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The Jazz Bass Trombone
Introduction by David William Brubeck

Expressive outlets in jazz for the bass trombone are seemingly rare, especially in an age where the measure of one’s worth as a jazz musician is often boiled down to the ability to improvise over multiple choruses of jazz. Ironically, the adoption of this criteria seems to exclude the many contributions of jazz artists who are sidemen, arrangers, leaders, “compers”, high note players, readers, section players, low note players, or melodic interpreters to such a degree that ( were it applied to the past) would have excluded Billie Holiday, Tommy Dorsey, Gil Evans, Freddie Green and numerous others. When evaluated by the constraints of this narrow definition, the bass trombone often does not even merit inclusion as a jazz instrument. In fact, many jazz music appreciation texts omit mention of the instrument completely while recognizing the contributions of more obscure instruments in jazz such as the bassoon and bass clarinet.

Perhaps the first and foremost outlet of solo expression for the bass trombone has come in the genre of the big band. Of the major American instrumental ensembles in which the bass trombone is included: the orchestra, the symphonic band (or wind ensemble), and the big band; the big band is arguably the most welcoming to the solo bass trombone and it’s native habitat. Early big band pioneers include Bart Varsalona and George Roberts of the Stan Kenton Band; arrangers Sauter and Finnegan, Bill Holman, and Nelson Riddle. The pinnacle of the soloistic use of the bass trombone in terms of popularity and creativity resides at the intersection of George Roberts, Nelson Riddle, Frank Sinatra and Capitol Records.

The bass function of the tenor trombone was important in early jazz where THE first band so named as ‘jazz’ (or jass) contained only trumpet, trombone, clarinet and drums and was led by a trombonist-Tom Brown. As jazz progressed, the bass function was later adopted as an aspect of trombone section work, particularly in the unison passages of the Glen Miller Orchestra, until the need for the bass trombone seemed evident.

Other jazz ensembles which have proven hospitable to the soloistic expression of the bass trombone include: Trombone Ensemble; Bass & Tenor Trombone with Small Group; Bass Trombone Soloist with a Small Group; Bass Trombone with Jazz Keyboard-duo; Bass Trombone and Jazz Guitar-duo

“The Jazz Bass Trombone” seeks to explore the expression of the bass trombone in jazz and it’s unique voice and capabilities, to recognize it’s accomplishments and ponder it’s possibilities.

We have decided to launch our series focusing on the big band with soloistic excerpts from the same, as this is the typical start for most bass trombone soloists. Accepting the premise that the big band is where the solo iteration of the instrument is most native, it is ironic that the bass trombonist often encounters an indifferent welcome as a soloist even in a jazz band-putting the bass trombonist in the awkward position of feeling uninvited even at home.

The counterbalance of this unfortunate situation is the unbelievable accomplishment of George Roberts who was close enough to the beginning of the instrument (his work with Krupa nearly parallels that of Varsalona with Kenton), that he can be considered one of it’s true pioneers. Certainly his efforts with Nelson Riddle qualify him as a great popularizer of the instrument, and his near universal acclaim as the ideal to emulate for the instrument (having earned him the title. “Mr. Bass Trombone”), makes him its perfecter. It is rare in music, or any other art form, to have one individual who is at once it’s pioneer, poularizer, and perfecter-but this is precisely what we have in the person of George Roberts. Add to these accomplishments his tremendous humanity, and the bass trombone has in Roberts a reservoir of considerable vitality.

I have asked Major Bailey to serve as curator and contributor of the first five installments of “The Jazz Bass Trombone”.

You’re My Everything
by Major Bailey with David William Brubeck

The music to “You’re My Everything” was written in 1931 by Harry Warren and Joseph Young for the Broadway show, The Laugh Parade. Lyrics were added by Mort Dixon almost simultaneously, and the musical ran for more than 200 performances. The Laugh Parade starred Ed Wynn, as well as Lawrence Gray and Jeanne Aubert. Aubert and Gray performed “You’re My Everything” and it was the only one of the show’s two dozen musical numbers to become an instant hit with the American public. “You’re My Everything” became firmly ensconced in the American Songbook with covers by vocalists such as Ella Fitzgerald, Nat King Cole and Frank Sinatra.

