November 14, 2023 • 25 mins
Who knew that finding a suitable name for a podcast could take us on a roller coaster of creativity? Nick and Sebastian sift through all of your brilliant suggestions. We also talk about trombone MacGyver moments in the clutch, trombone google keyword news, submitted questions about breaking in a slide, gripe of the week, how a trombone is best used as a weapon, Bach therapy, beauty in the world and most likely more.
Also introducing special features with Patreon: www.patreon.com/tromboneretreat
Learn more about the Trombone Retreat and upcoming festival here: linktr.ee/tromboneretreat
Hosted by Sebastian Vera - @js.vera (insta) and Nick Schwartz - @basstrombone444 (insta)
Produced and edited by Sebastian Vera
Music: Firehorse: Mvt 1 - Trot by Steven Verhelst performed live by Brian Santero, Sebastian Vera and Nick Schwartz
Thank you to our season sponsor Houghton Horns: www.houghtonhorns.com
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Hello and welcome back to the second installment
of.
I Don't Know what this IsCalled.
My name is Sebastian Vera.
Hello, Nick Schwartz, how youdoing?
Speaker 2 (00:12):
John Sebi Vera, john Sebi, vera, john Sebi.
Vera is my friend.
Speaker 1 (00:18):
Damn, come in hot again, man.
So we asked for somesubmissions on what this here
show should be called.
And again, if you're tuning infor the first time and you
didn't hear our episode lastweek, we still will have our
interviews where you will laughand cry and get to know people
in depth In ponder, in ponder.
(00:40):
But in an effort to be moreconsistent, which is what the
people have been asking us to do, we're making more episodes.
So in that vein, we had a fewsubmissions on some ideas for
what we could call this.
Well, we'll see, we'll see.
Okay, so here's one.
(01:01):
One's called the Spit, withNick and Sebastian.
Get it.
It's like Tramone spit.
How about shooting the spit?
I don't know if I love spit inthe title.
I know, you know, and there'salready a podcast called it's
Not Spit, it's Condensation.
It's a great one.
You should check it out.
The one that we submitted fromMr Jim Nova was tips, nips and
(01:23):
slips.
Speaker 2 (01:27):
All right, I think we got it folks.
Speaker 1 (01:30):
Jim, don't submit anything if you don't want us to
say it.
The green room a little moredown the line backstage, not bad
.
Green room Fifth position Notbad.
Speaker 2 (01:40):
What about?
Fifth position doesn't exist,you just made it real long
though.
Fpd.
Speaker 1 (01:48):
It sounds like a sci-fi podcast.
I don't know.
The fifth position's not bad.
What about the fifth position?
Trumbone lovers.
Trumbone's lovers.
Yeah.
I don't know about that, yeah.
Speaker 2 (01:59):
Yeah.
Speaker 1 (02:01):
Our friend Frank Cohen suggested all things rusty
.
Speaker 2 (02:04):
That's a.
I think it's good towards thetop, to be honest.
Speaker 1 (02:09):
I don't understand.
What does that mean, rusty?
I don't either.
Speaker 2 (02:14):
Maybe we can polish really work it out.
You know polish, the brassreally slide it in, just really.
Speaker 1 (02:19):
Okay, all right.
And then our friend AlexisSmith suggested which I think is
a dark horse in this raceJonesen for a Bonesen Dark horse
.
Speaker 2 (02:29):
That's Secretariat, right there, she's screaming.
Speaker 1 (02:34):
Obviously, that's the right choice.
Speaker 2 (02:36):
Yeah, of course.
Speaker 1 (02:37):
Okay, so we might submit have a formal poll on
Instagram.
If you're not following us onInstagram, we're at Trumbone
Retreat on Instagram.
Why aren't you?
Unless you just are one ofthose people that is sane and
doesn't look at Instagram, Can?
Speaker 2 (02:50):
I talk to them directly, real quick.
Speaker 1 (02:51):
Yeah.
Speaker 2 (02:53):
Hey, meet your buddy Nick.
Speaker 1 (02:55):
Oh, I need to put like youth pastor music in the
background, like soft acousticguitar.
Speaker 2 (03:00):
Why you be hating Smash that like Smash that
follow.
Smash that subscribe.
Get in there.
Speaker 1 (03:08):
Thank you.
Thank you, pastor Nick, andyeah, subscribe to the podcast
so we get a notification everytime.
So what's next on our list?
Speaker 2 (03:17):
So next segment Hold on hold on real quick, oh please
, I think that we can't jump tolike naming this podcast or this
series so quickly.
I think we need you to do onemore poll, okay, to give people
a chance, because you know we'rejust we're getting this going.
You know, let's do one morepoll, let's see what happens,
you know, and see if we get somemore submissions.
And then, you know, we kind ofdo like, maybe we do like a,
(03:38):
like a Insane tournament bracket.
Speaker 1 (03:41):
Yeah, a bracket.
Speaker 2 (03:42):
Yeah tournament.
Speaker 1 (03:43):
A playoff.
I like it, man.
So I'm sorry I'm just gettinghere late.
I literally drove here thismorning from DC.
I had opening night two nightsago in Pittsburgh with Flying
Dutchman, which was awesome, myfirst Wagner live opera
experience.
And then I woke up early andleft for DC at like 8am, drove
(04:05):
four hours, went straight to theopera there at the Kennedy
Center and site read an operaGuno, Romeo and Juliet which was
a good one it was.
It was honestly my weird self.
I just really enjoyed thechallenge of the site reading
because it was just full ofcurveballs.
Speaker 2 (04:22):
Yeah, that's a tricky one.
It doesn't look like much onpaper but you get into it and
it's.
It's got some got some momentsyou can really step in it.
Speaker 1 (04:30):
It was beautiful.
I really, I really enjoyed it.
And then, of course, you know,to add, add to the challenge, my
spit valve just like broke offin the middle of it, which is
fun, that's fun.
And so I was like, well, I gotabout 20 bars of rest until my
next entrance.
So Lee Rogers, who I wassitting next to the principal
(04:54):
trombone at the Kennedy Centerand a good, good, longtime
friend, awesome trombonist, waslike I got you and you like grab
some tape, like some electricaltape, and we have that.
