I can understand the financial precariousness of cancelling this, but it has to be kept in mind that this is not only a conference with, perhaps limited enough of an attendance to justify its still going on, but it should be kept in mind that they have to get there. That means, for many, the use of cramped public transportation and airlines, and that puts the conference in a totally different perspective.
I wrote this before but can't find it, so . . .
I knew of McCoy for years but kind of took him for granted as just another one of many excellent players. But I had a girl friend who was a jazz piano player and one day she demonstrated a bunch of McCoy's voicings, etc. on piano for me, he was a mentor of her's, and . . wow! There was more there than met my eye.
2010 is when it was last sold, not when it was painted. Roberto's works were greatly recycled for generations. Characteristics are mandatory trees and mountains, and suns and skies that don't look like suns and skies.
Good suggestion.
I will add, play that with a metronome. Keep the altered articulations tempo-secure.
@GeorgeB said in Anyone remember JOHNNY ZELL:
All the trumpet guys wanted to sound like Harry James, including myself. But I was a kid and didn't know better. Strangely enough, though, not many wanted or even tried to copy Louis Armstrong's staccato style of playing.
Not everyone. I listened to Miles and the beboppers, mostly.
@GeorgeB said in Anyone remember JOHNNY ZELL:
Yes, I did my playing between 1953 and 1965 and in the 50s the Selmer Paris horn was a big favorite of the pro players like Louis Armstrong, Harry James and Ray Anthony . .
Ah yes, Swingin' at the Tower.
I remember a contemporaneous article in downbeat by Ira Gitler where he referred to a special being as a "rayanthony" (one word), to be used synonymously with "copycat". Ouch.
In Dr. Go's resurrection of this thread, I decided to go back and reread it and I discovered that I had played longer than I thought. That's not the important thing, but it reminded me of my first pay gig.
I was about 15 and it was at the Pearl Harbor Rec. Center. Played for a bunch of swabbies on the prowl. I wonder how many of you remember Combo Orcs books - intro, top, bottom, out. Great music. 
Got to watch the swabbies and the jarheads (sorry flugelgirl) fighting over their football game on the way home. As the saying goes, watched the fights and a football game broke out.
Are you sure about that? L.A. first call musicians would be out of work if they had exclusive contracts.
@grune said in Anyone Know Who Played This?:
no possible way Alpert would have performed with Kerr.
Part of the confusion might be that she recorded (I think) three albums with the Mexacali Brass, which was a Tijuana Brass rip-off.
@Dr-GO said in Anyone remember JOHNNY ZELL:
Which addition? A One or a Two or a Three?
I don't know, but it was written during World War Aye, Aye.
I was never a fan of Welk but he wrote an autobiography that I enjoyed very much. You might, as well. Interesting man.