Miles Davis produced a huge hit, and demonstrated the song’s value to instrumental jazz community, when he recorded it with his quintet on the album Relaxin’ With the Miles Davis Quintet. Freddie Hubbard recorded his version on his classic album, Hub-Tones and both recordings are considered staples in the jazz industry. One of our personal favorites is the version found on the 1957 Urbie Green big band album, Let’s Face The Music And Dance. This album featured a young “Doc” Severinsen on lead trumpet along with Urbie’s effortless mastery of the trombone which has inspired generations of trombonists-including Roberts.

The Tom Matta arrangement we have selected was written in 1995 and features solo bass trombone and big band. This is one of the newest versions of this classic tune available today and was written to feature Charlie Vernon for a DePaul University album entitled Night School.

Set in a medium swing style, Matta uses the solo bass trombone both as a solo bass voice as well as demonstrating the unique attributes of the instrument’s bottom register. The solo part spans nearly three octaves and includes numerous linear passages including a beautiful unison duet with the bass after an improvised alto solo.

This duet ‘soli’ passage requires time and effort in lining up the intonation between the two bass instruments. By marking it at a light volume, Matta allows for even more attention to be paid to the passage’s intonation and clarity. The bass trombonist must feel comfortable in playing lines that go in and out of the pedal register. This requires extra concentration to keep the air speed sounding constant despite the motion of the slide and quick changes in air speed when switching valve combinations-which is most obvious at the end of the duet.

Example: Bass Trombone and Bass Duet in “You’re My Everything”.

The arrangement concludes by showing the extensive bottom register of the bass trombone, both in the ensemble and unaccompanied. In an insightful stroke of orchestration, the band pauses while the bass trombone continues towards the basement of the instrumental register and ends the musical selection by playing the lowest available octave of the tonic.

Example: Bass Trombone Conclusion of “You’re My Everything”.

Interview with Thomas Matta, by David William Brubeck
Did you have Charlie Vernon in mind when you first wrote “You’re My Everything”?
Yes and no. Oh sure, I knew it was for him, but I chose the tune. In fact, I think I chose all the tunes on that great DePaul Jazz Ensemble CD except for “When I Look In Your Eyes” which Charlie had chosen (he played it for his bride Allison at their wedding!) That tune in particular, I wanted to create an updated George Roberts-inspired feature for Charlie.

If not, did you make any adjustments for him?
Had I written that chart for anyone else Bill Reichenbach or Mattis Cederberg, for example, I would have most likely included space for the bass trombonist to improvise. Instead, I created a tricky little soli for the bass trombone and bass to give Charlie some more meat to chew! And of course, the juicy contra notes on the last page are clearly smack dab in the middle of Charlie’s wheelhouse!

Do you play when you lead your pro band? Solo?
In the Tom Matta Big Band, I play the bass trombone chair, and run out front to conduct when needed.

I’m asking the musicians for a lot of focus and dedication to playing my music, which can be taxing and a heavy load to lift. They are all great ensemble players, but even more-so world-class improvisers. I want to feature them-this is why they are there! So with that in mind, I try and limit their exposure to my freshmen-level improvising as much as I can. My solos are primarily my compositions and arrangements. That’s my outlet.

Is the choice of alto sax solo a particular timbre contrast choice to the bass trombone?
It was a deliberate choice of timbre choice, yes. But more importantly, the phenomenal Rudresh Mahanthappa was in the band at that time, and I knew his improvisational voice would make for an even more intriguing contrast.

How do you view the potential solo or melodic characteristics of the different octaves of the bass trombone?
For all the impact the lowest register of the bass trombone, I still prefer what I call the “cello range”-het 2+ octaves starting with low C. That is my favorite and preferred zone for the bass trombone.

It’s not to say I don’t love the contra notes, or even the way above the staff notes. But low C to middle C is the land of the bass trombone, it’s where the instrument sounds the best. The notes in the staff are the bread and butter for the bass trombonist, not the double-pedal Bflats or altissimo high L!

How would you describe the style or inspiration for the chart? How does it compliment your other works?
In my opinion, it’s cute without being cheesy. It’s straight ahead but it has some subtle twists. It has the distinction of fitting in very well on a dance band set list as well as a concert program next to more progressive pieces I have written. The chart would not had come out the same if I had not been using George Roberts and his great solo recordings as a muse. Hey, there’s nothing wrong with being accessible and swinging, is there?

