Frank Rosolino Quartet-Lover ManTry our new player

Tons of reasons this is the genius of bebop trombone--for example, the departures from the strict "head is melody..play the whole head" approach. To choices of notes, and decisions to stay less animated early, then put out more rapid licks, his continuing structuring of the solo...to implied blues harmony, thus giving Melvoin much grist for his mill.

Then take the adventurous leap into the return with its very lows and, yet again, very highs, and then the idiomatic falls...continuing on to diminished chordal sounds, with yet other even more radical inserts, right on to the choice of final note...this is how bebop ballads can be so powerful.

Those who I've discussed this man with, vary between being unable to separate out the grisly story of the end of his life, to being astonished at the "ear", and the technique. I tend to focus upon the "art" of this jazz trombonist. Rosolino employed technical "workarounds", but artistry was the goa