I they just have in the pit.
He just like new where to go.
You like motion to theprincipal trumpet and he got it.
Take me.
I was like, okay, I put tape onit.
And of course I had to likepull my slide off for the rest
(05:16):
of the opera and just like Dump,dump it all out.
But that's what that's what prosdo, it's pros do they get it
done.
Then I actually got to see your, your.
I don't know if I told you Igot to see your goodly wife
afterwards I heard from her andsaw on the Instagrams it warmed
my heart.
She's.
She's there conducting at theKennedy Center, being a badass
as normal, mm-hmm.
Speaker 2 (05:38):
Yeah, which was she at that performance?
Speaker 1 (05:41):
I can't remember, or did she's no, no, so she's
conducting a different operagoing on.
Well, I meant like I know.
But well, I know, I'm justdescribing to our imaginary
people in the audience that'slove.
Yeah, okay, don't yell at meyeah.
So we met a bakery and we justtalked about you the whole time.
Speaker 2 (05:57):
Isn't he the best?
Look at his eyes.
Or like little swimming pools.
Speaker 1 (06:02):
So, yeah, that was my last 24 hours.
Just got home but right backinto podcasting, because
podcasting is my life, nick.
Speaker 2 (06:09):
Podcasting life and life is castin.
We probably played Wagner likeat the same time I was playing.
Speaker 1 (06:19):
Tongue was a very cool, did you do your long tones
?
Speaker 2 (06:24):
before you played it.
Oh yeah, let me tell you this.
So okay, this goes out to allbrass people.
Speaker 1 (06:32):
Well, no, is this like a PS?
Speaker 2 (06:34):
PSA Low brass.
So for two players maestrosingers a big deal.
For Trummond players, tom Hoyswas a big deal.
I've played both.
The overture is About all thereis to do.
It is so boring.
Sorry, I didn't say oh.
It's beautiful music.
It's beautiful music, both ofthem, maestro singer.
(06:56):
It comes out clocks in justover six hours and it is nine
pages of music.
In that insane Tom Hoys her isfour and a half hours of music
and I think it's like 12 pagesof music.
So there's a little bit morebut not much.
And the other thing is right atthe end, the end of Tom Hoys
(07:16):
her.
Is this the excerpt that weknow is Tom Hoys her, but in E
flat, not an E, yeah yeah,flying Dutchman is just over
three in my parts, 12 pages.
Yeah, there's not much to do inthat one either, but there's
some.
It's all beautiful music reallyis, and you know, when you're
sitting there in rehearsal, youunderstand why the conductors
(07:36):
need to do all these, for thisrehearsal that doesn't involve
you, because the strings haveone bajillion notes, you know,
and it's like by the same timeyou're sitting there and you're
just like you know, like goinginto a coma slowly my favorite
pastime is showing stringplayers how short my part is,
though.
I Try to avoid that at all costs, because then they just get
really upset.
Speaker 1 (07:56):
I think was it.
Don Giovanni is one page.
Don Giovanni is like two.
Magic flute, something likethat.
Magic flu is more like fourpages.
Man, you're just like.
You're just like a encyclopediafor opera, page length.
Speaker 2 (08:13):
If I'm good for one thing, it's how many pages is a
part.
Speaker 1 (08:16):
Nicholas, we have a submitted question.
Speaker 2 (08:19):
Question time Fargo wagon coming in hot.
Speaker 1 (08:24):
Oh man, yeah, let's have segment music for every
segment.
Okay, so our friend Connorcoffee, he he messaged on
Instagram and he said on thenext podcast, can you discuss
breaking in a brand new slide?
I've been told that this is athing and I've been told it's
not a thing.
I was taught to wipe a newslide down every day for the
(08:45):
first six months to remove anymetal shavings that can cause
scratches.
I have never heard this at all,so I'm going to you.
I take it You'll get straightup.
Speaker 2 (08:54):
Okay, take the reins.
So it depends on the Tramonmanufacturer, not because of
their manufacturing process perse but because of the tolerances
that they build their slides.
If it's a manufacturer thatbuilds a slide with a tighter
tolerance and I don't wantnecessarily name brands because
that comes with pluses andminuses Obviously with a tighter
(09:16):
tolerance there's, you know,more of a seal per, you know,
theoretically, blah, blah, blah.
But with that there's less roomfor any sort of imperfections
in the slide or foreign objectsin the slide.
So I've had a couple of slidesthat needed to be broken in and,
yes, cleaning the slide daily,but, more importantly, cleaning
(09:38):
the in the outer slide.
If you get one of thoseslatomic cells, that rod with
the cloth, that's machinewashable, that's the way to go
screws and paper towels orcheese cloth or anything like
that.
Get the slot on mixing.
You can get on Amazon supersimple and Just like being
meticulous with that, reallycleaning it a lot and it just
(09:58):
takes time and it's annoyingbecause we're obviously very
sensitive to like.
We want it to move as likegliding as possible and when
it's not doing that, it reallysucks.
So it is a thing.
It what you heard is right, itis a thing and it isn't a thing.
It depends on your slide.
So, but the, I would.
I don't know if it's Metal,like microscopic metal particles
(10:22):
from the, from themanufacturing process, I have no
idea, but it does exist, cuz Ihave a Couple of slides that
really sucked and now they'reawesome and it just took time.
Speaker 1 (10:33):
You'd like some robot that'll just like keep it
moving, like ours?
Speaker 2 (10:37):
Yes, Maybe I can like Get, like, get someone off of
five, or to do that.
So all I need you to do is sitin this chair.
Speaker 1 (10:47):
No, no, hold it.
No, yeah, yeah, hold it, holdit, yeah.
Make a gun with your left hand.
There you go.
There you go, hold it.
No, that's improper.
Yeah, yeah, two fingers, thereyou go, yeah, and just just live
long and prosper straight.
Yeah, keep, keep it up, andI'll be back in about eight
hours.
Mm-hmm, cool, thank you.
Shall we move to new Googlekeyword trombone searches?