How would you compare the bass trombone to its bass voiced rivals in jazz?
The bass trombone is overwhelmingly a section instrument, but it needn’t remain so. It has an incredibly sumptuous, rich voice for presenting a melody. In the right hands, it is very agile and nimble. So why aren’t there dozens of bass trombone players that are popular as the great bari-sax players like Gerry Mulligan, Harry Carny, Gary Smulyan, Pepper Adams, etc.? Maybe it starts with encouraging the young cats to improvise and not just play parts? Maybe the writers need to start leaning on that chair to have an improviser?

Bass trombone Features arranged by Thomas Matta:
1. YOU’RE MY EVERYTHING, written for Charlie Vernon as a bass trombone feature
2. I’M GETTING SENTIMENTAL OVER YOU, written for Bill Reichenbach.
Though originally for bass trombone, lots of guys have played and/or recorded it on tenor trombone.
Tom Garling is featured on it when the TMBB plays, and Rob Parton’s big band recorded it w/Garling, too.
(These have been Published by the UNC Jazz Press.)

UNPUBLISHED bass and tenor trombone features by Thomas Matta:
3. IT NEVER ENTERED MY MIND– for myself as a bass trombone feature. This arrangement includes improvisation.
Rob Parton’s band recorded this a couple years back featuring me on bass bone.
4. MY FUTURE JUST PASSED – vocal feature with a half-chorus of improvisation in the bass trombone part.
Rob Parton’s big band recorded it featuring his amazing wife Kristy on vocals with me on bass bone.
5. RUBY’S THEME – created on a pretty Bill Reichenbach ballad he he wrote for a film-(as I recall). Bill is an amazing composer; many folks don’t know that!!!

Tenor trombone Features arranged by Thomas Matta:
1. WHEN I LOOK IN YOUR EYES, written for Charlie Vernon as a tenor trombone feature
2. THE NEARNESS OF YOU, written for Charlie Vernon as a tenor trombone feature
3. MY ONE AND ONLY LOVE, written for Charlie Vernon as a tenor trombone feature
4. IT NEVER ENTERED MY MIND, written for Charlie Vernon as a tenor trombone feature
5. AUGUST DREAMS, written for the Waukee HS Jazz Band in Iowa as a tenor trombone feature
(These have been Published by the UNC Jazz Press.)

c. 2013 David William Brubeck All Rights Reserved davidbrubeck.com

Stereograms at The International Trombone Festival
2013 was a high watermark for Stereograms as three of these self-accompanied rhythmic etudes were performed in recital by James Markey at the International Trombone Festival held in Columbus, Georgia.

Markey, who currently serves as bass trombonist in the Boston Symphony Orchestra, created an ‘ad hoc’ suite of Stereograms comprised of: No. 6, (dedicated to Earth Wind & Fire’s Maurice White and Louis Satterfield); No. 19, (‘Blue Tom’ dedicated to Ellington great-Lawrence Brown); and No. 7, (dedicated to Bob Mintzer and Dave Taylor).

He writes, “I performed three of your Stereograms on my recital; 6, 19 & 7 were a pretty big hit. I received more than a few comments on how much people enjoyed them! I’m glad I put them on and I think that they’re well worth including in developing our repertoire-so much fun!

Stereograms on CD
Garth Simmons has recorded a solo CD entitled “American Visions”. According to Simmons, principal trombonist of the Toledo Symphony, each piece he selected for the recording was by an American composer with whom the he has personal contact. Simmons has graciously included a brilliant recording of Stereogram No. 12, entitled ‘Spain’, which is dedicated to famed Chicago Symphony trombonist Frank Crisafull, one of Simmons’ teachers.

Stereogram No. 12 (‘Spain) is an epic, unaccompanied work which contrasts the excitement of trumpet-like Spanish fanfares with gently pulsating arpeggios reminiscent of the classical guitar. As the guitar-like part progresses, it crescendos into an exciting climax which beckons the return of the rubato exposition.

Stereograms Premiered
Jonathan Warburton, British Bass Trombonist, has premiered two Stereogram treatments of traditional hymn-tunes: ‘Tis So Sweet to Trust in Jesus (No. 37A), and ‘Amazing Grace’ (No. 34)-which is as of yet un-published and has been dedicated to Warburton.

