Blow Freely!

(or "The Complete

Trombonist")

ID: 4131099
www.lulu.com Scott Whitfield
BLOW FREELY!
By
Scott Whitfield

© 2008 by Gracietunes
All rights reserved.
 ACKNOWLEDGEMENTS

To the late William F. Cramer, who taught so many of us to BLOW

FREELY!

To John Drew, who organized my thinking about the instrument.

To Jeannie Little, who always encouraged and believed in me (not mention

kicking me in the gluteus maximus).

To Dr. Jim Bullion and Dr. Bob Garfinkle, special thanks from my teeth.

To every trombonist (and indeed, MUSICIAN) I have ever encountered,

whether as a hero, teacher, colleague, or student.

Lastly, to all the great ones that came before us and gave us this legacy.

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 FOREWORD

First of all, thanks for purchasing this book! The purpose of this volume is
to put into print what I generally discuss in my clinics, and have for many
years now.

This book aims to address three major areas that are essential to artistic
freedom: getting the most out of one’s sound; achieving technical freedom;
and getting to know oneself as an artist.

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 CONTENTS

1. AIR, AIR, AIR!!!!

(Did I mention AIR?)

2. Articulation
(or, “Speaking In Tongues?”)

3. Flexibility and range

(Remember, finesse and control lead to more power!)

4. Alternate positions, “funny” clefs, and sight-reading

(There’s more than one way to skin a cat!)

5. Mutes and doubles

(The equipment closet)

6. Our illustrious history

(Just a FEW names!)

7. Why listen to OTHER INSTRUMENTS?

(Diversity, diversity, diversity!)

8. The Four Steps to TRUE ARTISTRY

(formerly THREE)

9. In conclusion
(WHEW!!)

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 1.

AIR, AIR, AIR!!!!

(Did I mention AIR?)
Let’s face it. Air is all around us. It’s free. AND, as wind instrumentalists,
it can, and indeed SHOULD, be our best friend and closest ally. Yet, it is all
too easy for ALL of us to get in our own way by not realizing this basic (and
CRUCIAL) concept.

A favorite analogy of mine is to compare the upper half of the body to a very
large water glass, or “open vessel.” When one goes into the kitchen to get a
glass of tap water, what is really happening? Does the glass act like a
vacuum cleaner, forcibly pulling the water into it? The obvious answer is an
emphatic “NO!” Rather, when the faucet is turned on, allowing the flow of
water from the source (use your imagination!), the glass is serving as an
“open vessel,” and is simply receiving the flowing water into it. Why not
then visualize air in the same way, being ALLOWED to flow into our
bodies, rather than being FORCIBLY INHALED? Think about this for a
minute. How many times have most of us taken a breath, in practice OR in
performance, with the sheer determination (read, AGGRESSION) to
forcibly take in as much air as possible, with the goal of not running out?
Think of the tension involved in this process. This is completely self-
defeating. WHY DO WE MAKE MORE WORK FOR OURSELVES??
The REAL objective should be to have our bodies serve as “open vessels”
(there’s that term again!) which ALLOW the air to come in. Isn’t that a
much more relaxed image? By the same token, the EXHALING process
should be viewed in the same light, which leads to the main point here:
“BLOW FREELY!”

In his legendary “Blow Freely” lecture, the late Dr. William F. Cramer
addressed no less than SIX common impediments to airflow. These include:

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the throat (being constricted); the vocal cords (sub-vocalizing while
playing); the epiglottis (closing off the back of the oral cavity); the tongue
(being too prevalent in sound production); the teeth (being closed – yes, it
does happen!); and the lips themselves (being too tense or pursed).

To illustrate his points, let’s take a look at the path through which the air
must travel in order to propel sound.

First, let’s consider the “open vessel” described above, namely the lungs and
accompanying support muscles.

As a pedagogical device in the studio, Dr. Cramer would have his students
begin their warm-up with NO ARTICULATION at the beginning of the
note, introducing a LEGATO tongue in the middle of the sound, thus
illustrating that the tongue is there for definition and clarity, NOT to start the
sound.

