Great small-bore sounds, some by way of tone (Greg Bruce), and some by way of color and character (Bill Watrous) by great players! It amazes me that a new generation of perpetually 'aspiring' trombonists, who venerate specifically the sound of the masters of the small-bore trombone, struggle to attempt to replicate their virtuosic state of play and facility by adopting much larger mouthpieces and larger bored horns, to follow the modern euphonic fashion for thickness of sound and volume over core and projection, and then go on to lament and wonder at the cause of their obliged failure. It reminds me of a friend who sought the perfect Gibson acoustic guitar, who, upon finding it, then removed the stock Gibson factory strings, nut and bridge, and replaced them with what are known to be 'better' after-market parts such as are used on Taylor guitars. He then came to me to complain that something had changed about his new purchase, and that the sound had collapsed but he couldn't figure out what had happened. Could I recover it. I did.
@76trombonesjazz Ahem! I'm a trumpest, celloist, and learning to play the violin but I find this interesting! And aslo I came because the guy playing at 4:26 is my band teacher. :P
yes. I've seen other guys do this too. Claudio Roditti is firm believer in doing this. You want a perfect seal between the mouthpiece and the leadpipe. I think I get a more solid blow, and better resonance. Might be my imagination, but I feel it makes a difference
