the next two years. They were so humble and genuine, and very patient with me as I learned their language and culture. I probably gained more from them than they did from me. Civil wars were raging in Central and South America at that time, and the people I met from those countries had sad stories to tell. Heavy stuff for a nineteen-year-old kid away from home for the first time. I also met folks from every region of Mexico, which also meant the food was excellent!
After that, I have been able to use Spanish, though not as much as I would have liked. I was in a Salsa band for a semester at FSU. Later at Peabody I taught a wonderful bass trombonist from Brazil named Joao Paulo Moreira for almost a year. We both had Spanish as our second language so we used that as our lingua franca—it worked but led to some funny situations from time to time. I would very much like to be able to make more contact with the Spanish speaking trombone world in the future, especially since they are producing so many wonderful players these days.
3. Your talent and discipline found great mentors and opportunities. What was it like to be “the kid”-first as a high school trombonist at FSU, and later as an undergrad in the Baltimore Symphony Orchestra?
One of the things I have marveled at as I have gotten older is the edifying attitude the more experienced players had towards me both at FSU and in the Baltimore Symphony. I was 16 when I joined the Florida State top jazz ensemble, which included many grad students. They could have turned their noses up and made life tough for a kid who was below rookie status, but they did the opposite: they taught me the ropes, expected me to come up to their level, and led by example.
I remember one night after rehearsal Jeff Thomas (now principal trombone of the Orlando Philharmonic and chief Disney trombonist) took me aside and taught me how to “blow freely” and really make a sound that could be heard inside and in front of the group. Blow Freely was the catch phrase of our professor William F. Cramer at FSU, but I had not studied with him yet, so I had to learn what that meant, to really resonate the instrument first and foremost before music can be made.
In my official Freshman year, I was invited to join the Peninsula Trombone Quartet. The other members—David Gatts, Christian Dickinson and David Burris—were grad students. They were so wonderful to work with and taught me so much, and it is to this day some of the most enjoyable playing I have ever done.
Coming into the BSO was much the same. I transferred to Peabody at the start of my third undergraduate year, and won the BSO audition towards the end of that school year when Doug Yeo won the Boston chair. I was twenty-three when I started in the orchestra, and it was David Zinman’s first official year as music director.
Eric Carlson, Jim Olin, David Fetter and David Fedderly were the icons whom I heard play each week with the BSO, and also my professors at Peabody. But they treated me as an equal colleague from the very first day in the orchestra (my first two weeks in the orchestra were Bruckner 4 and Pictures!). Eric Carlson and his wife Lorraine took me to Orioles games, and Eric was a huge influence in my education of orchestra life (what an amazing player Eric is, deserving of much greater recognition—just listen to those Philadelphia recordings with Muti and Sawallisch).
One thing I’ll always cherish is how David Fedderly, my tuba partner in the BSO for almost thirty years, approached the relationship: he never told me how to play. He just played and communicated by listening and singing out his part every single day. If I had a question I could always ask him something, but we relied on the radar method of aural musical communication. I highly recommend this approach as a way to live happily with our colleagues, and Dave was a master at it. Of course, it helps that he was one of the finest orchestral tubists in history . . .
It’s fun to welcome many wonderful younger players as new members of the BSO now. And it’s strange to now be the longest tenured member of the brass section. An orchestra really does need a mix of older and younger players—they each bring important things to the group.
4. Can you put into words the impact of Doug Yeo on your musical and personal life? His depth is considerable and his breadth is impressive. There truly is only one Douglas Yeo in this world. I have never met another trombonist who is more committed, curious, hard-working, intelligent, self-aware, faithful and willing to serve others than Doug. He has been nothing but a blessing to me in my life, and it has been fun and helpful to keep in touch with him through his time in Boston, then at Arizona as a professor, and now as “force-to-be-reckoned-with” in the world at large. He has been an example to me in all areas of life.
I transferred to Peabody because I needed to learn how to play excerpts for orchestral auditions, but also how to play in an orchestra once I (hopefully) got a job, and I thought it was important to study with a bass trombonist. As I was deciding what school to transfer to Doug sent me a cassette of the BSO section’s presentation at a recent ITA conference. His playing, and the section’s, just floored me: so clean, balanced, in tune, colorful, solid, clear, pure and energetic.
Doug is genuinely gifted in being able to teach the excerpts in a logical, musically defensible manner, and we worked really hard that year. One of the greatest gifts he gave me was a simple one: the orchestral player is not prepared unless he knows the score, not just the piece or his part. If I had one bit of advice to give to a player in their first orchestra job, it would be that: study the same source material as your boss, the conductor, and no one will have an advantage over you. If you mark your ideas in your own score, you’ll always have those no matter what orchestra you may play in or whose parts you might use.
I attended BSO concerts at Meyerhoff Hall every week without fail, sometimes twice or three times. I was the first ever student to ask for a student discount for a full season subscription! They sent me all the tickets for the year in one large envelope. I felt like the luckiest guy on earth. To hear Doug and the section perform each week was a marvel, and it was David Zinman’s last year as Music Director Designate so that was special to hear that relationship being developed.
5. How has Peabody changed since your days as a student?
It is becoming less of a conservatory environment and more of a university setting.
When I was there in 1984-85, there was one orchestra, conducted by a seasoned professional conductor, Peter Eros, who had held posts in Malmo, Sweden and San Diego, and had been assistant to several major old school maestros. A small wind program began that same year with Gene Young working with us in small scale wind pieces like Stravinsky, Ives, Messiaen, Tomasi, Gabrielli, etc. There were no education degrees offered. There were no more than 8 total trombone students. The brass and wind faculty were almost exclusively orchestral, from the BSO and the National Symphony Orchestra in Washington. That year, the entire BSO’s trombone section was on the faculty.
Peabody gradually introduced education degrees, a jazz program, and grew a second orchestra and a wind ensemble, increased classroom requirements, and we have had up to 12-14 trombonists some years.
It seems to me that lately Peabody has lost a bit of its conservatory profile by trying to become a university music program. Heaven knows I love those programs, and FSU’s in particular, but I think it is a mistake to move away from the unique focus of a classical conservatory. Places like that don’t just grow on trees, so once you have it I think it’s best to nurture that into the future rather than expand it to the point of not knowing exactly what you are.
The other big change is that it has become so expensive that the average family cannot afford it even with a 50% scholarship. This is a problem in higher education in general, and is true of all of the non-state top music schools in the nation besides those that offer full scholarships upon acceptance. I hope we can find a way to get tuition and room/board to be more comparative to other costs families have to deal with in their lives, such as the electric bill, groceries, automobiles, gasoline, insurance, clothing, etc.
6. What are your favorite solos for bass trombone, either stand alone, or within a larger work.
Speaking frankly, if I have one professional regret it is not continuing to play recitals on a regular basis. I did for the first number of years in the orchestra, but then got out of the habit. It is such a different field of playing compared to the orchestra.
On the other hand, I also admire the great orchestral players of the past, such as Kleinhammer, Crisafulli, Jacobs, Ed Anderson and others of their generation who did not play many solo recitals—I admire the specialization and old school work ethic of digging deep to become truly great in a very specific endeavor. What a miracle it is to see great orchestral players who are such superb soloists: Charlie Vernon, Randy Hawes, Ben Van Dijk, Doug Yeo, and many others.
The solos I like to practice are also the ones I have my students work on: Spillman, Vaughn Williams, Bozza, Verhelst, Ewazen, Koetsier, Tomasi, Tcherepnin, Dossett, Hidas, Halsey Stevens, John Williams, Jacob, Marcello, Culver, Pederson, Lantier, White, Chris Brubeck, Wilder, etc.
A few lesser known solos that I think are worthy of more attention: Sonata for Bass Trombone by Carl Vollrath (published by TAP Music, commissioned by Cramer), Romantic Flash by Georges Barboteu (sort of a sequel to Bozza’s New Orleans), Tubaccanale by Boutry. I played the last three movements of Bohuslav Martinu’s Pastorales for Cello and Piano, with some edits, and really enjoyed that project, as well as Sulek’s Sonata Vox Gabrieli with a couple octave changes in the slow melodies, because my teacher, Professor Cramer, commissioned it and it’s near and dear to my heart.
We are so fortunate to have so many composers writing for our instrument now! It’s just staggering how many pieces come to us each year. I had the privilege of being Frank Gulino’s bass trombone teacher at Peabody at the time that he began composing—he’s totally self-taught—and what a major talent he has proven himself to be. Another talented student, Joseph Buono, composed a trombone ensemble piece titled Eclipse that won a contest and has been widely performed.
