JAZZ: KAI WINDING AND CURTIS FULLER

Combine with the trombone of KAI WINDING, J.J. Johnson, "Jay and Kay" broke up 25 years ago, and after a quarter of a century he brought a new trombone player, Curtis Fuller. Their quintet is called "Giant Bones" and New York jazz club this week will be held at Blue Note at 131 Third Street in New York.

On the surface, "giant bone" is very similar to "Jay Chou and Kay". The tone and attack of the two trombones are slightly different, and their solo sounds are repeated in the same way. However, compared to Johnson's strict correction wording, Mr. Wending's voice is more rounded and emotional, Mr. Wentin is more intermittent, Mr. Fuller is a darker and more rounded voice Is used.

Their opening performance on Tuesday night was made entirely original material, except for Fuller's folk solo of "Never Fall" of "Peter Pan". 'This is a change in rhythm, a bit unpleasant, but from active live bebop improvisation, this is the basis of most works. For the same reason, the most fascinating of the original works is Mr. Fuller's "Bone Separation", a colorful blues that gives trumpet players opportunities to expand their approach. The powerful rhythm piano solo by Walter Bishop Jr. gradually broke the continuity of the trombone and together with the base Jamil Nasser and drum Ben Riley gave a very solid and secure foundation for "big bones" It was.

Curtis Fuller is a very fluent tromboneist and thanks to its perfect time and ambitious solo he became the center of the hardcoat and spent the orphanage for 10 years. His interest in jazz was annoyed when his nuns at the orphanage took him to meet the band of Illinois Jack when he was a child. Johnson Trombone. He got instruments at once. The era of military bands played with Cannonball Adderley helped him grow up as a pro with playing skills. After working with Kenny Burrell and Youssef Lattef in Detroit, he moved to New York where he debuted as a transition leader in 1955. He also became famous for Blue Note, worked with Clifford Jordan, John Coltrane (in a classic blue train), and his own The Opener (with Hank Mobley).

The aim of this paper is to provide a way that students and professional jazz trron can follow to develop and implement Doubletang and Sriathan techniques with their performances. Trombone players J. J. Johnson and Curtis Fuller were chosen as the main examples of these techniques because of their high tempo phrases and high phrase proficiency. Jazz trombone's transparent style is very individual. This method becomes a foothold of the jazz trumpeter, begins to explore the joints of multiple tongues, and finally finds its own expression. The appendix contains three transcripts for each performer, illustrating multiple verbs and fast phrases of tempo. Each solo posting includes a syllable joint to aid in searching for code changes above the written pitch and one of many possible ways to run the channel

I learned J. J. Johnson and Curtis Fuller and developed and implemented dual and triple tan techniques. Jazz Long Hand Guide