For some reason, my edit shows up in the editing preview block but doesn' show up on my post. Therefore . .

For Quincy Troupe in his biography of Miles, he said:
"Mr. Buchanan stopped the band and told me, "Look here, Miles. Don't come around here with that Harry James stuff, playing with all that vibrato. Stop shaking all those notes and trem­bling them, because you gonna be shaking enough when you get old. Play straight, develop your own style, because you can do it. You got enough talent to be your own trumpet man."

@bigdub said in Phony players:

@barliman2001 said in Phony players:

@Dale-Proctor said in Phony players:

@BigDub said in Phony players:

On the show, Hogan’s Heroes, Colonel Klink Would occasionally play the violin, much to the discomfort of those who happened to be in the same room.
He looked rather convincing, but if you looked closely, there weren’t even any strings on the instrument!

Interesting factoid - Werner Klemperer’s father was Otto Klemperer, the famous orchestral conductor.

Even more interesting - quite a number of the actors in that show were either of Jewish descent or had lost family and friends due to Nazi terror.

Yes, I was aware of that as well. John ( Johann ) Banner, Sgt. Schultz, a Jew, was born in Prussia, now Austria, I believe, saw what was happening and came to the US. Joined the US army and served in World War II. Became a prolific actor even while in a Austria and later in the States. Early in his American acting experiences he had to learn his lines phonetically because he did not yet speak English.
I think he has to be my favorite of all of them.

Until you brought this fact to light, "I know nothing "!

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@barliman2001 said in Special music reading glasses:

@barliman2001 440593533_18014694329462503_5039288911830289206_n.jpg
And that is how the orchestra looked like, in the Teatro Civico Salvatore Cicero in Cefalu... (here with Brahms' Double Concerto)

With the use of your music glasses? I see. Hmmm

Thanks for that reply Dale, the horns clearly share similar braces, good to know.

I am speaking of the playing back of recordings only.

If a note is played on let us say a trombone and the slide is lengthened the pitch falls but there is no tempo as such it is a single note.

If this pitch is played within a piece of music then there are notes preceding and notes following the note in question.

Now we have tempo and pitch together.

If we record this music consisting of pitch and tempo and we speed up the playback of the recording then the pitch rises, they are locked together by the recording medium.

If we slow the playback the pitch falls, again they are locked together.

We can of course in a live performance slow the tempo while keeping the pitches correct, but the thread was only concerned with playing back on a computer, a recording of a performance and the pitch changed while the tempo of the recording was unchanged.

With a cd or a tape recording or a pressed LP, if you alter the tempo you alter the pitch.

Computers can however take a recording with a tempo and pitches and slow the tempo while keeping the pitch constant, or change the pitch without altering the tempo.

I therefore have said pitch and tempo in the real world are locked together but in the computer world they are not locked together.

Or do you perhaps know of a way of changing the speed of a gramaphone or of a tape machine without altering the pitches. I have never seen that I would be very interested in learning of it.

I agree that with great players such as Miles, Maynard etc. that the player is the magic, not the horn. The other side is that Maynard's mouthpiece and horn helped him to get what he wanted to easier, just as Miles' setup made his job easier. While this is true, one of Miles' most iconic records, Walkin' was recorded on a borrowed horn from the recording engineer, not his Committee. Maynard played a number of different horns and always delivered big time. I've never been hired because of whatever horn I played at the time 🙂

@MasterWannabe said in Newby - Need help identifying a Conn Trumpet:

@Tobylou8 - I will send pics but I won't get to work on this till after the 1st of May after we make our move back to Denver for the summer. Could you tell me how to set up my account to receive notifications regarding responses to threads I wish to follow ?

Underneath the last post on a page there is a box with a little bell in it. Just make sure the bell doesn't have a strikethrough mark on it and you'll get responses to this thread. You can also get notifications via e-mail daily, weekly or monthly. I have not used that function so cannot tell you if it works.

If it's not a sheperds crook cornet, most brass players are not interested. Trumpet is a better trumpet. People want SC cornets that are coupled with deep mouthpieces, making a sonic experience that knocks on the door of the flugelhorn office.

