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I think both shows went pretty well.
The accompaniment was only slightly nebulous, and that’s a big compliment considering we only ran through it one time in one rehearsal, and I seriously doubt that many other players listened to a YouTube video of it. The arrangement works, just in case anyone is interested in purchasing it and using it. For what it’s worth, I didn’t use any music. I think - of all solo pieces in the literature (though I still don’t consider the tuba to be a “solo“ instrument) - working tuba players should - at least - have this little movement memorized, if not the entire (not-very-long) concerto. i’m not criticizing anyone who would play this with sheet music in front of them, but thinking back to how Harvey Phillips lectured us on how very important it is for us to behave in subtle ways to encourage others to take our instrument seriously, one of them (maybe?) might be to actually know the single most notable (composer-wise) solo work for our instrument...and I don’t mean to lecture everyone about this… Mostly, I’m encouraging the young players (who read these posts) to think about this.
The personnel manager (I didn’t ask) told me that he would send me a “clip”, so I’ll listen, and see if it sounded about as good as I thought it did.
One of our subscribers, here, (a great player - very busy in normal times, good friend and client) came all the way from Nashville and stayed for both shows.
Truth be told, I actually had a lot more fun playing all of the other pieces on the concert...a lot of great parts written for the tuba...even more playing than one would do in a typical band concert...Lots of notes…and quite a few of them were pretty quick ones.
oh yeah: They did go ahead and spring for a fourth trumpet player, so nearly all of the parts in the arrangements were covered, which was cool. I looked up one time, and there was a piccolo, an E-flat flat, a B-flat or C, and a flugel - all going at the same time.
...lots of fun, and got paid, too.
https://m.facebook.com/events/3084602768244305

Wes Ramsey is a Nashville-based composer arranger, who arranged a march - actually written by Mac Davis (country music star, actor, and composer who actually wrote the song “In The Ghetto“ for Elvis Presley... Mr. Davis passed away a couple of weeks ago...) - that we played on the concert. Mr. Ramsey arranged/orchestrated it for brass just last year.
Obviously, Mac Davis wrote that march years and years ago. It was actually written on a bet that Mr. Ramsey made Mac Davis on the golf course - that Mr. Davis could not write a March.
(fwiw... The tuba part that Mr. Ramsey wrote - in his brass choir orchestration - is very very busy.)
https://m.facebook.com/story.php?story_ ... 1429401113

Shoot.

I thought the link was to a recording.

Glad it went well!!

I went to the concert. I'm very happy I attended the show especially considering the past six months. I applaud the Jackson Symphony doing what needs to be done,
“the show must go on” !

The venue, First Baptist Church in Jackson TN, resonates well with the brass ensemble [& 6/4 Bass Drum]. Bloke looked very distinguished sporting a Fletcher beard, plus trim and fit in tails, with three tubas, a contrabass, the Symphonie and the bell front Besson. Social distancing was practiced by the trumpet section and the horn section. I guess the low brass section considered it a family event ha ha . The program was American themed, many short pieces. It's funny how over time the way you listen to a concert changes. I used to listen more like a contest judge. Now I listen to the composition, the interaction between players and the conductor’s interpretation.

I did attend both shows. Now to the tuba playing. Joe sounded great as well as the whole group. I did hear the difference in the "march" bass lines great attention to detail. They are not all the same. I very much enjoyed the traditional marches and the rag, the trumpet section was outstanding. There were moments when I thought I could hear woodwinds. I guess the arranger and piccolo trumpeters were earning their money. And there was that section that Joe mentioned, with the hard to believe your ears sound, of four different keyed trumpets, balanced and in tune, I cocked my head like a dog and took note of trumpet section, awesome. Joe's contrabass laid down the ‘“cash register” throughout. At one climactic point I looked at the percussion section to make sure somebody hadn't stepped on the organ pedal,.... tuba and timpani . The Vaughan Williams in the first show was well received by the audience. I thought the tuba was blending with the ensemble, too much for the piece. On to the encore… the Besson Eb bell front " Stars & Stripes Forever"… my favorite tuba sound of the night!!! And the obligatory piccolo solo on tuba brought down the house.. The biggest smile of the night for me was Joe slamming the break strain right out of the piccolo solo!! hooray!!! Now to the second show much the same as the first with a little bit of 15th round coming to the higher brass. The Vaughn Williams WAS the tuba concerto that it IS. Joe played expressively with projection over the top of the ensemble. I think when Joe played with authoritative projection and tone the ensemble perked up “ohHH we’re MAKING music” …Take 2 was the keeper!!! BRAVO
Thanks Joe, I made the trip for this experience.
Looking forward to hearing you with trad jazz group
Joe H.

PS Leiper's Fork March... interesting, Quirky but Cool
another note/ Euphonium as bass with trumpet quartet in Danny Boy

groovlow wrote: ↑Sat Oct 24, 2020 2:32 pm another note/ Euphonium as bass with trumpet quartet in Danny Boy

Thanks for the review, Joe.

The bass trombone/euphonium guy MEANT to bring his King Flugabone to play that part on that piece, but forgot to grab it - when he left home, and lives 3-1/2 hours south of the venue. He ALSO could have grabbed MY King Flugabone (as he stayed at my place on Friday night), but (well...) he forgot TWICE.

bloke wrote: ↑Sat Oct 24, 2020 2:39 pm

groovlow wrote: ↑Sat Oct 24, 2020 2:32 pm another note/ Euphonium as bass with trumpet quartet in Danny Boy

Thanks for the review, Joe.

The bass trombone/euphonium guy MEANT to bring his King Flugabone to play that part on that piece, but forgot to grab it - when he left home, and lives 3-1/2 hours south of the venue. He ALSO could have grabbed MY King Flugabone (as he stayed at my place on Friday night), but (well...) he forgot TWICE.

He sounded great in the hall with the Besson. I wonder why Euph players don't use Period American horns for Period American music...I love the sound of American baritones

edit By the way i think your Besson bell front sounds American

groovlow wrote: ↑Sat Oct 24, 2020 2:47 pmedit By the way i think your Besson bell front sounds American

The Besson recording bell compensating E-flat is - pretty much - a "fake" King recording bell (B-flat).

I received a video of this, today.

I had to log into this, get a text with a number, paste in the number...blah-blah-blah...

(I believe my Norton 360 was screwing with my ability to download it.)

My boss (who sent it to me) said he might make it simple, and stick it on youtube.

If he does, I'll post a link in "media".

I would be very excited to listen to that!

LargeTuba wrote: ↑Tue Dec 01, 2020 10:25 am I would be very excited to listen to that!

I appreciate your support very much, but might advise you to throttle back the excitement.

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