I have a fondness for some of the old smooth stuff,for instance,I have a Si Zentner album which is hard to beat.It's like the ElectraGlide transmission of brass playing. The recent champ of the flugelhorn in the classical niche is Sergei Nakariakov. he had one made for him and plays stuff that should be impossible and the sound,although dark and rich,is not "foofy' like it is with many who tackle the instrument. he has core to every note. The only time I ever used it professionally was on a soundtrack for a film about the Inuits, an avant garde score by Stefan Hakenberg.That was a trial as I so rarely played it. it was like taking grandma's Chrysler through a cornfield. By the way,that album you just exposed us to is a prime example of what I call Accidental Surrealism, some of the irony and paradox, minus the ideology.By the way,you're the expert. What wine goes with flugelhorn?
Tim, I'm a flugelhorn fan, I mean, come on, it's a trumpet with nice manners. Mangione got me into it in a different kind of way; it was Gerry Niewood his late, great, his sax player who made the connection. And Ester Satterfield. God, she has a voice! It's that sweet tone. Kath was an alto sax and flute player when I first met her in 1975; our musical tastes kept expanding from there. We heard Mangione's Orchestra in S.F., at the Great American Music Hall ( where we also heard, at different times; Maynard Fergeson, Count Basie, and Taj Mahal, with a Howard Johnson led tuba section- Taj was playing with a big and, Rudy Costa his reed player- awesome band!) Kath and I would hit Keystone Corner; Yusef Lateef, Richie Cole......
I have a fondness for some of the old smooth stuff,for instance,I have a Si Zentner album which is hard to beat.It's like the ElectraGlide transmission of brass playing. The recent champ of the flugelhorn in the classical niche is Sergei Nakariakov. he had one made for him and plays stuff that should be impossible and the sound,although dark and rich,is not "foofy' like it is with many who tackle the instrument. he has core to every note. The only time I ever used it professionally was on a soundtrack for a film about the Inuits, an avant garde score by Stefan Hakenberg.That was a trial as I so rarely played it. it was like taking grandma's Chrysler through a cornfield. By the way,that album you just exposed us to is a prime example of what I call Accidental Surrealism, some of the irony and paradox, minus the ideology.By the way,you're the expert. What wine goes with flugelhorn?
Tim, I'm a flugelhorn fan, I mean, come on, it's a trumpet with nice manners. Mangione got me into it in a different kind of way; it was Gerry Niewood his late, great, his sax player who made the connection. And Ester Satterfield. God, she has a voice! It's that sweet tone. Kath was an alto sax and flute player when I first met her in 1975; our musical tastes kept expanding from there. We heard Mangione's Orchestra in S.F., at the Great American Music Hall ( where we also heard, at different times; Maynard Fergeson, Count Basie, and Taj Mahal, with a Howard Johnson led tuba section- Taj was playing with a big and, Rudy Costa his reed player- awesome band!) Kath and I would hit Keystone Corner; Yusef Lateef, Richie Cole......