Friedman: The Sonata for Trombone andPiano was completed in July 1999 as acommission for Andrew Malloy. The work isbased on a "troublesome" 12 tone row, theintervals of which imply shifting chromatictonality. Sometimes the row gets a strict serialtreatment; at other times the "rules" of 12-tonecomposition are bent, allowing the impliedtonal harmonies to blossom. As the workprogresses, the conflict and cooperationbetween tonal and atonal elements form astructural subtext to the overt classical forms.The three movements follow a traditionalform: I: Allegro (sonata form with fugaldevelopment); II: Andante (Chaconne); III: Allegro non troppo (Rondo).

Self: Dozeandeeze for solo trombone waswritten for my friend and colleague, AndyMalloy. The piece is about six minutes inlength, tonal/modal, rhythmically energetic,and reflects some of the quasi-commercialstyles that Andy and I hear on recordingsessions. It is in three sections: a rather slowbeginning, a neo-classical middle section, anda fast and energetic finale. The solo trombonepart uses the entire range of the tenortrombone (with F attachment) and there aremany rhythmic challenges for both players.The title is a (tongue-in-cheek) play on Andy's name.

Coming up with a title for this CD wasprobably the easiest part of the project. I havealways considered it a great gift to be able toearn a living as a musician. That alone wouldbe enough for me but the thrill of such anopportunity is enhanced by the privilege ofworking with a large group of superb musi-cians who have also become very close friends.Overcoming many quiet fears, I approachedseveral of these friends about commissioning awork for trombone and piano. Fully preparedfor polite or even terse rejections, Stan,Lincoln and Jim were not only willing buthappy to undertake such a project. At the timeI contacted John Stevens, he was alreadyworking on his sonata for Mark Fisher. Theworks by Jack Hayes and Robert Marstellerhave a rather different background. Over theyears I was privileged to participate in Hoyt’sGarage with Hoyt Bohannon, TommyPederson and many of LA’s very finetrombonists. From the late 1940s through the1980s, Hoyt, Tommy and others had writtenand collected a great library of tromboneensemble music for trio, quartet, up to twelvepart arrangements. From these stacks of music

“

RMrobert marsteller &thank yous

acknowledgements notes . . .Rick Baptist, Bill Booth, Emmanuel

Lutheran Church Council, Guy Fabres, Marty

McCambridge, Mary Reale, Ralph Sauer,

Kris Solem, Al Veeh and Gary Wasserman

RECORDING DETAILS:

Bach Prelude and Fugue

Emmanuel Lutheran Church:

North Hollywood, CA, 6/10, 6/13, 6/21/04

Friedman, Stevens and Hanks:

Recital Hall, California State University,

Northridge, CA, 6/23-24/04

Self and Hayes: Daniel Recital Hall,

California State University,

Long Beach, CA, 10/25/04

RECORDING EQUIPMENT:

Microphones: 2 Coles 4038,

Recorder: ibook/Protools,

Speakers: Fulton custom,

Amplifier: Naim 40

INSTRUMENTS:

Conn 62H, Minick L mouthpiece,

Shires symphony tenor,

Greg Black 4G/5G mouthpiece

CONTACT INFORMATION:Stanley Friedman: www.stanleyfriedman.com

Junko Ueno Garrett: junko_piano@yahoo.comLincoln Hanks: lincoln.hanks@pepperdine.edu

Andrew Malloy: ATMslide@sbcglobal.netSanna Malloy: sannamalloy@cox.net

Jim Self: www.jimself.com

Hanks: Fantasy: "An esoteric work thatevolves from a composer's technical manipula-tion and mental abstractions," (New HarvardDictionary of Music), a fantasy provides anopen playground for a composer to step awayfrom the usual forms and styles and writefreely, in an almost improvisatory fashion.Fantasy for trombone and piano is very much arendering of my "mental abstractions." In sixbroad sections, the work requires a bel canto("beautiful singing") style of playing from thetrombonist. No mutes or extended techniquesare required, just long-breathed lyrical playingof soaring, shapely melodies set against apiano accompaniment that is often composedin opposite fashion-syncopated, repetitive andsequential. In the faster sections, jazzharmonies, and fast "third-relation" modula-tions keep the tonality in constant motion.

