Big Band Trombone Moments #11

Back into the swing of things, this freshest episode features a lot of modern compositions as which include some interesting techniques you may not have thought about.

Callum Au – Swipe Right!

Released this year, Callum Au put together some of the finest musicians in the UK and composed some belters for them to play

Swipe Right! is the introduction to the album, and this chart captures the fun, snappy, Gen-Z-ness of the title very well.

Firstly to say, it’s an extremely challenging soli. However, there are a few arranging decisions that help take some of the pressure off the players without affecting the overall sound.

Below we see this unison line divided up amongst all the players, giving players some breathing space whilst maintaining the melody (semi Donna Lee-inspired). You can still hear the melody very clearly whilst eliminating the tough challenge of playing the 8th note line for the whole 2-measure duration.

Another subtle thing is the elimination of this unison part in Trombone 1. It gives more time for the player to prepare for the laser-high phrase to come. You’ll see this a lot more in Trumpet 1 parts, as they need to save some lip for the screaming.

Pink Sunset – Elliot Deutsch

Bob McChesney is an unbelievably delicate trombone soloist, and this chart composed and arranged by Elliot Deutsch really compliments his sweet sound

What intrigued me about this soli is how low in the register this begins. These low block voicings usually create a muddy sound, but with all the rhythm dropped, the effect is rather warm, with the lower voices under Bob feeling like a soft cushion. Bob’s natural sound also helps smoothen these lower bits out too.

Even though it is low in the register, the rule of keeping at least a third from the melody (for the most part) is maintained through here.

Rear View – WDR Big Band

By far one of the weirder arrangements I’ve covered. Bill Holman compositions always manage to surprise me with the interesting textures he can create.

This opening of Rear View has a few arranging approaches I had no seen before. First are the rhythmic stabs in the trombones. Whilst the saxophones and trumpets are playing their own unison melody, the bones are playing these major triads, which creates this almost ironic, loopy feeling.

On Green Dolphin Street – Rob Parton Big Band

A great viewer suggestion, this one certainly gets the slide moving.

Nothing too crazy to say about this one! I enjoy when the bass trombone stabs come in, as well as when Trombones 1-3 come out of unison to play the A and G♭, with two bones on the G♭ making it sound extra powerful… they then split two play a crunchy C13sus#11 chord.

Oh Qué Será? – Willie Colón

Decided to finish on a more mainstream song, and I realised I hadn’t included any Latin-style pieces. Willie loved to included bones on his recordings, and this certainly enhances the rich ending to the song.

Thanks so much for your support with the series!