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Thread: Best Euph for Jazz Playing

  1. #41
    LTTP,
    RM played on the Yamaha 321s. He also had an (at the time custom) additional main slide with a 5th rotor to make other low notes possible and for tuning combinations (I don’t recall, but I think a flat whole step). You can buy these now, aftermarket.

    I had met RM years ago when he was at University of North Florida. He had years ago (at that time) played a large rotary euphonium (b&s or miraphone). He of course was very active as a clinician. He said at the time, that in part, his switch to the Yamaha 321 was pragmatic. He thought if his horn was ever lost or damaged during travel, if was very likely the school he was visiting would have a Yamaha he could borrow.

    His mouthpiece was a custom Warburton, and I got try his spare duplicate. It was Quite a deep funnel, bored out backbore. Perhaps Warburton’s shop still has the specs. RM HAD HUGE AIR CAPACITY and AIR SPEED, so I don’t think that piece is for everybody.

    Do Check out the duet Album with John Allred (also a major trombonist),who at the time was on a Conn constellation or 30 I? But plays since then also on a Yam 321s.
    “Pardon our dust, we’re making changes”

    And John’s solo album “In the beginning” with “Blues for RM”, John now on his Yamaha. And a duet with Betty O’Hara on “stomping at the savoy” with both of them on DOUBLEBELL EUPHONIUMS! That’s 4 bells!


    Can you play jazz on other than 321? Of course! Partly depends on your tone concept for jazz. Whether playing lead, or ballad, or whatever. I’ve jazzed on Hirsbrunner, Miraphone, Yam 321, Besson sovereign, as well as valve trombone, and aBlessing M200,which is a kind of flugabone, basically a tight wrapped valve trombone. 321 and small bore Conns seemed better for lead playing, that’s physics, but you can play jazz on anything.

  2. Slide Hampton played a large tenor much or all of his career. I've known some bass players who can really swing, but it's more of a novelty than anything.

    One thing you might check out is a marching trombone/flugabone/baritone/euph for jazz. Something like a King 1130 or 1124, or there are some Chinese options being made now. Some people use these for bass trumpet parts, when needed. It has a different look, and I think they are gaining a lot of popularity. I personally like the Olds compact valve trombone. It is small and great for traveling, plus the bore is slightly larger (515 vs 500) and the bell is slightly smaller (8 vs 8.5).

    Schagerl has some fantastically expensive rotary instruments https://schagerl.com/meisterinstrume...tikal/?lang=en


    http://<a href="https://www.youtube....VEImA&t=2s</a> -- not really jazz, and not really euphonium, but popular music on tenor valved instruments... so kinda relevant... sorta.
    Last edited by hyperbolica; 10-25-2021 at 03:38 PM.

  3. #43
    Join Date
    Nov 2019
    Location
    Intermountain West in USA
    Posts
    65
    There were a lot of comments in this thread about a compensating euphonium having a sound that is to big (or broad or whatever) to be a good fit for a jazz band. What about a British style compensating baritone horn? Could that be a good fit sound-wise? Would the tone be bright/small enough to work for jazz? Would it sound too much like a trombone? Even if it did, who cares?

    Here's one sold by Wessex: https://us.wessex-tubas.com/collecti...-4-valve-br144

    By the way, I'm not a jazz player, but I have listened to jazz since I was a teenager and would like to get into playing jazz some day. (More "by the way", I knew a guy who played sax, and he said that in his opinion jazz is more fun to play than to listen too... kind of like baseball is more fun to play than to watch, though I do like watching baseball and listening to jazz, preferably not at the same time.)

  4. #44
    I've heard a British baritone played in small group jazz by a really fine player, and it worked very well indeed. There are just not many of those horns around and even fewer really good jazz players who would have an interest in playing one seriously.

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