7. What is your secret to a great legato?
I like the term portamento to describe the embouchure action in legato: it’s the noun form of the Italian verb portare, meaning to carry. For example, if you have something valuable you want to give to someone on the other side of the room, you take it in your hands and you walk over and carry it to them—nothing jerky, sudden, or thrown around. Glissando is the more common term, but I prefer portamento.
I think of the embouchure movement from note to note as moving more slowly and deliberately, with no jerks or skips, than the movement of the slide. The slide I like to move as late and as quickly as I can get away with, though also smooth and not in a way as to mar the singing portamento happening at the lips. So the lips sing smoothly and rather slowly to the next note, while the slide waits until the last moment and goes quickly to the next position.
The slide motion I think of as business-like: it goes from point A to B at the right time relative to the lip portamento, quickly and not wasting time, smooth arm and a shock absorbing wrist, held by a precise grip of one or two finger tips and the thumb. We must always manipulate the inanimate horn in a way that it becomes a mirror for what we imagine our final product to be in our mind, and what the lips are doing as they sing like vocal chords—but in the case of legato if we moved the slide as slowly as the lips move it could come out sounding slurpy and not voice-like.
I like to think there are several different grades of legato, from my most smooth, singing, wet Bordogni style with some of the portamento showing through in the final product, to what I would call an orchestral legato which is a cleaner, more sharply defined legato better fitted to a large hall with a hundred other people on stage playing together. I can use my Bordogni legato in the orchestra if it is a certain type of solo, like Mahler’s grosse Ton, aber weich geblassen in his Seventh, which I play more like legato even though there are no slur markings. The twice repeated solo in Tchaikovsky’s “Dance of the Snowflakes” from The Nutcracker is one that I play legato and cantabile but with a somewhat more clean and clear end result, and keeps the tempo from dragging.
As is typical in America, and increasingly around the world, I use as many natural and valve slurs as I can and match the articulation to those. If forced to say what syllable I use for legato tongue, I would say a very quick Latinate “R”, like in Italian or Spanish, between two vowels, like in the word oro.
And as we all know, but have to work on our whole lives, the air stream for the singing phrase—be it ultra-legato or an articulated cantabile—must be unflagging and related to the phrase, not the notes in most cases, and especially not to the slide movement.
One exercise Professor Cramer used to have us do in his studio as Freshman working on Bordogni, in order to get the resonance established immediately at the first attack, was this: begin the first note of each phrase with an air attack (hOh), then use normal legato tongue in the phrase, and also do an air attack on any note inside the phrase that follows a breath. A variation was to replace the legato tongue with glissandos, along with the air attacks on the first note and following the breaths. This got the sound singing from the very first note, and got the air going immediately. It was usually done at a rather healthy dynamic level.
It is almost passe to remind ourselves to listen to great singers on recordings, from all eras of musical history available to us, but this advice is indeed crucial to develop our most profound musical goal: to sing like our mothers did to us when we were babies.
I like Domingo, Pavarotti, Jussi Bjorling, Mario Lanza, Jesse Norman, Bartolli, and a whole bunch of others. I put them on when I am playing Bordogni (those were trainers for the Rossini style after all) and try to absorb their voices like the rainwater to the ground. I also like listening to organ recordings to remind me of what a continuous air stream sounds like underneath the notes of a long phrase with many notes (organ air). I love Michael Mulcahy’s dictum: Sustain from breath to breath!
8. Can you describe the specialties of brass instruction of each of the following in a few words? What did each do best for you?
Eric Carlson: Pure sound, clean non-aggressive articulation, graded dynamics, consummate ensemble skills, superb low range, non-fussy musicality, vocal approach, sense of humor, love for baseball and ice cream, the ultimate second trombonist!
Arnold Jacobs: Eye opening lesson!, teach each person to maximize their own physical/musical potential, enhance confidence, increase consistency and predictability of musical results, freeing the mind to worry about music, how to use less muscle and more elastic air energy, articulation as speech, I see how my body works best, I played Bolero at the end of the lesson and it worked!, expert at going from an idea to a usable physical technique, the master!
Joe Alessi: Gracious (gave me a free lesson in a very busy week for him!), inspiration personified, never rests on his laurels, one of a kind, high standards, desire to serve and to give to others, super-human, expressive, healthily analytical, inquisitive, part of one of the best sections in history (Dodson, Alessi, Vernon in Philadelphia).
William F. Cramer: Model professor, man of faith, great intelligence, moral and ethical, caring, figured everything out in a vacuum out of the lime light, willing to travel the globe during the Cold War to exchange ideas and materials, encouraging, demanding, crusty but loving, true love of music, supported composers, helped birth the ITA, played Bordogni accompaniments on piano in lessons, no nonsense, didn’t fix what wasn’t broken, fearless, blow freely!
9. As a young bass trombonist in the 80’s, how much did Charles Vernon influence you? How do you view his contributions to the instrument?
I first heard Charlie’s playing via two mono cassette recordings that Dr. Cramer loaned me that he had made himself at the ITA workshops in the mid to late 70s. I was just transfixed, utterly stunned at the musical presentation, the sound, range, control, singing vibrato, the whole thing just floored me. It just seemed like he was playing bass trombone like the angels intended!
I first got to hear him live when FSU went up to the Eastern Trombone Workshop held at Towson State University in Baltimore in 1979 or 1980. He played the Vaughn Williams Concerto and the Bozza Quartet. I can still hear every note of those tapes and those performances, I still know where he breathed and how he phrased.
As the years went on, I heard him several times live with the Philadelphia Orchestra, played trombone ensembles with him and my BSO colleagues in his basement, wore out many CDs and LPs of him with Philadelphia and Chicago (and early Baltimore Symphony recordings—check out his Nutcracker on YouTube or iTunes with Comissiona conducting), and had a couple of lessons with him.
Charlie has done so much for our instrument, I hope he realizes this in his moments of wondering self-doubt, if he ever has them, because his contribution and example are so magnificent. He personifies what Jacobs and Kleinhammer taught, and to be able to hear that buoyancy in the sound and approach is priceless.
The Baltimore Symphony, minus myself, has got to have the greatest bass trombone pedigree of modern history: Ted Griffith (went to Montreal), Charlie Vernon, John Engelkes, and Douglas Yeo. I cannot imagine a better set of players to have to attempt to live up to. I have tried to incorporate a little of each of these players in my orchestral approach (a big shout out to John Engelkes, whose playing I adore).
It’s hard to not hear Charlie’s example in one’s mind whenever one is playing a major orchestral piece that he has recorded. That can be a burden–a siren song to maybe tempt one to reach a little past one’s own self in terms of volume or presence–but if kept in perspective it is a huge guiding star. If I could say one thing to Charlie it would be: thank you! And if I could say one thing to Gene Pokorny it would be: you deserve a medal!
10. What human experiences and emotions have informed and enriched your music-making as you travel through life. How has the tapestry of life become fuller in a way that has infused your music.
There is so much one could say in answer to this, but I’d like to respond with things I have learned as part of an ensemble and organization for over thirty years.
I have learned that over the years, as important as the music is, as important as your professionalism is, as your attention to your playing is, that people are more important. Take your relationships with your long-term colleagues seriously, thoughtfully, and when those relationships are working well try to enjoy them, because there is no law that says it will always be that way.
In what other profession can you work with the same colleagues on your left and your right, sitting at a distance of 18 inches on either side, for several decades at a time, working as a team in a non-verbal setting, with your boss looking at you every single minute you are on the clock, dressed in white tie and tail coat, holding five pounds of metal, with the express purpose of giving hope, entertainment, faith, inspiration, enlightenment, and art to two thousand people at a time?
Show your respect and love for your colleagues, especially the ones in your own section: always be prepared (musically, mentally and physically); be willing to self-diagnose problems in your playing and work until they are solved, so you and your buddies can all be happy; listen as much as possible, give the benefit of the doubt; give yourself slack in those moments that you are the weak link.
Stay on the section bus and don’t drive away on your own bus; express openly your respect, admiration and love to each other; don’t diagnose the problems of others; make your most important statements through your playing and actions, not with your words; cultivate self-awareness; share your best ideas and experiences with your colleagues; be positive in your own way (yes, you can be cynical and positive if that is your personality).
