Legendary studio bass trombonist, Phil Teele, wrote a method book, Advanced Embouchure Studies for Bass Trombone. The primary premise is LONG tones – a LOT of them – and – NOT SHIFTING one’s embouchure. Opinion about this method varies – Google it. (I’m unconvinced, but he played great!)

In his book, Phil wrote, “Don’t shift your embouchure to get notes out. When you are at work, do what you have to get the note out, but when you practice, use perfect form.”

In an online chat about this, someone asked if anyone had studied with him. Well . . . in the late ’70s, I had asked Phil for lessons. He declined, saying, “But . . . if you want to play duets . . . come on over.” I did – every week or two for about a year and a half. The first time we got together, he asked, “Do you like to play fast?” I gulped and said, “yes” – and it was off to the races! He had blazing facility (and a beautiful tone and stunning low chops). My ability to keep up may have led to subbing for him here and there.

I learned as much playing duets with Phil as from any teacher I paid for lessons. We discussed many things. However, I did not agree with all of it. At that point in time, his practice routine was hours and hours of low long tones. I tried but did not adopt his long tone regimen – it didn’t work for me. But I have been able to greatly minimize any embouchure shifts – and to move through them smoothly. For example, Brandt Attema has very well integrated shifts.

Phil believed embouchure shifts made it difficult to improvise jazz freely and facilely through the valve and pedal registers. As his interest in improvisation grew, he became determined to eliminate them. He also felt shifts created objectionable changes in tone color. Finally, he thought the endurance needed for long days in the studios was best developed with his approach to long tones. Again, opinion varies.

However, it would be a mistake to assume Phil practiced long tones exclusively. He also devoted many hours to playing jazz. And it is worth pointing out he had decades of traditional trombone pedagogy solidly under his belt before he embarked on the no-shift/long tone approach.

LA Tubist, John Van Houten, once told me of sitting next to Phil, recording a loud low cue for Michael Giacchino. John said, “I can’t believe you can do that without shifting.“ Phil replied, “Are you kidding? Of course I’m shifting! I want to be heard!” Phil would shift (or not) when it made sense.