Originally published in the April 2011 ITA Journal, Volume 39 Number 2. Thanks to Editor Diane 
Drexler and the ITA Journal for permission to include their graphics, and the privilege of being published in the journal. Special thanks to my distinguished peer review committee for their insight and feedback.
davidbrubeck.com c 2010 David William Brubeck All Rights Reserved.
James Markey presented Stereograms Nos. 6, 19 and 7 in recital on the 18th and 19th of February as part of the University of Alabama Guest Artist Series. The newly appointed bass trombonist of the Boston Symphony, Markey, performed a suite of three stereograms which was very well received by the audience in attendance.
![edge [ej] Joshua Hauser, tenor and bass trombones Eric Willie, Percussion](https://davidbrubeck.com/wp-content/uploads/2013/03/edge-ej-e1362695982741.jpg)
edge [ej] Joshua Hauser, Tenor and Bass Trombones Eric Willie, Percussion
Tenor and Bass Trombonist Joshua Hauser and Percussionist Eric Willie have just released a bold and visionary album of music which celebrates their unusual duo. Their album, ‘edge [ej]’, features an inspired collection of duos lovingly assembled and performed by the dynamic pair. Some of the compositions were written with Hauser and Willie in mind, and they have made each of the others their own as well.
Stereogram No. 11, Miami, is included on ‘edge [ej]’ and given a delightful rendition by Hauser. ‘Miami’ is wonderfully complimented by the accompaniment which was skillfully arranged and executed by Willie. Both are Professors of Music at Tennessee Technological University in Cookeville, TN.
davidbrubeck.com c 2013 David William Brubeck All Rights Reserved.
Stereograms are available from Hickey’s music and other fine retailers.
Stereograms Not. 1-20, Advanced-Intermediate Original Compositions for bass trombone/bass clef instruments
https://www.hickeys.com/search/products/sku050091.php
Stereograms Nos. 21-30, Advanced-Intermediate Original Compositions for bass trombone/bass clef instruments
https://www.hickeys.com/search/products/sku092661.php
Stereograms A-M, Beginner-Intermediate Arrangements for bass trombone/bass clef instruments
https://www.hickeys.com/search/products/sku099768.php
‘Seven Positions’ is a short, written, shoot-from-the-hip interview series launched by davidbrubeck.com. Each position is a response to a question. Positions one through five will remain consistent while the sixth and seventh positions will be tailored to each interview. We are elated to have Doug Yeo as our fourth respondent.
Doug Yeo is Professor of Trombone at Arizona State University, and owner of the most 
outstanding and pioneering trombone related website-yeodoug.com. Mr. Yeo is perhaps best known as the former bass trombonist for the Boston and Baltimore Symphonies and for his remarkable solo recordings: Take 1, Proclamation, Cornerstone, Two of a Mind and Le Monde du Serpent. Yeo is an integral figure in the development of Yamaha bass trombones, and has published extensively in various journals and on his own site. Doug Yeo and his mentor, Ed Kleinhammer (the former Chicago Symphony Bass Trombonist), have authored the influential book “Mastering the Trombone”. Yeo’s impact on the bass trombone has been profound.
1st Position
What do you look for in an instrument?
There are a lot of trombones on the market and each one works best for someone. The trombone that is best for you is the one that works best for you. I never look at equipment because of endorsements – each player is unique. So you have to try everything. Everything. For me, I’m looking for an instrument that allows my expressive voice to be heard with the same kind of effort I would express that voice in other ways. Beauty of tone is paramount to me so I’m looking for an instrument that allows my sound to speak like I speak. But remember this: Dennis Brain played Mozart on a garden hose with a funnel on the end. And he sounded like Dennis Brain. I would still sound like me no matter what I play. It just happens I feel best
playing my YAMAHA YBL822G. That works best for me. Something else might look best for you. Try before you buy. If you have a teacher who tells you that you MUST buy a particular brand and model of trombone, find another teacher. Unlike religion and mathematics, playing trombone has no truth statements. There are a lot of ways to approach the trombone. Find the way that works best for you and use the equipment that allows you to express your way the best.
2nd Position
How do you conceive of describe, or visualize an ideal tone quality?
The sound is in my head. I cannot describe it in words nor can I replicate it on anything but a trombone. Ideal tone can be warm, cold, hard, harsh, fuzzy, bright, brilliant, dark, supple, vibrant, dull, painful, diffuse, rich and myriad other words. What kind of tone is ideal depends on what kind of tone I’m trying to achieve. I’m not a “one sound all the time” person – my sounds is different on Stravinsky, Bruckner, Sibelius and, when playing, “Jesus Paid it All” in church.
3rd Position
What is your secret to a beautiful legato?
