Correct, sir. I did miss your point on that one. One of my main goals has been to retain, as much as possible, a characteristic basis for my sound concept while also accommodating the more..err... extreme requirements of some of the music I play. That search has been leading me back from "deskant-land" lately and I've been looking at your horns most recently. A friend has one and I had a very enjoyable (but all too brief) afternoon playing it not too long ago.
Mark http://www.mark-taylor.biz On 3/24/05 12:14 PM, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote: > > ------------------------------ > > message: 19 > date: Thu, 24 Mar 2005 07:59:53 +0100 > from: <[EMAIL PROTECTED]> > subject: RE: [Hornlist] Re: Horn Digest, Vol 27, Issue 27 > > Yes, you are right, but you did not understand what I was > pointing out: > > The importance of melody & toner before the number of notes > played within a certain short time frame. > > Off course, the technical abilities are a prerequisite for > every player, but extreme fast double & triple tongue are > not the most important abilities nor are it finger rattles > up & down. They are necessary, off course, but they are not > helpful to show the true character & the beauty of the horn. > ============================================================ > ================================================== > message: 8 > date: Wed, 23 Mar 2005 17:27:32 -0500 > from: Mark Taylor <[EMAIL PROTECTED]> > subject: [Hornlist] Re: Horn Digest, Vol 27, Issue 27 > > With all due respect, for some of us the answer is - all of the above. To > date I have needed to: > > Play the melody line to "Donna Lee" (famous bebop tune - very hard, very > note-y, very fast) in unison with the rest of the brass at a very fast Max > Roach tempo (ask a jazz drummer about Max and playing fast) THEN improvise > on it THEN turn around and make the room cry with an unaccompanied "I > Remember Clifford" (ballad) > > Be the "burning coal in the middle of the brass section" (bandleader's words > - he later went on to lead the Basie band) for a big band. ALL he was > interested in was THAT SOUND (you know that middle upper register where the > horn sound is so glorious and projects so easily... Ahh) on all the > "crunchy" notes in the chords. > > Playing an unaccompanied, improvised solo, outdoors for the return of the > bodies to the African (slave) burial ground recently unearthed in lower > Manhattan > > Angular, dense and uncompromising new music needing accuracy, speed and > agility by "neuer jazz" legends Henry Threadgill, Muhal Richard Abrams, > Lester Bowie and others. > > The common denominator is that these bandleaders hired me because I played > the HORN. Without that sound (or, more accurately, my sound - jazz is all > about developing a personal approach to the instrument. Whatever instrument > that is), they could've just hired another trombonist. > > All these are important. Speed, agility, accuracy, cantabile, line, sound, > ensemble playing, improvising and more. This is not an either/or > situation. > > Mark > > _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
