Tommy Dorsey TrumpetTrumpet Tommy Dorsey
Thommy Dorsey and his orchestra - Swing High / Opus No. 1 (Shellac, 10", 78 rpm)
We are working on giving you more possibilities to accept cookies..... In the meantime, you can choose to accept all or only the cookies required to operate the website. Itichetta: Formato: Paese: Uscita: Genere: Styles: "Swing High" taken in Hollywood on October 16, 1940. "Photographed Opus No. 1" in Hollywood, November 14, 1944, This issue has only Copyright Royalties Supervision credits with no Rights Society.
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Solo trumpet by Dave Ballou
In order to broaden our offer and find new ways to promote the exploration of classical music, we need your help. Other musicians of later generations have followed this path, from Nat Wooley and Taylor Ho Bynum, about ten years younger than Ballou, to Kirk Knuffke, just over thirty, and Peter Evans.
Ballou embodies in this card a very interesting moment of synthesis, which traces a strong link with tradition and highlights an immaculate formulation reminiscent of the teachings of Clifford Brown, Woody Shaw and Clark Terry, with a round and brilliant sound clearly derived from classical music. At the same time she welcomes strong impulses to experiment, to search for new vocabularies for the instrument.
His first professional experiences in the historical big bands founded by Tommy Dorsey and Woody Herman are important in this sense, as is his work in the field of "cultivated" music, which is favoured by his solid education. Ballou presented this position on earlier lead recordings for the label SteepleChase in a plausible way, confronted with unscrupulous repertoire tracks including songs like "Stella by Starlight", "Light Blue" and "Solar".
"But then they add allusions to the artistic avant-garde and research in the broadest sense, with songs like "Rothko", "Art Deco" by Don Cherry and explicit homages to esteemed colleagues like "Herb". In 2008, Robertson recorded a live album with Stone in New York. This document combines with this solo trumpet in a much more solid way than the above SteepleChase recordings, in the sense that Ballou is much more fully immersed in research and free improvisation in this case.
The debut track "Tightly" emphasizes the clear, noble, round sound of the instrument, which has to struggle with a spontaneous reflection that introduces admirable balance phrases and pauses. But already in "Dgas" the phrasing is traversed by a movement of nervousness and the language takes on more twisted directions, the sound suffocates and rises, cracks and folds in a material surface, traversed by knots and waves.
But " Wooley Warmth ", whose reference is obvious, goes along with the flugelhorn in search of overtones and further roughness, while " Marbles " (dedicated to Clark Terry) does not reveal the onomatopoetic references of the title.