You have no problems.

I have no problems.

It's too easy to get overwhelmed, overloaded, pessimistic, and want to just "check out."

Don't know what I'm talking about? (Must be nice to be an alien)

For the rest of us, it's the daily journey, challenge, and effort to keep on "keepin on" and make progress-- in your life, in your skill set, your career, your marriage, your relationships.

If you know what I'm talking about, and have found yourself "stuck", take 5:18 seconds today to witness a true hero--a champion of the human spirit.
By 3:00 I choked up like a schoolgirl. Make sure you at least watch from the beginning through 3:55.
Now, I'm off to contribute something to the world, and my family.

First thoughts:

        It’s always a pleasure to hear an artist of Mr. Martin’s caliber. Even amongst the Los Angeles studio greats, he sets a high standard with his outstanding mechanics and fundamentals, stylistic flexibility, and innovative use of the jazz vocabulary.

         I was most impressed with his performance of the ballad In a Sentimental Mood, which evoked remnants of the great J.J. Johnson in the first A section, and later evolved neatly into the flowing lines for which Andy is known so well. I greatly enjoyed the evolution and structure of his solo as he increased the rhythmic complexity, density of the solo, dynamics, and pitch to a glorious climax, then handed it over to a delightful chorus by the pianist.

Clinic Notes:

• Born in Provo, Utah, then moved to Hayward, CA
• His father taught at CSU, Long Beach, and was a jazz musician
• Andy has two loves: Trombone and Baseball - he followed his brothers into music as a profession, and was working right out of high school
• He briefly “attended” CSU, Long Beach, but mostly played in the big band, and combos.
• His first gig was playing in the Dixieland Band at Disneyland.
• He prepared for the Disneyland audition by studying Jack Teagarten
• He studied with Roy Main and Charlie Schumacher
• He developed his jazz vocabulary by memorizing transcribed jazz solos.
• Was on the road with Lou Rawls, Paul Ahnka, and Poncho Sanchez
• Learned “the business of music” while on the road with Paul Ahnka--“standing up for yourself” vs. “getting walked on” When Ahnka asked for a pay cut, they asked for a raise.
• Plays with the big bands of Tom Kubis, Bill Holman, and Gordon Goodwin. Performs two days a week on Dancing with the Stars, and with the broadway show Wicked.
• Fitness is essential for both the physical demands of playing the trombone, and keeping yourself mentally focused and centered.
• Is a big fan of “cross-training”-- if he is playing a lot of loud and low passages on bass trombone, he will then practice soft high passages on the tenor trombone.
• How to “develop a jazz vocabulary”--transcriptions! -- Listen to trombonists, but also to trumpet, sax and pianists. Take a lick, write it down in its original key (and put scale degrees above each pitch), then work it through the circle of fourths (not ascending chromatically).
• A jazz vocabulary is essential--we develop it to get to the point of invention in our solos.
• Trombonists to listen to: J.J. Johnson, Frank Rosolino, Carl Fontana. Also loves other instruments: Michael Brecker, John Coltrane, Stan Getz, Clifford Brown
• The point of learning the changes and developing a jazz vocabulary it to be able to keep inventing ideas over many choruses without repeating-- this is exhibited in the playing of Stan Getz.
• Do exercises like the Herbert L. Clarke studies in harmonic minor.
• Regarding Slide Vibrato: The quicker the vibrato, and the quicker it starts creates a very “dated” sound-- a more warm and modern vibrato involves holding the pitch longer, then slowly warming it up with a more gentle vibrato.
• Regarding Circular Breathing: Doesn’t do it, or have a need for it. Likes to develop ideas with increasing complexity. Listen to the playing of Sergei Nakariakov for circular breathing. It can be a detriment in studio playing (anecdote of player whose circular breathing came through in the booth).
• Frank Rosolino- he believes Frank didn’t doodle tongue, just used the “natrual breaks” of the harmonic series, or “against the grain” to his advantage. Carl Fontana was the best example of doodle tonguing.
• DrJ Observation: His slide technique is very impressive: He has a very quick, crisp, and “late” slide--he moves it at the last second and is very accurate with his slide technique, regardless of tempo/style. “Stick & Move”

Thanks to Dick Akright, Dave Ridge, and Dean Hubbard for putting this great event together!

Andy's album with Bill Liston is the second album of his that I have purchased, and features not only outstanding trombone playing, but also an exquisite interaction between some highly polished and inventive jazz musicians.  It was through this album that I first heard (and became a fan of) Bill Liston, and got an in depth exposure to John Clayton and Jeff Hamilton.   This is a *GREAT* album for any aspiring jazz musician, and all trombonists.

DrJ