TromboneChat

I heard this today in a local jazz radio station and it reminded how much I love Carl Fontana. You may all know this already, but it has been one of my favorite trombone solos of all time since I bought the album in the 70s. Fontana was an idol of mine as a kid. This is a beautifully crafted solo. A great example of spontaneous composition. It’s also a great version of the tune. Supersax still blows my mind.

Solo at about 02:26, but listen to the whole thing…well worth it.

I probably listened to that album 1000 times back then. I think I transcribed all of his solos from that.

So great.

is a favorite. The arrangement is of its type - and think of the dry cleaning bills - but his playing is unbelievably beautiful.

There's such an overwhelmingly attractive sense of having nothing to prove. People talk a lot about the doodling but it's the ability to play simply that always gets me; when the fast stuff comes, it's just a moment of effervescence within the whole. (And yes, of course it's ridiculously impressive to have that much technique to burn on musically parenthetical moments - but not as impressive as the restraint.)

Well put.
I never heard that one. How great to have the Metropole do such a great job documenting their guest artists.

Doug Elliott wrote: ↑Sun Sep 12, 2021 7:40 pm I probably listened to that album 1000 times back then. I think I transcribed all of his solos from that.

Yep! And I remember laughing my ass off at the Flintstones lick at the beginning of his solo on Salt Peanuts. It really appealed to my 16 year old sensibilities. I learned to doodle tongue as a result of hearing it and it changed my life.

ithinknot wrote: ↑Sun Sep 12, 2021 8:12 pm So great.

is a favorite. The arrangement is of its type - and think of the dry cleaning bills - but his playing is unbelievably beautiful.

There's such an overwhelmingly attractive sense of having nothing to prove. People talk a lot about the doodling but it's the ability to play simply that always gets me; when the fast stuff comes, it's just a moment of effervescence within the whole. (And yes, of course it's ridiculously impressive to have that much technique to burn on musically parenthetical moments - but not as impressive as the restraint.)

Wow, that one was new to me too. You’re assessment is spot on. What a tremendous talent to shine through as a result of your understatement. He was great at that. Of course he could be aggressive when he wanted to, but it’s this kind of playing that truly impresses me. The tenderness of the very opening of the solo is breathtaking. I know we are all taught to play like your singing, but Carl always sounds like he’s literally singing through the horn, not just emulating it. AND, the look on his face when the tune ends and his coming back to earth is really beautiful.

I was always floored by the Supersax recordings of this era. Fontana sounds at the top of his game, and I listened to many of these over and over and over, like Doug says above.

The Supersax recordings with Rosolino are absolutely stellar, too.

I wish there were more bands that had a variety of horns and then just one trombone as a soloist. I've always enjoyed performing in that context as well as listening to other bands/groups with that kind of lineup.

Butter.