Monday, August 30, 2010
Howard is one of the top tuba soloists since the early '60s, Howard Johnson is a very versatile player who not only plays tuba and baritone but other reeds and trumpet. He moved to New York in 1963, where he worked with Charles Mingus (1964-1966), Hank Crawford, and Archie Shepp. In 1966, he started a 20-year off-and-on association with Gil Evans. Johnson's four-tuba group Substructure performed with Taj Mahal, and, in the late '70s, he formed a different tuba band called Gravity that, in 1996, finally had the opportunity to record (plus play at the Monterey Jazz Festival). Howard Johnson has recorded with Crawford (1983-1984), Jack DeJohnette's Special Edition, Jimmy Heath, Bob Moses, George Gruntz's Concert Jazz Band, and frequently with Evans' orchestra, among others.
Interesting article by Brad Edwards (trombone instructor at University of South Carolina) ... I've played on trombones w/different lead pipes & it makes your horn feel like 3 different horns, but this is a new one on me...
Whenever I go to a trombone convention showroom, I carry with me a good dose of skepticism. I've seen some pretty ridiculous things.
However, I had a pretty mind-blowing experience at the Edwards booth when I spent some with Christian Griego and their new model, the "Alessi" model T396-A.
Now you might think that, given my last name, I play an Edwards. Wrong, I play a Shires and absolutely love it.
Here's the thing, though....
This new Edwards trombone is what they call an acoustically-tunable fixed instrument. Basically, if I understand correctly, this trombone doesn't have a removable lead pipe (I could be wrong about this, though). What it definitely does have, though, are these three threaded holes near the tuning slide (I think they call it an "harmonic bridge"). The horn comes with a variety of small bolt-like pieces made of different metals which can be screwed into these holes.
At the outset, I felt pretty confident that I was about to have another 'snake oil' experience. However, as Christian began to add or change these metal pieces I was amazed by the difference in the instrument.
He would make the smallest adjustment and it was as if he had handed me a different instrument. One time, the change was the same piece/same hole but he screwed it in from the opposite side. Even this caused a big difference in the way the instrument responded.
Am I ready to leave Shires?
No, but I'll admit that, if my horn were destroyed or stolen, I'd have to look closely at these new Edwards trombones before I automatically go back to Shires.
This time, it isn't snake oil. I think he's really onto something here.