Stereograms are published by the International Trombone Association Press and are available from Hickey’s Music and other fine retailers:

http://www.hickeys.com/products/092/sku92661.htm

http://www.hickeys.com/products/050/sku50091.htm

Bass trombonist and arranger Thomas Matta is one of the most talented and versatile musicians of his generation. As professor of Jazz Studies at DePaul University, one of Chicago’s top freelance bass trombonists, and a gifted arranger who leads his own big band-life can get busy. Thankfully, Mr. Matta had a few moments to respond to ‘Seven Positions’, and we at davidbrubeck.com are delighted to share his perspectives as the sixth respondent of year two.

1st Position
What do you look for in an instrument?
I look for a bass trombone that has primarily a tenor trombone vibe, but with bass trombone muscle. That’s why I love my Edwards with a relatively light bell. Blends with the small tenors of a big band, but can bark with the tuba and big tenors of a symphony orchestra.

2nd Position
How do you conceive of an ideal tone quality?
My goal is a tone that sounds like a trombone, first and foremost. Rich, warm, and human. A sound that fits any circumstance, and is not defined by being a “jazz” or “legit” sound.

3rd Position
What is your secret to a beautiful legato and a ballad?
To me, legato means using as little tongue as possible, and only when absolutely necessary. The legato tongue and the slur should be indistinguishable. Playing ballads is my favorite thing to do, and I don’t think we as trombone players spend enough time playing beautiful tunes beautifully.

4th Position
What helps you achieve musical expression? (Especially in solos, particularly in jazz).
Being in the moment; reacting to the sounds around you; striving for good over different.

5th Position
Name two inspirations. One musical. One non-musical.
Chet Baker – about as real as jazz gets, in my opinion. His trumpet playing and singing is spontaneous, melodic, soulful, passionate, agonizing, and joyful all at once!

Great architecture – I love it when form and function come together to form a whole that is bigger than the parts.

6th Position TM
What has being part of the great Chicago Jazz and Symphonic scenes meant to you as a player? How has it influenced you?
I love being part of a culture in a city that has a motto “The City That Works.” On any given day, you will find yourself performing on the stage, in an orchestra pit, a recording studio, a jazz club, a recital hall, or like just the other day, a Greek diner. Rubbing shoulders with musicians from every conceivable ethnic background and musical perspective is a daily inspiration.

7th Position TM
What is your concept of the bass trombone as a jazz/commercial solo instrument. How has being a jazz bandleader and an arranger influenced your perspective?
It is not a novelty instrument – we need to stand up, unite and refuse to perform “Makin’ Whoopie” as bass trombonists! It is every bit as serious and viable a solo instrument as any other, and has the great advantage of functioning as a tenor, baritone, or bass voice in any ensemble it serves. It’s really the cello of the brass family, isn’t it? (Sorry baritone and euphonium players – the slide makes the bass trombone a better cello!)

T1
What is the best trombone playing you have ever heard?
Take your pick of any of the performances of Charlie Vernon, David Taylor, and Bill Reichenbach. I can list 10 other bass trombonists that give me goose bumps, but these three share first place of living bass trombone giants.  They epitomize, each in their own way, the sound, technique, and expression we all strive for. More than being fantastic performers, they are great musicians.

T2
What is the best trombone playing you have done?
One specific example is when I spent some time in Europe in the early 1990’s playing a bus and truck tour of Duke Ellington’s Sophisticated Ladies“- basically a big band on stage supporting singers and dancers.

By week 3, the trombone section had memorized our books, and we were all able to settle in and LISTEN to everything around us. Having the music memorized in that situation made me a better player. It helped me use my ears and be a better section player.