Relaxation. Keep your wrist relaxed. Our body is made of hinges. Use the hinges closest to the slide before your use any hinges further away. So use your fingers before your wrist, use your wrist before your elbow, use your elbow before your shoulder. Too many players move their slide only with their elbow because their right wrist is frozen. We articulate with air and tongue and valve – not with the hand slide. So make your slide motion relaxed and easy – whether you’re playing legato or marcato. Then remember this: warm air = warm sound; cold air = cold sound. In most legato playing, we want warm sound – keep the tongue relaxed like you’re yawning (one of the basis points of my teacher – Edward Kleinhammer – and his pedagogy) .
4th Position
What helps you achieve musical expression?
Inspiring role models – either musicians or other kinds of artists, or the handiwork of God, the first and greatest artist, exhibited in all of creation.
Photo courtesy of Doug Yeo, “View from my Driveway”
5th Position
Name two inspirations. One musical and one non-musical.
Sunrise over the Sierra Estrella range, seen every day from my driveway in Arizona. It is unspeakably beautiful and inspires me to work each day to implement Paul Hindemith’s inspired words: “Your task it is, amid confusion, rush and noise, to grasp the lasting, calm and meaningful and, finding it anew, to hold and treasure it.” (“The Posthorn” from Hindemith’s “Alto Horn Sonata”)
George Roberts playing, “Precious Lord, Take My Hand,” with an ease and comfort in his playing that I have tried to emulate over the last 40 years since I first heard it.
6th Position-DY
As someone trained in the ‘Chicago-Style’, how would you assess the strengths of that approach? What modifications have you made to it?
It is usually misunderstood. I trained under Edward Kleinhammer who played bass trombone in the Chicago Symphony from 1940-1985. Many people think that great brass section he played in (what I call, “old Chicago” to differentiate it from the current, “new Chicago” section) was all about playing loud and long. Actually, they were about unity of concept. From Adolph Herseth on first trumpet to Arnold Jacobs on tuba, the old CSO brass section played with unanimity of concept. The whole was much greater than the sum of the parts. Today, we usually hear orchestra sections made of tremendous players but they don’t add up to be better than the individuals because too many individual voices are competing for attention. I have tried to be purposely contextual in my playing.
7th Position DY
Most musicians meet their limitations. You seem to be a rare individual who has succeeded as an ensemble player, a conductor, a soloist, a writer, and an educator. How do you do it?
I don’t do it. God has done it. I have an insatiable curiosity and that has led me down many rabbit trails in life. These trails have led me to a life filled with discovery and wonder. I still sleep 8-9 hours a day. I learned long ago that if I am tired, ill or dead, I can’t do anything. I have tried to help people discover their own joys in living. I don’t think I ever set out to purposely do all that I have accomplished; truly I have tried to faithfully follow God’s leading in my life and it has taken me to some unexpected places. I find it remarkable, and feel very blessed.
T1
Best trombone playing you’ve ever heard?
Dick Nash playing, “The Shadow of Your Smile” with the Henry Mancini Orchestra.
T2
Best trombone playing you’ve ever done.
Mahler Symphony 2 in Salzburg, while on tour with the Boston Symphony Orchestra conducted by Seiji Ozawa
davidbrubeck.com c 2013 David William Brubeck All Rights Reserved.
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
Jay Armstrong is a kind and generous gentleman who performed on an Earl Williams 9 as the Principal Trombonist for the Nashville Symphony. A student of Emory Remington while at Eastman, Jay entered into the Williams Legacy and expanded it by re-tooling and moving the production to Donelson, TN. Earl Williams’ custom trombones are legendary, and have retained their exalted status even amid the rich new tradition of modern custom trombone craftsmen-many of whom still admire and imitate them. photos courtesy of THE HORN DOCTOR BACmusic.com
When did you first play on an Earl Williams Trombone?
Probably 1962 or ’63. I took a few lesson with Donald S. Reinhardt (Philadelphia – – – 1720 Chestnut Street, as I recall) and during one lesson he had a Williams Model 6 in his studio. He raved about the wonders of the horn, and that was certainly when the ‘seeds’ of desire were implanted in my head. (I played the horn and loved it.)
What is it about them that makes them so desirable?
For me, the beautiful sound. Big, warm sound from what would seemingly be a ‘small’ horn. A Model Six (.500″ bore) sounds like a much ‘larger’ horn. The Model Four, for example, doesn’t have the ‘brittleness’ that one normally associates with a .490″ horn. The Eight/Nine models sound like .542″ bore horns, though they have a .520″ bore. The Ten has an incredibly large, dark, refined sound.
Did you have knowledge of any special alloy used by Earl?
Earl, to our knowledge, had no ‘special alloys’. He just used “cartridge brass”. A ‘special alloy’ would only be possible in a ‘large’ order of product. Quantity of product was beyond the scope of the relatively small operation of Williams Trombones. (Both for Earl and for us.)
When did you begin the Donelson Earl Williams Brand? Cropped EW Stamp
Probably late 70’s. The ‘bell stamp’ used to say “Burbank, California”, and we had a new stamp made saying “Donelson, TN”. As I recall, our ‘bell stamp’ (information) went through four changes, although I don’t recall when the changes were made. We used ‘three lines of information’ for a while, then changed to ‘four lines’, and then changed to ‘four lines’ including the model of the instrument.