(11:10):
Oh yeah, it was a good question.
Speaker 2 (11:12):
Oh, yeah, it was.
It was invigorating last time.
Speaker 1 (11:15):
So so, checking this week, surprisingly we have
trombone shorty doing some stuff.
What he's?
He's doing concerts and he'smaking press releases, so good
job way to go.
Speaker 2 (11:28):
Pesano client, I'm so proud of you.
Speaker 1 (11:31):
Um, another one was I saw that there's a new Album by
Jennifer Wharton called gritand grace, that that had a
review, so I'm gonna have tocheck that out.
Well, it's, it's her and herbone.
Speaker 2 (11:43):
Gasm Is bone gasm the the group.
Yes, jennifer Wharton's I thinkthat's how it's billed Jennifer
Wharton's bone gasm, that's.
That's, that's great brandingright, there, it really is If
you haven't heard her previousalbums.
I haven't heard this one.
I need to check it out.
But really great stuff, reallyreally exciting playing, good
(12:04):
writing.
Yeah it's definitely gonna befun to check that out.
Speaker 1 (12:08):
Awesome.
All right, I think the nextsegment is time for gripe of the
week.
It's ripe for some gripe.
Oh, that's good.
I think you just need to makeup theme music for every segment
.
Oh, so I have one great me.
You know, I've been, I've hadthis one for a while and I've
never said it publicly, but Ijust, I Don't know why, it
(12:34):
bothers me.
So I think you know, you know,therapists say you should just
say say things and get it offyour chest and not bottle things
up.
Classical musicians Taking yourpress photos in front of
graffiti does not make you lookedgy.
Speaker 2 (12:55):
Okay.
Speaker 1 (12:57):
It doesn't make you look edgy.
Speaker 2 (13:00):
What Let me counter?
Can I counter Sure?
What if they're not trying tolook edgy, but they actually
really think it's beautiful?
Speaker 1 (13:09):
Sure, but it's everyone's doing it.
So it's like cliche now.
And it's like oh, I'm aclassical musician and
everything I do is considered soserious, so I'm going to take a
picture in front.
Ooh, look, graffiti.
It's like we can be morecreative.
Speaker 2 (13:24):
Okay, so before I give my counter, what are?
Speaker 1 (13:28):
Oh, this is not up for debate, but you can.
Speaker 2 (13:31):
Oh, it's up for debate.
Where should they be takingtheir headshots?
That would be acceptable.
Speaker 1 (13:39):
I'm saying I'm seeing a trend and it's like it's past
the point of cliche for me andit just looks lame to me and I'm
sorry, it's how I feel and itbugs me.
And more power to if you wantto do it, and I'm sure I have a
lot of friends that already havethose photos that are going to
hate me for saying this, but Ijust had to say it.
Speaker 2 (14:01):
Well, my initial reaction is who cares?
Oh, of course, and that yousaying it looks edgy, it might
not be what they're going for.
Speaker 1 (14:14):
I think it is though.
Speaker 2 (14:15):
If it is that they're going for edgy.
There's nothing edgy aboutclassical trauma, that's true.
That's where you're wrong, sir.
Okay, well, I don't even knowwhat to do, Cool so I win.
Speaker 1 (14:28):
Case closed, all right.
Okay, a new segment I'm veryexcited for and I'm going to
surprise Nick with somequestions here kind of
influenced by Nick and I'sfavorite podcast I don't think
we've ever actually said that onhere, but my brother, my
brother and me, if you'refamiliar, I think it's brilliant
Mibibab.
It's one of the most popularpodcasts in the world and
(14:50):
basically it's three brotherswho are freaking hilarious, but
the main crux of the showstarted with them answering
Yahoo answers questions justlike questions that the world
submits to the internet.
Hoping for people to answerYahoo answers is no more Now.
Quora is kind of like takenover.
I'm sure you've seen Quorathings pop up Quora, so I just
(15:14):
did a very quick search beforemeeting you here and luckily I
found some quick ones.
Let's see what's it got to gowith when used as a weapon.
How dangerous is the trombone?
Speaker 2 (15:30):
Oh, okay, let me get my response and then you give
your response, because you askedit right.
Okay, so, number one, are weusing it as a projectile?
If so, close range it could bepretty effective.
Or you could use it kind oflike a bat, you know, grab it by
the slide, with the slide lockon and give it a good swing.
Speaker 1 (15:48):
Are you saying projectile, like you're gonna
fling the slide or like thewhole thing like a javelin?
So you just throw the wholetrombone, yeah, so that's, you
got one shot when you do that.
Speaker 2 (16:00):
Circa 2012,.
You yeet the trombone.
Oh God, you're so hip with thekids, I know, yeah.
Speaker 1 (16:08):
But you could have two shots.
If you shoot the slide thenthrow the trombone, that's two
in the chamber.
Speaker 2 (16:14):
I can go with thrice Malthus, thrice and attack.
You can take the outer slideoff, swing it like a bat, then
throw it like a tomahawk andthen take the whole trombone and
throw it like a javelin.
Speaker 1 (16:28):
I like that and if you're resourceful and you've
been on the Facebook marketplacea lot, you can put a bunch of
mouthpieces in a sock.
Speaker 2 (16:38):
Oh, like full metal jacket when they beat the guy
with a sock full of soap.
Yeah, yeah.
Speaker 1 (16:43):
So maybe all your purchases on trombone
marketplace aren't the worstidea if the apocalypse happens.
Speaker 2 (16:49):
They could be your form of self-defense under
homeowners insurance, but as amusical instrument, I think a
lot of the people who sit infront of us in the orchestra
would consider the trombone aconsistent and pestering weapon.
Speaker 1 (17:08):
Are you saying just because how loud it is?
Speaker 2 (17:10):
Yeah, and I'm not saying everybody, it's just like
generally speaking across theboard, they don't really.
Speaker 1 (17:15):
Maybe that's a you problem.
Hey, I play with beauty at allpoints in time If I found the
person who sits in front of youin your orchestra and emailed
and asked would they agree?
Speaker 2 (17:28):
One of them 100% yes, the other one not as much.