But playing a show for extended runs is no task compared to being called on to play different things every day. I think my best playing is when I do get to “mix it up” between styles. The challenge of blending with different players in different venues playing different styles keeps me the most engaged and on my game.

c. 2013 David William Brubeck All Rights Reserved. www.davidbrubeck.com

Interested in more “Seven Positions”tm Interviews?
Charlie Vernon
James Markey
Chris Brubeck
Doug Yeo
Jeremy Morrow
Tom Everett
Gerry Pagano
Ben van Dijk
Randall Hawes
Denson Paul Pollard
Thomas Matta
Fred Sturm
Bill Reichenbach
Massimo Pirone
Erik Van Lier
Jennifer Wharton
Matyas Veer
Stefan Schulz

c. 2013/2014 David William Brubeck All Rights Reserved davidbrubeck.com

Denson Paul Pollard came to the attention of many with the release of his solo CDs while still a member of the Hong Kong Philharmonic-a post he accepted in in 2001. A master-recitalist and devotee of the bass trombone as a solo instrument, his recordings: Up from the Bottom, Point in Time, and Listening exhibit the love and attention to detail of a true connoisseur of the instrument. He accepted the position of bass trombonist in one of the greatest orchestras in the world, The Metropolitan Opera Orchestra, in 2007. Pollard has appeared as a soloist and recitalist at the International Trombone Festival, The Eastern Trombone Workshop and throughout the globe. We at davidbrubeck.com are overjoyed to host Denson Paul Pollard as the fifth respondent for the second year of our interview series ‘Seven Positions’.

1st Position
What do you look for in an instrument?
In a musical instrument I think that it is important that the instrument respond easily without a lot of physical effort.

2nd Position
How do you conceive of an ideal tone quality?
For me the ideal tone quality is a sound that is clear without having to be loud. Unfortunately, many trombone players focus too much on playing loud and not enough on having a clear easy sound.

3rd Position
What is your secret to a beautiful legato?
I really feel that the key to having a beautiful legato sound is continuous air , a light tongue, a precise slide and a good mental image of how you want to sound.

4th Position
What helps you achieve musical expression?
I think the key to being able to express yourself musically on the trombone is to listen to vocal music as much as possible. It has been said before (and I totally agree with the idea), that the human voice is the greatest musical instrument ever created.

5th Position
Name two inspirations. One musical. One non-musical.
Perhaps my greatest musical inspiration has been Joe Alessi. He is such a legend on the instrument that it almost sounds cliche to list him as an inspiration, but he is truly the greatest trombone player that I have ever been around.

I guess nobody really knows if Jesus was musical or not. Jesus has been my most important non-musical influence through reading the Bible and learning how he taught how to treat others, how to act ourselves and work hard.

6th Position DPP
When did you fall in love with recital music, and how important has it and your relationship with your accompanist been to you? Any favorite pieces?
I learned to enjoy performing solo music while I was in graduate school at the University of Iowa. In order to earn my doctoral degree, I had to perform four recitals. Under those circumstances, if you did not learn to love the process, you were in trouble. Fortunately, I made peace with that process.

Having a good accompanist is crucial for a good and effective solo recital. I have been very fortunate to have worked with many very fine piano players. I think that generally pianists are under-appreciated. We, as trombone players, have much to learn from them, if we are able to open our ears and minds to what they are doing.

7th Position DPP
How have you imagined the future of classical music and the bass trombone from the perspectives of Hong Kong and New York?
Unfortunately, I am a little worried about the future of classical music in America. The biggest reason is that music education programs around the United States are being cut. I just wonder if it will be possible to have symphony orchestras if no one has been educated at an early age to appreciate this kind of music.

Although China is a budding classical music market, most orchestras and their managements are unorganized and the conditions which classical musicians work under are very raw. Hong Kong is an exception because the Hong Kong Philharmonic was constructed as a British Orchestra.

T1
What is the best trombone playing you have ever heard?
The best trombone playing that I have ever heard has definitely come from the bell of Joe Alessi.

T2
What is the best trombone playing you have done?
I think that currently as a member of the Metropolitan Opera Orchestra, I am as good a trombone player as I have ever been in my career. My mantra as a trombone player is to get better each day.

T3 What would it surprise people to know about focusing on operatic music, and what is it like to work for the Met?
After working for 7 years at the Metropolitan Opera, I have developed a deep appreciation for the operatic art form. There is no doubt in my mind that I am a much better musician as a result of being around singers and opera music. I think that composers save their greatest music for opera.

