Interesting. I kind of have an idea of how Arturo is as a person. But yeah, no doubt one of the greats.

One of my fav albums. Especially the tune "One for All" written by trombonist Steve Davis which then became the name of his group. They've been compared the Jazz Messengers. Joe Farnsworth on drums is always killing. Eric Alexander has become one of my fav sax players.

LOOL he didn't even attempt it. Wow that is the first time I've seen that. Thats cool though. Not many can say they've played with Arturo.

I've seen so many interviews of him saying "you just practice the trumpet" and dismisses anything about high playing or even playing pedals. He only really talks about 3 books too. Arban, Louis Maggio, and I think Clarke studies.

Also wild that your jazz band, wind symphony and symphonic band were all on the same stage.

He couldnt? I swear he always has that lol

Wow no wonder. That was a busy time plus auditions and clinics.

I've been seeing a lot of Euro players on my feed as well. I mainly play commercial and a lot of the guys I'm seeing are more orchestral. The discipline most orchestral players, esp in Europe have in the approach to these exercises is pretty inspiring.

I love that Hard Groove made the list. It was one of the very first jazz albums I've ever listened too. I remember in my teens going to the public library digging through their collection and picking this up to take home and listen to."The Joint" and "Juicy" were like the hippest tracks I've ever heard. Had my phones on with a stank face.

I love Laufey's music and this was beautifully done. Definitely one of my favs from this album. "Misty" is also my fav jazz standard.
Elitists are the worst. Some probably don't event play lol.
Laufey also went to Berklee, no? So she could definitely hang.

Also Dizzy sounded like shit eventually. I'm sure he would have longevity in the quality of his playing otherwise. Like Doc Severinsen can still play for his age.

Practice your long tones with a metronome. Get the Schlossberg or practice the long tone section of Arban. Otherwise, a really simple exercise I do is starting out with one note..maybe 1st partial Bb or the octave above that. Play it as whole notes for 2 bars. Rest. Then you you subdivide..go into half notes for 2 bars. Rest. Quarter notes for 2. Rest. 8th notes for 2. Rest. Triplets for 2. Rest. 16th notes for 2. Rest.

You want to keep the air flow going and think of the tongue just as a temporary valve. You also would want to think about the ending of notes as a taper as opposed to just a sudden air stop. It will sound more musical that way.

Also listen to all kinds of trombone players and see if you can emulate the ones you like.

Someone mentioned the Bob McChesney book but there are also short videos on youtube of Bob, Jiggs Whigham, and Marshall Gilkes discussing the doodle tongue.

I personally use a variation of it since my single tongue is faster than my double. I just adjust the syllable depending on the direction of a line and can give the cleanest sound.

For ex. the first phrase of "Anthropology" for me would be something like "du-du-ee-da-ul-la-ul-da-ee"

Listen to a lot of big band from the 20s-40s. Benny Goodman and His Orchestra and Jimmy Dorsey and His Orchestra are great examples. The use of clarinet is pretty much a sound choice or texture in a chart. They can be counter melody to a saxophone line, they have a distinct sound when they trill, a clarinet could be a soloist.

A more modern band to listen to would be Jazz at The Lincoln Center Orchestra. Their woodwind section is constantly doubling in a lot of their repertoire.

The first thing you should do is identify the quality of those chords. For example.. if you see a BbMaj7 it is a Bb Major 7...be able to arpeggiate the chord on the trombone. Play Bb, D, F, A in many ways..ascending, descending, its different inversions (root, 1st, 2nd, & 3rd inversions). You could already improvise over that chord with just all that information. Playing the chord tones or just the guide tone lines. You do have to break it down like this for every chord in the tune. Eventually you need to learn the chord scales..like playing lydian on a Maj7 chord..of course you can also play ionian just avoid the 4th on a strong beat. These are tools in helping create melodic lines. You shouldn't just be hammering ascending and descending scales as solos lol.

You have to learn jazz like any other instrumentalist. Listen to it. Transcribe solos. Learn contemporary music theory and functional harmony. Practice the vocabulary and style (swinging, syncopation, chord scales, arpeggiating all major, minor, augmented, and diminished chords, etc). I only really know one jazz violinist and he's from where I'm at. Drew Jurecka. You might want to check him out.

One of Canada's best saxophone players, Phil Dwyer, is out there playing all around BC. Hopefully you'll be able to catch him.

Just don't ask Arturo. He'll say he "never practices high notes".

Oh ya I can totally understand working on fundamentals after constant gigs. Sounds like a well deserved break.Thats the best way to go about it too having that goal in mind where sound comes first. Too easy to just plow through exercises for the sake of "having chops" What kinda stuff were you playing?

John Coltrane has been mentioned however I would like to add that the only other player right now that sounds just like Trane is Pat LaBarbera. What a fantastic player..not only his sound on tenor and improvisation style but his soprano playing is pretty much it. He did a lot of soprano playing when he played im Elvin Jones' band. My favourite saxophonist right now. His ballad playing is also very beautiful.

I think these are the top 6 standards to teach:

1. Any blues head like "Sonnymoon for Two" "C Jam Blues" whatever

2. "Autumn Leaves" due to the cycle of 4ths

3. "Stella by Starlight" minor ii-V work

4. "Anthropology" or rhythm changes for the I-vi-ii-V and the cycle of 4ths in the bridge and because it's bebop

5. "Donna Lee" because....bebop

6. "In a Sentimental Mood" for ballad playing but you could pick any ballad really..

Honorable mentions:

"Someday My Prince Will Come" playing in 3..

"Corcovado"..bossa

"Giant Steps" for the Coltrane matrix

"Cherokee" ii-V gauntlet

Sound check is just for checking levels. Could be your overall management. You're not rehearsing or going all out for it. I'd just do a lighter warm up prior too just getting the blood flowing. After sound check maybe do a more progressive warm up extending flexibility so you're not going into your performance cold.

Hell yeaaa keep auditioning. Oh man duets are so fun.

Thank you!

Congrats on the assistant band director gig! Thats wonderful.
Blue Bells for an opener i like it. I'm sure you'll do great.

If you can find some used King 2B or 3Bs that would be ideal..but if you have a bit of a budget i'd consider the Yamaha 891 or 897Z. I have the 697Z so if you can find it used, great! It has everything you need in contemporary music playing. It can be bright and can cut if you need it but really supported in the low register. Fantastic slide.

Good luck, brother! What are you auditioning?

I personally like his Fellowship stuff and SFJAZZ Collective by SFJAZZ Collective as he was their drummer that year

Anything with him and Christian McBride. They have one with Chick Trilogy and Trilogy 2

Edit: Anything with Joshua Redman and Wayne Shorter lol

Brian Blade for sure