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Playing Tips

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When placing your instrument on the floor, instead of setting the horn on its slide, try placing the mouthpiece receiver and the bell on the floor, thus taking the weight off the slide.Your slide should be pointing in an upwards direction This prevents unnecessary warping of the slide and repair work.


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Reviews

November, 1986

The Lincoln Star - Serocki Concerto

"The remarkable clarity of Alessi's trombone brought bravos from the house."

March, 1990

Musical America - Mahler's 3rd Symphony

"Joseph Alessi's performance in the first movement is unsurpassed on records"

April, 1990

New York Times - Creston Fantasy

"Joseph Alessi, the Philharmonic's principal player, was absolutely splendid"

February, 1992

Denver Post - Rouse Concerto

"...magnificently performed..."

January, 1993

American Record Guide - Slide Area

"Some of the best trombone playing I have ever heard"

January, 1993

New York Daily News - Rouse Concerto

"His technique and powers of musical expression were flawless"

January, 1993

New York Times - Rouse Concerto

"a stunningly virtuosic performance by Joseph Alessi."

February, 1993

Fanfare Magazine - Slide Area

"The purity and excitement of Alessi's playing are breathtaking"

August, 1994

San Jose Mercury News - Rouse Concerto

"The incredible Alessi had it all"

February, 1995

Rocky Mountain News - Rouse Concerto

"Alessi displayed impeccable technique and exquisite phrasing"

January, 1997

Boston Globe - Rouse Concerto

"...burnished tone, concentration, and virtuosity..."

March, 1997

Borders Books and Music - NY Legends

"...a real find..."

March, 1997

American Record Guide - NY Legends

"One of the best trombone recordings ever made..superb tone quality at all dynamic registers "

March, 1997

Twentieth Century Music - Rouse Concerto

"...the Essential Purchase of 97, Alessi has the edge..."

November, 1997

BBC Magazine - Rouse Concerto

"Joseph Alessi tackles the virtuoso solo part marvellously. His sonority and projection in all registers, crystal clear articulation and eloquent phrasing deserve a bigger audience than simply brass enthusiasts."

December, 1997

New York Newsday - Serocki Concerto

"ì...he wore the limelight like a suit from Savile Row..a wonderfully elegant player, drawing from the bell of his horn a magic actís worth of tender phrases, raucous slides, leeping lines and stentorian bellows..."

December, 1997

New York Times - Serocki Concerto

"...extraordinary accuracy and rhythmic dexterity...His variety of sound, from drainpipe low drones to trumpetlike high notes, was remarkable."

May, 1998

Manheim Morgan - Serocki Concerto

"The soloist - here the flawlessly playing American trombonist Joseph Alessi...great applause for Alessi"

December, 1998

Classic CD Magazine - NY Legends

"Joseph Alessi produces an uncommonly seductive sound at all dynamic levels and possesses well-nigh perfect intonation"

November, 1999

Santa Barbera News - Press - Pugh Concerto

"Alessi was spellbinding in his display of tonal range and expressive parameters. The finale was all spectacular virtuosity on Alessiís part capped by a cadenza of breathtaking aplomb and flexibility. "

November, 1999

Santa Barbera Independant - Grondahl Concerto

"Alessi played with consummate artistry."

March, 2000

New York Times - Pugh Concerto

"The program opened with two works............ and the well-crafted Trombone Concerto from 1992 by James Pugh, essentially a pops orchestra piece that gave the Philharmonicís excellent principal trombonist, Joseph Alessi an opportunity to shine."

January, 2002

Birmingham News - Rouse Concerto

"Alessi, who plays principal trombone with the New York Philharmonic and who premiered the work with that orchestra, is the perfect candidate for Rouse\'s explosive style. With pinpoint intonation, snappy staccato tonguing and overwhelming power, he matched the orchestra phrase for phrase, decibel for decibel. He possesses a sweet, lyrical tone as well, beautifully exhibited in the elegiac quote from Leonard Bernstein\'s \"Kaddish\" Symphony in the finale."

July, 2002

New York Sun - Fandango/NY Phil

"If more trombonists made that instrument sound as Mr. Alessi does, perhaps we 'd have more music for trombone."

April, 2003

El Vocero, San Juan, P.R. - Rota Concerto

"The Trombone Concerto by Nino Rota gave us the opportunity to appreciate the trombone in the virtuosi and lyrical facets so little exploited in the concert hall. The soloist demonstrated great technical agility, sense of ensemble and an impeccable homogeneity of the sound. His pedal tones were round and surprisingly pleasing and throughout the third movement his lip technique was dazzling..."

September, 2003

Blues on Stage - One4J

""Alessi's open horn work on "El Camino Real" is the very essence of virtuosity.....""

January, 2004

The Virginia-Pilot - Rouse Concerto

"Alessi showed himself to be an exceptional artist, joining together Rouseís lines in such a way that phrases had direction and made musical sense. His skill at maintaining an attractive sound in all registers and his rhythmic steadiness were notable. And in the concertoís more elegiac sections, he achieved a degree of emotional expression that one would not think was possible with this instrument."

March, 2004

American Record Guide - Illuminations

"...ironclad tone, formidable technique, and huge dynamic range have to be heard to believe."

March, 2004

Arizona Republic - T-Bone Concerto

"The concerto also profits tremendously from soloist Joseph Alessi's ardent championship, bold sound and easy virtuosity. Alessi, principal trombone since 1985 of the New York Philharmonic, boasts a timbre that has point as well as roundness. "

April, 2005

San Francisco Chronicle - Filas Concerto

""Soloist Joseph Alessi handled the part splendidly...a fiercely dramatic player with reserves of emotional clarity......he turned the solo into a display of personal heroism, vaulting through Filas' arching melodies with ardor and imparting a darkly mournful hue to the more subdued passages.""

April, 2006

British Bandsman - Bramwell Tovey's Urban Cabaret

"One of the highlights of the concert was undoubtedly the sheer brilliance displayed by the soloist, Joseph Alessi. His first half offering of Tovey's own composition, Urban Cabaret, inspired by images of the soloist stuck in traffic in Manhattan, entertaining the travellers, was truly fabulous and displayed stunning technical virtuosity as well as suberb control throughout the entire range of the instrument, before finishing on a super f#!. His performance of the Bluebells of Scotland in the second half was equally pryotechnic and his impromptu encore of one of the most fiendish trombone orchestral excerpts ever written, The Bolero, was a real treat for the listener. "

February, 2007

NY Times - Wagner Concerto for Trombone and Orchestra

"To balance the mellow trombone ó played with a beautiful, burnished richness by Joseph Alessi, for whom the piece was written ó the composer pitched her work dark: lots of viola, cello, bass and other trombones anchored the music......."

February, 2007

New York Sun - Wagner Concerto for Trombone and Orchestra

"The soloist in the work was the man for whom it was written: the Philharmonic's principal trombone, Joseph Alessi. He is a first rate instrumentalist, with a clear, elegant sound ó rounded and unblaring ó and gobs of technique. Also, he has a sense of how music should go (to put it most simply). It was a pleasure to hear him play Ms. Wagner's challenging concerto. I spoke of the possibilities of the trombone: Mr. Alessi shows them to us, in full. "

March, 2007

Wall Street Journal - Wagner Trombone Concerto

"A substantial, well-crafted piece, it exploits the beauty of Mr. Alessi's sound as well as the trombone's high register"..."Mr. Alessi played his part with a liquid tone and consummate skill."

March, 2013

Dallas Morning News - John Mackey Harvest

"Joseph Alessi, principal trombonist of the New York Philharmonic, played with satin-finished tone and effortless virtuosity."