What follows is the basic warm-up portion of my daily routine, based on the
teachings of Bill Cramer and John Drew, my teachers at Florida State
University.

Please note: While the exercises in this book are shown for standard
(“straight”) tenor trombone, all of them can be extended into the trigger
positions.

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 2.

Articulation
(Or, “Speaking In
Tongues?”)
As illustrated in the foregoing warm-up exercises, articulation in all of its
forms is a means of providing definition and clarity in a given musical
passage. The pedagogical device of starting the sound with the AIR (there’s
that word again!) is all too valuable in the establishment of the musical
hierarchy. NEVER forget that the AIR (tired of it yet?) is NUMBER ONE.

With that being said, the next step (which occurred in the basic warm-up) is
the introduction of a legato tongue, represented on the previous pages by the
syllable “Dah.” Variations on this are dependent upon the elevation of the
tongue and the “vowel shape” of the internal oral cavity. As an illustration,
simply recite your long and short vowels out loud, paying attention to the
degree of openness along the way. “Dah” and “doh” (thank you, Homer
Simpson!) are quite obviously the most open, with “doo” being somewhat
more closed, and the most constrictive being “dee.” Yes, folks, we ARE
capable of tremendous variation in tone color, and this is only the beginning!
Legato playing is the foundation of all we do, no matter how far we may
have to stray from it in the many different styles we are required to master in
order to make a living in this crazy business!

The definitive collection for legato playing is, without a doubt, Melodious
Etudes for Trombone, transcribed and compiled by Johannes Rochut.
These 120 etudes, published in 3 volumes, began their lives as vocalises by
an Italian tenor and voice teacher named Marco Bordogni. It has been said

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that, when played correctly, the trombone is the one instrument that comes
closest to the human voice. Fill in the blank!

Moving on to staccato and multiple tonguing, the supreme rule of AIR (see a
pattern here?) is still first and foremost. At no point, even in a long passage
of staccato playing, should the air stream be interrupted, much less stopped.

First, let’s address the various forms of duple articulation. In the classical
realm, we are taught about standard double-tonguing, using “ta-ka” or “tu-
ku” as the primary syllables.

While quite valuable in many situations, this is not the only option. The
standard double-tongue can be softened to accommodate a more legato
passage, by substituting D’s and G’s for the T’s and K’s. In other words, the
primary syllable now become “da-ga” instead of “ta-ka.” This “soft”
double-tongue is brilliantly demonstrated by jazz masters such as J.J.
Johnson and Curtis Fuller, among many others.

And now for something completely different, let’s talk about “doodle-
tonguing.” This is yet another means of achieving smoothness at fast
tempos, but is a complete departure from the older traditions outlined above.
It is EXACTLY what it sounds like: “doo-dle-doo-dle,” or “du-dl-du-dl.”
The best-known masters of this are probably Carl Fontana and Bill Watrous,
but this is a widely used articulation among modern jazz trombonists, and in
fact is ALSO used by no less of a TRUMPET legend than Clark Terry!

As for triple articulation, we can break it down in pretty much the same
fashion: “ta-ta-ka,” “da-da-ga,” and – wait for it – “DU-DL-DA.”

Yes, the variation of vowel sound on the last one IS intentional. Remember
the varying degrees of “vowel openness” discussed above? Well, in the jazz
and commercial world, it is absolutely necessary to be able to vary one’s
sound, and remember, not every note gets the same weight in a jazz phrase,
unlike playing “Tannhauser.”

Style is a slippery slope, and we have to be chameleons in today’s freelance

world. Along those lines, knowing what a given job calls for is often the
only way to make a first impression. It is no more appropriate to bring a
.547 bore horn to play lead in a big band than it would be to show up with a
.500 bore instrument to play Mahler’s Ninth. Many film scores and many

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Broadway shows in this day and age are VERY classically oriented, BUT
you may have to do your best Tommy Dorsey impression on the same gig.
There will be further discussion of equipment in a later chapter. The bottom
line, however, is BE PREPARED!!