Did you seek to imbue the Donelson horns with aspects of both the Williams Wallace and the Burbank horns, or only the Burbank ones?
We built instruments based on the Burbank instruments.
Which Williams model did you perform on the most? Have you found any other horns to compare to it?
I spent ten years as Principal with the Nashville Symphony, and during that time I only played my Williams Model Nine. (I did build for myself a Model Eight bell [without F-attachment] which I used on my existing slide section, but the bell was “raw” and sort of corroded but sounded good.) I was always satisfied with my Nine, and I’ve never been one ‘on-the-search’ for something better. Whatever different horn I might play, I never found another that I felt as comfortable playing as my Nine.
Were there any historic deficiencies in the Williams you sought to overcome?
The Williams curved water key was always a problem. It was a manufacturing hassle, and an operational hassle. Many of Earl’s mandrels and draw rings were worn (and abused), and tolerances were difficult to maintain, so we replaced many of the drawing mandrels and bending fixtures to have a better ‘fitting’ final product.
The Earl Williams trombone bells are special. Can you comment on any aspects that make them unique? Is the thickness a factor?
We always manufactured the bells to the same ‘thickness’ as Earl did, and we never experimented with “heavier” or “lighter” bells, or bells made of different materials or alloys. Whether ‘thickness’ of bell material is a MAJOR determining factor, I don’t know.
I think the most ‘unique’ factor of the Williams bells are the tapers of the bells, which allow the ‘throat’ to be relatively enlarged. For example, if an EIGHT bell is placed next to a Conn 8 bell, or a Bach 42, the difference of ‘throat size’ (the ‘enlarged’ taper) can easily be seen. Same for all the Williams bells. Each respective model seems ‘larger’ (in the bell)
than a competitors instrument. We used a small family-owned company in Elkhart, IN for our bell manufacturing and specified the thickness of the brass to be used. They cut the ‘neck’ patterns using our patterns and their stock. Our bells were difficult for them to ‘work’ because of the thickness. But, we were following the specifications that Earl had made.
The bell spinners were true craftsmen. They had a thriving business supplying bells from MANY manufacturers. From the bell spinners, I would return to Nashville with a small quantity of flat ‘neck patterns’, then manually stamp the ‘information’ on the neck, and UPS them back to Elkhart where they were brazed and shaped into rough cones. Several months later I would return to Elkhart with our flare mandrels and ‘final spin’ mandrels, and, within a couple days, I would leave with a couple dozen new bells. Our bell manufacturing process was labor intensive and inefficient. We were a long way from the efficiency one experiences when visiting, for example, Steve Shires’ shop.
I think another important factor in the construction of Williams bells is the use of a ‘bead wire’ and having that wire soldered in place. A soldered wire seems to add a solidity to the overall sound of the bell . . . and from the bell. We built all the Donelson bells with a ‘soldered bead wire’. The ‘bead options’ are (1) no wire, or (2) wire with no solder (risky because one might experience a ‘bell rattle’ on certain notes / harmonics), and (3) bead wire with solder. Option 3 is best (I think); however it takes more ‘labor time’ and adds more ‘complication’ to the finished bell.Our bells always had a nice ‘ring’ to them, and I think part of the reason was because of the soldered bead wire.
Were any bells spun in Tennessee?
All the bells we used in completed instruments were spun by the ‘bell spinner’ in Elkhart. We did spin some bells in TN, but none were of the quality to satisfy us. They were never used and ended up in the trash bin.
Which famous trombonists do you consider most closely associated with Earl Williams trombones?
Milt Bernhart is the first to come to mind. Dick Nash, of course. I recall being surprised by the trombonist with Herb Albert as he played a Model 7. (I forget his name. I can picture his persona, because he had that ‘south-of-the-border’ thing going on.)
Which players are associated with the Donelson Earl Williams?
I recall that Dick Nash used one of our horns, and Sam Burtis visited us one time and used one of our horns. When Doug Elliott was playing with the Airmen of Note, the Air Force bought two of our horns and they were used by Doug Elliot and the lead player with incredible high chops whose name escapes me.
[Editor’s note: Doug Elliot writes, “Rick Lillard and I visited Jay’s place when we were in Nashville with the (Airmen of)Note taping a show for ‘Nashville Now’, and ordered our Model 4’s.”]
Did Eastman’s Legendary Trombone Professor Emory Remington, ‘The Chief’, ever comment on the Earl Williams trombones?
No. Two reasons. First, the Williams were mainly ‘West Coast’ horns being used in the recording studios. The instruments were not well know East of the Mississippi. Second, The Chief was big into Conn 88H’s . . . and the Remington mouthpiece usually supplied with that horn. It was VERY rare at Eastman (at least through the 60’s) for there to be any other brand of tenor used other than Conn. I seem to recall some Holton or Bach basses, but tenors were almost always Conns. (The Choir had a ‘unity’ of sound partly because everyone played the same horn.)
davidbrubeck.com c 2013 David William Brubeck All Rights Reserved.
