Elektrojazz live

The worlds biggest jazz festival, Copenhagen Jazz Festival, begins july 4th, and there are plenty of opportunities to hear Elektrojazz live!

July 4, 19.00: Bernstorff Slot
July 7, 21.00: Nørrebro Bryghus
July 8, 22.30: Cafe Bopa
July 11, 18.30: Scandic Front
July 12, 21.00: Kvarterhuset

I am eager to get my band Elektrojazz on stage and present the music from our new recording ‘Cars’. We play rare grooves, funky latin and jazz, all original music. If you are in or around Copenhagen the next ten days, please drop by! Some more info about the venues and concerts: Continue reading

    Trombone lesson: Extend your range on mouthpiece

    trombone mouthpiece silverThis simple little mouthpiece exercise is actually quite effective. I recently had one of those days where both breathing and embouchure felt a bit locked in. I used these patterns to kickstart both, and was impressed with the result after just few minutes.

    Before you take the ride, please read the following instructions: Continue reading

      New album out: Elektrojazz – Cars

      Elektrojazz: Rare grooves with funky latin and soulful trombonious jazz

      Elektrojazz-cd-coverA few years ago, I decided to start up a new musical project, and cover new musical grounds. This was the beginning of Elektrojazz, a groove jazz band where I try to capture the sound and feel of the seventies soul/funk/jazz/latin music.

      I spent quite a lot of time writing a completely new repertoire for my new band, and before hitting the recording studio last year, we got to play a good bunch of live gigs where we could dig into the music.

      Since we play music inspired by the seventies, and I am a big car fan, I decided to make the album into a tribute to the greatest cars of the seventies. Each track on the album is Continue reading

        Questionnaire: The Sound of Airflow and its Use in Wind Instrument Playing

        This is the second guest article, written by PhD student Matthias Heyne from University of Canterbury, Christchurch, New Zealand. He is working on a relevant and interesting project, so please take a minute and help him out by taking the questionnaire.

        Matthias Heyne tromboneFirst of all I would like to thank Anders Larson for sharing my link on his website!

        This questionnaire is an exploratory study for my PhD project at the University of Canterbury in Christchurch, New Zealand and with it, I hope to find out how widespread the conscious use of the sound produced by airflow is among players of all kinds of wind instruments (audibly blowing out or inhaling while someone else is playing). Continue reading

          Trombone lesson: Doodle Pentatonics

          Pentatonic April – part II

          This is the second pentatonic exercise in a series of two, read the first part here

          New to doodle tonguing? Here is a series of articles to get you started.
          Doodle tonguing part I
          Doodle tonguing part II
          Doodle tonguing part III
          Doodle tonguing part IV

          Doodle Pentatonics
          Pentatonic scales are useful for many things, including working on your doodle chops. You will expand your range, build up strength and really get those pentatonic scales into your slide arm.

          No secret formula here, just plain hard (and rewarding) work. Make sure that you play the scales in a tempo that you can master. Every attack should be clear, and make sure the difference between the doo-attacks and dl-attacks are minimal. Continue reading

            Trombone lesson: Pentatonic scale flexibility

            I like pentatonic scales. They tend to fit the trombone quite well, and are in general useful for many things such as bass lines, blues themes and funky horn section phrases. And of course in improvisation. This is probably the best scale to start with if you are new to improvising, since it will sound melodically any way you play it. I have written about how to use pentatonic scales in improvisation here.

            This is no improvisation exercise. It is a simple trombone flexibility exercise, based on the pentatonic scale. The idea is to start each phrase on a low note, and working on expanding intervals with ease. Don´t try to fight the instrument when you work on these patterns. That never help your trombone playing. Try to blow as relaxed as possible, bouncing up from the low notes. Continue reading

              Half plunger – available now

              April 1st, 2014

              Today´s offer:

              The worlds first half plunger for trombone (trumpet version in development)

              This remarkable brass tool has been sought after by composers and arrangers for decades, and is finally available exclusively through the digitaltrombone.com shop. It is an ergonomically disaster designed for musical masterpieces.

              Are you tired of trying to get the full half plunger sound with 
              a regular plunger? Upgrade to the half plunger now and look 
              professional on the band stand.

              The half plunger is also well suited for both half time playing and half time players.

              As the only trombone mute on the market, the half plunger is available in both right handed and left handed versions.

              Half plunger left and right hand models

              Half plunger left and right hand models

              Continue reading

                Trombone lesson: slow air

                This brass breathing tip is almost self explanatory. It is about the sensation of letting the air pass tour lips as slowly as possible while playing with a rich, full sound. I will not claim to be the first to use the expression slow air, since that would be clearly on the wrong side of the truth, but it is good, so I will give you my take on it.

                Focusing on slow air will help you relax while playing and make your throat wide open. Fighting your instrument will never end well. Ever wondered how top brass players can look so relaxed while playing technically challenging music? The truth is that they would not be top players in the first place if they did not have the ability to play with ease. Continue reading

                  Brass breathing: simple air exercise

                  Forget about embouchure, strength, flexibility and scales, if you don’t get the breathing in place, nothing else does´t matter. You probably know about a good-lip-day. I would say that 9,3 out of 10 times, it is actually a good-breathing-day. If you make sure airflow is relaxed and controlled, your lips will have perfect working conditions.

                  Have you tried not playing for a while, maybe a week or so? And then picking up the horn and to your surprise it is actually responding quite well. This is because you have had some time to loose some bad breathing habits, and play more relaxed than you usually do. Hold on to that feeling! (Problem is you will only play well for 5 minutes, since you lost a lot of strength…)

                  This simple, fast and fun (yeah, right) exercise will help you gain control over your breathing and improve free flow. Continue reading

                    The Influence of First Language on Playing Brass Instruments

                    This is a guest article, written by PhD student Matthias Heyne from University of Canterbury, Christchurch, New Zealand. I find his thoughts very interesting, and would recommend that you answer his questionnaire and help him getting started with the project!

                    The Influence of First Language on Playing Brass Instruments

                    by Matthias Heyne – University of Canterbury, Christchurch, New Zealand

                    First of all I would like to thank Anders Larson for offering to let me write a short article to appear on this website!

                    I am currently getting started on my PhD project within the Linguistics Department at the University of Canterbury. With my research, I’ll try to find out whether the sounds of one’s native language influence the playing of brass instruments. Drawing upon personal experience as a trombone player (and as many fellow brass players have assured me), there seem to be notable differences observable in the style of playing which seem to correspond to the players’ language backgrounds. Potential differences in playing styles may be due to differences in the consonant systems of languages as well as vowel systems. Continue reading