In all cases, the mastery of a certain skill requires that one start out
SLOWLY. Rafael Mendez was not born being able to double and triple-
tongue at lightning speed. He put it many hours of practice to achieve his
phenomenal technique, as did Al Hirt, who successfully bridged the gap
between classical and jazz in his long and distinguished career.

When I started out learning how to doodle-tongue, I felt extremely clumsy at

first. At times, I was suffering from what I called “garage-door tongue.”
Slowing down the exercises helped IMMENSELY, and I can’t stress the
importance of patience in this regard.

As a means of getting started with all of this, let me offer some very basic
articulation studies, single, duple and triple. All players are encouraged to
try any and all types of tonguing discussed above. After all, having many
choices available to you at any given time will only make you MORE
EMPLOYABLE in the long run.

Again, practice these exercises SLOWLY, and with a metronome. Keep a

log of the various tempi at which you are single-tonguing (legato, staccato,
and mixed), double-tonguing (hard, soft, doodle, and mixed), and triple-
tonguing (ditto).

What good is having prodigious technique is you RUSH all the time? I have
told student and professional bands alike that TIME is EVERYONE’S
responsibility. Practicing slowly will result in greater control of one’s
technical skills.

One more suggestion: practice these, and all exercises, in EVERY KEY.
This is another very important part of becoming a COMPLETE musician.
What if the featured vocalist likes “Body and Soul” in the key of B, F#, or
E? Once again, BE PREPARED! Make up some of your own as well! Have
fun!

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 3.

Flexibility and range

(Remember, finesse and
control lead to more power!)
OK, so we’ve dealt with the proper generation of sound, and then with
building technique through articulation. What’s next?

The next logical step is to work on flexibility. All great trombonists have
worked extensively on this aspect of playing the instrument. Mastery of
the harmonic series (or “partials”) is the next essential building block in
this seemingly long (but ultimately REWARDING) process.

What I have done in the next several pages is group a pair of flexibility
studies, followed by a range exercise. These are meant to be played in
groups of three, with a short break in between groupings, as noted.

On the range exercises, we start in seventh position, working our way up

to first. Also, these exercises do not cover every partial, especially as
they get higher. There is an important purpose to this: INTONATION.
For example, in 7th position, all notes played belong to the E major triad,
and so on, up to 1st, where all notes are in the Bb major triad.

I must say something very important here regarding range. When I was
first learning how to play, my examples were recordings of Tommy
Dorsey, Urbie Green, and many other masterful players. Having that
sound in my ear was all-important to my musical foundation, and to add
to the mix, it prevented any possible mental block to being able to play in
the upper register. In my mind, these guys were playing in the “normal

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range” of the trombone. Additionally helpful was the fact that none of
my early teachers ever told me that “high notes are hard, and you’re not
supposed to able to do that yet.” Teachers out there, TAKE NOTE.

EXTREMELY IMPORTANT: On the range exercises, ONLY GO AS

FAR AS COMFORTABLE!!!! The whole point of building one’s range
is to do it GRADUALLY!! If you are only comfortable up to the fourth
ledger line Bb, keep solidifying that BEFORE trying to add the D above
it. To pinch and strain in an attempt to “push the envelope” totally
defeats the purpose of everything – yes, EVERYTHING – we may try to
accomplish in music, and in life.

For the next several pages, stay at mezzo forte, and keep the AIR (I’ll
never stop using that word, so just get used to it) moving at all times.
BLOW FREELY!

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NOTE: At this point, some of this may seem extreme, but DON’T BE
INTIMIDATED. ONLY GO AS FAR AS YOUR OWN COMFORT
LEVEL. We are all different, but we can all benefit by proper use of AIR in
ALL aspects of playing. Now, take a well-deserved rest! :>)

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 4.

Alternate positions,
“funny” clefs,
transposition, and sight-
reading
(There’s more than one
way to skin a cat!)

Remember my use of the word “choices” in the previous chapter? Now

you’re about to learn even more about them.