Speaker 1 (17:35):
How many shields do you normally see in front of you
?
Speaker 2 (17:38):
It's like a whole wall Really, but not just in
front of me.
The whole brass section is justa wall.
Speaker 1 (17:45):
I really dislike playing into those things.
Speaker 2 (17:47):
I know At some point you fight it and fight it and
then it's just like the second,you kind of give into it, it all
becomes okay and you just it'sfine.
Speaker 1 (17:59):
Well, I think that's a good answer to our trombone
violence question.
So yeah, I think you can swingit like an axe too.
Speaker 2 (18:07):
Oh, overhand, I like that.
Speaker 1 (18:10):
Or you could just keep holding it and use it as a
poker.
Speaker 2 (18:12):
you know, with the slide, oh I used to do something
with when Kalimendi Guccio wasmy roommate.
I would put my slide in seventhposition and get the end, the
point part of the slide, asclose to his forehead as I could
and then walk the properdistance away, so it's exactly
like a millimeter from his head,and then just go like that and
(18:35):
if he flinched then I won.
I don't know what I won, but Iwon.
Speaker 1 (18:38):
And you never hit him .
Speaker 2 (18:40):
No.
Speaker 1 (18:42):
Wow, that's a lot of trust.
He didn't like it, but I likedit a lot.
Can't see him liking that, Stop, stop.
So with all this negativity, Ithink we should counteract our
gripe with the world with somelittle sunshine.
I don't know what we shouldcall this segment, but what
should we call it?
Speaker 2 (19:02):
We're going to talk about beauty in the world.
What should we call this?
What should we call thissegment?
Maybe we should do a poll aboutthis segment too Trumbone
beauty in the world.
I think we can't ask Trumboneplayers too many questions,
because their big meat claws getall clumped up on the small
keyboards.
Yeah, yeah, yeah, this is somebeauty in the world.
So I was working with a studentthe other day on Bach's
Sarabhan from the Fifth SuiteNever heard of it, exactly, it's
(19:24):
a fast, jaunty little ditty.
And I asked who he's listeningto out of inspiration for this
and he said Yo-Yo Ma, and Neverheard of him.
Yeah, yo-yo Ma is the onlycellist that has recorded the
cello suites three times, really.
Yeah, recently, I think, duringthe pandemic, recorded the
(19:47):
third time, and Some might saywhy, but Well, it's interesting.
So then I, after saying I wassaying to this student, I said,
oh, yo-yo Ma recorded threetimes.
It'd be really interesting tolisten to the Sarabhan from all
three recordings, like back toback to back.
So I was like, oh man, Ihaven't.
I haven't done that in a whileeither, like with other artists
(20:09):
who have done similar things.
So I went home and listened toYo-Yo Ma playing the Sarabhan
from the Fifth Suite in allthree recordings, and then I
listened to the Prelude from thefirst and second suite in all
three recordings, and then thatreminded me of my other favorite
version of this, which is GlennGould recorded.
And if you don't know who GlennGould is, he was a very famous
(20:31):
Canadian pianist, very known forhis interpretations of Bach in
particular, not limited to that,but that's kind of one of the
things he was most known for.
And he recorded the Goldbergvariations at the beginning of
his life and towards the end ofhis life.
And it's really amazing inthose recordings to hear the
(20:52):
difference of interpretation.
That particular one, the GlennGould one, this book ends his
life pretty much.
You know, you can kind of seethe evolution of his playing and
his musical decisions in thosetwo recordings.
Really, when he was young thetemp was really like overly fast
and like create, almost likemanic, and the later ones were
(21:15):
much more calm and slower.
And I don't know, I mean that'sjust an opposite of my
observation.
But I just found it refreshingand invigorating to go back and
listen to those Glenn Gouldrecordings and remind myself
that like, like why I got intothis thing.
(21:36):
That's not trombone music, butthose those recordings really
were important.
Wait, these aren't trombonus.
Speaker 1 (21:41):
I know crazy, this whole time I was really invested
in what you're talking about.
Speaker 2 (21:48):
But you know, just to like remind yourself sometimes,
especially when you getfrustrated or like you're losing
Kind of your way with like,like, why am I doing this?
Go back to some recordings thatyou love and listen to them.
And I did this not in a placewhere I'm frustrated,
necessarily with my own playing,but just kind of like I was
talking to a student about themand remind me all I've listened
(22:10):
to these in a while and, ah, itlike totally like brightened my
day.
It was like the Sun wasbrighter and like the air was
crisper.
It really was just like wow, Ihave a pep, my step now, because
it was awesome, it was so greatand it's great to hear.
Man, it doesn't have to beclassical music, you know, music
has that power, it's awesome.
So go back and listen tosomething that makes you happy,
(22:32):
you know.
Speaker 1 (22:33):
I've quite often prescribed To students.
You ever have like a lessonwith a student and you can just
tell they just have this bigCloud over them and they just
can't get anything together thatweek and they haven't been able
to get anything together andthey're in a rut with their
playing.
I'll just assign Bach all week,like listen to and play Bach,
(22:53):
and it often often does thetrick.
Speaker 2 (22:56):
I Mean yeah, he's therapy, he's chicken noodle
soup for the soul.
Remember those books, yep.
Speaker 1 (23:03):
And actually, that being said, I'm really looking
forward to your your thirdrecording of New Orleans,
because I think I'm really gonnareally get to know you at that
point.
Speaker 2 (23:12):
I'll have to do the first one.
Speaker 1 (23:13):
Second I Don't think age from bonus of recording
anything three times.
I mean, should we don't haveanything amazing enough to do
that?
Right exactly, but thank youfor that little dose of sunshine
or reminder, appreciate it.
I hope you enjoyed the secondinstallment of all things rusty
(23:36):
and jones and for a bones andand tips and nips and slips.
Speaker 2 (23:40):
I.
Speaker 1 (23:41):
Think does that?
Is that good?
That wrap it up.
Speaker 2 (23:44):
I think that wraps it up in a nice little package
with a beautiful little bow andsome Twine cool.