Foster an atmosphere worthy of the greatness of the music; respect the stage and all it represents, at all times; put the cell phone away and open the score, pay attention to rehearsal; don’t wait too long to express important things to colleagues who are important to you, in an appropriate way, because the chance might be gone forever.
I have also had significant experiences working on non-musical areas of the orchestra, as chairman of orchestra players’ committees, orchestra artistic planning committees, feedback groups for young conductors, music director search committees, fundraising groups, and audition committees.
These tasks can lead to some painful moments of frustration, even failure, but as I look back I see that I met some wonderful people that I otherwise would have missed, and I developed skills that in some cases I didn’t know I even had. Are there things you can do in your organization that will give service and also help you develop yourself more?
I was once offered a spot in a downtown law firm, if I ever got a law degree, by the head partner after I gave a speech to the board of directors. I got to know bank presidents, owners of major league sports teams, leading bio researchers, mayors and governors. It is also a good way for your own managers and executive directors to get to know you and your value to the organization.
But there comes a time when you also have to say Basta! and focus on your practice and leave some of that stuff behind.
Probably my favorite moment where life and music intersected was the day our second son, Rafael, was born.
He arrived in the wee hours of the morning on a weekend. My wife was feeling fine, Raffi was healthy, my mother-in-law was taking care of our oldest son, Dominik, and my wife looked up at me in the morning in the hospital and said: “You know, I really think you should play the concert tonight and celebrate Raffi’s birth that way.” I asked her ten times if she was really sure, and she confirmed it each time.
That night was David Zinman’s last concert of his tenure as music director, and the piece was Bruckner’s 8th, perhaps the most transcendent work in the literature. It was such a joyful experience—I was floating on a cloud the whole time and every note came out a gem. It taught me that we can use our life experiences in personal ways to make performing a joy for ourselves and our audiences.
11. What do you look for in a bass trombone? How has it changed?
I look for an openness that can also be controlled in all registers and dynamics, a good relationship between inner focus and outer radiance (bloom), ability to project with warmth and color, clarity of articulation, ability to meld into the other players but also step forward towards the audience when needed. It also must ergonomically fit my body comfortably.
I don’t like horns that tempt me to push too much with the abdominals (heavy horns do that to me). I like horns that help me focus the higher I go, and help the sound blossom the lower I go, and have predictable mid-range response (for all those soft sustained notes in orchestral parts).
Right now I use an Edwards dependent axial valve section, a 1575cf bell (22 gauge yellow brass, soldered rim, heat treated, cf treated, 10” diameter), a yellow brass single radius tuning slide, a 502-V single bore slide (rose tubes, yellow crook, #2 brass pipe), and a Griego .5 NY mouthpiece. I also have the rose brass version of the bell, a 1574cf, which I can use for earlier composers—it gives a slightly more classic German profile.
My theory as to why I like the 10” bells is that the extra quarter inch all around adds a bit of weight without a thicker wall, and is not larger enough to cause any negative acoustical patterns. Perhaps similar to a German kranz but not overlaid on the bell.
I just recently switched to the single bore slide from the dual bore after many years. The new 502 design seems to give me the best qualities of both, but with easier control, more color and easier projection. The dual bore skews more towards the contrabass profile, which is great for many things, but not perfect for all things.
We have so many wonderful trombone makers on the planet now, it’s astonishing!
In the past I used Bachs for many years, with Schilke 60 mouthpieces of various rim sizes, backbores and shanks; Minick L or OL pipes; Thayer valves, mostly dependent setups, but for a while an in-line (in-line Thayers don’t fit my neck/jaw very well and mess up my ability to get the mouthpiece in the right spot on my face).
I don’t own a contra, and neither does the orchestra. We don’t play the opera literature often enough, or orchestral contra pieces, to justify it for me. I have played contra on a few occasions when I could easily get my hands on a loaner. When we play Wagner Ring excerpts I use my normal horn and try to transform into a contra sound and approach, a la Steve Norrell (go Steve!).
c. David William Brubeck All Rights Reserved. www.davidbrubeck.com
Photos courtesy of the Baltimore Symphony Orchestra and The Peabody Conservatory
Isabelle Lavoie is all set to be a featured artist at the 2017 International Trombone Festival next week at University of Redlands. Isabelle emerged as a young musician in Montreal, made her career in Toronto and has recently soared into the international spotlight as a member of the famed Monarch Brass. A frequent contributor to various international festivals, Lavoie brings her poise, multi-linguality, and insights down from Thunder Bay to “Seven Positions” tm ….Enjoy!
1) Do you hear different characteristics in French as opposed to English Speaking brass players?
Although I have never done any research on the subject, I believe that the differences between the French and English languages do affect articulation, tongue placement and sound in brass playing.
French and English have almost identical alphabets and yet, they sound completely different. French has way more phonetic sounds than what would be expected from the alphabet.The tongue positions are exaggerated and the vowels sound more short and crisp. The vowels can also be oral or nasal (en, un, on, etc), depending on the jaw position and the tongue position in the mouth. French also has sounds that don’t exist in English, such as ‘R’ (throat), and
‘U’ (tongue at the front of the mouth). Many sounds are more rounded in English, which doesn’t occur in French.
International French and Quebecois French also differ quite a bit. Quebecois French adds an ’S’ sound after the consonants ’T’ and ‘D’. Those sounds ‘T’s and ‘D’s are almost nonexistent in the English language. The tongue position for the vowels is also more extreme, in front of the mouth. The vowels sound darker, longer, as the oral cavity is more open. Quebecois people can also generally speak International French easily, which opens a whole new world of colours and tones. I would assume that the more languages you speak, the more freedom and options you have on a brass instrument.
I also believe that every note on brass instruments has its own ideal consonant/vowel option for optimal resonance and best sound, but this is a whole other topic!
2) What are your favorite aspects of playing Operatic music? Ballet music?
Opera to me is the ultimate form of Art.
It involves a visual aspect, story telling, acting, vocal and instrumental music-making. When I’m in the pit, I feel like I am part of something much bigger than me and my own little part. I also think of trombone as the most vocal wind instrument which probably explains why I am naturally drawn to the singing voice (especially mezzo soprano & baritone). I always learn something watching and listening to singers: how do they phrase things? How do they breathe? How do they change the colour in their voice to convey different emotions and characters? How do they project the way they do?
Ballet music often has glorious moments for low brass.
What’s not to love?
3) What do you look for in a trombone?
To be honest, I have never been a gear-head. When I find a set up that is low maintenance, that allows flexibility and variety in colour, I stick with it. I want to be able to have both a luscious velvety sound in the mid-low register and a compact sound with just enough brightness. The unsoldered HW Yellow brass bell from Shires I use gives me both of those options. The only thing that my current set up is lacking is more brightness in the mid-upper register. I need to be able to sound more like a ‘Trombone 3’ too.
Any ideas?
4) What is your secret to legato?
It may not be mainstream, but I often use double tonguing: ’DA-DOO-DU-DE-DI’ and ‘GA-GOO- GU-GE-GI’ depending on the register. I also use a whole lot of valve combinations for the smoothest natural slurs and legato articulation (ie. Schumann’s Rhenish or Schubert’s Unfinished solo at the very end on the F).
5) How important has chamber music been to your development? What other experiences have you had, and how did they help lead you to Monarch Brass?
During my Undergraduate Degree back in Montreal, I played with the school symphony orchestra, the new music ensemble, various chamber groups, two big bands, and a fantastic early music group outside of school. Doing it all helped me grow quite fast as a musician. It taught me versatility, awareness and musicianship early on. I started working with professional symphony orchestras at 21. Since I moved to Toronto, I have almost exclusively been working with symphony orchestras and occasionally with brass ensembles.
I approach playing in large ensembles just like I do in chamber music settings. It really is all about making music as a whole. Most of the time, the low brass section plays in harmony, but often in the classical and romantic repertoire, the bass trombone plays the bass line with the tuba, lower strings, 2nd bassoon, low horns, timpani, etc. Over the years, I have learned to be more and more sensitive to my colleagues: how they sound, how they breathe, how they move. I have learned to adapt and to change my sound/intonation quickly, while providing a solid base to the ensemble.
The first time I played with the Monarch Brass Ensemble was at the International Women’s Brass Conference in Kalamazoo, MI, in 2012. I was subbing in for Julia McIntyre, who is a founding member of the group and Principal Bass Trombonist of the Winnipeg Symphony Orchestra. She was and still is the only female bass trombonist to hold a position in a major symphony orchestra here in Canada. Julia and I had only met a couple of times, but there were very few working female bass trombonists in the country then. I am so grateful that she trusted me, because I have been playing with Monarch ever since.
