TromboneChat

Now here's something I'll probably never be able to play. But it would be fun to try!

I'll be that guy... this does nothing for me. Very impressive to be sure.

I despair that no matter how much I practice I'll never be able continue a note as I take my lips off the mouthpiece... like he does at 0:52

robcat2075 wrote: ↑Sat Oct 15, 2022 9:11 am I despair that no matter how much I practice I'll never be able continue a note as I take my lips off the mouthpiece... like he does at 0:52

Yeah, video editing also is a skill.

robcat2075 wrote: ↑Sat Oct 15, 2022 9:11 am I despair that no matter how much I practice I'll never be able continue a note as I take my lips off the mouthpiece... like he does at 0:52

I noticed that, too. He probably re-recorded the solo track and ended up breathing slightly differently on the take from which they had video. Not a big deal, but it does give some interesting insight into studio recording.

Otherwise, very cool track. Neat to see Marshall's compositional work grow and develop.

Geez... that's some playing. Not just the solo, the ensemble stuff was pretty tight too. Love to hear stuff like that. What a monster, edits or no, popping pedals like that in the middle of a line is impressive. And that ridiculous high range.

Why do we spend all this time and energy preparing kids for classical fantasies when playing like this is where the real skills come out?

hyperbolica wrote: ↑Wed Oct 19, 2022 9:25 am Geez... that's some playing. Not just the solo, the ensemble stuff was pretty tight too. Love to hear stuff like that. What a monster, edits or no, popping pedals like that in the middle of a line is impressive. And that ridiculous high range.

Why do we spend all this time and energy preparing kids for classical fantasies when playing like this is where the real skills come out?

Marshall is also very talented in the Classical field. He studied with Alessi (a bit) when he was in the Juilliard Jazz program, and was in an advanced round for one of the NY Philharmonic auditions. They've used him as a sub as well. Hi dad is a classically trained trombonist/euphoniumist.

I love these new clips - gotta get this new recording!

Jim Scott

His embouchure action seems unusual to me. Looks painful.

He sounds amazing. As for the note carrying through his breath.... It's just amazing accoustics .

It obviously was one take. They showed everyone sitting together.

harrisonreed wrote: ↑Wed Oct 19, 2022 5:17 pm His embouchure action seems unusual to me. Looks painful.

Looks very efficient, classic "Very High Placement" type (Elliott) or a IIIA type (Reinhardt). His embouchure motion is to push up to ascend and pull down to descend and works beautifully. You can see this quite easily as he moves in and out of the pedal range. Very little, if any, jaw drop for descending too, which certainly helps connect the pedal range with the rest of the range. For players of this embouchure type (very common), dropping the jaw to descend can sometimes pull the placement off the upper lip, which can cause some problems. Gilkes looks like a great example to emulate for other players of this type.

Harrison, I may be remembering this wrong, but I believe that you were also typed by Doug as a Very High Placement/IIIA.

Dave

harrisonreed wrote: ↑Wed Oct 19, 2022 5:17 pm His embouchure action seems unusual to me. Looks painful.

I have basically the same embouchure placement as Marshall. I can verify that it is quite comfortable.

Most players are that same type and would look the same if they were able to do what Marshall does. He happens to have unusually flexible chops, and he makes great use of it as his signature sound.

Wilktone wrote: ↑Thu Oct 20, 2022 10:56 am

harrisonreed wrote: ↑Wed Oct 19, 2022 5:17 pm His embouchure action seems unusual to me. Looks painful.

Looks very efficient, classic "Very High Placement" type (Elliott) or a IIIA type (Reinhardt). His embouchure motion is to push up to ascend and pull down to descend and works beautifully. You can see this quite easily as he moves in and out of the pedal range. Very little, if any, jaw drop for descending too, which certainly helps connect the pedal range with the rest of the range. For players of this embouchure type (very common), dropping the jaw to descend can sometimes pull the placement off the upper lip, which can cause some problems. Gilkes looks like a great example to emulate for other players of this type.

Harrison, I may be remembering this wrong, but I believe that you were also typed by Doug as a Very High Placement/IIIA.

Dave

Or, same as: Watrous

robcat2075 wrote: ↑Sat Oct 15, 2022 9:11 am I despair that no matter how much I practice I'll never be able continue a note as I take my lips off the mouthpiece... like he does at 0:52

Sure you can! Youtube is world renown for having audio and video “Out of sync”

It's just audio and video from different takes. We all know that, right?

Extremely impressive recordings as practically all the other stuff he does. It's also very recognizable. wouldn't go as far as saying it all sounds the same, but his recordings have a certain style/sound that's very specific. Can't really describe what it is, but it's more than just the so called Gilkes lick (look it up ) or the jumping in and out of the pedal range...

This video spurred a lot of weird convos. I really enjoyed this and the album that goes with it. Marshall is the man, out here being an amazing voice for the trombone.

DakoJack wrote: ↑Fri Oct 21, 2022 12:35 pm This video spurred a lot of weird convos. I really enjoyed this and the album that goes with it. Marshall is the man, out here being an amazing voice for the trombone.

Oh yes. I don't understand most of this discussions or convos. Just close your eyes, listen and enjoy. I don't care if there are audio and video from different takes or they're not in sync. Also don't like the judging part that often comes along with professionalism when it's about listening to colleagues. Definitely another topic with students and very important there, but not when listening to other pro trombone players. And especially not when they are as reputable as Marshall.
And I'm not saying that everyone has to like it. Because tastes are different and that's fine. But the judging part in terms of video, technique, recording and so on is something that bothers me. Also want to add: Still fine to check out those things, but most of the discussions I've seen about it (not only here), took some weird judging direction.

I at least didn't mean it negatively, hope it didn't come across that way.
He is a fantastic trombonist and musician and impressive in many ways. I just meant that his stuff all has a certain style to it which is easy to recognize and which people may like or not like. A bit like Ewazen, at least for me.

I can also usually recognize Rosolino, JJ Johnson, Urbie, Watrous, Pankow and Alessi, Markey, etc.

Lots of trombonists have a signature sound which in the commercial field also presents itself with some recognizable licks, style, etc.

I enjoy all of those players, and I enjoy Marshall as well. I consider him to be a peer of all of those others. I love hearing his recordings, and look forward to getting this new recording.

Jim Scott