George Roberts revolutionized the bass trombone. He took it from a supporting role to center stage. George was notorious for playing very quietly and bleeding on every mic in the room – or cutting through a roaring big band. Barrett O’Hara attributed this ability to the “magic burr” in his tone. Tommy Johnson called it the “mystery tone.” He was one of the most warm-hearted souls I’ve ever known – and a little mischievous . . . George was also infamous for “eraser-art.” Using an eraser (& pencil), he would modify black-and-white newspaper photos – from “G rated” to “R” (or even “X”). Once so realistically that an indignant letter to the editor was mailed.

When Meet Mr. Roberts was released, it was a shot across the bow of every bass trombonist, worldwide. It opened with In the Hall of the Mountain King. Stan Kenton featured George on tunes like Stella By Starlight and Nelson Riddle and Billy May showcased George frequently to great effect.

When George was starting out, his reputation was as a “jazzer” – not really qualified for “legit” dates. He got a last-minute call because a bass trombone player had walked off a session. He races down there, and Robert Craft is on the podium and Igor Stravinsky is in the booth. Surprise, surprise! It’s a “legit” date! So . . . there’s an exposed duo passage with bass trombone and harp (which may have precipitated the other guy’s exit). Stravinsky stops the take and says to the harpist, “He’s right, you’re wrong, play with him.” That put George on the map as a “legit” player in the studios from then on.

In 1980, George founded Bones West. It is “a trombone choir playing music in the big band style, and open to all who love and play the Trombone.”