Working at the Met is a grind and a thrill at the same time. Because I play bass, tenor, euphonium, and bass trumpet at the Metropolitan Opera, there is never a dull moment for me. I thank God everyday for the opportunity to make money as a musician in an Opera Orchestra.

c. 2013 David William Brubeck All Rights Reserved. davidbrubeck.com

Interested in more “Seven Positions” tm Interviews?
Charlie Vernon
James Markey
Chris Brubeck
Doug Yeo
Jeremy Morrow
Tom Everett
Gerry Pagano
Ben van Dijk
Randall Hawes
Denson Paul Pollard
Thomas Matta
Fred Sturm
Bill Reichenbach
Massimo Pirone
Erik Van Lier
Jennifer Wharton
Matyas Veer
Stefan Schulz

c. 2013/2014 David William Brubeck All Rights Reserved davidbrubeck.com

Randall Hawes has been the bass trombonist in the Detroit Symphony Orchestra since 1985, after a two year stint in the Woody Herman Orchestra. He performs regularly with chamber music groups formed from members of the Detroit and Chicago Symphonies, and his occasional performances have included the likes of the: Chicago Symphony, Los Angeles Philharmonic, World Orchestra for Peace, Boston Symphony Orchestra and Pittsburgh Symphony.

Since 2004, Hawes has served on the trombone faculty at Northwestern University along with Michael Mulcahy, later to be joined by Timothy Higgins and Douglas Wright. Together they (and formerly NU colleague Peter Ellefson), form the NU Faculty Trombone Quartet. This quartet has been featured at the Pokorny Low Brass Seminar hosted by the University of the Redlands, and in recital. Hawes’ solo albums include: Melodrama and newly released Barnburner. We at davidbrubeck.com are excited to present Randall Hawes as the fourth installmant of year two for Seven Positions.

First position:
What do you look for in an instrument?
I’ll have to say that I look for an instrument that can respond tomy efforts to get the sound that I am looking for, an instrument that responds at all dynamic ranges and projects the way I’m used to it
projecting. I have had my travels through all kinds of equipment in the last 35 years, both dependent and independent: a Holton, a Bach with Thayer valves, a few nice old horns that I found on ebay (including a post-war, Soviet Germany f-bass!), and now a Greenhoe independent with Bach bells. I’m always curious to try new stuff, though. I’ve heard great things about the Courtois, so I hope to try those sometime!

Second position:
How do you conceive of an ideal tone quality?I am constantly searching for that elusive thing. Maybe I’ll getthere someday. The sounds that were put in my ears long ago of my heroes;Edward Kleinhammer, Raymond Premru and George Roberts, keep me striving to match their clarity, projection, beauty and warmth. I believe the instrument is my partner in this search but most of the ideas for the ideal come from within and the sounds that I continue to feed my brain.

Third position:
What is your secret to a beautiful legato?
If only we could bottle it and sell it. To quote Jeffery Reynolds in his new book, A Comprehensive Workbook for Bass Trombone and Tenor Trombonewith F-attachment, “Your slide arrives before the note sounds”. (SlideAhead) This idea helps me, but also thinking of the unending air that
carries one note to the next. To avoid the ‘twa’ of messy legato, you first
have to hear it yourself, then work to get the tongue out of the way. Fast arm, flexible, shock absorbing wrist.

Fourth position:
What helps you achieve musical expression?
Listening to singers and other musicians and mimicking them. I’ll always try to have an active musical line so it doesn’t become stagnant. Playing art songs is a good way to practice musical expression. You can have
the most technically competent player and it can be unmusical.

Fifth position:
Name two inspirations. One musical. One non-musical.
Just two??

Yo Yo Ma, who never ceases to amaze and inspire with his
beautiful playing, his constant creative exploring and his passion for music.

Ansel Adams, who created beauty with his photography and could tell a story
with one photograph. That should be our goal; to tell stories.

Sixth position:
What unexpected surprises have you encountered as you journey to become a bass trombone soloist? About the instrument and the way people perceive it and about yourself?
Well the journey to be a musician has been a great adventure, traveling more than I could ever dream and meeting artists from all over the world who love to create.

I love changing people’s ideas about the trombone and show that it is not always a heavyweight in the back of the orchestra and can be just as expressive and ‘soloistic’ as any other instrument.

Seventh position:
What is it like to teach in a team studio, where students sign up for various teachers? How have your colleagues and the quartet influenced you? At Northwestern, the students rotate to the different teachers and each bring in a lesson summary of their previous week’s lesson to the current week’s teacher. They are required to record the lessons. We (the teachers) are able to get a very good profile of each student, and we see all of the lesson summaries. I have learned as much as the students; as each teacher approaches each problem and unique student differently.

