He played that piece with our jazz group. He explained that he wanted the lead trumpet to be quite loud on his high F (Eb concert) so it would clear that he (Watrous) was coming in on the same pitch. Here is the live version, without benefit of any studio retakes or editing:
https://youtu.be/eDVOgwbp_3c?t=206
Dave Werden (ASCAP)
Euphonium Soloist, U.S. Coast Guard Band, retired
Adams Artist (Adams E3)
Alliance Mouthpiece (DC3)
YouTube: dwerden
Facebook: davewerden
Twitter: davewerden
Instagram: davewerdeneuphonium
John Morgan
The U.S. Army Band (Pershing's Own) 1971-1976
Adams E3 Custom Series Euphonium, 1956 B&H Imperial Euphonium,
1973 F. E. Olds & Son Studio Model T-31 BaritoneAdams TB1 Tenor Trombone, Yamaha YBL-822G Bass Trombone
Year Round Except Summer:
Kingdom of the Sun (KOS) Concert Band, Ocala, FL (Euphonium)Summer Only:
KOS Brass Quintet (Trombone, Euphonium)
Rapid City Municipal Band, Rapid City, SD (Euphonium)
Rapid City New Horizons Band (Euphonium)
You may have seen this but I love watching Watrous, Fontana and Rosolino trade licks. In the background I believe is Al Grey with the orchestra.....he could easily have been up there with them trading licks too.
link:
https://www.youtube.com/watch?v=ns6_-WthPX8
John 3:16
Conn Victor 5H Trombone
Yamaha 354 Trombone
Conn 15I Euphonium
Thanks, Davidus1 - that was a fun clip to watch!
Speaking of playing high (which they all did in the clip) here is the opening track from Tutti's Trombones: The Sweetest Sounds. At the end, Rosolino goes for a double-high F and darned near makes it!
https://www.youtube.com/watch?v=FEBM...ru3kbmOrBgQ_xL
Dave Werden (ASCAP)
Euphonium Soloist, U.S. Coast Guard Band, retired
Adams Artist (Adams E3)
Alliance Mouthpiece (DC3)
YouTube: dwerden
Facebook: davewerden
Twitter: davewerden
Instagram: davewerdeneuphonium
Very impressive playing in these recordings. Wow! Thanks for sharing.
Art Sarses, who I mentioned earlier, played a featured solo with our band several years ago (don’t remember the title) and the last note being played by first trumpet was a ‘D’ above high ‘C’. Art played a cadenza and then came up to match that high ‘D’ played by trumpet. Some of these artists are almost inhuman.
Rick Floyd
Miraphone 5050 - Warburton BJ / RF mpc
YEP-641S (recently sold)
Doug Elliott - 102 rim; I-cup; I-9 shank
"Always play with a good tone, never louder than lovely, never softer than supported." - author unknown.
Symphonic Band of the Palm Beaches
El Cumbanchero (Raphael Hernandez, arr. Naohiro Iwai)
Chorale and Shaker Dance (John Zdechlik)
Hi...
I was fortunate enough to spend some quality time with Rich, courtesy of Harvey Phillips*, and would play some of Rich's stuff in my lessons.
I do not like playing jazz or pop music on a large-bore compensating horn. For me, it's a matter of a more direct sound that I can manipulate
and inflect more via vowel sounds in my mouth, so I do 90+ percent of my pop & jazz playing on a Yamaha 321. All the rock & jazz stuff on the
Soundcloud are on a 321, and the concertos are on large-bore compensators. I think the highest note anywhere on the soundcloud is an A, and
there are a bunch of notes around that area on some of the other tunes. Additionally, I find the long compensating pistons harder to push as fast
as I might like to.
I could make those notes when I had a Miraphone 5050 and a Demondrae mouthpiece, but I didn't like the sound. Additionally, my nickname
"snorlax" reflects my inherent laziness and unwillingness to work one erg more than I have to. The notes in the upper register are easier to play and more appropriate to pop & jazz on a 321.
