TromboneChat

I am going to say James Markey for tenor, being in a practice room with him when he was my teacher a Montclair State was amazing. Also when he played the Creston at ETW last year, WOW! I couldn't believe the sounds coming out of his bell. Mark Lawrence as well, I have heard him live and it was amazing.

For Bass Trombone: My #1 pick is Blair Bollinger of Philly. What a sound! Then of course there is the rich and creamy sound of Douglas Yeo. Also, a very important person that has one of the most beautiful sounds I have heard is John Rojak. He also a extrememly nice down to earth person. He also a great teacher, I learned a ton from the one time I met with him. Along with these guys, the Bass player from Trombones de Costa Rica gets and awesome sound as well, I couln't believe what I heard when I saw them perform "Toccata & Fugue in D Minor". There are so many players with great tone, and the best part is they all have their own unique characteristics that make it their own.

What's the difference between a great classical tone and a great jazz tone? Is there a difference?

Here's my list.  (No order)

Tommy Dorsey
Art Sayers
Billy Rausch
Joe Howard
Gardell Simons
Bobby Byrne
Lloyd Elliot
Dick Nash
Murry McEarchern
Geo. Roberts
Urbie
Ralph Sauer
Gordon Pullis
Watrous
Bill Harris
Robert Marsteller

Quote from: zemry on Mar 28, 2007, 06:00PMWhat's the difference between a great classical tone and a great jazz tone? Is there a difference?

Good question, which, even though I raised the distinction, I now can't really clarify.  A great classical tone, to me, is a very broad one, perhaps rounder, almost french horn-like.  And, to my less-trained ear, there is a little more uniformity of tone among classical players, in the sense that they're typically striving for that larger, rounder sound.  And generally it seems to me is developed using a similar set of teaching criteria, with the result that the difference in tone between legit players is more nuanced and subtle (though no less distinct). 

A great jazz tone is, on the other hand, undefinable except by personal preference, because it's goal is the individual statement.  While to my ear, Alessi and Lindberg are very distinct in tone, they seem to be shooting at the same target. And I respect the nuanced differences in both.  Steve Turre and Bill Harris, on the other hand, seem to have completely different conceptions of the instrument.  Which is why I love one and really don't like the other. 

Or maybe it's like pornography.  You just know it when you hear it. 

Or maybe I'm just talking out of my a**.  Won't be the first time. 

For jazz, the more individual the tone, the better. Frinstance - Lawrence Brown and Vic Dickenson. Of course, it is really a combination of tone and phrasing that enables one to pick the great jazz trombonists after only a couple of bars of a blindfold test.

Lots of people (though not a majority of trombonists, I would say) can produce a great tone on the trombone, not to trivialize it, because it isn't easy to always sound good when playing the difficult literature.

What this thread reminds me of is that the trombone is a magnificent instrument.  In the right hands, playing the right music, the sound alone causes goosebumps.  At least it does for me, which a large part of why I still play it.

There is also a vast spectrum of different sounds that can be made, from enormous and majestic, to lyrical and sweet, to whispering......many shades of sound, many valid ways to approach playing that can all sound good.

Jaques Mauger!

Im surprised not to see more mention of Charles Vernon on here...
that sound is just like chocolate pudding (in a positive way), oh and that legato playing...
-Swifty

Quote from: swiftybone on Apr 11, 2007, 05:28PMIm surprised not to see more mention of Charles Vernon on here...
that sound is just like chocolate pudding (in a positive way), oh and that legato playing...
-Swifty

Could you post a link to just a taste?

go to www.usftrombones.com and click on resources and then click Ballade - Ewazen
enjoy
-Swifty

That almost brought tears to my eyes at times. Wow!

Obviously, Super Rich and Silky, Heavy Dark-Chocolate!!  The good stuff!!

Thanks, I needed that!!!

Joe

Quote from: Dan H. on Apr 11, 2007, 06:30PMThat almost brought tears to my eyes at times. Wow!

I know, its incredible what a beautiful sound can do to a listener emotionally....

ralph sauer!!!!

TRUE THAT^^^^^
and I'll second brandon and say that Harold Van Schaik has a terrific sound. (I'm always thouroughly embarrassed when I'm playing my rochuts down and octave and he's playing them down TWO and sounding amazing!!!!... )

Tim Boyer

I know it's been a while since the last post, but this is a great one to revive.

Norman Bolter
Richard Stout
Tim Higgins
Fabrice Millischer
Jeremy Wilson

(A lot of others that I enjoy listening to have already been named)

Gordon Campbell-BBC Big Band,John Wilson Orchestra etc.

Gordon Sweeney (former Principal Trombonist of Dallas and Toronto Symphonies). An astonishingly clear, ringing and bright sound that was and is unmistakable. And it could be so soft or so big. For example, one time, before I knew the piece, I once heard the TS do Sibelius 7 from a place where I couldn't see the trombones well. Chitchatting after the following week's lesson, I asked Gord why the conductor had given him a bow - his sound was so big in the solo I had thought I was hearing a section unison! 

Michel Becquet and Megumi Kanda are my two favorites.

Typical "name a player" thread where in this case otherwise superb players are listed who nevertheless have atrocious tone quality.  What happens when everyone is listed. 

Quote from: Bonedisorder on Nov 03, 2005, 07:01AMRandy Hawes of the Detroit Symphony

Hands down my Fav!!!

Quote from: Bonedisorder on Nov 03, 2005, 07:01AMRandy Hawes of the Detroit Symphony

Hands down my Fav!!!