Comments about Exit Sliding CD
Sorry I’m so late in responding to your wonderful CD, where have you been all my life? Your quintet sounds great, happy and inspired. I’m very impressed with your playing and arranging. Wow!
--Dick T. Nash
It is a thrill to hear that wonderful tone and technique again. I must say you certainly picked up a lot of funky hot notes (good ones) in the last fifty-two years. Damned impressive.
Your compositions and charts are five-star. This is an aspect of your talent I really wasn’t aware of. I hope you keep writing. I found out it’s a lot easier on the teeth.
Over the years I’ve worked with most of the “Heavy Hitters” in the Los Angeles trombone scene and believe me, Buddy, you are right up there with the best (but I’m sure you know that). I’m just sorry you didn’t come out to “Tinsel Town.” I would have loved to have you playing lead on my stuff. Oh well...maybe in another life.
Thanks again for the CD. Hope to see you on your next visit.
Many thanks for your fine CD...terrific stuff. I’m very glad that you did the CD; you sound wonderful and so does the group!
from ITA Journal, Spring 1998, p. 58-59
Perhaps the record editor will allow me to reclaim my first pronoun long enough for this to double as a tribute. Buddy was as shy as a schoolgirl, approaching me in Nashville about reviewing his retirement gesture. He made disclaimers about remembering the multi-faceted nature of his career, "I'm no full-time jazzer, etc." So I thought "huh oh." even though I had already heard kudos through the grapevine.
Well, returning home, I put on the CD and started to smile and kept smiling till the CD was finished. Then I listened to it again. And again. In short, this is one of the best-produced recordings I have ever reviewed for the I.T.A. It was not done for vanity, or for profit, or to get a promotion in academia. It was done entirely as a labor of love--love of family (the CD is dedicated to his sister Anne), love of his fellow musicians, and love of the art form we all share and sometimes take for granted -- at a point in his career when he could finally take time to acknowledge the jazz ingredient of his personality. In my opinion, this album is the musical equivalent of Ted Williams hitting a home run in his final major league "at bat."
The compositions are mostly Buddy's. The arrangements are his, each one a polished gem, not just some rag-tag excuse for improvisation. And the trombone playing? My God, no over-the-hill "professor chops" here. This is state-of-the-art mainstream jazz trombone at its finest. The 18-page booklet is a masterpiece of production, with great layout, artwork and photos, plus enough wonderful commentary by Buddy and Tom Everett to render anything I say redundant.
Buddy was one of the first trombonists I knew who could do it all. Jazz, classical, symphonic, no problem. During a guest appearance on our campus decades ago, he played classical solos on trombone and euphonium with the symphonic band, then turned around and blew everyone away with the jazz ensemble. Anyone who acquires this CD will soon discover why. Many thanks, amigo. Wouldn't it be nice if we could all make such a graceful "exit sliding"?
University of Arkansas