Having said that, however, one thing I can't do is use a peashooter mouthpiece. The one I have used forever on my 321 started life as a Denis Wick 5,
with surgery to drill out the throat and backbore. I just kept reaming until I could do what I wanted to do easily enough to suit me. On the compensating horns, I used a Wick 4 or equivalent. I simply have to have room to maneuver my lips inside a mouthpiece, and I can't do that on anything smaller that the 5 I use on my 321. I also like the larger throat & backbore that allows me to really move air through the instrument.
[Rant]The only time I've ever caught any flak for using a 321 is inside the euphonium bubble, as I've mentioned before. A general audience just wants to hear the tune and doesn't care why I use a 321 instead of a Willson and a BB1. Only 2.58% of general-audience people know what a euphonium is.[/Rant]
*I am eternally grateful to Harvey Phillips for encouraging me to do what I wanted to do on the euphonium, and having faith in me, regardless of what horn I played and regardless of what disparaging comments other "name players" might have made.
Last edited by Snorlax; 08-25-2019 at 03:27 PM.
Jim Williams N9EJR (love 10 meter CW)
Formerly Principal Euphonium in a whole
bunch of groups, now just a schlub.
Shires Q41, Yamaha 321, 621 Baritone
Wick 4AL, Wessex 4Y, or whatever I grab.
Conn 50H trombone, Blue P-bone
www.soundcloud.com/jweuph
I missed this post. Very much envy you with getting time with Rich Matteson. That must have been incredible. I've admired his playing for many years. He is missed! Harvey Phillips was also "one of a kind". I didn't know him well but wrote him a letter when I was in High School. I received a very nice hand written reply from him and I was amazed by that. I was able to see him in concert in Trenton, NJ in the early 90s. He was a fine person and a fine player.
I agree that I like the sound of a smaller bore for jazz. it fits much better in my opinion.
Last edited by Davidus1; 09-18-2019 at 09:02 PM.
John 3:16
Conn Victor 5H Trombone
Yamaha 354 Trombone
Conn 15I Euphonium
I read this comment a while back and meant to post a brief reply. I never played trombone growing up, it wasn't until later in life that I picked it up. A lot of my trombone playing is with orchestras and brass quintets. But, I have spent a good amount of time playing trombone in big bands, too. I love playing big band ballads. I have played lead mostly, although I do not improvise. I totally missed that lesson in life growing up, no big bands or jazz in any of the schools I went to, plus I only played baritone/euphonium. So, I have messed around a little using Band in a Box. I was going to suggest this, as a way to sort of ease in and get your legs with the world of jazz. I think there is something else called Garage Band or something like that. With these programs, you can enter in chords and pick from many different types of accompaniments and instruments. You need some MIDI gear usually or sound modules. I have a Yamaha Disklavier piano (with MIDI capability) and a Yamaha MU50 Tone Generator. And some nice speakers. Once set up, you can loop your music to play endless jazz solos in any key, tempo, style, etc. you want. This truly is a good way, along with listening to as much jazz as is humanly possible, to get started. If you are fortunate to be around where there are some community big bands (sometimes offshoots of community bands), many times they tolerate folks who are trying to get their jazz chops going. I know at my age that the train has definitely left the station, and I will be no jazz phenom, but I do try to get a little better at improv occasionally. And it is kind of fun when it is not totally humiliating.
John Morgan
The U.S. Army Band (Pershing's Own) 1971-1976
Adams E3 Custom Series Euphonium, 1956 B&H Imperial Euphonium,
1973 F. E. Olds & Son Studio Model T-31 BaritoneAdams TB1 Tenor Trombone, Yamaha YBL-822G Bass Trombone
Year Round Except Summer:
Kingdom of the Sun (KOS) Concert Band, Ocala, FL (Euphonium)Summer Only:
KOS Brass Quintet (Trombone, Euphonium)
Rapid City Municipal Band, Rapid City, SD (Euphonium)
Rapid City New Horizons Band (Euphonium)