Hi Tony,

I am going to be playing in a production of Gypsy soon, and Wilmer thought you might be willing to share some thoughts on the show with me. I will likely be covering the 3rd book, but would be happy to pass on any tips to my friends who will be on the 1st and second books.

Two years ago I played the 2nd book for Millie, and that was a blast!


Thanks!!!

Jack Day

oops - already answered you in Wilmer's forum. Thanks!

Hi Tony,

Thanks for the earlier reply! Well my friend dropped of my music last night, and it looks like I will be on the 2nd book instead of the 3rd. I have not looked at much of the book yet, but there is an ad lib solo on the Overture (on the Musical's soundtrack it is just a blast) that may be fun to figure something out for. I can see I will be doing a lot of work to get this under my fingers!

Any thoughs would be welcome!

Thanks,

Jack

Practice slowly and carefully once you have that under control then work up the speed. You probably already know this, but it doesn't hurt to remind folks of it once in a while.

Jack -

It would be worth downloading the 1959 version of the Overture. (I believe Ethel Merman was the star). Dick Perry played that trumpet solo and pretty much set the standard. It's worth hearing!

Even though it's mostly just chord changes, I'd write out something simple and play the same thing every night. Whereas jazz likes new inventions, broadway likes predictability. (Don't shoot the messenger!)

Tony

Thanks Tony,

I'll see if I can find a copy of it. If you happen to know of any good places to look for it, and wouldn't mind letting me know, I would be greatful!

Cheers!

Jack

Found it on Amazon,

Only 99 cents! Your right, it was worth listening to. I think I will buy the album as I can get it used for $4.00 plus some change!

Cheers!

Jack

Cool! I just downloaded the Overture for $1 on Itunes, but for $4 you can't go wrong getting the whole album.

Tony

Hey Tony,

One difference I noticed between the '59 recording and the current one I have, is that there seems to be more a lot more dynamic movement within the notes on the older version. For example I notice the sforzandos a lot more, and more frequently, in the older version. Style wise, I kind of like the '59 recording, but the more current recording does seem to have a little more "energy" to it. Of course in the end it will come down to what the conductor wants to hear.

Cheers,

Jack

Originally Posted by JDay

Hey Tony,

One difference I noticed between the '59 recording and the current one I have, is that there seems to be more a lot more dynamic movement within the notes on the older version. For example I notice the sforzandos a lot more, and more frequently, in the older version. Style wise, I kind of like the '59 recording, but the more current recording does seem to have a little more "energy" to it. Of course in the end it will come down to what the conductor wants to hear.

Cheers,

Jack

The conductor was Milton Rosenstock. He was "old school," he was a conductor not a rehearsal pianist. He told the stage what to do, and they followed his demands. This is not the case today.
He was MD for The Dance Theater of Harlem for many years. For many years I was principal trumpet of their accompanying orchestra. Miltie was a versatile musician.......... and a mad man
Wilmer