Studio snippet (Nita's Theme)

Bach's Trombones

After I had been in LA for a few weeks, I was reunited with trombonist Thurman Green. We had met about a decade before at the Naval School of Music; he was in the Navy and I was at the Army Element--both were based at the Anacostia Naval Station in D.C. Thurman quickly introduced me to
trombonists Maurice Spears and Donald Cooke. I remember meeting both at the weekly big band jam sessions at Grant's Music Center, in mid-town. It was one of  'the' spots to mingle and meet other musicians and, most of all, get known.

The reason Green started with the two musicians above soon became significant. Both were not just trombonists, Spears was a copyist and contractor and Cooke was a contractor/arranger. All things that were important to what I was in direct need of. Knowing contractors meant that your phone would be subject to ring more often than not when gigs became available. As a composer/arranger also, I needed to know other arrangers. Also, since I had a 'decent hand' when it came to writing manuscript; knowing a copyist came in handy too. The relationship between the four of us was rewarding musically, spiritually, financially, socially and personally for many years afterwards.

However, the main reason for this story is that I was thinking about how the four of us would meet every week that we were all in town. Sometimes two or three of us would meet. We played parts from big band charts mainly. Tightening up reading, phrasing, etc. Sat and talked of other players, bands and the like. We discussed who we thought the best arrangers were for trombone parts. You name it, we talked of it. We talked about about the trombone groups JJ and Kai had too. I even did a transcription of a chart--You're My Thrill-- for the group  from a sketch JJ had given me when he lived in LA. A beautiful A cappella thing.

At the beginning of these gatherings we did the usual individual warm-ups and then decided what we would play that day. Before getting together on one of those days, I was thinking how cool it would be if after we got the horns warm, we could warm-up on something all together. I remembered a little booklet that my trombone teacher , Dr. William Cramer (FSU), insisted that all of his students kept in their cases. He would have us play from it in group sessions; it is how we warmed up. So, I drove to a sheet music store in downtown LA and picked up four copies of that little book. It was of Bach Chorales arranged for four trombones. Then, off to Spears' crib--that is where we met. After everybody begin to wind down their warm-up, I passed the booklets out and said let's do number 18, it's one of my favorites. Everybody was OK with it; I counted off  and from that day onward, we never had a meeting where we didn't play from the little booklet; it was thin and about the size of a DVD case.

We would take turns playing each part, breaking down the harmonies, carefully listening to each other and so on. When it came to the 4th (bass) part, no problem. Maurice had an extra bass trombone and a mouthpiece adapter. We had to deal with it like that. We also had to read in the alto and tenor clefs, along with the normal bass clef

Years later, Spears would be one of the founders of "BoneSoir", a group that I made a couple of charts for back in the mid-90s. I feel certain that he had thoughts of us playing together since both he and Thurman were part of that band with George Bohanon and Garnett Brown.


Anyway, we always enjoyed those chorales--it was a break from the Jazz parts we played so often. Kind of a scale balance, if you will. No pun intended. We even noted that we would have made Bach proud. And, even joked that we were Bach's Trombones.

I love watches!

I have always liked watches; from my first one (when as a kid) which I opened up to see the 'works', to the many I've owned--and sometimes lost--over the years.I have some gems in my collection; including a original, limited edition Hughes digital; Two Zodiacs and my latest, inexpensive, Armitron analog and a vintage era Mickey Mouse. Cost is not the factor--although it is an issue. I'm just drawn to them; and, many are still on my wish list.

Big Band Sheet Music....., has stories to tell.

This might generate a few thoughts. You know, when You're a member of a band, the actual 'sheet music' is a constant. Players come and go--in most cases; but, the same sheet music remains for all those who pass pass through to READ. Open a big band folder, and rarely--unless it was just passed out--is a piece of music void of 'stuff' other than title, credits, notes and staves, etc. Along with sometimes being raggedy, frayed, coffee stained--don't leave the cup there; the stand is already tilted and Murphy's law lurks...:-)}--, ...cigarette burned or otherwise soiled; are the marks, note changes,etc. made by previous players of the part. Then, it can go off the hook--phone numbers, meaningless scribbles, drawings--including eyeglasses with dot eyes(helpful here because it noted a passage to 'watch out for'), cartoons, jokes, signatures, dates,etc. One thing I found funny, and always remember; is a prior player had crossed out the title 'Eleanor Rigby' , and wrote--with a marker: 'Bilbo Bagby'................; go figure. I guess its a 'leaving your mark' thing.................:-)}

The Buzz Starts Here

Although, I don't play my lower brass horns--King 3B Silversonic slide/valve trombone, Conn 8H and King Bb Flugabone-- much these days, when I do, I use my custom made Giardinelli 4M. I've been using it since the late 60's. I had it fitted at the famous mouthpiece makers NYC store. It is gold plated, has a removable screw on cushion rim and was later( approx. 1968) retro fitted with a pick up for use with amplified and electronic equipment. A small mic--used either direct or via preamp--has been used with The King Vox box, various amps, Echoplex, guitar effects pedals, etc. over the years. I also experimented with it during recordings--going direct into the board(console), mic into 1 channel & direct into another, etc. With all brass instruments, your mouthpiece is your friend. It's where the buzz starts to make music!

South Africa Recordings

Happy to this post a copy(link) of one of Electriclive blogs here--thanks for all of your efforts Chris. http://electricjive.blogspot.com/2012/02/song-of-soweto-mallory-hall-band-1974.html

Auto-Tune; The Worst!~

The process of music production has gone through many advances and changes over the years--some good, some bad; but, by far the WORST is the so-called 'auto-tune'. Don't take my word. Listen for yourself...; If you can't sing in tune, find a vocal coach! This is a gimmick and should be used as such

..>>>>>>>>>>>>>>>http://www.hometracked.com/2008/02/05/auto-tune-abuse-in-pop-music-10-examples/