[TPIN] sol feggio

[Orion Development Corp - D. Arndt]

To be clear Bryan - no offense intended, nor taken.  I might have over-
reacted a bit.

I did indeed work and study very closely with Tony, as a student from 1972 
until 1976 or so, and as a stand partner from about 1974 until 1979/80.  So I 
felt the need to add some clarification to this thread.

Tony wasn't as well known as a lot of musicians of his calibre, but he was 
most definately on par with the best in the world.  It's a shame he wasn't 
recorded more.  It's a *damn* shame that he never published any methods or 
instructional materials under his name. 

As far as being "ahead" of this time - that's an interesting assertion...

It always seemed to me that Tony reflected teaching and and approach to 
playing from an era when players drew less of a line between the two "worlds" 
of strictly "legit" playing and "commercial" playing.  There were a number of 
players in that day who were of a similar mind: Ray Krisara, Bernie Glow (to 
some degree), Mel Broiles (could really play any style), and certainly Doc 
Severinson - more in his younger years, before he started playing above high 
G routinely (seriously - Doc sounded very different in his younger years - he 
did an album once with Glow and Broiles - showcase type stuff for trumpet - 
you couldn't tell them apart much, but there's Doc & Glow doing studio work 
and Broiles doing the Met - they were all "just" damned fine trumpet players -
 without the adjectives in front of the title!).  

Anyway... it always seemed to me, that that philosophy of playing and 
approach to the horn is dying out - more a thing of the past, than of the 
future.  

- da



On Tue, 15 Jan 2008 20:44:26 +0000, bedgett1 wrote
> That wasn't an exhaustive phrase; it merely indicated that he was 
> conversant both in classical and commercial styles. ...David obviosly knew 
> him more closely than did I.
> 
> Cordially,
> 
> Bryan Edgett
> 
>  "quite a good crossover player" ??? Egads.