Stevens: The Sonata for Trombone andPiano was composed in the summer of 2002,with funding support from the University ofWisconsin-Madison. It was written for MarkFisher, who is a trombonist in the ChicagoLyric and Santa Fe operas as well as being anactive soloist on both trombone and euphoni-um. The work was premiered by Mr. Fisher inMarch 2003 in a guest recital on the Universityof Wisconsin-Madison campus.

a n d r e w m a l l oy :I often played a manuscript version of Mr.Marsteller’s five part Bach arrangement. Hoytalso had a copy, on very old and fadedthermofax paper, of Jack Hayes’ Fantasy, musicthat was written for and premiered by LloydUlyate in Los Angeles. I borrowed these piecesfrom Hoyt and made my own copies. To myknowledge, neither of these pieces had beenpublished or recorded. Once the process oflearning and performing all these pieces inpreparation for recording them began, itbecame apparent how many talented and verysupportive colleagues contributed to and werenecessary for this project. I know some will beforgotten in the official credits but I want tothank all who have helped in any and manyways. I am reminded on a daily basis of theresources these people offer. I can’t speak ofgifts and support without thanking my entireextended family. From the time I first studiedmusic seriously in high school and ever since,they have been supportive and encouraging,always interested in what I was doing andwishing me well. I couldn’t have gotten herewithout you, and wouldn’t want to be here oranywhere else without you.”

Born October 31, 1918 inSterling, Colorado. Died June18, 1975 in Bozeman, Montana.

Robert Marsteller was bornand raised in Colorado. Heattended the Eastman Schoolof Music on a full scholarship

from 1936 to 1940. During his 25 years with theLA Philharmonic, Marsteller played for AlfredWallenstein, Eduard Von Beinum and ZubinMehta. He also performed regularly on radio,television and for motion pictures and the LosAngeles Opera. Over a nearly 30 year period herecorded for labels and studios such as Decca,Columbia, 20th Century Fox, Walt Disney,Warner Bros., MGM, and Universal.

During his teaching career at USC, whichspanned his 29 years in Los Angeles, hearranged many pieces for students. Hispublishing credits include Basic Routines,Advanced Slide Technique, Bach Sonatas andother Solos (all for Southern Music Co.) as wellas Advanced Trombone and the Hal LeonardBand Method (Trombone) for Hal Leonard.

Marsteller’s solo career included engagementswith many major orchestras and the SouthernCalifornia premieres of a number of tromboneworks, most notably, Paul Creston’s “Fantasyfor Trombone” which Alfred Wallenstein commissioned for Marsteller in 1948.

Recording, editing and mastering

by Sonny Ausman

Tonmeisters:

Ken Kugler 6/10, 6/13, 6/21/04

Al Veeh 6/24/04, Rob Frear 6/23/04

Doug Tornquist 10/25/04

Cover Design by Joe Meyer

Graphic Design by Sanna Malloy, StudioSanna

Music preparation for Hayes and Bach

by Marty Fenton Frear,

Sculpture: The Playing Mantis by Lou Mastro

Payroll: Sabron

JACK HAYES1. Fantasy (1967) 07:12

JOHN STEVENSSonata for Trombone and Piano (2002) 16:59

2. I. Maestoso 05:323. II. Very slow and freely 05:484. III. Allegro energico 04:39

JIM SELF5. Dozeandeeze (2003) 06:06

STANLEY FRIEDMANSonata for Trombone and Piano (1999) 17:21

6. I. Allegro 06:257. II. Chaconne 05:338. III. Rondo 05:23

N. LINCOLN HANKS 9. Fantasy (2004) 09:22

J.S. BACHPreludio e Fuga IV, arr. Marsteller for five trombones 06:37

10.Preludio 02:4311. Fuga 03:54

Japan-born Junko UenoGarrett began playing piano atthe age of three. She trained atthe prestigious Toho GakuenSchool of Music and was anexperienced performer inJapan before moving to the

United States. Since her South Americandebut in 1992 ("She has great technique andMusicality" El Tiempo, Colombia) and herFrance debut in 1994 ("An artist of exceptionaltalent and skill" La montagne, France), she has enjoyed a busy performing schedule in theU.S. and around the world. Recent appear-ances have included the Aspen Music Festival,the Texas Music Festival, the HoustonSymphony’s Chamber Music Series, the LosAngeles Philharmonic, Kansas, Japan andIndia.

Ms. Garrett has released two solo CDs – “100 Years of Japanese Piano Music” and"American Music for Piano." She also has performed on two piano trio CDs featuring“Japanese Folk Songs.” A recipient of a Doctorof Musical Arts Degree from Rice University,Ms. Garrett’s teachers have included JohnPerry and Hiroshi Miura. She is currently onthe faculty at Occidental College andCalifornia State University-Long Beach. Junko Ueno Garrett is a Kawai artist.

