This is NOT a video, ladies and gentlemen. It’s our 2nd Newsletter, in PDF format. It can be printed and makes for some nice bathroom reading, if nothing else:-)
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**NOTICE: I am not at all pleased with my audio engineering on this episode, ladies and gentlemen. I will very soon invest in some lavaliere microphones for our esteemed guests. (There IS that little “Donate” Button to your right—>ya know:-) Perhaps you are an audio wizard? If so, we all would like to hear a better soundtrack on this one. Scott deserves better. Please contact me if you think you can help (tom@trombonelessons.com). Much appreciated! In the meantime, I have had the best luck with a good set of headphones on this. My apologies. I will endeavor to do better henceforth! Peace ***
Hollie Lawing, Tim Redman, and myself took a road trip to South Carolina this week to visit with Scott Hartman! Scott has long been one of our favorite trombonists. His career has primarily involved chamber music: Empire Brass, Four of a Kind, and now Proteus 7. He is presently the Trombone Professor at Yale University.
He was in Spartanburg, SC, for a performance with Proteus 7. See them on the Web at: www.proteus7.com
This amazing septet was premiering a Halloween Show with the Spartanburg Philharmonic, directed by Scott’s lovely wife, Sarah Ioannides. This fine ensemble is also on the Web: www.spartanburgphilharmonic.org
Almost the entire show was written by the group’s lead trumpeter and fabulously gifted composer, Anthony DiLorenzo.
Between rehearsal and the concert, Scott was kind enough to sit down and visit with us. We hope you enjoy meeting the wonderful Scott Hartman and Proteus 7……..
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Podcast Video [40:42m]: Play Now | Play in Popup | Download | Embeddable Player | Hits (2012)Email it
It is my extreme pleasure to introduce my friend Newell Sheridan, of www.sheridanbrass.com
Newell is a purveyor of some very high quality trombones and equipment. Here, he talks about the Shires Trombones and the process of finding the horn that’s JUST right for you.
I hope you enjoy meeting him! You can contact him by visiting his website, sheridanbrass.com, or:
E-mail: nsherida@bellsouth.net Phone: 205-978-3773
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Well, ladies and gentlemen, if you’ve seen Episode 49, you’ll know what this is all about. Today, Colin came to “the lair” and we did a drawing for the upcoming “Viewer’s Choice Recital”. It was one of the most suspenseful and stressful moments of my life:-)
Wait until you see how it all played out…………..enjoy!
I talk about a review of Colin playing the Creston a few years ago with the Atlanta Symphony. Here’s the review:
“Review: ASO plays Creston on trombone By Pierre Ruhe | Friday, October 1, 2004 The Atlanta Journal-Constitution CONCERT REVIEW Atlanta Symphony Orchestra
…..This week, the ASO helped revive a worthy composer from irrelevancy. Paul Creston (1906-1985) didn’t live to see a concert-hall revival of his music, but nowadays you can hear all his important works on CD and, increasingly, experience them live.
Creston’s music is “an embodiment of the affirmative, lyrical, melodic strain that dominated American music in the 1930s and for a time afterward,” wrote critic-conductor Will Crutchfield in an obituary. Creston rightly joins the company of Copland, Piston and Barber.
Creston’s 1947 Fantasy for Trombone, one of his best-known works, served to introduce the ASO’s principal trombonist, Colin Williams, who joined the orchestra three years ago and is now making his official solo debut.
In the jazzy Fantasy, Williams was heard, finally, to his advantage. In the treacherous Symphony Hall acoustic, the orchestral trombones’ warm bass notes get absorbed by the stage walls and the bright high notes get polarized to a blinding glare, like sunlight off a swimming pool. At stage front, we heard Williams au natural: his clean, “white” tone, with very little vibrato and exceptionally pure and lovely soft notes.
And for the ASO, with their committed playing this week and last, they showed that it’s likely the romantic vs. modernist argument will seem quaint in another generation. This would follow the Wagner (progressive) vs. Brahms (retro) debates, which eventually subsided, leaving both men on the winning side. What survives isn’t ideology, it’s good art. As an encore, Williams and the orchestra played “The Blue Bells of Scotland,” an amusing and sentimental work by Arthur Pryor, the trombonist in John Philip Sousa’s band a century ago. Where the Creston was unfailingly polite, Pryor asks the soloist to scale heights, blow elephant calls and raspberries, all accompanied by oom-pah-pahs from the orchestra. Williams breezed through the moto perpetuo variations with mostly machine-drilled aplomb.”
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