When the final backdrop rolled away at the Kennedy Center Ceremony honoring the legendary jazz pianist, bandleader and composer Dave Brubeck, the band revealed was comprised of his four sons: Darius on piano, Dan on drums, Matthew on ‘cello and Chris on Bass Trombone. Chris Brubeck’s commanding presence and musicianship brought the bass trombone to the forefront of a nationally televised audience. This is nothing new for Chris, and it is difficult to imagine a bass trombonist who has accomplished more widespread exposure for the 
instrument in recent years. Whether on tour with his father in jazz’s most storied venues, leading the Brubeck Brothers on tour and up the Gavin Charts, or performing one of the revolutionary bass trombone concertos he has composed, Chris Brubeck is one of the most visible and successful bass trombone soloists in both classical music and jazz. And he does it all while holding down his ‘day job’ as a bassist and composer. Chris Brubeck is delightful third installment of Seven Positions.
1st Position
What do you look for in either instrument?
I have to confess that I am about as far from being an instrument, mouthpiece or valve gadget guru as you can be. What I am is a creature of habit and a versatile musician. I spend more time playing my 1969 Rickenbacker Fretless Bass than I do playing my bass bone. I bet there are a number of things about my horn that hold me back a bit, but there are a lot of things I like about my old Holton horn too.
I play a Holton TR185 which arrived by mail to our Connecticut house the day before I went to The National Music Camp in 1963. The summer before, I went to the New England Music Camp and the French Horn instructor, Louis Stout had a deal with Holton and hooked me up with the process of ordering and buying the horn at a discount. I knew he wouldn’t steer me wrong. I know it is unbelievable, but I have played this one bass trombone ever since. It was supposed to have 2 triggers but arrived only with one and I flew off to Michigan the next day one valve short but challenged enough about learning how to use the F attachment. I was playing a Selmer pea shooter before that and I knew I had, for whatever reasons, a naturally good low range and a naturally bad high range. I figured why fight Mother Nature and decided to concentrate on bass trombone.
2nd Position
How do you conceive of (describe/visualize) an ideal tone quality for each instrument?
There are lots of wonderful and different approaches to making a sound on the instrument. I would add from a personal taste perspective that I don’t like the diaphragm vibrato approach so much. I believe that the trombone is the only Western brass instrument that HAS the ability to create a vibrato with a slide. I often think about how much I love recordings of the Hammond B3 and how the spinning Leslie speaker kicks in at different times to add expression to the music. We “spin” our sound as brass players too and I think it is an appropriate tool to use on the trombone varying a straight tone or a slight vibrato to end a phrase. That notion comes a lot from hearing Paul Desmond on the alto sax all my life and checking out how he lyrically tapered his phrase ends. I loved J.J. Johnson’s sound and had a book by him when I was starting out. By contrast I totally love Wycliff Gordon’s “rough and tumble” approach as well. What I also really like and strive for is a big Classical music taboo. In the same way that I like the coarse sound of a singer like Joe Cocker over Johnny Mathis, I like to hear notes “split” and 2 octaves seep through the tone in a subtle way.
Regarding my bass, I got it before the world or I heard Jaco Pastorius who revolutionized the electric bass concept with his new sound, but I got my fretless Rickenbacker because it sounded MORE like an upright than anything like Jaco’s tone. I wanted to use the more upright bass sound in rock and took it into my jazz life. I grew up listening to Eugene Wright in my Dad’s group and he was a meat and potatoes kind of player from Chicago. I really gravitated to that concept of “holding the fort” while every one else was exploring off the musical charts. Plus it was very practical to put my bass guitar in an overhead bin on the plane and not have to buy a seat for Mr. B. Fiddle. This meant also that I always had to check my trombone down below in cargo. Thankfully Protec is finally making a hard plastic molded case that doesn’t cost a fortune, protects your horn adequately and isn’t made out of canvas and balsa wood as in previous years.
3rd Position
What is your secret to a beautiful legato?
My most influential teachers were Dave Sporny at the Interlochen Arts Academy and, by total contrast, Glen Smith at the University of Michigan in the early 70s. Sporny was an all-around player who exposed me to a lot of literature but he totally understood jazz. Smith wasn’t into jazz very much and he made me play a lot of Bach with an emphasis on connecting the notes and phrases in a warm legato style as smoothly and as musically as possible. At the time I was studying with Smith I missed jazz input from a teacher, but in the long run some of his emphasis on legato phrasing rubbed off and contributed to whatever legato game I’ve got.
4th Position
What helps you achieve musical expression?
