HOYT'S GARAGE
Some folks may not know what “Hoyt’s Garage” was. Hoyt Bohannon was a very successful studio trombonist in LA. From 1946, Hoyt hosted trombone ensemble rehearsals. From 1951, they took place in a room attached to his garage – hence, "Hoyt's Garage." This was just before my time, but here is a live broadcast from 1973. Hear Hoyt perform the Trombone Concerto by Nathan Shilkret with Leopold Stowkowski.
In the mid-fifties, Tommy Pederson, a trombone legend, joined the group. Tommy's virtuosity can be heard in this humorous clip from the Spike Jones Show and playing Moontide with Gene Krupa in 1945. Tommy's record, All My Friends Are Trombone Players is still available (along with lotsa other cool stuff) here. Hoyt and Tommy were "unindicted co-conspirators" at The Garage.
For decades, Hoyt’s Garage was a de facto audition to break into studio work. The first time at The Garage was an overwhelming experience. There was this stunning array of trombone players. The music was extraordinarily challenging. Here are a couple samples from Alan Kaplan (playing all the parts): Tommy's A Touch of Drastic and Hoyt's arrangement of music from The Adventures of Don Juan by Max Steiner.
Neither Tommy nor Hoyt were shy about clarifying the standard they expected – particularly Tommy. Comments like “Who’s the sloppy [expletive deleted] playing long eighth notes?” “Not your kind of loud!” & "COME ON!!” were interspersed with “ATTA BOY!” The fact that these gents took me seriously was huge.
The signature stylistic element of the Garage was the pretty much constant slide vibrato in ensemble, not just soloistically. Bass trombone, not so much, but it was mandatory for tenors! Hoyt felt, “the string section vibrates, so should we.” This was a deal breaker for some. That time has come and gone.
The contrast between Hoyt Bohannon and Tommy Pederson’s personalities and their mutual respect and friendship was a joy to behold. This difference was clear in their music. Hoyt’s was largely adaptations and arrangements of orchestral, chamber and vocal music as well as music by great film composers. Tommy’s was mostly original music that reflected his bravura approach to life in general (Tommy was way, way, WAY – larger than life!). Alan Kaplan’s two Secrets of Hoyt’s Garage CDs, and All My Concertos (sometimes available used or as an mp3 album from Amazon, Spotify, Apple Music, and perhaps others), produced by Jim and Debbie Boltinghouse (JMD Music), illustrate this contrast vividly. I was honored to play The Orators with my friend Bill Booth for the project in 2003. Alan wrote a nice piece about the Garage here.
In the mid-fifties, Tommy Pederson, a trombone legend, joined the group. Tommy's virtuosity can be heard in this humorous clip from the Spike Jones Show and playing Moontide with Gene Krupa in 1945. Tommy's record, All My Friends Are Trombone Players is still available (along with lotsa other cool stuff) here. Hoyt and Tommy were "unindicted co-conspirators" at The Garage.
For decades, Hoyt’s Garage was a de facto audition to break into studio work. The first time at The Garage was an overwhelming experience. There was this stunning array of trombone players. The music was extraordinarily challenging. Here are a couple samples from Alan Kaplan (playing all the parts): Tommy's A Touch of Drastic and Hoyt's arrangement of music from The Adventures of Don Juan by Max Steiner.
Neither Tommy nor Hoyt were shy about clarifying the standard they expected – particularly Tommy. Comments like “Who’s the sloppy [expletive deleted] playing long eighth notes?” “Not your kind of loud!” & "COME ON!!” were interspersed with “ATTA BOY!” The fact that these gents took me seriously was huge.
The signature stylistic element of the Garage was the pretty much constant slide vibrato in ensemble, not just soloistically. Bass trombone, not so much, but it was mandatory for tenors! Hoyt felt, “the string section vibrates, so should we.” This was a deal breaker for some. That time has come and gone.
The contrast between Hoyt Bohannon and Tommy Pederson’s personalities and their mutual respect and friendship was a joy to behold. This difference was clear in their music. Hoyt’s was largely adaptations and arrangements of orchestral, chamber and vocal music as well as music by great film composers. Tommy’s was mostly original music that reflected his bravura approach to life in general (Tommy was way, way, WAY – larger than life!). Alan Kaplan’s two Secrets of Hoyt’s Garage CDs, and All My Concertos (sometimes available used or as an mp3 album from Amazon, Spotify, Apple Music, and perhaps others), produced by Jim and Debbie Boltinghouse (JMD Music), illustrate this contrast vividly. I was honored to play The Orators with my friend Bill Booth for the project in 2003. Alan wrote a nice piece about the Garage here.
Along Time Ago (mid 70's) In A Galaxy Far, Far Away . . .
Loren Marsteller, Steve Holtman, Al Kaplan, Rick Culver, John Leys, Morris Repass
Hoyt, Tommy & me
Hoyt, Tommy & me