Think about some of the flexibility studies and range exercises in Chapter 3
for a minute. In the course of a musical passage, would it occur to most of
us to play a third ledger line G# in 7th position? Probably not! However,
from these daily drills, we are gaining strength in making many notes speak
openly in ALTERNATE POSITIONS. The next step is to apply these
alternate positions to the manifold musical situations in which we may find
ourselves. I personally love to play the F above middle C in short 4th
position, because it locks in very well AND is centrally located to other
notes.

As a brief illustration, let’s look at a simple Bb Major scale, and some

different positioning choices.

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It’s already plain to see the choices available. All anyone has to do is
experiment. Alternate positions are an important way of overcoming
technical challenges, and like all other aspects of playing, can actually be
FUN!

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There is another great resource on the market in the form of Advanced
Flexibilities for the Jazz Trombonist, by Greg Waits. In this book, Greg
not only deals with “against-the-grain” flexibility, but in so doing provides
valuable insight into alternate positions as well.

“Funny clefs” can mean pretty much anything other than bass clef to the
garden-variety trombonist. However, it is important to note that one should
be prepared to deal with them on the fly. In any given situation, whether it’s
a Broadway show, a recording date, a jazz gig, or a symphony concert, it is
essential for the modern trombonist to be conversant in tenor, alto, and treble
clefs, as well as having the ability to transpose from a saxophone or trumpet
part. Let’s face it: we must ADAPT to our surroundings at all times.

The following brief passage is meant to illustrate this point, and will be
followed by discussion.

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The first things you should notice are SIMILARITIES.

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Look at the top line (Trombone in bass clef) and the Baritone Sax line.
Now, look at the Alto Sax line. It’s written one octave lower than the Bari
line, in the same transposition.
Next, look at the second line (Trombone in tenor clef) and the Tenor Sax
line. Just below the Tenor Sax line is the transposition for Trumpet or
Clarinet, written (you guessed it) one octave lower.

An invaluable aid in this part of the process is a firm grasp of intervallic

relationships. From reading the Trombone line(s), you can see (and HEAR)
the “shape” of this melodic line, and should therefore be able to transpose it
into another clef or key signature. Alto and Bari Saxes are Eb instruments,
Trumpet and Tenor Sax are in Bb, French Horn is traditionally in F, and
Alto Flute is in G. There are also other variations to this. What if the
conductor wants you to cover the 3rd Horn cues on the “William Tell
Overture?” Those are for “G” Horn, by the way! One day in college, when
I was looking for practice material, I went to the music library and checked
out a stack of “D” Horn concertos, to work on my alto clef chops.

This brings me to the next important point in this chapter: SIGHT-

READING. What exactly IS sight-reading? Just what it sounds like! It is
the act of playing through a piece of music YOU HAVE NEVER SEEN
BEFORE, WITHOUT STOPPING TO CORRECT MISTAKES. Pay
particular attention to that last part. If you stop and go back every time you
make a mistake, IT’S NO LONGER SIGHT-READING.

What, you may ask, is the key to improving one’s sight-reading? Two
words: DO IT. It’s as simple as that! There is such a wealth of printed
music on the market for ALL INSTRUMENTS that sight-reading material is
in seemingly endless supply.

Just like sound production, articulation, flexibility, range, and transposition,

the key is building constructive practice habits, and being consistent and
GOAL-ORIENTED.

Speaking of GOALS, it is always good to have them in one’s daily practice

routine. Beyond the warm-up and maintenance, what will you work on
today? Scales? Articulation? Transposition? Sight-reading? How about
being able to play “Autumn Leaves” in F#? The possibilities are truly
endless, but a great way to not feel overwhelmed is to set specific goals for
yourself on any particular day.

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 5.

Mutes and doubles

(The equipment closet)
OK, so you got the gig. What should you bring besides your horn?
Common accessories include, but are not limited to, a trombone stand,
music stand, stand light (unless you have the ability to see in the
dark), and the appropriate gig attire.

In addition, there are some standard (and some NOT so standard)

mutes one should own and carry:

1. Cup
2. Straight
3. Plunger
4. Bucket
5. Harmon
6. Solotone
7. Practice (for use in hotels or crowded apartment complexes)
8. Hat or “Derby” (although a bucket is better and has a similar
sound)
9. Pixie or Non-Pareil (for use under a plunger in certain situations)
10. Megaphone (RARE, and the bandleader will probably have his
own if he wants you to use it)

Great! You have everything you need now! Or do you?

