The Sea-Shells Waltz was written in 1880 as part of a musical challenge Innes posed to the great French cornetist, Jules Levy. They were both in New York performing as soloists with the legendary Gilmore band for some summer concerts. Levy would play a solo and Innes would follow with an even more elaborate one. One day Levy brought in a new solo in which he injected his own extemporaneous cadenza made up of everything he could do on the cornet. When his turn came to play, Innes also had something up his sleeve. He had written a brand new solo for the trombone, entitled The Sea-Shells Waltz with a minute and one-half cadenza.

This legendary musical duel brought forth a delightful solo that has been rediscovered and edited by Trombonist Chris Buckholz. The solo is about 8-minutes in length for advanced performers.

Below is a gorgeous sample of some of the concert band version of the work (soon to be published) beautifully performed by Chris Buckholz, from his double CD album Versatility.

An excellent arrangement of the famous Song "James Bond Theme" (from Motion Picture "Dr. No")


for Trombone and Piano-Jazz/Pop Version. The video for Violin and Piano: https://youtu.be/As_pbaoUE-c
The composition is easy to read, fun to play, and sound professional when performed. Arranged by Fishel Pustilnik, a very well known as Composer/Publisher. His books "Jazz & Pop Piano Paradise" (Volumes 1-5) have become a commercial success and a hit with music teachers and students in Canada. (Thousands of books already sold in Canada). They are also starting to enter the US, Brazil, Norway, Russia, Holland, Israel, Belgium, Sweden, Finland, Greece, Latvia, and the UK markets. ?This is a wonderful new publication. These pieces offer much appeal for the young pianist and excellent choice for a supplementary book for students from Grade 3 to 8.? Lore Ruschiensky, Editor, (from the review in ?The Canadian Music Teacher?) ?Yesterday I spent at least two pleasure-filled hours playing through your imaginatively inventive compositions. Congratulations! I trust students will decide to program your well crafted and entertaining works on recitals and examinations." Review from Dr. Jack Behrens, B.Sc. (Julliard), Ph.D. (Harvard), Director of Academic Studies, The Glenn Gould School "I liked this book the best so far. Great work! You have a gift for melody and your arrangements are very playable. Congratulations on the 3rd Volume?. Mark Carlstein, Hal Leonard, Keyboard Publications.

An excellent arrangement of the famous Song "Guantanamera"
for Trombone and Piano-Jazz/Pop Version. The video for Violin and Piano: https://youtu.be/KNZ5FPLOUuE

The composition is easy to read, fun to play, and sound professional when performed. Arranged by Fishel Pustilnik, a very well known as Composer/Publisher. His books "Jazz & Pop Piano Paradise" (Volumes 1-5) have become a commercial success and a hit with music teachers and students in Canada. (Thousands of books already sold in Canada). They are also starting to enter the US, Brazil, Norway, Russia, Holland, Israel, Belgium, Sweden, Finland, Greece, Latvia, and the UK markets. ?This is a wonderful new publication. These pieces offer much appeal for the young pianist and excellent choice for a supplementary book for students from Grade 3 to 8.? Lore Ruschiensky, Editor, (from the review in ?The Canadian Music Teacher?) ?Yesterday I spent at least two pleasure-filled hours playing through your imaginatively inventive compositions. Congratulations! I trust students will decide to program your well crafted and entertaining works on recitals and examinations." Review from Dr. Jack Behrens, B.Sc. (Julliard), Ph.D. (Harvard), Director of Academic Studies, The Glenn Gould School "I liked this book the best so far. Great work! You have a gift for melody and your arrangements are very playable. Congratulations on the 3rd Volume?. Mark Carlstein, Hal Leonard, Keyboard Publications.

Virginia Commonwealth University Professor Antonio J. García has taken Haydn?s ?London? Symphony as a point of departure for his London Town Fantasy for trombone and orchestra (or piano accompaniment), commissioned by the Charlottesville Symphony Society for the Charlottesville & University Symphony Orchestra (Virginia). CUSO Music Director Kate Tamarkin sought a piece that would ?showcase the trombone in a jazz ballad style and somehow reference the Haydn ?London? Symphony? that would follow it on the program, knowing that the first half of the concert would also include the Brahms ?Variations on a Theme of Joseph Haydn.? She and trombone soloist Nathan Dishman suggested the title ?London Town Fantasy,? envisioning a potential intersection with elements of George Gershwin?s ?A Foggy Day (In London Town),? which seemed apt given a scheduled trip of García?s to London during the compositional process.

Listeners familiar with Haydn's ?London? Symphony No. 104" will notice references starting at the first measure. And the violin part at the outset of the Symphony?s fourth movement, Allegro Spiritoso, offered the core of what became the melody to this Fantasy. The melody of the ?bridge? section of the tune is crafted from the first seven measures of the opening theme of Haydn?s first movement (Allegro).

The use of ?A Foggy Day? had to be more subtle, as copyright law must be observed, limiting the use of its actual melody within this piece. But Gershwin?s harmony actually is the harmonic basis under the melody of the Fantasy; and his devotees will recognize that when the soloist improvises medium-swing jazz with the orchestra, the chord progression is indeed entirely that of ?A Foggy Day.? (An optional written-out solo is provided.)

Note that the string section is not asked to play swing eighth-notes at any time. Their jazz-phrased passages are couched in even-eighth, syncopated double-timed-sixteenth, and triplet-eighth cross-rhythmed lines well-rooted in the jazz tradition. Winds and brass, however, have swing-eighth passages to perform (and some even-sixteenth lines).

The superb piano reduction makes the six-minute London Town Fantasy ideal for performances on student and professional recitals, and no improvisational skills are needed by the pianist. Available MIDI demonstration recordings of the duo and orchestral settings, with MIDI soloist or ?minus one,? make rehearsals easy and even provide the aural basis for your own potential ?virtual? performance.