Jim Self is a Los Angeles free-lance musician, a veteranof over 1100 motion picturescores, hundreds of televisionshows and records, and is tubasoloist on many prominentmovies. He is Principal

Tuba/Cimbasso with the Pasadena and PacificSymphonies, the Hollywood Bowl Orchestraand the Los Angeles Opera and Opera Pacificorchestras. Jim holds degrees from IndianaUniversity of Pennsylvania, CatholicUniversity and a DMA from the University ofSouthern California—where he teaches tubaand chamber music. Jim is a past president ofT.U.B.A., a former member of The U.S. ArmyBand, Washington, D.C and was on the faculty at the University of Tennessee His compositions and arrangements include worksfor solo tuba, brass quintet, brass band andother brass, woodwind and string chambermusic. Jim has produced seven solo jazz andclassical recordings. Just released is a CD entitled "InnerPlay" with arrangements byBrad Dechter. Jim is assisted by a great bandof L.A. studio musicians and plays his newhorn—the FLUBA. All of Jim Self'srecordings and compositions are availablefrom www.bassethoundmusic.com. Jim Self is a Yamaha Performing Artist.

Stanley Friedman’s composi-tions have been premiered bythe New Zealand SymphonyOrchestra, the MemphisSymphony, EnsembleIntercontemporain, the LosAngeles Philharmonic

Chamber Music Society, Luur Metalls, theCanadian Brass and by major soloists andensembles at music festivals around theworld. He is a four-time winner of theInternational Trumpet Guild CompositionPrize. His solo trumpet work Solus hasbecome a world success, with multiple CDrecordings and programming on recitals andtrumpet competitions in many countries.Friedman’s first opera, Hypatia, premiered inconcert at the New Zealand InternationalFestival of the Arts. Current operas-in-progress include a comedy, The Vigil ofLorenzo de Ponte (with libretto bydistinguished author David R. Slavitt) and a drama, Atemisia Gentileschi. The trombonesonata is published by BIM.

John Stevens joined the facultyof the UW–Madison School ofMusic in 1985, following fouryears as the tuba/euphoniumprofessor at the University ofMiami (FL) School of Music.Mr. Stevens was a free-lance

performer and composer in New York City formany years. In addition to performing with allthe major orchestras in New York, he hastoured and recorded with such diverse groupsas the Chuck Mangione Orchestra and theAmerican Brass Quintet, and is a formermember of the New York Tuba Quartet,Aspen Festival Orchestra, PhilharmonicOrchestra of Florida and the Greater MiamiOpera Orchestra. He was also the tuba soloist in the original Broadway production of Barnum.

Internationally known for his compositions forbrass, Mr. Stevens has published many worksthat have become standard repertoire forgroups all over the world. He has combinedhis talents as a performer and composer in arecord album of his own music entitled Power,available on Mark Records. The trombonesonata is published by BIM. His next cd, ofsolos and duos, will be released by SummitRecords in early 2006.

Born in 1969, N. LincolnHanks was raised in Muscatine,IA and began his musical train-ing in piano at the age of five.He attended college inNashville, TN at LipscombUniversity, where he studied

piano with Jerome Reed. His masters anddoctoral work in music composition werecompleted at Indiana University–Bloomington,where he helped found the award-winning earlymusic vocal group, The Concord Ensemble.Lincoln studied voice with Nina Hinson andPaul Kiesgen, composition with Don Freund,Frederick Fox, Claude Baker and JohnHarbison, early music performance practicewith Thomas Binkley and Paul Hillier atIndiana University’s Early Music Institute.

As a composer Lincoln’s accolades includewinning the Contemporary ChoralComposition Competition from The RogerWagner Center for Choral Studies and anASCAP Foundation/Morton Gould YoungComposer Award.He has been commissionedand performed by many distinguishedperforming artists and performing groups,including the Cyprus String Quartet, The Dale Warland Singers and The Denver Young Artists Orchestra.

best of friends a n d r e w m a l l oyJack Hayes, a noted composerand arranger, studied withMario Castelnuovo Tedesco,Alfred Sendrey and ErnstKrenek. His composing careerstarted in Hollywood after afive year stint in the Army

during World War II playing and writing forthe 362nd Army Band. He has orchestrated forsuch legendary names as Alfred Newman,Henry Mancini, Lalo Schifrin, MarvinHamlisch, John Morris and Quincy Jones.

His film credits include classics such as“Farewell to Arms”, “The Magnificent Seven”,“Casino Royale”, “Camelot”, “Breakfast atTiffany’s “, “To Kill a Mockingbird”, “How theWest Was Won”, “The Greatest Story EverTold”, “The Natural”, “Ragtime”, “Ironweed”,“Elephant Man’, and “Little Nikita”. He alsoarranged the 17 hour television drama “Windsof War”.

Mr. Hayes was nominated for Oscars twice bythe Academy of Motion Picture Arts andSciences for compositions on “The UnsinkableMolly Brown” in 1964 and “The Color Purple”in 1985.

JG LH JS JS SF JHlincoln hanksjunko ueno garrett john stevens jim self stanley friedman jack hayes