Not only has every performance with the group been some the most musically rewarding experiences of my career, it gave me the opportunity to meet, play and befriend some truly amazing women and musicians. As a member of the group, I have performed at three editions of the International Women’s Brass Conference (2012, 2014 & 2017), at the International Trumpet Guild Conference (2015), at the Midwest Clinic (2016) and at the International Trombone Festival (2016). After performing at ITF in NYC, I was offered to join the Cramer Choir, as well as to perform as a soloist at ITF 2017.
MONARCH BRASS, PLEASE BEGIN AT 19:40
6) How would you compare the different approaches to making music on brass instruments you have observed in England, The US, Quebec, and Toronto?
I have played in sections with people from all over the world, who used different equipment, and who spoke a different language than me. Of course, the differences are always obvious at first, but with musicianship and adaptability, it doesn’t usually take very long to figure things out.
Maybe I think this way because I am from Montreal, which is a melting pot of different schools of brass playing. It is a small artistic centre where the French Canadian brass tradition (Conservatoire de Musique, Université de Montréal, Orchestre Métropolitain, etc.) coexist with the Montreal Symphony Orchestra/McGill University tradition. The MSO has members from all over the globe and includes almost as many Americans as Canadians (English and French) in its brass section. In Quebec, there is room to be yourself as a trombonist as long as your sound and style are engaging and versatile.
Toronto has it’s own style of trombone playing. Almost everyone plays Shires trombones with Greg Black mouthpieces. We tend to play everything very long with a clear front and with a resonant vibrant sound. We like to change our sound and articulations depending on the repertoire we are playing.
In the States, I have mostly played with the Monarch Brass. With the band, we focus on matching each other’s sound and playing beautiful music. Although we all come from very different backgrounds, no one ever sticks out because our priority is the blend. I’ve never had to question myself on how to do things with Monarch Brass.
I also attended the same summer program in England twice, with trombone players from Ireland, the US, Spain, Australia, and a couple of English tuba players. Two of the best sections I have ever played in!
7) How do you conceive of an ideal bass trombone sound, ad what drew you to the instrument?
My ideal sound is rich, fat and yet with a lot of core. It has loads of overtones and it has a wide range of colours depending on the register, dynamic, style and character.
Some of my favourite bass trombone sounds: James Markey, Stefan Shulz, Randy Hawes and of course, George Roberts.
Originally what drew me to bass trombone was jazz and commercial music. The first time I heard bass trombone so clearly was in a big band show. I was 14 or 15 years old and I was smitten.
8) Who are your inspirations? Musical & Nonmusical
Being from Montreal, two of my biggest musical inspirations are Alain Trudel and Pierre Beaudry. Not only are they wonderful musicians, they are great teachers, hard workers and human beings you just want to be around
. My ultimate inspiration is all my colleagues of the Monarch Brass Ensemble and IWBC pioneers, such as Abbie Conant. Women in brass have come a long way, but they still have a long way to go to equality.
c. 2017 David William Brubeck All Rights Reserved www.davidbrubeck.com
Images courtesy of the ITF, ITA and IWBC.
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Hushed reverence would best describe the accounts of Warren Deck’s performances with the New York Philharmonic; it was there he held sway from ’79 until 2001. The Houston Symphony, Rice University and Juilliard also felt the sway of Mr. Deck’s tuba, until his course led him out west to Denver in 2001. Warren Deck joins “The Fourth Valve”tm, as contributing editor Aaron Tindall makes his debut contributions as well. Join us as Deck reminds us that dreams come true…..Enjoy!
1. What was it like to be part of the recording “Made in the USA”, and other projects with the Canadian Brass and members of the Boston Symphony Orchestra Brass and The New York Philharmonic Brass?
These projects were some of the most fun musical times I had. Getting to hang out with great players who were fun to be with whether we were playing or not was a particular joy. I had a sense during the recordings that these were special times. A couple of years ago, I was talking with Ronnie Romm and letting him know that those times together produced some of my fondest musical memories. He told me he felt the same way. I found it very gratifying that I was not alone in having that feeling.
2. Perhaps the inspiration for this project was the Antiphonal Music of Gabrieli with Brass from the Philadelphia Orchestra, Chicago Symphony and Cleveland Orchestra. What were/are your observations on that project and the influence that it had on your career?
Funny you should mention that recording as I literally burned out two LP’s of that recording from listening to it so much. I got my first one when I was in high school and was completely blown away. It got to the point where I could know which tuba player was playing after about two notes. The really cool thing about that recording (now that I have it on CD) is that 47 years later, I am still blown away by how well all of those people played. I would play along with that recording and knew it by rote and constantly used it as a reference recording whenever I got a new horn or mouthpiece. If I could play in tune with that recording, I felt safe in using the new equipment.
3. As you matured as a performer did the type/characteristics of the specific tuba you played on become more or less important?
They became more important. I view equipment like a shoe. A shoe you might want for playing basketball will be very different from a shoe you would want for climbing a mountain. While the equipment will never be a substitute for good skills, there is truth in having the right tool for the job. As you try for a broader range of musical expression, more and different types of “toys” can be quite helpful.
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4. What types of chamber music and solo “skills” were present in your orchestral playing? Have you ever thought of some colleagues in other “Big Five” orchestras incorporated more/less solo or chamber elements than what was needed?
The studio and practice room is where you learn to play your instrument well. I think chamber music teaches you to become a musician. The first step out of the studio is into chamber music where you begin to put your instrumental skills to work in the service of music. Unlike the studio, you now have to listen to something other than yourself while you are playing. You learn to adjust your playing to fit into sounds others make and at the same time find a way to contribute to the group sound. If your solo skills (your command of your instrument) are lacking, you might not be very good at fitting into a group because you are not as good a player as you need to be. By the same token, if your listening skills are lacking, you might not fit into the group stylistically and never know it because you don’t listen well.
These are all skills a good orchestral player needs. The geography is a lot more expanded because of the size of the group, but the same skills come to bear. The other element that comes into playing in an orchestra is that sometimes you need to lead something out, and sometimes you need to be right there with someone else who is appropriately leading something out. You need to know how to do both of these things and use your best judgement as to when to employ those skills. In order to do this you need to be able to listen out while you are playing.
5. Walk the reader through your definition of “style” when it comes to making the notes on the page come to “life”. Getting a handle on “style” comes from detailed listening. How does the note begin? What is the shape and duration of the note? How does the note end? Is there any space between notes and if so, how much? How loud? What about shapes of phrases? How does it fit with time? Is it on the front, on the back, does it move up and back? What are the attributes of the sound?
I think it is helpful to look at as many elements of style as possible and expand those elements into as broad a range as you can. Making all of this into a listening game of “how much can I notice” leads to better ear. The other question to ponder is: What is the difference between real style and something that is just willy-nilly? There may never be a great answer to this question, but it is still worth pondering and the idea of recurring elements are what contribute my perception of something having style and therefore, life.
6. What inspirations were the most influential in informing your musicality?
As mentioned earlier, that Gabrieli recording with Philadelphia, Chicago and Cleveland was very influential. In addition, when I was in my junior year in college, our college orchestra went to the Canary Islands to play in an opera festival. I had no idea what that would be like, but the Canary Islands sounded like a fun place to spend 5 weeks. What could be bad about spending 5 weeks on a beach? Little did I know that a partial list of the singers included Joan Sutherland in Maria Stuarda and Birgit Nilsson singing Tosca. When I heard that at close range, it rocked my world. The degree to which these ladies “brought it” was beyond anything I had ever imagined. The other thing that floored me with them was their phrasing.
7. Which musicians (performers or conductors), have most made an impression on you and how/why? Bernstein was truly a once in a lifetime type of musician. He had more heart and more intellect than anybody I ever came across.
I loved working with Zubin – a good heart and a great musician. He always made music making fun. He seemed to always revel in his players’ abilities, and allowed his players to enjoy the music making as well.
As for soloists, Pavarotti, Bronfman and Jesse Norman were always special when they came.
I think Phil Smith is the best player to ever sit in a principal trumpet chair and I got to enjoy him on a daily basis. I also got to hear Phil Myers on a daily basis and his fearlessness on the instrument led to truly great and unforgettable moments. Joe Alessi is an amazing trombone player and his consistency sure made life easy for me.