One of my pet theories (and perhaps peeves) is that music doesn’t come alive unless the performer understands
where to place accents to enable the line and phrase to make musical sense. Beyond the accents I feel that the performer has to commit to a mood or a “vibe” they want to express when playing a piece. I feel the soloist has to convey an emotional story to the audience and have the technical competence to let the audience relax and appreciate where the musical approach is taking them.
5th Position
Name two inspirations. One musical and one non-musical.
I know in my case it’s a rather predictable response but I would be fooling myself if I didn’t admit that my father, his talent, his musical eclecticism and hard work ethic, were a major influence on the kind of musician and composer that I have become. I know you only asked for two inspirations but I’m going to also throw in that I was deeply inspired by the Beatles and also by Bach and Stravinsky. For a non-musical inspiration, I think I’d have to pick Mark Twain. I have loved reading his works since I was a kid and got re-acquainted with him a few years ago when I was commissioned to write a piece based on his life. Twain had a deep social conscience and used his abundant imagination and sense of humor to make powerful insights into the American psyche.
6th Position-CB
What challenges and attributes does the bass trombone bring to small group jazz?
Sometimes it’s hard for people who are not trombone players to understand and utilize the differences between 
bass and tenor trombone. Depending on the player, usually a bass trombone player can’t be expected to pull off all of the “traditional” tenor sax and trombone leads in the bop jazz combo setting. Yet, if you do it right, it can be a fine instrument in a small ensemble. On the other extreme end of the spectrum, I used to play with a horn funk band sometimes and be asked to replace the bari sax functions in a Tower of Power-like horn section. That was challenging and fun. There was a lot of funky huffing and puffing!
7th Position CB
What is your vision of the role the bass trombone in jazz?
This kind of goes along with my last answer. I think if you know what you’re doing with it, the bass trombone can be really versatile. In my jazz group, the Brubeck Brothers Quartet, we usually have tunes where I’m doubling the melody with electric jazz guitar and it’s a really cool sound. On the other hand, we usually do one track on each CD where my bass trombone is the lead instrument and everything from the key that’s chosen to the accompaniment is built around featuring the bass trombone. It is certainly an instrument that is capable of holding its own and making a soulful melodic statement. Most trends in music are cyclical; it is hard to believe that there was a time in jazz where the trombone was as much the dominant solo instrument as the sax is today. I keep thinking there has to be a breaking point where the audience says they just can’t bear to hear one more tenor sax player (especially in the smooth jazz recording world) that is derivative of Grover Washington, Jr. My fervent hope is that bass trombone and trombone will prove to be a pleasing alternative in the future.
T1
Best trombone playing you’ve ever heard?
I’ve heard some amazing trombone playing in my life and I cannot possibly narrow it down to one performance. I can mention several times when I’ve been lucky enough to her live something that really stuck with me for years. I remember being blown away at a jazz festival in Germany when I heard Albert Mangelsdorf put on an amazing display of multiphonic playing. 
I certainly remember being blown away hearing Doug Yeo playing John Williams’ tuba concerto with Boston on bass trombone. Fortunately for me, I also got to hear him play both my trombone concertos with Boston, and it was really thrilling to hear him tear through them with such technical mastery. In more recent years, I’ve heard the wonderful jazz player, John Allred, play who I think deserves much wider recognition. There are dozens of players who deserve to be on my short list — I’ve heard many wonderful musicians play this instrument. Right now there’s probably some kid in Kearney, Nebraska who no one has heard of yet, who is playing his buns off!
T2
Best trombone playing you’ve ever done?
For a long time, I felt the best trombone playing I ever did was on a magical afternoon when I was a kid studying at the Interlochen Arts Academy. We were on tour playing at Orchestra Hall in Chicago and got to hear the famous Chicago Symphony rehearse. The brass section at that time was legendary! We young brass players were thrilled to meet the Chicago Symphony musicians backstage after their rehearsal. To my utter shock and delight, Edward Kleinhammer offered to play some duets with me. In my fantasy memory of that occasion I was so inspired by his generosity and musical presence, that I played at the top of my classical game. Only God knows if this was true or whether my memory has been distorted through the haze of shock. Another time I played at Carnegie Hall back in the 70s and was featured playing a ballad with my father’s quartet. I got lucky that night — everything my brain thought of doing, my lips and slide accomplished! Also for whatever reason I really connected deeply with the audience. In that case I had a bit of outside confirmation because there was a review in the NY Post where the critic called it “some of the best trombone playing I’ve ever heard.” Lord knows what his previous listening experiences were, but sometimes things work out well. I’m also quite proud that in the last 3 months I’ve played each of my 3 trombone concertos with 3 different orchestras (in Moscow, California and France) and gotten a wildly enthusiastic reception. If you had told me back when I was a student at Interlochen that I’d be able to do that when I was 60, I would have thought you were nuts!
davidbrubeck.com c 2012 David William Brubeck All Rights Reserved.
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
James Markey is an inspiring and insightful respondent for the second installment of Seven Positions. 
