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My father gave me this book when I was in high school, probably hoping that I would use it to improve my sight-reading. It's somewhat similar to the Blazhevich books, with plenty of awkward keys, rhythms, time signatures, and misprints. I always assumed that Cimera was Russian, but today I came across his name in a biography of Edward "Kid" Ory:
Creole Trombone: Kid Ory and the Early Years of Jazz, by John McCusker, University Press of Mississippi

After Ory finished making the "Hot 5" recordings with Louis Armstrong he decided to work on his tone and reading and "sought out lessons from Chicago trombonist Jaroslav Cimera,... who had played in Sousa's band and eventually would become an executive with C.G. Conn."
Ory kept on with Cimera for 8 months during 1926-27. McCusker considers some of the recordings that he made thereafter with King Oliver to be "his finest recorded work as a sideman". Incidentally, it was Ory who named Joe Oliver "King" back when they were in New Orleans.

I've had this book for more than 50 years - I'll have to dig it out again. Neat history.

Great story - and not that it matters, but wihtout doing much research, I would guess that Jaroslav Cimera is of Czech derivation.

tubacharlton wrote:Great story - and not that it matters, but wihtout doing much research, I would guess that Jaroslav Cimera is of Czech derivation.

Yes. Bohemia, now Czech Republic. He was born circa 1887, and his family moved to the United States prior to 1900. In addition to being a world class performer, he was recognized as a great brass teacher by many pro players of the day. (At one point, Tommy Dorsey studied with him.) He later was on the faculty at Northwestern University. The Trombone Journal has an extensive bio on Cimera.

Ace

Jerry (Jaroslav) Cimera was my step-grandfather. He taught at Northwestern University for over 23 years and at the Chicago Conservatory of Music. He authored "Cimera's Daily Routine" that explained his method of teaching; and "Cimera's Triple Tongue Course" which fully described the tongue articulation, running triplet chromatic scales etc. He also developed an oil that was blended high grade cold cream to use on the slide. I still have some of his arrangements for Concerto For Trombone (1st movement) and Carnival of Venice as well has several of his composition such as Polonaise Charmount and Joan of Arc Waltz. Those were actually recored by Clary Harvey, Jr. one of his pupils. My father, Egidio (Eugene aka Jean) Cafarelli was his student and step-son.