8. What three things do you most think about when performing/conducting?
What is the music here? What does it need? What is my function in the music here?
9. How did you decide to venture into arranging, and do you have any favorite composers or instruments?
I was asked by Phil Myers to arrange Candide for 8 horns for their upcoming recording with the American Horn Quartet. I had just been diagnosed with dystonia, my playing career was over and I think Phil was trying to be kind in giving me something to do. I attempted to get permission from the Bernstein estate for this and was denied. So that piece could be recorded but it can’t be legally played in public. I get requests for the music (even though it shouldn’t be publicly performed because of its difficulty) and I have to say no. I’ve done a few things for the Denver Brass, but I don’t think I’m very good at it and the Denver Brass has people who are much better at than I am. I respect any composer who can compose 8 bars, which is more than I can do, but I like the usual suspects that every low brass player likes – the ones who write good licks for us.
10. What differences in approaches have you noticed between different orchestras or brass sections with whom you have frequently performed?
I think I see more commonality among good brass sections than differences. Good ones all play in tune, in rhythm with good balance and a good blend. They all tend to be filled with good musicians. The great brass sections sweat the details and try to sound alike up and down the section. The differences are small, but real and listening for the stylistic elements noted above will begin to emerge. I think a lot of the differences are due to the acoustic environments these different sections find themselves in on a daily basis.
When I first got to the Philharmonic, I couldn’t believe how short they could play – and this is coming from a guy who grew up in the mid-west playing in bands. Then I played in Carnegie Hall, where most of those guys spent most of their careers and I understood why they could play so short.If you took what I thought of as a short note and put it in Carnegie, the hall turned it into something much longer. Of course this changed over time because the section moved the garbage dump known as Avery Fisher Hall and different adjustments were made.
My wife and I have a dream of going on a tour where we go to various cities and hear their orchestras play a good program in their own hall. Hopefully we’ll get to do that before we go completely deaf!
c. 2017 David William Brubeck All Rights Reserved www.davidbrubeck.com
The headline for davidbrubeck.com in 2016 has to be the introduction of”1385″ tm, the brand-new interview series featuring world-class musicians who happen to play the tenor trombone. How could you possibly provide a better start to the series than these five? Master trombonists Ralph Sauer, John Marcellus, Peter Ellefson, Alex Iles and Irv Wagner lead the charge, and we are grateful; it doesn’t get any better than this! Here are the selected highlights…
RALPH SAUER
Ralph Sauer, trombonist www.davidbrubeck.com
2. Only Maurice Andre, and perhaps a handful of other brass players have reached a level occupied by dozens, if not hundreds, of soloists on piano, violin or cello. What are we brass soloists missing?
But there are some brass players today who perform at the highest level. I won’t try to name them, because I might inadvertently leave someone out. Those top musicians have something the rest of the pack doesn’t have. It’s not enough to play in tune, in time, and with a great sound. The top players have a fourth dimension. This includes a complete understanding of the composer’s style, and the ability to go beyond just playing all the notes perfectly. Their phrasing is natural and appropriate; their rhythmic sense is elastic, but never distorted; and they can vary their tone quality to suit the style of the music. They are natural communicators.
5. What is your secret to a great legato?
I use the sound of a perfect natural slur as my model for all other slurs. Perfect legato on the trombone requires exact coordination of slide and tongue. The slide is not early or late–it is on time. How each individual thinks about achieving this can vary. Some people think of the slide being ahead. Others achieve good results by waiting in each position. A third way of thinking would be not to move the slide until the tongue says to move. Sloppy legato is usually the result of the slide moving too soon.
Find the other questions and answers by clicking here: Ralph Sauer
JOHN MARCELLUS 1. How important was the vocal direction for the trombone, which seems to have been established in the United States by Rochut and Remington?
THEIR INFLUENCE WAS VERY IMPORTANT FOR THE “SINGING TROMBONE” CONCEPT. JOHANNES ROCHUT PUBLISHED IN 1928 THE “MELODIOUS ETUDES BY MARCO BORDOGNI” BOOKS 1-3, AND EMORY REMINGTON (1891-1971) STARTED TEACHING AT THE EASTMAN SCHOOL OF MUSIC IN 1922.
AMONGST OTHER PERFORMING TROMBONISTS IN THE LATE 19TH AND EARLY 20TH CENTURY IN THE CLASSICAL STYLE, THERE WAS ARTHUR PRYOR AND CHARLES E. STACY. PRYOR, COMPOSER OF MANY SOLO PIECES, WAS THE MOST RECORDED TROMBONIST DURING THIS PERIOD AND STACY IS THE ONE THAT CODIFIED IN 1908 THE TECHNICAL ASPECTS OF THIS PERIOD, BASED ON LIP SLURS, IN HIS THREE BOOKS PUBLISHED BY DITSON OF BOSTON IN 1908 WHEN REMINGTON WAS 17 YEARS OLD!
IT’S NO DOUBT THAT THESE TWO (ROCHUT AND REMINGTON), INFLUENCED A “SINGING” APPROACH TO THE TROMBONE, WHICH HAD ALREADY BEEN ESTABLISHED IN EUROPE IN THE EARLY 1900’s, IN THE SOLO PIECES FOR TROMBONE AND PIANO OF THE PARIS CONSERVATORY AND IN OTHER COUNTRIES SUCH AS RUSSIA, ENGLAND, GERMANY AND ITALY. REMINGTON WAS ALSO INFLUENCED BY HIS STUDIES WITH GARDELL SIMONS OF THE PHILADELPHIA ORCHESTRA BETWEEN 1915 AND 1922.
HOWEVER, IN THE JAZZ FIELD IN 1922, MIFF MOLE, A MEMBER OF THE ORIGINAL MEMPHIS FIVE AND LATER WITH TOSCANINI AS 1ST TROMBONE IN THE NBC ORCHESTRA, WAS PERFORMING IN A CLEANER, SMOOTHER AND MORE TECHNICAL STYLE THAN THE EARLIER JAZZ TROMBONISTS. TOMMY DORSEY COMES ALONG LATER IN 1925 AND PERFORMS WITH THE CALIFORNIA RAMBLERS AND IN 1927 HE JOINED THE PAUL WHITEMAN ORCHESTRA, AFTER WHICH HE WAS KNOWN AS THE “SENTIMENTAL GENTLEMAN”. IT’S NO DOUBT THAT THESE TWO PERFORMERS ALSO INFLUENCED THIS “SINGING STYLE” THAT REMINGTON FELT WAS VERY IMPORTANT, AS WELL AS ROCHUT WITH HIS PUBLICATION OF “MELODIOUS ETUDES OF MARCO BORDOGNI.”
6. When you think of the four or five greatest symphonic trombone sections, who comes to mind? Jazz or studio?
OF COURSE GORDON PULIS, LEWIS VAN HANEY AND ALAN OSTRANDER OF THE NEW YORK PHILHARMONIC IN THE 1950’S IS THE CLASSIC WHILE LONDON SYMPHONY ORCHESTRA WAS AN IMITATION OF THE CONN SOUND IN THE 1950’S. SINCE THEN, THE TRADITIONS OF VIENNA, BERLIN, CHICAGO, LOS ANGLES, BOSTON SYMPHONY ORCHESTRA AND THE METROPOLITAN OPERA ORCHESTRA ARE SOME OF MY FAVORITE TROMBONE SECTIONS INCLUDING THE PRESENT DAY SECTIONS. IN THE STUDIO ORCHESTRAS OF LOS ANGELES OF COURSE ARE DICK NASH, LLOYD ULYLATE, AND GEORGE ROBERTS AMONG OTHERS THAT STAND OUT WITH THEIR STYLE.
Find out about more “trombonery” by clicking here: John Marcellus
PETER ELLEFSON
4. What DIFFERENCES have you noticed as a listener/participant in the wonderful orchestras of Seattle, Chicago, New York and others? (Tendencies, priorities, approaches?)
I always try to be a “contributing chameleon” wherever I play. I never really consciously think about the differences, only what I must do at the moment to be a good musical citizen and contributor.
Upon reflection, one of the biggest differences involves volume of sound. I could never play in Seattle the way I have had to in Chicago and New York—although sometimes in the opera pit for The Ring, we hauled it out quite well. Much of that difference has to do with the size/quality of the hall and the size of the orchestra. Boston has such a nice hall that, in my few BSO visits, I never felt that I had to push the sound. Similarly, Seattle’s Benaroya Hall is newer and much more efficient than the halls in Chicago and New York. It is easy to hear on stage and easy to blend dynamically due to the hall’s sonic feedback. It is more like chamber music there. The greatest challenge for me in Chicago was being able to hear across the orchestra and playing ultra softly. That orchestra (and the low brass in particular) has an incredibly wide dynamic range.