Speaker 1 (23:50):
So we'll have some some big interviews coming up.
We still have a half a seasonto get through and some
announcements and projectscoming through.
We still have the third coasttrombone retreat this upcoming
summer to announce the dates andguest artists.
So lots of fun, just fun stuffabsolutely.
Speaker 3 (24:09):
And you know, sebastian, hey, hey, hey,
sebastian here, Keep truckingokay, thanks, man make it a
great day.
Bye.
Speaker 1 (24:21):
Bye you.
Hello and welcome back to the second installment
of.
I Don't Know what this IsCalled.
My name is Sebastian Vera.
Hello, Nick Schwartz, how youdoing?
Speaker 2 (00:12):
John Sebi Vera, john Sebi, vera, john Sebi.
Vera is my friend.
Speaker 1 (00:18):
Damn, come in hot again, man.
So we asked for somesubmissions on what this here
show should be called.
And again, if you're tuning infor the first time and you
didn't hear our episode lastweek, we still will have our
interviews where you will laughand cry and get to know people
in depth In ponder, in ponder.
(00:40):
But in an effort to be moreconsistent, which is what the
people have been asking us to do, we're making more episodes.
So in that vein, we had a fewsubmissions on some ideas for
what we could call this.
Well, we'll see, we'll see.
Okay, so here's one.
(01:01):
One's called the Spit, withNick and Sebastian.
Get it.
It's like Tramone spit.
How about shooting the spit?
I don't know if I love spit inthe title.
I know, you know, and there'salready a podcast called it's
Not Spit, it's Condensation.
It's a great one.
You should check it out.
The one that we submitted fromMr Jim Nova was tips, nips and
(01:23):
slips.
Speaker 2 (01:27):
All right, I think we got it folks.
Speaker 1 (01:30):
Jim, don't submit anything if you don't want us to
say it.
The green room a little moredown the line backstage, not bad
.
Green room Fifth position Notbad.
Speaker 2 (01:40):
What about?
Fifth position doesn't exist,you just made it real long
though.
Fpd.
Speaker 1 (01:48):
It sounds like a sci-fi podcast.
I don't know.
The fifth position's not bad.
What about the fifth position?
Trumbone lovers.
Trumbone's lovers.
Yeah.
I don't know about that, yeah.
Speaker 2 (01:59):
Yeah.
Speaker 1 (02:01):
Our friend Frank Cohen suggested all things rusty
.
Speaker 2 (02:04):
That's a.
I think it's good towards thetop, to be honest.
Speaker 1 (02:09):
I don't understand.
What does that mean, rusty?
I don't either.
Speaker 2 (02:14):
Maybe we can polish really work it out.
You know polish, the brassreally slide it in, just really.
Speaker 1 (02:19):
Okay, all right.
And then our friend AlexisSmith suggested which I think is
a dark horse in this raceJonesen for a Bonesen Dark horse
.
Speaker 2 (02:29):
That's Secretariat, right there, she's screaming.
Speaker 1 (02:34):
Obviously, that's the right choice.
Speaker 2 (02:36):
Yeah, of course.
Speaker 1 (02:37):
Okay, so we might submit have a formal poll on
Instagram.
If you're not following us onInstagram, we're at Trumbone
Retreat on Instagram.
Why aren't you?
Unless you just are one ofthose people that is sane and
doesn't look at Instagram, Can?
Speaker 2 (02:50):
I talk to them directly, real quick.
Speaker 1 (02:51):
Yeah.
Speaker 2 (02:53):
Hey, meet your buddy Nick.
Speaker 1 (02:55):
Oh, I need to put like youth pastor music in the
background, like soft acousticguitar.
Speaker 2 (03:00):
Why you be hating Smash that like Smash that
follow.
Smash that subscribe.
Get in there.
Speaker 1 (03:08):
Thank you.
Thank you, pastor Nick, andyeah, subscribe to the podcast
so we get a notification everytime.
So what's next on our list?
Speaker 2 (03:17):
So next segment Hold on hold on real quick, oh please
, I think that we can't jump tolike naming this podcast or this
series so quickly.
I think we need you to do onemore poll, okay, to give people
a chance, because you know we'rejust we're getting this going.
You know, let's do one morepoll, let's see what happens,
you know, and see if we get somemore submissions.
And then, you know, we kind ofdo like, maybe we do like a,
(03:38):
like a Insane tournament bracket.
Speaker 1 (03:41):
Yeah, a bracket.
Speaker 2 (03:42):
Yeah tournament.
Speaker 1 (03:43):
A playoff.
I like it, man.
So I'm sorry I'm just gettinghere late.
I literally drove here thismorning from DC.
I had opening night two nightsago in Pittsburgh with Flying
Dutchman, which was awesome, myfirst Wagner live opera
experience.
And then I woke up early andleft for DC at like 8am, drove
(04:05):
four hours, went straight to theopera there at the Kennedy
Center and site read an operaGuno, Romeo and Juliet which was
a good one it was.
It was honestly my weird self.
I just really enjoyed thechallenge of the site reading
because it was just full ofcurveballs.
Speaker 2 (04:22):
Yeah, that's a tricky one.
It doesn't look like much onpaper but you get into it and
it's.
It's got some got some momentsyou can really step in it.
Speaker 1 (04:30):
It was beautiful.
I really, I really enjoyed it.
And then, of course, you know,to add, add to the challenge, my
spit valve just like broke offin the middle of it, which is
fun, that's fun.
And so I was like, well, I gotabout 20 bars of rest until my
next entrance.
So Lee Rogers, who I wassitting next to the principal
(04:54):
trombone at the Kennedy Centerand a good, good, longtime
friend, awesome trombonist, waslike I got you and you like grab
some tape, like some electricaltape, and we have that.
I they just have in the pit.
He just like new where to go.
You like motion to theprincipal trumpet and he got it.
Take me.
I was like, okay, I put tape onit.
And of course I had to likepull my slide off for the rest
(05:16):
of the opera and just like Dump,dump it all out.
But that's what that's what prosdo, it's pros do they get it
done.
Then I actually got to see your, your.