You walk into a recording session with your straight tenor trombone,
look at the part on the stand, and see 2 pages of low C’s (2 ledger-
lines BELOW the staff). This tells you that you should have bought
that bass trombone on E-Bay, or at least the large tenor with the F-

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attachment listed next to it, huh? Don’t panic! This is just another
part of being prepared for ANY situation.

The typical equipment closet of a New York or Los Angeles

trombonist might include the following:

1. A small-bore tenor trombone

2. A larger-bore (.525-.547) tenor trombone with F-attachment
3. A bass trombone
4. An alto trombone (sometimes)
5. A baritone horn or euphonium
6. A tuba (a common double now for bass trombonists)

Another useful and potentially lucrative skill to acquire is arranging

and composing. This has paid my rent for me on MANY occasions,
but a more in-depth discussion of it is for another book down the
road.

One other thought: why not learn to sing? The gig pays $5,000 per
week, but requires backup vocals. Why miss out on the opportunity?

What’s the moral of the story? You never know, so why not be
prepared for any situation?

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 6.

Our illustrious history

(Just a FEW names!)
At this point, I must make one of the most important statements I can
possibly make to all of you: IT IS IMPOSSIBLE TO LEARN HOW TO
PLAY ANY KIND OF MUSIC PROPERLY WITHOUT DOING TONS
OF LISTENING!!!!

The art of listening needs to be preserved at any cost, because music, in all
of its forms, is an AURAL art. The staggering recorded legacy left to us by
the masters must be heard. With the advent of I-Pods, we seem to have
become an isolationist society of sorts. This is not new, but simply the latest
technology. Remember the Walkman craze in the1980’s? The point is,
people put on their headphones (or EARBUDS) and check into their own
little world for a while. This can be extremely valuable on a crowded
subway train, so please don’t think I’m totally against it! Rather, I am
encouraging anyone and everyone reading this to get together with musician
friends and have – better sit down for this one – LISTENING PARTIES!
Discussing what you have just heard is a great way to broaden one’s
perspective, simply by hearing someone else’s.

With all of this in mind, what follows is a list of names. These names are
those of historically significant trombonists in the jazz idiom. However,
since “jazz” is a very broad term, and encompasses many different styles, I
have grouped these artists according to style and history, beginning with
Dixieland and working up to modern times. Caveat: THIS IS BY NO
MEANS A COMPLETE LIST. It is simply meant to highlight some of the
major figures in the history of our instrument.

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 JAZZ HISTORY: THE TROMBONE

I. Dixieland/Pre-Swing: Edward “Kid” Ory, Jack Teagarden, Jimmy

Harrison, Miff Mole, Honore Dutrey.

II. Swing: Lawrence Brown, Joseph “Tricky Sam” Nanton, Jack Teagarden,
Tommy Dorsey, J.C. Higginbotham, Vic Dickenson, Dicky Wells, Trummy
Young, Will Bradley, Tyree Glenn, Britt Woodman, Quentin “Butter”
Jackson, Glenn Miller.

III. Bebop: J.J. Johnson, Kai Winding, Bennie Green, Eddie Bert, Bill Harris,
Matthew Gee, Al Grey, Benny Powell, Urbie Green, Jimmy Cleveland, Melba
Liston.

IV. “Cool”/West Coast: Jimmy Knepper, Willie Dennis.

V. Hard Bop: Curtis Fuller, Slide Hampton, Carl Fontana, Frank Rosolino,
Jimmy Knepper, Julian Priester, Bill Watrous, Bob Brookmeyer, Rob
McConnell, Rich Matteson.