The CSO guys play really, REALLY softly.
Another difference is the timbre in different dynamics.
I find that the NYP section maintains a very similar timbre from their softest to loudest. The sound is still very broad at highest dynamics with very little “sizzle.”
The CSO section tends to change timbre at the highest dynamics. It gets pretty “fiery” in the red-zone. I believe that is at least partially due to the equipment they prefer…lightweight bass trombone slides for the tenors and a proportionately larger slide for the bass as well. To be a good citizen, most of the time, I would change slides when playing in the CSO. The last difference I’ll mention is note length and shape. Chicago has a lot of energy at the attack and not a lot of sustain.
New York has less emphasis on attack but lots of sustain. At this point, in case I seem overly analytical, I must declare that it is always the highest honor for me to play with these orchestras. You astutely ask about the differences which are very few, especially when compared to the similarities, which are many. These are the best trombonists in the world!
Frank Crisafulli and Peter Ellefson www.davidbrubeck.com
7. What is your theory on Frank Crisafulli’s ability to maximize a players potential during a lesson? How would you describe his sound?
Humble, self-effacing demeanor combined with obvious joy of interacting with students. He was able to make us falsely believe as though we played better than he did. He was encouraging while still gently pointing out what needed out be improved upon. I accept that there are big differences in teaching styles but I have never been able to understand the “teaching by humiliation” approach that I know exists elsewhere. In my own teaching, I have completely adopted his style of positive reinforcement. He somehow knew what was most important at the time and what could be addressed later. I also believe that he had an instinct for what he knew we would fix on our own. He trusted us. I played my best during that hour each week and the rest of the time I was trying to recapture how well I played in those lessons—or at least how I perceived that I played.
His sound was like no other I have ever encountered. Compact yet wide and very “meaty.” His sound was full, pure, direct and filled with overtones. He played relatively small equipment (by today’s trend) but he had a huge sound. I like to describe the ideal trombone sound as narrow and deep rather than wide and shallow (a la baritone horn). I believe that the narrow and deep sound is what projects and he certainly projected with apparent ease. I sensed that his air was slow but so well placed. There was nothing flashy, just the facts. His slide movement was a study. Slow but never late. How can that be? Even watching the videos of the CSO (what treasures!), one sees how he seemed to never move quickly but it was always in the slot.
Please catch the rest of the article here: Peter Ellefson
ALEX ILES
1. Take us through the rehearsals and performance/recording of one of the many awards shows. How would you describe this experience to someone outside a major music center?
This varies from show to show, and the calls for these kinds of awards shows generally go out a few months in advance. The orchestra usually has a few sessions booked a week or two before the show airs live where they will prerecord much of the music in one or two six-hour-sessions. The music often includes opening titles, end credits, and a few other show numbers to be used at the discretion of the show producers, directors, and choreographers.
The orchestra also rehearses and records the main themes of the nominated films or shows. For most awards shows, the orchestra plays those tunes live for the winner as they come onstage. During the show the director will eventually cue the conductor over the headphones to cue the orchestra to play when the clock (clearly in view of the award recipient) runs out. Hopefully, this keeps the show from running too long. But the Oscars run notoriously long, even with the speeches getting cut off.
Alex Iles at www.davidbrubeck.com
There are some tech and dress rehearsals a few days prior to and on the day of the show. These rehearsals are not as much for the orchestra but for the directors and camera crew to get a sense of how everything runs in order. Depending on how much the directors use the prerecords, the orchestra may not even play live on the night of the show at all. The Oscar orchestra schedule and responsibilities vary a bit year to year, largely depending also on what the host/MC wants to do. The one year I got to play on the Oscars, Hugh Jackman, a great singer and all around entertainer, was co-host t, so he was a natural to sing live with the orchestra and did a great job performing with his co-host, actress, Anne Hathaway.
4. What was it like to play for Sir Paul McCartney? Personally, musically, and historically?
I was called a couple of days before Paul McCartney recorded a live webcast to promote the release of a lovely CD called Kisses on the Bottom consisting of standard and show tunes that he had grown up hearing and had inspired him growing up in Liverpool.
My friend, colleague and fantastic jazz musician, Ira Nepus, played all the wonderful jazz trombone solos on that recording. For the webcast, the producers were not originally going to play any of the tunes with trombone solos, but then changed their minds decided to add one of them into the mix at the last minute. Unfortunately for Ira, he was already committed to another job out of town. So, he had to decline the offer and the call went out to me to cover for him!
It was a thrill to be there in the same room as Paul McCartney, Dianna Krall, Joe Walsh, John Pizzarelli, John Clayton and the rest of the amazing band!! Paul was very gracious and trusted all the musicians so much. When he walked into the studio, he walked right up to me and extended his hand and said, “Hi, I’m Paul.” I was paralyzed, of course and just shook his hand and said, “Yes, I know.” Dianna Krall, another hero of mine, later told me in a hushed tone, “I have known Paul and worked with him for a few months on this project and I turn into a giddy 13 year old every time I see him!” I played on a cool old Fats Waller tune, “My Very Good Friend the Milkman”. It was a thrill beyond words to get to play on this. Another example in my career of getting to do something as a substitute!!
4. Which musical solos and educational materials have you seen gain importance over the years, or become obscure?
Solos and Educational Materials; That is difficult to answer in a specific manner because that would require me making a list. But in general, the literature has expanded with many fine works in the last 30 years. Composers like Nina Rota with his magnificent Concerto, Eric Ewazen with works that are trombone and audience-friendly, and lesser known composers like Boda Presser, and Thom Ritter George have produced wonderful which are high-quality and friendly. I am afraid many of the most famous trombonists on the world scene commission works which only they can play, so it does not make a positive impact on the trombone profession.
5. Who are your more recent musical inspirations? Non-musical?
Musical Inspirations: I like people who were pioneers in the field. Roberto Gagliardi in Brazil, Emory Remington at Eastman, Gaspar Liccardine in Argentina are inspirations because they had no contact with other trombonists with how to play, available literature and the like, and they created out of nothing for themselves and their students good playing, literature to play, and an audience to listen. Real Inspirations! 8. What exciting future implications do you see in the future for young musicians who happen to play the trombone? Do you think that Remington could have imagined it?
As for the future: I see a bright future for trombonists, but only for the ones who approach the instrument as I do with love and joy which needs to be shared with others. Young people who only have “making money in mind” will not get anywhere. But people and trombonist with sincere and joyous hearts will succeed. I think Remington would have no problem because he was such a fine and simple man. He did not make anyone conform to anything that established but rather helped each person become the trombonist and person that they could become. Simple.
c. 2016/2017 Dvid William Brubeck All Rights Reserved www.davidbrubeck.com
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Bubert, Kagarice, Norrell and Sulliman-“The Fourth Valve” in 2016 had all its basses covered! A large percentage of the content of the Journal of the International trombone Association (ITA), is left to Dennis Bubert’s care each quarter as he places the major symphonic works and players of our time in the spotlight. Bubert represents pedagogy, ability, accomplishment, scholarship and a front row seat to the ride. Jan Kagarice has made a specialty out of helping those who had been injured or needed to overcome some form of limitation. No stranger to medical issues, Jan had resolve them to continue to play trombone and it became part of her character. In the same way, performing as the bass trombonist of the successful PRISMA trombone quartet helped her to coach a number of award winning trombone quartets from UNT. A true Metropolitan Opera bass, trombonist Steve Norrell has been a stalwart in the Met Orchestra, proving his longevity and passion for music. Trained at Juilliard and by members of the Chicago Symphony Orchestra, he has grown to embody his own musical voice and perspectives. An American original, he has recently returned to the recital stage with a world premiere of a sonata dedicated to his mentor, CSO bass trombonist Ed Kleinhammer. Jason Sulliman is a bass trombonist with a passion and a purpose. Originally a cast member for BLAST!, Sulliman is now its conductor and manager, and has sought to integrate his personal experiences as a performer with his passion for helping others through education. Along the way, kinesiology just sort of “happened”, and has become a growing area of fascination and expertise.