Playing in a quartet is one of the joys of trombone playing, I think. It’s chamber music and is so healthy to do outside of the orchestra job. To play chamber music makes me a better ensemble player in the orchestra or anywhere else, and to play with other great trombonists in a quartet helps to set the
bar higher for me as a musician.

T1
What is the best trombone playing you have ever heard?
That is difficult, there are so many.

Any of the Nelson Riddle recordings with George Roberts are favorites of course.

One CD that many people might know is the Stuart Dempster recording, In the Great Abbey of Clement the VI. This one holds a special place, especially after visiting the Cathedral in Avignon, France and seeing where he played. It is very simple but inspiring.

T2
What is the best trombone playing you have done?
It’s really not for me to judge, but if you press me, I’m happy with the CD Melodrama, even though it took me years to listen to it; I’ve got some other recordings in the pipeline that I’m happy with and someday maybe they’ll be released.

I find myself playing better when I play with great musicians; better than me. It’s one thing that many musicians have in common, I think. To constantly raise the bar to never be completely satisfied with one’s own playing.

The Detroit Symphony Orchestra recording of Barber’s First Symphony and many of the others with Neeme Jarvi have some great low brass sounds that I’m proud of. I’ve always been impressed how Chandos did a nice job capturing the sound of our nice hall in Detroit.

T3
How can you compare playing in a top jazz outfit like Woody Herman’s Thundering Herd, to a top classical one like the Detroit Symphony Ochestra? What things are shared in common, which aspects are most different? You have good apples, and you have good oranges…Playing in a big band like Woody’s was like chamber music in a lot of ways. Only 13 players, and we all listened to the drummer. There was Woody, who was a nice man. He could be cranky at times, but he had a high standard of how his band should sound-a specific kind of swing.

Woody also had a high standard for behavior too, like when a bass player threw a chair out on the dance floor because Woody wasn’t happy with the way he was playing something…he quit the band in a few days, storming off the bus, walking by Woody muttering expletives. The drummer was a crucial piece of the puzzle, strangely similar to a timpanist in an orchestra; it was often a tough spot to fill. Sound and feel: the timpanist is crucial to the sound of an orchestra; the drummer is crucial to the sound of a big band-same with the principal trumpet and lead trumpet.

In the Detroit Symphony Orchestra, there are 90 of us who are expected to listen and blend. In Woody’s “Thundering Herd”, we listened and blended, too. In Woody’s band I listened for the bari-sax player to hook up with him (as well as the trombone section), on many parts of the music. In the DSO, I key into the sound of the tuba player and blend with the trombones.

Thank goodness the DSO doesn’t tour as much as the jazz band did. Woody’s band would have months and months of constant one-night gigs in marginal hotels with an occasional luxurious, week-long stay in Vegas, New York or San Francisco- while performing run outs or playing at a club.

When the Detroit Symphony tours it’s very posh in comparison; very nice hotels, with everything organized and planned with a very carefully limit on how much the group plays/rehearses/travels.

On the jazz side, the union didn’t really help us out much. We were all reminded that we were dues paying union members, however, when we unknowingly crossed a kitchen workers picket line at the Sands hotel in Las Vegas. We were each sent a scorching letter from the national union condemning what we had done! In the orchestra, the union is very involved. This was most notable during our strike in 2010, when they came to our aid as we were out of work for 6 months.

I now look back at the two years traveling and performing with The Woody Herman Orchestra as sort of a “dues-paying graduate school” for me. I learned so much about the business: how to travel and deal with “road” chops and how to finally have the motivation and experience to put my work into a higher gear in order to win an orchestra job.

These days, I occasionally get my big band “fix” by playing with the Walter White Band. It is a nice, tight group with two trombones, three trumpets, three ‘saxes’ and a rhythm section. Walter White, on trumpet, fronts the band.

c. 2013 David William Brubeck All Rights Reserved. davidbrubeck.com

Interested in more “Seven Positions” tm Interviews?
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Jeremy Morrow
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Randall Hawes
Denson Paul Pollard
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Bill Reichenbach
Massimo Pirone
Erik Van Lier
Jennifer Wharton
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Stefan Schulz

c. 2013/2014 David William Brubeck All Rights Reserved davidbrubeck.com