The trombonist is part of Brass Section, term that refers in the big bands to the group of metals formed by trumpets and trombonists, by contrast to the reed section (section of tongue), the group of the saxophones and the clarinets.

The trombonist is present in the jazz from the prehistory of the genre, and its role initially was of doing the serious counterpoint to the main melody, which was developed by the cornet. One of the first proper instrumental skills of the jazz is “trombone tailgate”. The style tailgate owes its name to the fact of which the trombonista needed more it spread in the cars in which there were traveling the bands that other musicians, and one popularized in the bands of march of New Orleans of the hand, especially, of Kid Ory. Not only Ory was an excellent trombonista in this style, also there have remained the names of Frank Dusen, Honore Dutrey, Ed Cornish or George Fihle. Charlie Green was other of the pioneers of the instrument, and the first one of the big soloists of the band of Fletcher Henderson, to which little came before Louis Armstrong. George Brunies was one of the first white trombonistas of importance, instigator of the rhythmic liberation who, for the trombonist, supposed the dixieland.
The trombonista Jack Teagarden.
Jimmy Harrison was one of first trombonistas capable of executing alone of big melodic content and full houses of expressiveness in the trombonist, and also one of the first ones in achieving the mordant sound of the trumpet with its instrument. In New York, Miff Mole was, in certain aspects, the white Harrison compensation, placing definitely the trombone as an instrument full right soloist and influencing powerfully to trombonistas of the style of Chicago like Tommy Dorsey or Jack Teagarden. Dorsey, the most popular between the conductors of the age of the swing, put at the head of its band the melodic and distinctive sound of its instrument, and harvested an enormous success, while Teagarden, capable of making to dream its instrument of the agility of a trumpet, set on himself like one of the biggest trombonistas of the age pre-bop.

From the band of Duke Ellington Joe Nanton, Juan Tizol and Lawrence Brown arose. Nanton was the big representative of the style growl, it notices Tizol (coauthor along with Ellington of “Caravan”, one of the first topics of Latin influence) it was not touching the poles trombone, but that of pistons, much less common, while Brown stands out for preferring the melodies cantables.

The big trombonistas of the swing were Benny Morton, Dicky Wells, Vic Dickenson, J. C. Higginbotham and Trummy Young. Morton, Wells and Dickenson were members of the band of Count Basie, while Higginbotham jumped to the reputation from the bosom of the band of Luis Russell thanks to a sound particularisimo. Trummy Young for his part, never reached an excessive fame in spite of its talent, beyond its Margie’s version, a topic that harvested a big success in its time
Kai Winding painted the portrait.
Descendant Young’s and inspired by other trombonistas of the age of the swing, like Higginbotham and Morton, we have J. J. Johnson considered by many like the biggest trombonista of all the times. Johnson was the first trombonista in Charlie Parker and Dizzy Gillespie managed to transfer the language of the pioneers of bebop to its instrument, touching with such a speed and tidiness that seemed that it was using a pistons trombone and not of varas. The Danish Kai Winding turned into the white compensation of Johnson, going so far as to codirect some formations and recordings with him

Of between the musicians of hard-bop who arose a decade later than Johnson and Winding Curtis Fuller stand out, of the generation of Detroit; Jimmy Knepper discovered by Mingus and with a style on horseback between the swing and the bebop; Julian Priester, Garnett Brown and Slide Hampton, musicians of big versatility and with a long career behind him.

For Berendt, Bill Harris is, along with J. J. Johnson, the most influential trombonista of the history of the jazz. Of one and from other they descend Frank Rosolino arisen from the band of Stan Kenton and from typical Italianamerican style, full of humor, as Carl Fontana, Frank Rehak and Eddie Bert; the versatile one To The Flock; Urbie Green known especially immediately after its stay in the big band of Benny Goodman; and Bill Watrous. Willie Dennis, arisen from the school of Lennie Tristano, enjoys a particular technical brightness, as Jimmy Cleveland. Bob Brookmayer, with the pistons trombonist, represents finally a more classical vision between the generation of trombonistas of the decade.

Trombonistas younger that took forward the tradition of J. J. Johnson was Janice Robinson, Bruce Fowler, the multiinstrumentalist Tom Malone y Jiggs Whigham, while from the ambience of the free jazz Grachan Moncur III, Roswell Rudd and Joseph Bowie come
The German trombonista Albert Mangelsdorff.
During the decade of the stage of the trombonist, since it had spent him in due time to that of the clarinet, stagnated, and the main pioneers of the development of its employment in the jazz-Jay Jay Johnson, Kai Winding and Bill Harris – disappeared of the scene. It was then when a new generation popped in of trombonistas Europeans headed by the Englishman Paul Rutheford, the Swedish Axis Thelin and, especially, the German Albert Mangelsdorff, who develops for the first time a skill that, by means of the employment of harmonic to he was allowing to execute polyphonic chords with the trombonist, an instrument monofonico. notices Meanwhile, in the United States there arose Ray Anderson, who was gathering the uninhibited and quarrelsome tradition of figures of the jazz like Fats Waller, Louis Armstrong and Dizzy Gillespie, leading at the same time to the instrument at the edge of its sonorous possibilities with the adaptation of the skill multitimbrica developed by Dick Griffin, a skill that was allowing him to execute chords and armonias with help of its own one voz. George Lewis kept on investigating the sonorous bogey of its instrument, incorporating the computer as instrument in a career that includes the album Homage to Charles Parker, considered a masterpiece for the criticism especializada.
Delfeayo Marsalis touching in the New Orleans Jazz Festival.
In the panorama of last years, Steve Turre was located like one of the best trombonistas of the decades of and, with a complex and extensive work in which it introduced the conches as integral part of its musical Rob McConnell, an excellent soloist, placed its big band between the best of the panorama, Robin Eubanks stood out in numerous contexts, including the big band of McCoy Tyner or the band of Stevie Wonder, as George Bohannon, one of the trombonistas of meeting of major success in world While Delfeayo Marsalis – brother of Branford, of Wynton and of Jason and son of Ellis Marsalis – was continuing a big familiar tradition in the trombonist, Willie Columbus jazz was established like one of the main figures of the instrument of the Latin, and the Danish Nils Landgren was doing the proper thing in the world of the jazz funk, where Trombone Shorty stands out nowadays, that maintains strong influences of the traditional jazz in a musical funky environment.

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