DENNIS BUBERT
6. How have your views on Kleinhammer’s pedagogy changed from 30 years ago? (Can you imagine a brass section where he , Jacobs and Farkas were writing their books and conversing?)
Both were very involved with what I consider one of the most predominant themes in brass pedagogy over the past three-quarters of the century, but in their own unique way. You’ve no doubt heard the state of trombone playing Emory Remington encountered early in his career, and how his teaching style evolved to urge students to adapt a more singing approach to the horn, blowing into it with as little resistance as possible. This idea of a more relaxed, easy way of blowing the horn was also a major theme in the teaching of both Mr. Kleinhammer and Mr. Jacobs. For Jake, that was reflected in the admonition to “play with minimal motors” and “to seek the weakness in your playing.” Ed, who was quite taken with the Eugen Herrigel book, “Zen in the Art of Archery”, co-opted Herrigel’s expression of “effortless effort”. He carried that book around in his jacket pocket from one time to another, and I remember the countless times he bolted across the room to grab it from his coat and read a paragraph. He also talked about “blowing the horn in a spiritual way.”
I was incredibly, incredibly fortunate to be able to study with those guys, and I’ve often marveled at whatever set of happy circumstances brought them all together at that time in that one place. I don’t think I ever had a lesson with either of them without them invoking the name of Adolph Herseth, and over the years I’ve come to think of them thusly: Herseth as the ultimate artist, Jacobs as the ultimate scholar, and Ed as the ultimate student. Tim Smith told me that a couple of his friends saw Ed at the old Schilke shop on South Wabash once, and screwed up their courage to go over and introduce themselves. “Mr. Kleinhammer? Hi, I wanted to say hello…I’m a trombone student”, Tim’s friend said. “You are?”, Ed exclaimed…. “I AM, TOO!”
I have photos of Ed and Jake in my studio at school as well as on the wall of my basement practice area at home, and I can honestly say that not a single day has passed without thinking about my time with them. Truly extraordinary individuals, and the giants of our art on whose shoulders we stand. I told Charlie last week that I can’t walk down Michigan Avenue or be in the basement of Orchestra Hall without sensing their presence.
8. Red herrings are a literary device used by mystery writers to throw readers off the track. Do you see any red herrings or unfruitful pursuits in the advancement of the bass trombone at the moment?
Red herrings? I don’t know about that, but there is one unfruitful pursuit, as you put it, that I frequently encounter in students. And that’s students who are so enamored of some of our more prominent trombone personalities, like Joe and Charlie, that they’re obsessed with trying to emulate them. Those two are marvelous trombonists and musicians, but as wonderful as they are, I think it’s important for us as musicians and instrumentalists to find our own voice. It’s hard enough to be yourself without trying to be someone you’re not.
To read the rest of the interview, click here: Dennis Bubert
JAN KAGARICE
2. What were your teaching style and objectives like before you had medical challenges as compared with afterwards?
I have a form of muscular dystrophy and a rare neurological disorder. Neither of which are life threatening but certainly caused me to learn about efficiency and healthy function.
My objectives in guiding musicians has ALWAYS been about the music. I believe that the music itself is the teacher. My students call me coach… I’m just coaching their focus of attention to the music, pretty easy gig! 😉 When a player has physical issues that interfere with performance, I assist them is becoming more efficient…. doing LESS. That’s why they are called “LESSons” 😉
“Janet”, Performed by Maniacal Four Trombone Quartet in dedication to Jan
6. It has been said that people “play their personality”. How much of a compelling factor for a performer is the character, humanity and temperment that infuses the performer?
I agree with the statement completely, but it is also important for the performer to not let their personality overshadow the expression of the composer brought to life.
Follow aong with the rest of the interview here: Jan Kagarice
John Swallow liked students to change partials if they did an interval larger than a 3rd. It’s a good rule to experiment with, but I believe the other part of the equation is the embouchure being efficient. In my early Met years, Pavarotti would go from one interval to the next immediately, without bumping the new frequency. I believe it’s the same on our instrument. There’s a fine line between having a good liquid legato, but not being stiff or rigid. Jay Friedman frequently tells students to play a “slow slur,” which is what I interpret as Jay trying to get the student to blow through the legato. I’ll often ask the student to have a quicker and more efficient embouchure without bumping the notes. I think that Jay and I are approaching the same thing from different sides of the equation. I encourage students to buzz legato phrases only using their tongue on the initial attack after a breath. After that, the clarity should come from the efficiency of the embouchure. It has to be trained! Even with students who prefer to use legato tongue, I encourage them to buzz the mouthpiece only using the tongue on the initial attack. If their embouchure becomes more efficient, whatever amount of legato tongue they were using inevitably becomes less.
The stimulus that I use when I play legato is thinking that it’s smooth. Personally I try to have the tongue out of the way as much as possible, but when I’m playing, being smooth is primary and anything else that I’m doing to achieve this is a trained reaction and secondary.
My two favorite legatos that I’ve personally encountered are Charlie Vernon’s and Norman Bolter’s. It’s not a coincidence that Jay Friedman studied with Swallow before he got into the CSO or that Norman studied with Swallow in school or that Charlie commuted to NYC while in Baltimore to study with Swallow.
(After performing the New York premiere of the Edward Kleinhammer Sonata in recital at the Manhattan School of Music in November of 2015 with pianist Hanako Yamagata, bass trombone virtuoso Steve Norrell was invited to encore the sonata at the 2016 Festival of the International Trombone Association. The Norrell/Yamagata collaboration is planned to be held at Juilliard, on Friday the tenth of June, 2016, as part of the international festival’s emphasis on trombone solo artists.
The new sonata, which was written by composer John Stevens, is dedicated to one of the finest orchestral bass trombonists and brass pedagogues of the past hundred years-Edward Kleinhammer. Published by Potenza Music, the Stevens composition combines an intimate knowledge of the capabilities of the bass trombone (which the eponymous Kleinhammer did so much to define), along with expressive lyrical settings, a wide range of timbrel colors, and distinctly virtuosic passages combined with a hypnotic piano accompaniment.)
8. How would you contrast the “New York School” of trombone playing of Joe Alessi with what you learned in Chicago?
Joe Alessi is such a unique person. He is one of the hardest working individuals I’ve ever known! The progress that he’s made since he became principal trombone of the Philharmonic is monumental and he’s always looking for ways to incorporate new things into what he does. During Joe’s early years, we had a weekly racquetball game and would occasionally play together. Simply tremendous! Since those years, certain aspects of his playing have improved exponentially. Playing a job like the Met, I was always envious of the freedom and flexibility that Joe had in doing outside projects. Of course I’m happy for Joe and it’s hard to imagine anyone being more productive while they were doing it.
Joe is a little younger than I am, but he was at Curtis while I was at Juilliard and all of us of that era were positively affected by the CSO. Joe’s greatest influences were his father, teachers in the Bay Area (Ned Meredith and Mark Lawrence) and then Dee Stewart and especially Glenn Dodson at Curtis. Many years ago I had conversations with Joe about my lessons with Mr. Jacobs. He was interested, but his concepts are uniquely his own on certain things. He’s been very successful in developing so many amazing artists, In 1988, the CSO was doing a residency at Carnegie and their off day that week was on Thursday. Charlie and Jay came up to the house in the afternoon as did Joe and David Finlayson. We played for hours (while I had the tape recorder on). Listening to the tape I hear individuals. It’s all really, really good, but unique to the person who was playing it. Since that time, Joe’s playing has only grown!
Follow your favorite operatic bass here: Steve Norrell
JASON SULLIMAN
2. If movements are like fingerprints, and each is different everytime; can there be any constants in trombone technique?
This is a difficult question to answer in that the product and the process to get there have different spins on the same answer, and to many this will sound like an academic quibble of semantics, but I disagree. I find the whole concept fascinating.
Technically I don’t think any two sounds made in the natural world are identical. Movements are all different (even if it is so slight that it is unperceivable to the human ear) and thus their fingerprints in sound are unique. Musicians will usually get to a point where for all practical purposes, a consistent sound is heard because the nuances are so minute that they aren’t significant in terms of job performance, etc. For that part of the conversation, I do think one can approach playing with a consistent mindset and achieve consistent results, but only if we use the terms loosely. I don’t think there’s any real harm in talking about a consistent product as long as we agree it is a matter of scaling.