I don't know if I told you Igot to see your goodly wife
afterwards I heard from her andsaw on the Instagrams it warmed
my heart.
She's.
She's there conducting at theKennedy Center, being a badass
as normal, mm-hmm.
Speaker 2 (05:38):
Yeah, which was she at that performance?
Speaker 1 (05:41):
I can't remember, or did she's no, no, so she's
conducting a different operagoing on.
Well, I meant like I know.
But well, I know, I'm justdescribing to our imaginary
people in the audience that'slove.
Yeah, okay, don't yell at meyeah.
So we met a bakery and we justtalked about you the whole time.
Speaker 2 (05:57):
Isn't he the best?
Look at his eyes.
Or like little swimming pools.
Speaker 1 (06:02):
So, yeah, that was my last 24 hours.
Just got home but right backinto podcasting, because
podcasting is my life, nick.
Speaker 2 (06:09):
Podcasting life and life is castin.
We probably played Wagner likeat the same time I was playing.
Speaker 1 (06:19):
Tongue was a very cool, did you do your long tones
?
Speaker 2 (06:24):
before you played it.
Oh yeah, let me tell you this.
So okay, this goes out to allbrass people.
Speaker 1 (06:32):
Well, no, is this like a PS?
Speaker 2 (06:34):
PSA Low brass.
So for two players maestrosingers a big deal.
For Trummond players, tom Hoyswas a big deal.
I've played both.
The overture is About all thereis to do.
It is so boring.
Sorry, I didn't say oh.
It's beautiful music.
It's beautiful music, both ofthem, maestro singer.
(06:56):
It comes out clocks in justover six hours and it is nine
pages of music.
In that insane Tom Hoys her isfour and a half hours of music
and I think it's like 12 pagesof music.
So there's a little bit morebut not much.
And the other thing is right atthe end, the end of Tom Hoys
(07:16):
her.
Is this the excerpt that weknow is Tom Hoys her, but in E
flat, not an E, yeah yeah,flying Dutchman is just over
three in my parts, 12 pages.
Yeah, there's not much to do inthat one either, but there's
some.
It's all beautiful music reallyis, and you know, when you're
sitting there in rehearsal, youunderstand why the conductors
(07:36):
need to do all these, for thisrehearsal that doesn't involve
you, because the strings haveone bajillion notes, you know,
and it's like by the same timeyou're sitting there and you're
just like you know, like goinginto a coma slowly my favorite
pastime is showing stringplayers how short my part is,
though.
I Try to avoid that at all costs, because then they just get
really upset.
Speaker 1 (07:56):
I think was it.
Don Giovanni is one page.
Don Giovanni is like two.
Magic flute, something likethat.
Magic flu is more like fourpages.
Man, you're just like.
You're just like a encyclopediafor opera, page length.
Speaker 2 (08:13):
If I'm good for one thing, it's how many pages is a
part.
Speaker 1 (08:16):
Nicholas, we have a submitted question.
Speaker 2 (08:19):
Question time Fargo wagon coming in hot.
Speaker 1 (08:24):
Oh man, yeah, let's have segment music for every
segment.
Okay, so our friend Connorcoffee, he he messaged on
Instagram and he said on thenext podcast, can you discuss
breaking in a brand new slide?
I've been told that this is athing and I've been told it's
not a thing.
I was taught to wipe a newslide down every day for the
(08:45):
first six months to remove anymetal shavings that can cause
scratches.
I have never heard this at all,so I'm going to you.
I take it You'll get straightup.
Speaker 2 (08:54):
Okay, take the reins.
So it depends on the Tramonmanufacturer, not because of
their manufacturing process perse but because of the tolerances
that they build their slides.
If it's a manufacturer thatbuilds a slide with a tighter
tolerance and I don't wantnecessarily name brands because
that comes with pluses andminuses Obviously with a tighter
(09:16):
tolerance there's, you know,more of a seal per, you know,
theoretically, blah, blah, blah.
But with that there's less roomfor any sort of imperfections
in the slide or foreign objectsin the slide.
So I've had a couple of slidesthat needed to be broken in and,
yes, cleaning the slide daily,but, more importantly, cleaning
(09:38):
the in the outer slide.
If you get one of thoseslatomic cells, that rod with
the cloth, that's machinewashable, that's the way to go
screws and paper towels orcheese cloth or anything like
that.
Get the slot on mixing.
You can get on Amazon supersimple and Just like being
meticulous with that, reallycleaning it a lot and it just
(09:58):
takes time and it's annoyingbecause we're obviously very
sensitive to like.
We want it to move as likegliding as possible and when
it's not doing that, it reallysucks.
So it is a thing.
It what you heard is right, itis a thing and it isn't a thing.
It depends on your slide.
So, but the, I would.
I don't know if it's Metal,like microscopic metal particles
(10:22):
from the, from themanufacturing process, I have no
idea, but it does exist, cuz Ihave a Couple of slides that
really sucked and now they'reawesome and it just took time.
Speaker 1 (10:33):
You'd like some robot that'll just like keep it
moving, like ours?
Speaker 2 (10:37):
Yes, Maybe I can like Get, like, get someone off of
five, or to do that.
So all I need you to do is sitin this chair.
Speaker 1 (10:47):
No, no, hold it.
No, yeah, yeah, hold it, holdit, yeah.
Make a gun with your left hand.
There you go.
There you go, hold it.
No, that's improper.
Yeah, yeah, two fingers, thereyou go, yeah, and just just live
long and prosper straight.
Yeah, keep, keep it up, andI'll be back in about eight
hours.
Mm-hmm, cool, thank you.
Shall we move to new Googlekeyword trombone searches?
(11:10):
Oh yeah, it was a good question.
Speaker 2 (11:12):
Oh, yeah, it was.
It was invigorating last time.
Speaker 1 (11:15):
So so, checking this week, surprisingly we have
trombone shorty doing some stuff.
What he's?
He's doing concerts and he'smaking press releases, so good
job way to go.
Speaker 2 (11:28):
Pesano client, I'm so proud of you.