VI. Free/Avant Garde: Grachan Moncur III, Roswell Rudd, Julian Priester.

VII. Fusion: Fred Wesley, Ray Anderson, Raoul DeSouza.

VIII. Latin: Jimmy Bosch, Willie Colon, Steve Turre, Raoul DeSouza, Barry
Rogers, J.P. Torres.

IX. The Current Generation: Steve Turre, Robin Eubanks, Conrad Herwig,
John Fedchock, George Bohannon, Wycliffe Gordon, Dan Barrett, Bill Allred,
John Allred, Steve Davis, Steve Armour, Pat Hallaran, Tim Newman, Wayne
Coniglio, Pete McGuinness, Andy Martin, Bob McChesney, Alex Iles, Paul
McKee, Michael Dease, Marshall Gilkes, Scott Whitfield.

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 7.

Why listen to OTHER

INSTRUMENTS?
(Diversity, diversity,
diversity!)
The preceding list at the end of Chapter 6 can be formulated for any
instrument as well as voice. After we, as trombonists, have thoroughly
immersed ourselves in our own legacy, the next step is to branch out and
explore the OTHER giants of jazz, be they saxophonists, trumpeters,
pianists, drummers, vocalists, bassists, guitarists, or WHATEVER.

Some of my biggest non-trombone influences have been:

Saxophonists: Julian “Cannonball” Adderley, Charlie Parker, John Coltrane,

Hank Mobley, Frank Wess, Stan Getz, Nick Brignola, Joe Lovano, Scott
Robinson, Lew Tabackin, Vincent Herring, Pete Christlieb, and others.

Trumpeters: Nat Adderley (cornet), Thad Jones, Clifford Brown, Lee

Morgan, Freddie Hubbard, Woody Shaw, Miles Davis, Conte Candoli,
Kenny Dorham, Clark Terry, Randy Brecker, Carl Saunders, and others.

Pianists: Bill Evans, Wynton Kelly, Kenny Barron, Bob Florence, Stanley
Cowell, Rob Bargad, and others.

Guitarists: Joe Pass, Wes Montgomery, Grant Green, Bucky Pizzarelli, Jim
Hall, John Scofield, Pat Metheny, Jack Petersen, and others.

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Bassists: Paul Chambers, Ray Brown, Oscar Pettiford, Jennifer Leitham,
Walter Booker, and others.

Drummers: Philly Joe Jones, Jimmy Cobb, Sonny Payne, Terry Clarke,
Buddy Rich, Peter Erskine, Louis Bellson, and others.

Vocalists: Frank Sinatra, Tony Bennett, Mel Torme, Joe Williams, Jack
Jones, Harry Mills, Jack Teagarden, Mark Murphy, Ella Fitzgerald, Sarah
Vaughan, Nancy Wilson, Nnenna Freelon, Ginger Berglund, and others.

Composers/Arrangers: Thad Jones, Sammy Nestico, Rob McConnell, Bill

Holman, Bob Florence, Toshiko Akiyoshi, Ernie Wilkins, Billy Byers, Gil
Evans, and others.

There are, of course, MANY others, and other instrumental groups not
listed, but the point I’m trying to illustrate is that we are ALL made up of
our various combined influences as artists. This is accomplished by
listening first!

Make your own list, and have your friends over for a listening and
discussion/analysis party!

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 8.

The Four Steps to TRUE

ARTISTRY
(Formerly THREE)
The legendary Clark Terry has stated for many years in his clinics that there
are THREE steps to becoming a successful improviser:

1. Imitate
2. Assimilate
3. Innovate

By “imitate,” he simply means copying ideas from your favorite artists.

This is the all-important first step in learn how to improvise. This phase
entails DEEP listening, as well as playing along with the recordings, and
yes, TRANSCRIBING.

To “assimilate” is to gather together all of the various influences that you

have found (or, more to the point, that have found YOU). At this point, the
different sounds and styles of your heroes should be starting to mesh and
blend with one another. Continue simmering over low heat, adding salt and
pepper to taste, stirring constantly, and then…………

‘INNOVATE!” Congratulations! You now have your own blend of your

own favorite influences, and hopefully a very diverse blend at that! This is
that magical “a-ha!” moment when your OWN sound is emerging, as a result
of the preceding three steps.