Though still very much a young man, Markey has made a significant signature on the solo bass trombone with the releases of his recordings “On Base” and “Offroad”. Sterling flexibility and sensitive musicianship are hallmarks of these virtuosic recordings, which are highlights of a remarkable career that includes notable positions and performances on bass and tenor trombones with The Boston Symphony, The New York Philharmonic, and The Pittsburgh Symphony.
1st Position
What do you look for in an instrument?
No instrument can make you do what you ordinarily can’t. An instrument can, however, make you unable to do something you ordinarily can! When I look for an instrument, I’m looking for one that will have the fewest encumbrances and hindrances to my playing – the one that will get in the way the least.
2nd Position
How do you conceive of an ideal tone quality?
Good question. I like to think of tone as not born in a vacuum! We need to listen to recordings of people, brass players and non-brass players alike, and listen for some of the characteristics of sound that make them sound beautiful. Every instrument/player at the highest level has both breadth of sound AND clarity of sound. The mix changes among instrumental groups and families, but there’s still a mix. The more we hear others play, the better idea we have in our head of what a beautiful sound is.
3rd Position
What is your secret to a beautiful legato?
One word – coordination. Most players move the slide much too early. Remember, the slide just moves in and out. The tongue however goes up first to stop the air, then down to release it. If you move the slide at the same time you start to move the tongue, you’ll get a smear – plain and simple. You need to STOP the air with the tongue first, and THEN move the slide. This means the tongue starts to move before the slide does. A good way to practice this is to try “reverse smears”. Move the slide WAY too late – almost with the tongue on the beat and the slide a sixteenth note too late. Gradually move the slide earlier by small degrees until the slur is clean. In some cases, it’s mind blowing how much later you can move your slide and still get a good legato!
4th Position
What helps you achieve musical 
expression?
Once again, the key here is listening. Music is a language. If you want to learn how to speak French beautifully, you have to live in France. Sure, recording yourself speaking French can be a great tool, but if you don’t actually know what French should sound like, you’re not going to get very far! And you mustn’t take it for granted that you understand good phrasing and musicianship. We ALWAYS have much to learn about things one COULD do to sound beautiful. Once you have this vocabulary, you can put it together to form “musical sentences”. But if you don’t know the words, or decide that you like the word “dinosaur” instead of “sandwich”, you’re going to confuse a lot of people when you start talking about lunch!
5th Position
Name two inspirations. One musical and one non-musical.
Musical: conductors with great energy. Dudamel and Haitink come to mind specifically, although there are many others. Alan Gilbert’s ability to singlehandedly rescue a performance that could have gone disastrously awry or stopped completely! Non-musical has to be the sacrifices that so many people made on my behalf when I was an aspiring musician. Joe Alessi refusing to accept payment for my lessons because he knew our family’s background, my high school band and chorus director paying for me to attend the party following HS graduation, the time and energy numerous colleagues have spent with me when I’ve gone through difficult times both playing and otherwise. I’ll never forget these kindnesses and sacrifices, and they reflect for me, even in small ways, the greatest sacrifice ever made–in Jesus.
6th Position
What’s the best part about playing each different chair in an orchestral trombone section?
It’s always incredibly interesting to have different parts going around. When you’re first, you’re sitting on the top of the section as the highest voice, riding the foundation laid by the lower voices. In the second chair, you’re filling out the section between the bookends, the meat of the sandwich, and as the bass, well, you’re the foundation of the trombones! Especially in bass, sometimes you’re the third trombone, sometimes you work in conjunction with the tuba as the bass line, and it always makes life interesting when you see how your part fits in and what kind of role you need to play.
7th Position
What additional perspectives have you gained as an organist, and how has it helped you?
Playing organ has done a couple of things for me. First, it has taught me to be able to think of three things at one time (LH, RH, and Pedals). This is useful when you’re trying to play with good attacks, AND good energy, AND watch the E’s above the staff because they’re sharp. 🙂 When you’re used to thinking of three lines, it makes thinking of one line in three different ways so much easier. Secondly, it’s really emphasized the importance of harmony to the melody. Having an understanding of where the stresses are in the melody, based on the harmony, really helps to form phrase shape, etc.
T1
Best trombone playing you’ve ever heard?
On a consistent basis: my lessons with Joe. I remember things he said well, but I remember his playing so much better. Talk about an invaluable resource! Just trying to sound like him helped hone my attacks and articulations, energy of sound, shape of phrasing, etc.
T2
Best trombone playing you’ve ever done?
I have to honestly say probably the last two auditions I’ve taken – for the bass trombone positions in the Philharmonic and the Boston Symphony. But that’s probably because, unlike recitals, I don’t have a live recording to go back to listen to!
davidbrubeck.com c 2012 David William Brubeck All Rights Reserved.
Interested in more Seven Positions Interviews?