Strange instruments seem to find me... my first trombone was inherited from a friend who departed this life some twenty years ago. Fifteen years later, his daughter called me and was rather embarrassed... they had only now for th first time since his demise, opened up her father's music room and inspected the contents... and his #1 trombone, a 609 B&H Sovereign, bore a hand-written label that it was to go to me... this horn...
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First thing I did was to visit my friend's grave and play Amazing Grace... and then happened onto a newly-formed big band with lots of trumpets and no trombones...
A couple of years later I was in a Vienna antiques store looking for a comfy seat with ears when I noticed a trombone hanging from the ceiling. Asked the seller "how much" and got a gruff answer, "two hundred". Replied, "here's a hundred - ok?" - "ok". It's a 1940s Willi Garreis tenor with valve, originally built of a member of the Munich Philharmonic, with a "long water key" feature... quite nice, all original and still in quite good shape. Came with a 12C generic trumpet mouthpiece...
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And a couple of years back, found a Besson International baritone horn on e-bay for a whopping € 65..., got it, played it in a couple of brass band gigs P1010685.bJPG.jpg
and then thought something might be wrong with the horn... brought it to Ivan Hunter who diagnosed that the horn had at some time suffered a catastrophic accident, been dismantled and somehow reassembled wrong way round... too costly to repair back to original condition, so he got it to convert into art...
and then, on e-bay again, found a Weltklang euphonium "for collection". Went to England for it (had some other things to do there anyway) and heard a remarkable story... the euph was owned by a long-time brass bander who had been given an ultimatum by his wife to either lose the horn or lose the wife. Chose wrong, the poor fellow... and his wife insisted that she should get the use of any money he would make out of the sale, so he gave it away for free...

@Kehaulani said in Jazz Trumpet Family Tree - Find Your Branch:

@Bay-Area-Brass - I don't understand you latest post. (Kehaulani?)

LOL. Well, I thought it was self-evident. I am saying that I don't hear a direct influence of Doc on Maynard.

@Dr-Mark said in Tuning Tendencies:

@Richard-III said in Tuning Tendencies:

Totally agree with the behind the bell and the actual sound being different. I've recorded many a practice and performance and listened back. Some instruments have issues to work around and others are just about perfect, with no slide use. Listen to some old recordings before there were slides and recording technology to correct tuning and they managed to play in tune. So why not now?

That's a great question but I'm not knowledged enough in antique trumpets to answer. I know little to nothing about old horns. However, there are people on this site that can field this question. We have serious brass technicians and trumpet builders that can answer your question. Possibly trumpetsplus or flugelgirl can help.

I guess everyone doesn't know about the longer first and third slides in older trumpets? Players were expected to listen and play in tune. The low D and C# were much closer. The D in the staff tended to be a little flat. Each horn had its tendencies, You learned them and played in tune. My newest trumpet was made in the early sixties. My favorites were made in the late thirties and early forties. They are quite easy to play and easy to play in tune.

@barliman2001 Love it

Dreams are often in a different place to where we think they are.

Columbus had a dream and it was not where he thought it would be. The result of his folly was the discovery of the New World and the Mayflower.

We are chained to our aspirations we are fenced in by our expectations we are restricted by our desires.

I have never limited myself to whatever I am expected to achieve and because of this I have exceeded my own limited expectations.

I was condemned at school for being a dreamer. I believe it was the best part of me. I have excelled and exceeded in all things because of my dreams.

The founding fathers dreamed of a place where they could be whatever they wanted to be.

President Lincoln dreamed of freeing the Nation of the scourge of Slavery.

Dr Martin Luther King dreamed of a nation who would collectively judge a man not by the colour of his skin but the content of his soul.

President Kennedy gave the Nation a dream and the moon landings were the result.

The result of Dr Kings dream was the election of President Obama.

The world is not perfect and we are not perfect beings but all we need is our dreams and the courage to act upon them and we can make the world a better place.

The very best things we have are our dreams. They take us if we have the courage to follow them, beyond our feeble existence into a world of beauty and new capabilities beyond our wildest imagining.

Long may they continue.

I like valves that never let me down. My Getzen horns never let me down but the new bought Straub with Baurnfeind and my 80's Bach did... That was The Horror

But actually, at least 60 second hand horns later, I never had valve issues with later horns like Conn 22B, Conn 22B USA, Julius Keilwerth, Selmer Radial, Selmer, Yamaha (even one with plate loss!), B&S, Antoine Courtois, Melody Maker, Martin Handmade, Jupiter, XO Brass, King, Schenkelaars, Olds, Buesscher, Holton and the ones I already forget had fine valves so what can I say?

I like the Yamaha valves and the valves of my later Bach trumpets where great as well; good compression even after 30 years of intensive use.

Since I like Getzen instruments I tend to have a favor for Getzen valves but actually I have to admit that there are many great valves out there