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But wait! Before ANY of the previous 3 steps can be performed, there is a
CRUCIAL preliminary step: INVESTIGATE!! In other words, do as much
LISTENING as humanly possible! To repeat a phrase from the previous
chapter, “IT IS IMPOSSIBLE TO LEARN HOW TO PLAY ANY KIND
OF MUSIC PROPERLY WITHOUT DOING TONS OF LISTENING!!!!”
Also, with the advent of the Internet, it is now much easier to find rare
recordings than in years past. I don’t regret for a minute the countless hours
of poring through record bins in search of ANYTHING I COULD LEARN
FROM. In fact, I’ll still do it whenever presented with an opportunity.
There are myriad mail order and download sites out there, so see what you
can find, and ENJOY THE HUNT!!

So now, the THREE steps become FOUR:

1. Investigate
2. Imitate
3. Assimilate
4. Innovate

The lists in Chapters 6 and 7 are a good starting point, but I encourage all of
you to find other artists on your own. In those many hours spent in record
stores, I often was NOT looking for anything specific. I would usually buy
anything that had a trombonist on it, whether I had heard their name or
NOT! Later on, I branched out, looking for other instrumentalists, arrangers,
composers, and vocalists. I must admit that even to this day, the thrill of the
chase is STILL a great source of adrenalin for me, so once again, ENJOY
THE HUNT!

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 9.

In conclusion
(WHEW!!)
Well, you’re probably wondering at this point, “What’s left?” PLENTY, but
that’s up to YOU! Remember, there is NO LIMIT to what a creative mind
and spirit can accomplish, and you owe it to yourself to nurture and
RESPECT the gift of music, because it will be a great source of joy
throughout life if you do!

One final word to all of you for being involved with music to begin with:

CONGRATULATIONS!!!!
Don’t forget to BLOW FREELY, and I’ll see you on the bandstand!!

S.W.

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KEY TO PHOTOS:

Page 47: at Henri’s with the late, great Buddy Childers, Kendall Kay,
Chuck Berghofer, John Hammond.
Page 48: in the studio with (top) Jennifer Leitham, Ginger Berglund, the
late, great Bob Florence, Roger Neumann, Kendall Kay, Andy Waterman,
and Corey Allen. Bottom: with Bob and Evie Florence.
Page 49: top, with Doc Severinsen; bottom, at IAJE with Mark Murphy and
Ginger Berglund.
Page 50: at Prescott Jazz Summit with Marvin Stamm.
Page 51: at Henri’s with Jennifer Leitham, Pete Christlieb, Jim Hughart,
and John Hammond.
Page 52: top, in Prescott with Ginger Berglund; clockwise: Scott Whitfield
Jazz Orchestra East at New York’s Birdland; in Japan with John Allred,
Curtis Fuller, Tim Newman, and Pat Hallaran; at Birdland with Kenny
Ascher, Mary Ann McSweeney, Pat Hallaran, Dick Nash, and Wayne
Coniglio; at the Vic with Dick Nash and Andy Martin.
Page 53: top, in Aspen with Michael Powell and Jim Pugh; bottom, at
Birdland with the late, great Wayne Andre.
Page 54: top, at Birdland with Jack Gale, Sonny Russo, and Paul Faulise;
bottom, at Smoke with Curtis Fuller, Dick Griffin, and Slide Hampton.
Page 55: top, at the Blue Note with Julian Priester; bottom, at IAJE with
Bill Watrous, Tom “Bones” Malone, and Jim Pugh.
Page 56: top, at IAJE with Bill Watrous, Eddie Bert, and a fan; bottom, in
Florida with Urbie Green.
Page 57: top, a LONG time ago in Florida, with Count Basie, Harry James,
and school band friend Peter Holland; bottom, in Aspen with Clark Terry.
Page 58: in Aspen ,with (top) the late, great Mel Torme and (bottom) the
late, great Nick Brignola.
Page 59: top, at Birdland with the late, great Lew Anderson and the
legendary Soupy Sales; bottom, in Prescott with Toni Tennille and Ginger
Berglund.

What a lucky life I’ve had so far!

Hmmm, maybe a coffee table book should be next………

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