Charlie Vernon
James Markey
Chris Brubeck
Doug Yeo</a
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
Seven Positions is a short, written, shoot-from-the-hip interview series launched by davidbrubeck.com. Each position is a response to a question. Positions one through five will remain consistent while the sixth and seventh positions will be tailored to each interview. We are very proud and pleased to have Charles “Charlie” Vernon respond to launch Seven Positions.
Mr. Vernon is best known as the bass trombonist in the Chicago Symphony Orchestra (CSO). As a student of Edward Kleinhammer and Arnold Jacobs, Vernon has worked to preserve their legacy through his performances with the CSO, through his teaching (currently Professor of Trombone at DePaul University) and as the author of “The Singing Trombone”. But for Vernon, excelling in what is perhaps the most storied low brass section in the world was only the beginning. In 1991 Vernon premiered a bass trombone concerto by Ellen Taaffe Zwillich in celebration of the CSO Centennial. In 2006 Vernon and the CSO premiered a concerto for alto, tenor and bass trombones by Christian Lindberg entitled “Chick ‘a’ Bone Checkout”. At a recent International Trombone Festival a long time attendee and occasional host commented to me that he thought the level of solo performances on bass trombone were about 20 years ahead of the solo performances on tenor- a trend that began with Vernon.
1st Position
What do you look for in an instrument?
An open, free blowing response with a great fundamental sound. The slide must blow and move well.
2nd Position
How do you conceive of, visualize or describe an ideal tone quality?
I think of the most beautiful tone quality, using adjectives that I can imagine while I’m playing.
3rd Position
What is your secret to a beautiful legato?
One beautiful note followed by another with nothing in between. The tongue, lips, and slide go exactly with the rhythm: 
everything going at the same time.
4th Position
What helps you achieve musical expression?
Singing every note from my soul.
5th Position
Name two inspirations, one musical and one non-musical.
Ed Kleinhammer
Michael Phelps
6th Position, CV
What makes a great concerto for bass trombone?
A piece with great melodies and beautiful sounds with many moving atmospheric moments showing all the great aspects of the trombones.
7th Position, CV
What would it surprise people to know about Jacobs, Kleinhammer, Crisafulli, and Friedman?
Four different styles of playing all going for a similar result.
T1
What’s the best trombone playing you’ve ever heard?
Bill Watrous playing in my face.
T2
What is the best trombone playing you have ever done?
Difficult to pick, even though there are a few choices. I have played beautiful ballads on the trombones.
C. 2012 David William Brubeck All Rights Reserved. davidbrubeck.com
Photo credit: Steve Kagan/The New York Times/Redux
Interested in more “Seven Positions†tm Interviews?
Charlie VernonJames MarkeyChris BrubeckDoug YeoJeremy MorrowTom EverettGerry Pagano Ben van DijkRandall HawesDenson Paul PollardThomas MattaFred Sturm Bill ReichenbachMassimo Pirone Erik Van Lier Jennifer WhartonMatyas VeerStefan Schulz
c. 2013/2014 David William Brubeck All Rights Reserved davidbrubeck.com
Brass Miami
davidbrubeck.com
return to the Tropical Baroque Festival. This End-of-Festival Gala will take place in the Biltmore Hotel, Coral Gables, and conclude with live musical accompaniment to fireworks. Under the leadership of Brian Neal, Brass Miami is comprised of many of the finest brass soloists throughout South Florida and includes current and former members of the Dallas Brass, Empire Brass, Florida Philharmonic, Naples Philharmonic, Miami City Ballet Orchestra and Florida Grand Opera Orchestra. This is a special event for Brass Miami, since the group was formed under the aegis of the Miami Bach Society, sponsors of the festival. Tickets are available at miamibachsociety.org
davidbrubeck.com
c 2012 David William Brubeck All Rights Reserved.
This live recording of the Scherzo and Largo from the Cello Sonata by 
Chopin is provided courtesy of the Univeristy of Miami. The pianist is Linda Byrd and the bass trombonist is David Brubeck.
Excerpts from this wonderful concert with Ray Charles in Miami have just surfaced on YouTube. What a thrill to play for the great Ray Charles in such a beautiful venue as the Knight Center. This date was rehearsed and recorded in one day, and contracted by a superb trombonist who had retired to South Florida from New York-Morty Bullman. For decades Morty was a staple of the New York scene. He told me that he first hit New York as Tommy Dorsey was leaving to take his newly formed band on the road.
davidbrubeck.com
c. 2012 David William Brubeck All Rights Reserved. davidbrubeck.com
The celebrated Ahn Trio coached the Miami Dade College Kendall Campus Trombone Ensemble in an exhilarating hour-and-a-half
master class. Cellist Maria Ahn, pianist Lucia Ahn, and violinist Angella Ahn each drew upon more than thirty years of chamber music performances to offer the aspiring musicians insight into the chamber music skills of synchronized ensemble, expressive phrasing, climax and an inspired presentation. The quartet presented a memorized program premiering arrangements by their director, Dr. David William Brubeck.
