Olá, Nick, bom dia! Como vai? Como funciona este exercício? Por exemplo, no primeiro tempo você aplica apenas notas de F#? No Segundo tempo apenas aplica as notas de F e assim por diante? Seria isso?
Nick's always denying that there is a "magic formula", but we all know he's just hiding it. There's a strong hint here that going for a run before you practice may be it. Air flow supercharged?😄
I had the Shires .525 medium bore trombone. I had the straight goose neck and the AF valve. I had the light weight nickle slide with the wide crook and large shank. I recommend a slide change for you the more narrow slide in nickle with th brass crook and definitely small shank.That matched up alot closer with a 3B plus.
@NickFinzer yeah after I made the comment, I realized the video was 5 years old. I wish it would have worked out for you. They make a great medium bore, definitely my favorite .
@@NickFinzer The vocal version from Frank Rosolino - Every time it rains rains Matzo’s & meatball’s then he goes into his scat that only Frank can do. It’s truly out of this world, he even yodels!
Great duo! 🔥 I just tried to write it down so I can play it with friends, would you mind if I put the score online on musescore so everyone can have access to it?
You are great! I would like so much to listen to you doing Podmoskovnye Vecera (Moscow Nights) and other european folk stuff, in your style! Keep it up, stay strong and blessed!
@@NickFinzer the most known jazzy version besides that of Louis Armstrong is the one dubbed "Midnight in Moscow", by britishmen Kenny Ball & His Jazzmen, 1962. Though as a 2/4 traditional eastern european folk tune it is natural that it transcends very nicely to dixieland and swing styles (as in the Kenny Ball's version), harmonically and orchestration wise there is a lot of room for a trombone!
ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-GGo_NTk5dGw.htmlsi=KMygFOkDrJeiwlxe Kenny Ball's version... There are many. It's a classic. Of course you may wear it and tear it to your taste. I mean, the lead line, screams for a trombone!
After a while of trying to figure out the notes you played in the first part I realized that it was G D B, and then I couldn’t figure out if you played a Bb next or an A. When I first saw the video I thought it was a Bb, so I was thinking, “Why is he playing the Bb in first position rather than in #5 position?” But then I realized it was an A, and in this situation you can play it in #6 or 2.
Fascinating - I want to try this! I learned that piece as a violist decades ago and I actually have a violin student working on this piece right now (transposed to D+). Definitely need to try this on trombone.
@@NickFinzer I like your channel. I'm a performer/composer/teacher and multi-instrumentalist. Most of my background is classical, but I do love playing jazz trombone. I've had pretty limited instruction on trombone compared to other instruments, so I appreciate gleaning information from more knowledgable people to help me pursue my goals. Your videos have been among the best I've found. Thank you!
@@NickFinzer Agreed. I worked with JJ when I was running Antilles. We released two live at the Vanguard recordings, Standards and Quntergy. Rufus was on that with Ralph Moore, Stanley Cowell and Victor Lewis. But years before JJ's Proof Positive got me through college.
Those two live records are some of my favorites…!!! Thanks for documenting that!! Rufus remembers those gigs/ records fondly!! That’s amazing - and a small world!! Glad to connect here 😊
ha! I'm still working on it. I just think people focus on it more than they should proportionally to things like developing language and a great sound :)
Boneology!! So glad you included this. If you didn't I was going to comment about it because it's such a great tune and such a great solo. Underrated/underplayed for sure.
Wow, some really interesting contributions from people who know what they're talking about. John Fedchock line "he played like a writer and wrote like a player" stands out, on first listening, and Dion Tucker's stylish attire @12:12 cannot escape mention - the essence of cool 😄 Natalie Cressman had a key point about the centrality of melody to JJ, amidst all his pioneering technical brilliance which redefined how people think about the instrument. Need to watch this a few more times, so much insight! Thanks to all, especially Nick for corralling this fabulous herd of intelligent trombonists.
I am surprised this topic is not covered more frequently. Much more focus is on chromatic enclosures, quite understandably, but these sound great I think...Thank you for a great video!
Today JJ Johnson is remembered mostly as a great trombone player, but not universally on the same level as Miles Davis, Charlie Parker and other equally towering names in the history of jazz. Because that's how good he was in my opinion, a musician's musician, the kind everybody looks up to no matter what instrument you play.
Correction, 15 Jazz trombonist’s. You forgot me. The most lyrical trombonist ever with Don Drummond coming in at a very very close second. J.J. inspired me to swing & sing through the horn. Remember that a slide of the trombone is better than a slip of the tongue😉
@@NickFinzer His compositions & solos are logical & always have you wanting him to go further but that’s the magic of J.J. He intentionally plays with the listeners emotions. He never played too much he played just enough to have you wanting more.
