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| | An Interview with Conrad Herwig |
 | | From Jack Teagarden's innovations in alternate positions and lip flexibility, to Lawrence Brown's supple, sublime lyricism; from J. Johnson's flawless appropriation of bebop articulation to Frank Rosolino's astounding range and speed, jazz trombonists have discovered ways to do what previously was considered "impossible" on their horns. |
 | | Now the difference between J. and Frank, to me, is that J. has more of a step-wise, linear thing, and a more architectonic approach to the music. |
 | | J.'s playing is, as well, spontaneous, but Frank just had this startling approach with huge intervallic leaps, use of a lot of triplets, a lot of appoggiatura and different things. |
| www.trombone.org /articles/library/conradherwig-int.asp (4258 words) |
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