melvind wrote:
Is it just me, or is Harry Raderman's trombone playing really terrible on this record? His tone is ugly, his improvisation skills seems to be a bit lacking, and his sense of rhythm is so bad I thought the record had skipped a couple of times. I even transferred it a second time because I thought there was a glitch in the transfer. But no, just akward entrances by the trombone over the orchestra.
In any case, here it is. Let me know if you think I am crazy
Raderman (note that it's spelled "Rederman" on the label) is exploiting the glissando as a gimmick. His playing is quite accurate, both as to rhythm and pitch, and the glissandos are well placed and effective. There's little or no improvisation here; all of the effects are worked out in advance. The tone is quite typical trombone tone for its day, in fact it's more refined than some. If you've ever heard any Arthur Pryor recordings, you'll know what I mean. It wasn't until the '30s that trombone style began to sound more lyrical, "smoother," evolving toward the quality of Tommy Dorsey, who is the ultimate example of the effortless, singing style. TD was an acknowledged influence on the young Frank Sinatra, who sang in TD's band.
I was trained as a classical, symphonic trombonist, and my teacher at the Eastman School, the legendary Emory Remington, was a big admirer of Tommy Dorsey's' playing, especially his smooth, liquid legato style. While it's probably not a valid comparison between a novelty number like this Raderman/Rederman thing, and TD's "Marie" and "Getting' Sentimental Over You" (his theme song), yet is does show the change in taste over the decades.