Speaker 1 (11:31):
Um, another one was I saw that there's a new Album by
Jennifer Wharton called gritand grace, that that had a
review, so I'm gonna have tocheck that out.
Well, it's, it's her and herbone.
Speaker 2 (11:43):
Gasm Is bone gasm the the group.
Yes, jennifer Wharton's I thinkthat's how it's billed Jennifer
Wharton's bone gasm, that's.
That's, that's great brandingright, there, it really is If
you haven't heard her previousalbums.
I haven't heard this one.
I need to check it out.
But really great stuff, reallyreally exciting playing, good
(12:04):
writing.
Yeah it's definitely gonna befun to check that out.
Speaker 1 (12:08):
Awesome.
All right, I think the nextsegment is time for gripe of the
week.
It's ripe for some gripe.
Oh, that's good.
I think you just need to makeup theme music for every segment
.
Oh, so I have one great me.
You know, I've been, I've hadthis one for a while and I've
never said it publicly, but Ijust, I Don't know why, it
(12:34):
bothers me.
So I think you know, you know,therapists say you should just
say say things and get it offyour chest and not bottle things
up.
Classical musicians Taking yourpress photos in front of
graffiti does not make you lookedgy.
Speaker 2 (12:55):
Okay.
Speaker 1 (12:57):
It doesn't make you look edgy.
Speaker 2 (13:00):
What Let me counter?
Can I counter Sure?
What if they're not trying tolook edgy, but they actually
really think it's beautiful?
Speaker 1 (13:09):
Sure, but it's everyone's doing it.
So it's like cliche now.
And it's like oh, I'm aclassical musician and
everything I do is considered soserious, so I'm going to take a
picture in front.
Ooh, look, graffiti.
It's like we can be morecreative.
Speaker 2 (13:24):
Okay, so before I give my counter, what are?
Speaker 1 (13:28):
Oh, this is not up for debate, but you can.
Speaker 2 (13:31):
Oh, it's up for debate.
Where should they be takingtheir headshots?
That would be acceptable.
Speaker 1 (13:39):
I'm saying I'm seeing a trend and it's like it's past
the point of cliche for me andit just looks lame to me and I'm
sorry, it's how I feel and itbugs me.
And more power to if you wantto do it, and I'm sure I have a
lot of friends that already havethose photos that are going to
hate me for saying this, but Ijust had to say it.
Speaker 2 (14:01):
Well, my initial reaction is who cares?
Oh, of course, and that yousaying it looks edgy, it might
not be what they're going for.
Speaker 1 (14:14):
I think it is though.
Speaker 2 (14:15):
If it is that they're going for edgy.
There's nothing edgy aboutclassical trauma, that's true.
That's where you're wrong, sir.
Okay, well, I don't even knowwhat to do, Cool so I win.
Speaker 1 (14:28):
Case closed, all right.
Okay, a new segment I'm veryexcited for and I'm going to
surprise Nick with somequestions here kind of
influenced by Nick and I'sfavorite podcast I don't think
we've ever actually said that onhere, but my brother, my
brother and me, if you'refamiliar, I think it's brilliant
Mibibab.
It's one of the most popularpodcasts in the world and
(14:50):
basically it's three brotherswho are freaking hilarious, but
the main crux of the showstarted with them answering
Yahoo answers questions justlike questions that the world
submits to the internet.
Hoping for people to answerYahoo answers is no more Now.
Quora is kind of like takenover.
I'm sure you've seen Quorathings pop up Quora, so I just
(15:14):
did a very quick search beforemeeting you here and luckily I
found some quick ones.
Let's see what's it got to gowith when used as a weapon.
How dangerous is the trombone?
Speaker 2 (15:30):
Oh, okay, let me get my response and then you give
your response, because you askedit right.
Okay, so, number one, are weusing it as a projectile?
If so, close range it could bepretty effective.
Or you could use it kind oflike a bat, you know, grab it by
the slide, with the slide lockon and give it a good swing.
Speaker 1 (15:48):
Are you saying projectile, like you're gonna
fling the slide or like thewhole thing like a javelin?
So you just throw the wholetrombone, yeah, so that's, you
got one shot when you do that.
Speaker 2 (16:00):
Circa 2012,.
You yeet the trombone.
Oh God, you're so hip with thekids, I know, yeah.
Speaker 1 (16:08):
But you could have two shots.
If you shoot the slide thenthrow the trombone, that's two
in the chamber.
Speaker 2 (16:14):
I can go with thrice Malthus, thrice and attack.
You can take the outer slideoff, swing it like a bat, then
throw it like a tomahawk andthen take the whole trombone and
throw it like a javelin.
Speaker 1 (16:28):
I like that and if you're resourceful and you've
been on the Facebook marketplacea lot, you can put a bunch of
mouthpieces in a sock.
Speaker 2 (16:38):
Oh, like full metal jacket when they beat the guy
with a sock full of soap.
Yeah, yeah.
Speaker 1 (16:43):
So maybe all your purchases on trombone
marketplace aren't the worstidea if the apocalypse happens.
Speaker 2 (16:49):
They could be your form of self-defense under
homeowners insurance, but as amusical instrument, I think a
lot of the people who sit infront of us in the orchestra
would consider the trombone aconsistent and pestering weapon.
Speaker 1 (17:08):
Are you saying just because how loud it is?
Speaker 2 (17:10):
Yeah, and I'm not saying everybody, it's just like
generally speaking across theboard, they don't really.
Speaker 1 (17:15):
Maybe that's a you problem.
Hey, I play with beauty at allpoints in time If I found the
person who sits in front of youin your orchestra and emailed
and asked would they agree?
Speaker 2 (17:28):
One of them 100% yes, the other one not as much.
Speaker 1 (17:35):
How many shields do you normally see in front of you
?
Speaker 2 (17:38):
It's like a whole wall Really, but not just in
front of me.
The whole brass section is justa wall.
Speaker 1 (17:45):
I really dislike playing into those things.
Speaker 2 (17:47):
I know At some point you fight it and fight it and
then it's just like the second,you kind of give into it, it all
becomes okay and you just it'sfine.