I think the word ‘consistent’ can be dangerous though, when talking about the process. If we get so wrapped up in trying to manipulate our bodies the same exact way every time, we might actually be hindering our bodies’ natural ability to adapt to the current environmental parameters and take aim at that ‘consistent’ goal from a slightly different vantage point. Your body’s components must function from their current state, and to interfere with our natural ability to function might limit the freedom of adaptability. The only ‘consistent’ thing about my playing is I am constantly trying to be better than yesterday. I think the whole concept of ‘consistent’ sets limitations and throws our focus off of the real goal.
7. How do your studies movement influence your approach to slide motion?
My slide movement needs a ton of work, mainly because I am still searching for the best set-up in the left hand to hold the horn. I think this matters with bass in particular. It is a heavier horn, and if your left hand doesn’t feel comfortable supporting the instrument for long periods of time, then it will start shifting in a way that eases the discomfort. When that happens the right hand will naturally make compensating adjustments with how it helps to support the weight of the instrument, which will change the slide technique.
Having said that, I try to hold the slide with my fingertips. After that, I really try to ignore the physical characteristics and focus solely on the sound that is created when changing notes. If you are really listening, you can hear a difference between effective slide technique and ineffective slide technique on all sorts of levels. This goes back to ‘no two movements are alike’. I challenge you to find two trombonists that do it the same exact way. I guarantee if we hook them up to measurement equipment (like EEG), we will find differences.
I remember watching the National Brass Ensemble concert in Chicago last year. Some of the Gabrieli pieces were set up with two choirs, so their angles were such that I got a great look at slide work. There were times where I saw some of the most accomplished trombonists playing unison lines right next to each other. Slightly different hand positions, different speeds, but wonderful results. I could only tell a difference visually.
Nothing is less impressive than quantity! If you are looking for quality, here are three of the best! Perhaps the graduation speeches were just a bit too generic for you favorite tuba/euph. player. These interviews just may be the answer; inspiring, challenging, and full of hard-won-wisdom. Celebrate 2016 with three of the best. Tubist Eugene Pokorny has enjoyed success at every station in his storied career. He has flourished in some of the most demanding brass playing communities and is a Titan of the tuba world and a first class musician. As a soloist, with brass ensembles large and small, and with some of the finest orchestras in the world, Pokorny has plied his craft with humor, warmth and greatness. Dan Perantoni has a habit of being involved with first-rate musical organizations, and one suspects that he just might have something to do with their successes. It may have begun when Perantoni started studying tuba with the legendary Paganini of the Tuba-Harvey Phillips; with this inspiration, Perantoni has emerged as one of the most important tuba teachers of our time. After finishing a doctorate at the University of North Texas as a teaching assistant for Brian Bowman, Meixner landed as euphonium player, soloist and assistant conductor of the River City Brass Band, recorded a solo CD, a duo CD, launched and recorded with The River Bottom Quartet.
EUGENE POKORNY
1. Charles Vernon, has stated that it might surprise people to know that Jacobs, Kleinhammer, Crisafulli and Friedman were, “four different styles of playing, all going for a similar result.” Now with yourself, Vernon, Mulcahy and Friedman, the resultant blend seems to have all the characteristics of the Chicago Symphony Orchestra with different players. How did you achieve the blend which is so present (and yet can be so supportive of other timbres), with almost a whole new team? How do your sound and Mr. Vernon’s sound in particular achieve such a beautiful blend that is reminiscent of Jacobs/Kleinhammer?
There is a willingness of the sections’ players (some more than others) to subjugate their own personal playing style to one which is more in keeping with the majority opinion. However, there is occasionally some discussion as to where the final sound result will be.
We are all different players with different abilities to adjust to others as well.
I found in my own listening that Jacobs was very lucky to have a musician as competent as Kleinhammer as a sidekick because Kleinhammer would complement his own sound to Jacobs’ playing style, rhythmic proclivities and interpretive rigidity. But that is another subject. For me, the teamwork aspect of playing in a section is the highest goal.
When I play with Charlie [Vernon], I try to find a sound that complements his array of colors. He is more enamored of the lower harmonics in the sonic spectrum of his sound. So, I will try to emphasize the higher side of the harmonic spectrum when I play with him.
Charlie is quite sensitive to the quality of sound when he listens to me trying out different instruments. I find his input very helpful. When we are working on balancing the section, I need to tell him when I (and perhaps others) simply cannot keep up with the output wattage of a bass trombone. The range of all our volumes has to vary from being barely audible all the way to “hell bent for leather” as my hero Jeff Reynolds used to say. We have to have the capability and, more importantly, the willingness to do it all. I have no answers as to the “how” the of the blend that occurs between Charlie and myself.
2. When you take a breath, on most occasions, do you release it immediately in rhythm, or hold it-no matter how slightly? Why or why not?
On most occasions the breath always moves in rhythm both in and out with no delay. If the first note I am to play is in the mid to high register (as in the solo in “Petrouchka”), I may delay to make sure that I am “up to pressure” before releasing the air.
To read the rest of the interview with the Eugene Pokorny, the leading orchestral tubist of our time, click here Eugene Pokorny
& non-musical?
Fred Marrach, Gerhard Meinl, Perter Hirsbruner Sr.
2. What does it take to have a really happening studio beyond being a great teacher and performer?
Effective recruiting, Communication
3. How do you approach solo tuba differently with regard to classical music and jazz. How do you attract or find audiences most effectively?
Same approach for all- listening and singing.
Building an audience –Years of marketing – name recognition- good products- commissioning good new works- word of mouth.
4. Who are the most interesting young orchestral tubists out there today?
Jeff Anderson, San Francisco; Steve Campbell,
Minnesota—my all time favorite orchestra Pro—Gene Pokorney, Chicago Symphony
To soak up the rest of the Perantoni interview and its no-holds-barred wisdom, click hereDan Perantoni
BRIAN MEIXNER
Praxis Duo www.davidbrubeck.com
What attracted you to percussion in chamber music, and what have you found?
I was initially exposed to this by the Brian Bowman/Gordon Stout recording of Samuel Adler’s “Four Dialogues” for euphonium and marimba. I suppose I was attracted to the sound of the two instruments playing together and liked the idea of doing something different than solo pieces with piano. Several years later I joined a consortium to commission David Cutler for a euphonium piece with cahon and maracas. During that same time I was working with a couple of other composers on pieces for euphonium with percussion ensemble. Partly due their great writing, but likely equally due to the interesting combination of instruments/sounds, I was turned on to euphonium/percussion music from that point forward.
Simply put, the more variety of percussion instruments that are used, the more sounds that are capable, the more interesting for the listener and performer alike. With percussion, the number of timbres, sounds, etc. possible is literally limitless. This allows me to be more creative with the sounds/colors I can produce on my instrument and the musical interest for all involved. In the case of our Euphonium + Percussion duo and our album ‘Praxis’, it doesn’t hurt to have the opportunity to work with the mega-talent virtuoso percussionist and composer Nathan Daughtrey!
8. What are your favorite chamber music works that include euphonium? Are there any other directions you would like to see explored?My opinions here are heavily influenced by my personal experience with certain pieces, having performed them with good friends and colleagues. The works with percussion I recorded with Nathan Daughtrey are among my favorites, as well as Gillingham’s “Diversive Elements”, which I have performed a number of times with different friends and colleagues. The compositions and arrangements for euphonium quartet (and three euphoniums + 1 tuba) on our River Bottom Quartet album “In Too Deep” were a lot of fun. I also very much enjoy the music of Fernando Deddos, including the title track of the ‘Praxis’ album and his “Invasions and Myths” for euphonium, trumpet and piano that I recorded with Jennifer Dearden and Kevin Dill in 2015.
As far as directions for further exploration, I am thrilled to see the creative new works emerging for euphonium in a chamber setting. Lots of great stuff! It would be interesting to see more pieces for euphonium with strings, which seems to be somewhat of an untapped genre. The “Concerto No. 3 – Diran” by Alan Hovhaness is quite nice.
To read the complete interview from Euphonium soloist and entrepreneur Meixner, click hereBrian Meixner
Interested in more year end summaries of TUBA/EUPH. Interviews? Look No Further! Three Hot Links Below…
The Beastly Tubas of 2015! “The Fourth Valve” tm Recounts the Year’s Best Interviews, Read on…
2. As an instrumentalist turned vocalist, what insights have the differing approaches to breath wrought?
Many say, if you can sing it, you can play it. I guess I would say, if you can sing it, you can sing it. Why wouldn’t we want to sing with our instrument? To have that intimate, heart-connection with our listeners? To be moved and to move others just as singers do? 
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