Joined: 03 Sep 2003 Posts: 10124 Location: Escondido California
Posted: Thu Sep 05, 2013 8:30 am Post subject:
Mike Sailors wrote:
I know what you meant. You've been saying it for years. No backstepping. You can make me the bully again if you like, but you're not fooling anyone.
Well, if you say it then it is so. I'll just have to live with that. _________________ Crazy Nate - Fine Yet Mellow Fellow
"so full of it I don't know where to start"
Horn: "just mismatched Kanstul spare parts"
- TH member and advertiser (name withheld)
Leonhard Paul, the 'bone player is also from Mnozil Brass. Both great players _________________ Selmer Radial Bb ML - Jan., 1972
Selmer Radial C XL - Jan., 1972
Getzen 580S cornet - c. 1973
Blessing Artist Flugelhorn, rose brass bell
Accent Picc by B & S
Conn 28B Concert Grand Bb - 1925
Martin Handcraft Imperial - 1937
Leonhard Paul, the 'bone player is also from Mnozil Brass. Both great players _________________ Selmer Radial Bb ML - Jan., 1972
Selmer Radial C XL - Jan., 1972
Getzen 580S cornet - c. 1973
Blessing Artist Flugelhorn, rose brass bell
Accent Picc by B & S
Conn 28B Concert Grand Bb - 1925
Martin Handcraft Imperial - 1937
Joined: 03 Sep 2003 Posts: 10124 Location: Escondido California
Posted: Thu Sep 05, 2013 12:52 pm Post subject:
Yeah, I noticed that too. I was waiting for him to work the slide with his foot . . . _________________ Crazy Nate - Fine Yet Mellow Fellow
"so full of it I don't know where to start"
Horn: "just mismatched Kanstul spare parts"
- TH member and advertiser (name withheld)
Joined: 07 Jan 2004 Posts: 205 Location: Northern Virginia
Posted: Thu Sep 05, 2013 1:13 pm Post subject:
Also take the time to notice the cool mute the sax guy has in his bell. I have mute just like that that I use on my trumpet now and then. _________________ _________________
Selmer Concept TT
Xeno RGS
Eclipse Flugel
Courtois Chambord Cornet
Pocket Max
Since we are giving opinions - let me be the first to say that THIS IS THE CORNIEST version of Doxy I ever heard. Couldn't these guys manage to use ANY vocabulary past 1940? Yes - they are all good musicians, yes, they are also europeans, with not much connection to black culture or the street, (or whatever you want to call it so that white people won't get offended), yes they are playing to the crowd. Good for them - me personally, it does nothing for me other than make me think of how corny and regressive **** like this is. You can play any tune in any style - but is it always in good taste? What kind of statement do you make when you are conjuring up nostalgia for something so sad. (Dixieland, by definition, is the music played by white folks in imitation of the New Orleans musicians who created it.) Here is SONNY ROLLINS, the COMPOSER of the tune:
Joined: 29 Jan 2013 Posts: 392 Location: Somerset, UK
Posted: Fri Sep 06, 2013 3:54 am Post subject:
Personally I don't like it much as an arrangement or style of playing - not my cup of tea.
However I do appreciate the musicianship and the fact they are deliberately playing in this style so it's not that they are not capable of something different - it's a very deliberately crafted piece.
As someone who is a long standing TG fan my opinion is he is one of the finest and most versatle trumpet players on the planet and is capable of playing in any style he wishes at virtuioso level.
Just Youtube him and listen to the Schagerl big band stuff or some of his own albums - that will give you a better perspective on how fantastic a musician and trumpter player he really is. _________________ Eclipse Enigma
Benson Brevette 1950 Flugel
Curry 3C Custom, Bach 3C, HT Jazz
Posted: Fri Sep 06, 2013 9:09 am Post subject: Thomas and dixieland
Wow! Did I mis-read what Terry Horace said? The word racist is so often used these days to apply to just about any situation that gives a person some satisfaction in de-meaning other people of any race, Horace simply left the "R" word out of his post in my opinion. Thomas would have the admiration of any musician black or white, and knowing him personally, there is not a mean bone in his body. He has made it his life's work to know the music and musicians he has learned from and for sure is his own, amazing stylist in the jazz world today. Wild Bill Davis certainly played "dixieland" with more authenticity than many others and I believe Sonny Rollins would have checked him out on occasion. Would Louis Armstrong playing "Stardust" rocked a few boats in the pop field? Choice of tunes in the appropriate setting (like this obvious traditional jazz club) played by musicians of this caliber is certainly in order. Perhaps that is why it's called THE MUSIC BUSINESS and as Harry James said to me a long time ago, "you gotta eat".
Tony Scodwell
Scodwell USA Trumpets and Flugelhorns available in the US only from Washington Music Center, call Lee Walkowich at 301.946.8808 and in Sydney, Australia at Sax and Woodwind...and Brass and in Freiburg, Germany at Musik-Bertram.
Posted: Sat Sep 07, 2013 10:30 am Post subject: Sonny and "corny" tunes
I was reminded that Sonny Rollins often played what some referred to as corny show tunes. "There's No Business Like Show Business" was the opening song played when Sonny re-emerged from his self imposed exile and recorded after getting his health back. And "He's An Old Cowhand" could hardly be considered a jazz standard which he recorded later. Certainly he played these tunes with the genius that he is and Thomas Gansch is traveling much the same path, here sometimes in reverse.
Tony Scodwell
Scodwell USA Trumpets and Flugelhorns available in the US only from Washington Music Center, call Lee Walkowich at 301.946.8808 and in Sydney, Australia from Sax and Woodwind...and Brass and in Freiburg, Germany at Musik-Bertram.
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