The Ahn Trio Masterclass was the highlight of a busy summer for the Kendall Campus low brass players who also had the 
privlege of inaugurating the “Jazz at the Clinic” at The Cleveland Clinic in Florida Concert Series as part of their Arts & Medicine initiative. The brass players also had the privilege of seeing Kendall Campus trombone alumnus Clay Lucovich perform in his new capacity as trombonist and soloist in the world-famous Glenn Miller Orchestra. Enrolled in the Kendall Campus Summer Trombone Ensemble are trombonist Brandon Bryant, bass trombonist Ernesto Bayola, bass trombonist Michael Nunez, and tubist Anthony Lupo.
Photo credits: Mr. Carlos Bayola, Mrs. Anna Ukleja, Dr. David Brubeck
C. 2012 David William Brubeck All Rights Reserved. davidbrubeck.com
The International Trombone Association Press has published the third volume of Stereograms, Nos. 21-30. These original unaccompanied solos for bass trombone are also appropriate for tenor trombone with ‘f’-attachment and work well for euphonium, bassoon, ‘cello and most bass clef instruments. Featuring self-accompaniment in the style of Bobby McFerrin, Stereograms have garnered praise and been recorded and performed around the world.
The latest collection, “Everglades”, ranges in style from Funk Etudes dedicated to Bill Reichenbach and Fred Wesley to Swing tributes for Glenn Miller and “Tricky” Sam Nanton. The most recent volume features a mixed-meter romp honoring Chris Brubeck and two additional ‘laid back’ etudes which have soaked up impressions of the Florida Keys and are dedicated to Jeff Reynolds and Ken Thompkins.
Those who enjoyed ‘Spain’ or ‘Africa’ from Volume II will be drawn to No. 26-‘Cuba’ from Volume III. Dedicated to Phil Teele, this extended concert Etude utilizes innovative expressive devices with flowing, hypnotic Afro-Cuban mixed-meters. Two final pieces include a novelty ‘gliss-fest’ dedicated to Henry Fillmore and a dreamy piece of Americana honoring Emory Remington. “Everglades” is available from Hickey’s Music and other fine retailers.
http://www.hickeys.com/products/092/sku92661.htm
The ITA Press also publishes Stereograms Nos. 1-20, Volumes I & II The release of Volume III joins the first two volumes of Stereograms which are in their fourth printing and are published as a set. Volume I-“Three Smooth Stones” includes Stereograms Nos. 1-10, and Volume II-“Modern Renaissance” is comprised of Stereograms Nos. 11-20. They may be purchased from Hickey’s Music and other fine retailers.
Two free original Stereograms are found on davidbrubeck.com: No. 1 “Pankow” and No. 11 “Miami”. The link to purchase Stereograms Volumes I & II is listed below. (Separate editions of Volumes I & II are available for Eb saxophone and tuba.)
http://www.hickeys.com/products/050/sku50091.htm
Praise for Stereograms…
“I find these works most enjoyable and unique – and fill a void in trombone literature. 
They are excellent as studies, training pieces for phrasing, perfect encores, and would be effective combined to create an unaccompanied suite for bass trombone.” Tom Everett, Harvard University
“I came across Stereograms again a few weeks ago and I’ve been enjoying them quite a bit – playing several a day as part of my daily routine. They cover a lot of ground, are well written and fun to play and make me smile. They keep my reading sharp and are a good challenge to play in different styles.” Doug Yeo, Boston Symphony Orchestra
“Commercial style pieces like these are much needed. These Stereograms are very much on the commercial side – including accompaniment patterns which you can also play musically. They remind me of the patterns in the music Nelson Riddle used to write for me that I was so fond of.” George Roberts, Mr. Bass Trombone
“These inventive and enjoyable studies add creatively to the bass trombone literature. I predict Stereograms for the bass trombone will become a staple in most bass trombone studios.” Dr. Thomas Streeter, Illinois Wesleyan University
“Rarely does a collection of Etudes come along to stimulate a player to work on its challenges to the exclusion of the “Standards” ….Kopprasch, Fink, Slama, Blazevich et al. Dave Brubeck has done it! My students demonstrate a much higher degree of preparation on the Stereograms than any other assigned material. What’s not to like? Melodies, rhythms, range, style, musicality – Stereograms have it all. I hope this is just the first of many more Etudes for the Bass Trombone.” Don Knaub, University of Texas
Stereograms are available from Hickey’s music and other fine retailers.
Stereograms Not. 1-20, Advanced-Intermediate Original Compositions for bass trombone/bass clef instruments
https://www.hickeys.com/search/products/sku050091.php
Stereograms Nos. 21-30, Advanced-Intermediate Original Compositions for bass trombone/bass clef instruments
https://www.hickeys.com/search/products/sku092661.php
Stereograms A-M, Beginner-Intermediate Arrangements for bass trombone/bass clef instruments
https://www.hickeys.com/search/products/sku099768.php
C. 2012 David William Brubeck All Rights Reserved. www.davidbrubeck.com
