Word: trombonist
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Dates: during 1950-1959
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...drifted into the Hawk-Chet Baker, Miles Davis, Erroll Garner, Dorothy Dandridge, Johnny Mathis. Regulars remember how Eleanor Caccienti refused to ring the cash register when Dizzy Gillespie was talking for fear she would miss a joke. (Now the cash registers have no bells.) They recall the night a trombonist lost his pants in the middle of a solo, and the time Drummer Art Blakey belted a cymbal so hard that it bounced onto a ringside table where (according to Gleason) "two worshipers were sitting with eyes closed. They went six feet in the air, straight...
...Music Festival. Commented she, after an exhausting Requiem: "Verdi must have hated sopranos!" She also belted out On the Sunny Side of the Street in an impromptu fill-in appearance for ailing Trumpeter Louis ("Satchmo") Armstrong (TIME, July 6). Among the raves that she collected was one from Jazz Trombonist Trummy Young: "That girl is just wasting her talents with the longhairs...
...conductor is John Harbison '60, a former violinist and trombonist in the orchestra. Harbison is an excellent musician, and when he and the orchestra gain more rapport with each other, as they did only occasionally last night, many of the minor imperfections of the first concert will disappear. He needs much more assurance, and is at present far too restrained, especially in making sudden contrasts and shaping phrases...
Bill Harris and Friends (Ben Webster, tenor sax; Jimmy Rowles, piano; Red Mitchell, bass; Stan Levey, drums; Fantasy). Trombonist Harris, who sometimes sounds as if he were blowing through several folds of velvet, is the weakest operative on an album chiefly distinguished by the pensive unfolding of some fine solos by Saxman Webster. In Where Are You?, I Surrender, Dear and In a Mello-tone, Webster articulates his longings with spacious ease and a tone as husky with melancholy as a distant-sounding foghorn...
...sidemen (average age: 23) had a classically oriented training: "They kept giving me the blue-serge treatment. I had to work hard to get that rough-tweed effect." Language was a problem too; Brown's instructions to a sax man, for instance, were delivered to a trombonist, who translated them to a trumpeter, who again translated them for the confused saxophonist. The situation was further complicated by the fact that Brown's band was to play mostly new works, especially commissioned for the festival, e.g., John La Porta's Jazz Concerto for Alto...