Speaker 1 (17:59):
Well, I think that's a good answer to our trombone
violence question.
So yeah, I think you can swingit like an axe too.
Speaker 2 (18:07):
Oh, overhand, I like that.
Speaker 1 (18:10):
Or you could just keep holding it and use it as a
poker.
Speaker 2 (18:12):
you know, with the slide, oh I used to do something
with when Kalimendi Guccio wasmy roommate.
I would put my slide in seventhposition and get the end, the
point part of the slide, asclose to his forehead as I could
and then walk the properdistance away, so it's exactly
like a millimeter from his head,and then just go like that and
(18:35):
if he flinched then I won.
I don't know what I won, but Iwon.
Speaker 1 (18:38):
And you never hit him .
Speaker 2 (18:40):
No.
Speaker 1 (18:42):
Wow, that's a lot of trust.
He didn't like it, but I likedit a lot.
Can't see him liking that, Stop, stop.
So with all this negativity, Ithink we should counteract our
gripe with the world with somelittle sunshine.
I don't know what we shouldcall this segment, but what
should we call it?
Speaker 2 (19:02):
We're going to talk about beauty in the world.
What should we call this?
What should we call thissegment?
Maybe we should do a poll aboutthis segment too Trumbone
beauty in the world.
I think we can't ask Trumboneplayers too many questions,
because their big meat claws getall clumped up on the small
keyboards.
Yeah, yeah, yeah, this is somebeauty in the world.
So I was working with a studentthe other day on Bach's
Sarabhan from the Fifth SuiteNever heard of it, exactly, it's
(19:24):
a fast, jaunty little ditty.
And I asked who he's listeningto out of inspiration for this
and he said Yo-Yo Ma, and Neverheard of him.
Yeah, yo-yo Ma is the onlycellist that has recorded the
cello suites three times, really.
Yeah, recently, I think, duringthe pandemic, recorded the
(19:47):
third time, and Some might saywhy, but Well, it's interesting.
So then I, after saying I wassaying to this student, I said,
oh, yo-yo Ma recorded threetimes.
It'd be really interesting tolisten to the Sarabhan from all
three recordings, like back toback to back.
So I was like, oh man, Ihaven't.
I haven't done that in a whileeither, like with other artists
(20:09):
who have done similar things.
So I went home and listened toYo-Yo Ma playing the Sarabhan
from the Fifth Suite in allthree recordings, and then I
listened to the Prelude from thefirst and second suite in all
three recordings, and then thatreminded me of my other favorite
version of this, which is GlennGould recorded.
And if you don't know who GlennGould is, he was a very famous
(20:31):
Canadian pianist, very known forhis interpretations of Bach in
particular, not limited to that,but that's kind of one of the
things he was most known for.
And he recorded the Goldbergvariations at the beginning of
his life and towards the end ofhis life.
And it's really amazing inthose recordings to hear the
(20:52):
difference of interpretation.
That particular one, the GlennGould one, this book ends his
life pretty much.
You know, you can kind of seethe evolution of his playing and
his musical decisions in thosetwo recordings.
Really, when he was young thetemp was really like overly fast
and like create, almost likemanic, and the later ones were
(21:15):
much more calm and slower.
And I don't know, I mean that'sjust an opposite of my
observation.
But I just found it refreshingand invigorating to go back and
listen to those Glenn Gouldrecordings and remind myself
that like, like why I got intothis thing.
(21:36):
That's not trombone music, butthose those recordings really
were important.
Wait, these aren't trombonus.
Speaker 1 (21:41):
I know crazy, this whole time I was really invested
in what you're talking about.
Speaker 2 (21:48):
But you know, just to like remind yourself sometimes,
especially when you getfrustrated or like you're losing
Kind of your way with like,like, why am I doing this?
Go back to some recordings thatyou love and listen to them.
And I did this not in a placewhere I'm frustrated,
necessarily with my own playing,but just kind of like I was
talking to a student about themand remind me all I've listened
(22:10):
to these in a while and, ah, itlike totally like brightened my
day.
It was like the Sun wasbrighter and like the air was
crisper.
It really was just like wow, Ihave a pep, my step now, because
it was awesome, it was so greatand it's great to hear.
Man, it doesn't have to beclassical music, you know, music
has that power, it's awesome.
So go back and listen tosomething that makes you happy,
(22:32):
you know.
Speaker 1 (22:33):
I've quite often prescribed To students.
You ever have like a lessonwith a student and you can just
tell they just have this bigCloud over them and they just
can't get anything together thatweek and they haven't been able
to get anything together andthey're in a rut with their
playing.
I'll just assign Bach all week,like listen to and play Bach,
(22:53):
and it often often does thetrick.
Speaker 2 (22:56):
I Mean yeah, he's therapy, he's chicken noodle
soup for the soul.
Remember those books, yep.
Speaker 1 (23:03):
And actually, that being said, I'm really looking
forward to your your thirdrecording of New Orleans,
because I think I'm really gonnareally get to know you at that
point.
Speaker 2 (23:12):
I'll have to do the first one.
Speaker 1 (23:13):
Second I Don't think age from bonus of recording
anything three times.
I mean, should we don't haveanything amazing enough to do
that?
Right exactly, but thank youfor that little dose of sunshine
or reminder, appreciate it.
I hope you enjoyed the secondinstallment of all things rusty
(23:36):
and jones and for a bones andand tips and nips and slips.
Speaker 2 (23:40):
I.
Speaker 1 (23:41):
Think does that?
Is that good?
That wrap it up.
Speaker 2 (23:44):
I think that wraps it up in a nice little package
with a beautiful little bow andsome Twine cool.
Speaker 1 (23:50):
So we'll have some some big interviews coming up.
We still have a half a seasonto get through and some
announcements and projectscoming through.
We still have the third coasttrombone retreat this upcoming
summer to announce the dates andguest artists.
So lots of fun, just fun stuffabsolutely.
Speaker 3 (24:09):
And you know, sebastian, hey, hey, hey,
sebastian here, Keep truckingokay, thanks, man make it a
great day.
Bye.
Speaker 1 (24:21):
Bye you.
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