Shires, Greenhoe, Conn, King, Bach, Holton, and many more.This Trombone has'KING Tempo 606 U.S.A. We carry Brands like Shires, S.E. Vintage King Tempo Trombone Nickel And Brass You are bidding on a vintage King Tempo trombone 7 1/4' bell.Inner slide works good no sticking, it does show plating wear, tunning slide works fine, there are dents and also the trombone looks bent( see picture7) also lock for slide is missng, no case no mouthpiece.Buyer to pay 25.00 Shipping in US.This is the story of a record, a photograph, a discographic mystery, a quizzical image, and a lot of smiles.Shop online for trombones used and new on The Brass Exchange website, we take trades and also buy instruments.
While researching the life of Darnell Howard—seated all the way to the right with the biggest grin in the bunch—I emailed the collector and historian about using the image in a future article, and he mentioned the following:I’ve always been fascinated by that photo, as the implication, judging from their faces, especially Darnell Howard’s, is that they are listening to themselves. You can also upload the audio file to.The photo is from Mark Berresford’s collection. Web image courtesy of The Syncopated Times.We dont know the tempo for this song, sorry :( But wait, you do Play the video below and use our tap-tempo Or. Photo from Mark Berresford’s collection. A 2000 trombone gets you near the top of the line for many domestic makers.Elgar’s Creole Orchestra, from left to right: Charles Elgar, Leroy Bradshaw, William Shelby, Walter Wright, Walter Gossette, William Neely, William Randall, Bert Hall, Harry Swift, Richard Curry, Joe Sudler, Clifford King, and Darnell Howard. A 500 trombone is a good quality basic long term purchase.
King Tempo Trombone Movie In Putting
Nothing is known of the band, other than they sound Black, and as the record was made in Chicago, it is likely they played in one of the large dance halls in the Windy City. II (which introduced me and many others to this recording):“Muscle Shoals Blues” is a mysterious and historically important record. As Berresford explains in his liner notes for the Timeless Historical CD From Ragtime to Jazz, Vol. The music was not available on YouTube, so I offer apologies for my limited knowledge of iMovie in putting this video together:It’s uncertain who made this rollicking music, but thankfully, they committed it to record.
But why? The date on the placard is November 11, 1921: Armistice Day. Elgar is certainly playing a record that seems to put a smile on everyone’s face. We only wish that he had not placed his hand in a position to obscure the label. Marsh: Chicago’s Pioneer of Electrical Recording.Raichelson had heard the theory before, was still interested in the possible connection, and was similarly gracious in sharing his knowledge:The photo shows a band of 12 members, including Elgar. Raichelson wrote the book on Marsh: Orlando R. Among his extensive musical scholarship, Prof.
Despite being early, it’s better than many of the others he recorded at the time. The sound offers further clues for him:The recording of the band by Marsh is quite good. He also offered that even with the tune being copyrighted in 1921, Thomas may have written it earlier.As Raichelson explains in his book, it was likely by a nine-piece Chicago theater band comprised of two trumpets, trombone, clarinet, flute, violin, possibly a tenor saxophone, brass bass, and drums. His research shows that Thomas copyrighted his tune on August 29, 1921, with a copy of the sheet music listing an office in Chicago.
Since Elgar’s band played at the Navy Pier and Harmon’s Ballroom, were there any ads that specified any of the tunes he performed?Raichelson also suggested that the band may have been appreciating a now lost record. Elgar did play at the Navy Pier, which was also a ballroom, during this time. However, this recording sounds like it could have been made in a theater or a hall.
See if your finger, foot, head, etc., is hitting at the same time as the band’s feel. Yet even without the ample solo space that defines jazz for many listeners, as an experiment in the wonders of so-called “two-beat jazz,” tap a steady two-beat pulse along with this record. “Based on the date,” he asked, “would it be possible that they did and were listening to an Emerson test in that photo from November 11, 1921? This is the only reference I’ve seen to a recording on Emerson.”The gliding full-chorus trombone and growling muted trumpet take up a good portion of the side.
It was waxed in October of 1923, around the same time King Oliver and His Creole Jazz Band were recording in the Gennett, Okeh, and Columbia studios.What a fascinating coupling of bands this must have been to pick up at your local record vendor and appreciate back-to-back at home! Imagine contemporary jazz appreciation being as catholic as pre-war music consumption! Tagged sampleSelecting your favorite sides from Nathan Glantz’s discography is like choosing the best slices from Brooklyn’s pizzerias: there are always more to try, and even the average example is satisfying. Even the winding oboe obbligato in the middle of the trombone solo has its own little lilt—not to mention creating an interesting texture.Whiteman is now associated with texture and symphonic heft, but other than the dramatic interlude between the soloists, this side focuses on rhythm and melodic clarity. There’s a lot more going on here rhythmically, even without improvisation.The first 20 seconds of the record alone are a buffet of syncopation: the intro bouncing between the trombone’s jabbing lead and the band’s upswing the verse hinting at a bouncing duple even as the sax section’s responses pull at the pulse, and then the chorus hammering the downbeat while the brass lifts the upbeat (and likely dancers’ feet).
Musicians like Glantz and his sidemen must’ve kept their ears open but applied what they heard on their terms.Glantz likely got to cut loose based on company edict rather than artistic whim. Cornetist Rex Stewart said playing this was called “taking a Boston.” He also noted that it was a new sound on the New York scene brought by Armstrong and his fellow Southerners. While they never pretended to sound like a band from New Orleans or Chicago, based on these sides, Glantz and his fellow New Yorkers still added plenty of rhythm and inflection in their fashion.The drawling, swaying saxes on “Hula Lou” seem all the more remarkable when considering these sides were probably cut with assembly-line efficiency.The soprano sax hooting against the brass’s “ Aloha ‘Oe” quote is another novel touch, but it’s followed by a trumpet solo over a more spacious, harder-hitting rhythm section.This solo approach—a a freer variation of the melody over a heavily accented backbeat—resembles the format (not the feel) of Louis Armstrong’s recordings with Fletcher Henderson from around the same time. The ragtime xylophone conveys a touch of novelty music, but those same lines on a clarinet or a piano might simply sound hot.Not all of this music sounds as overtly influenced by the burgeoning sound of jazz. “Sittin’ In A Corner” starts with a two-beat strut followed by the leader’s lush alto sax intoning the chorus.The clarinetist resembles a more sparkling Ted Lewis.
There’s a hard-edged trombone solo on “San,” but the clarinet switches from hoedown to gas pipe—with the bass clarinet throwing down licks in the middle! The snappy coda ends the side with a shrug.“Oh That Sweet in Suite 16” increases the temperature further while staying within a lyrical dance band aesthetic. Even the tight saxophone parts and syncopated brass hits make this sound like more than dutifully reading a chart.Glantz’s brand of hot seemed as driven by humor as intensity. Still, that opening trumpet curls around the pressing rhythm.
0 kommentar(er)
