Posts made by Dr GO

Détente. Russia meets Arturo Sandoval

@Charles77 said in New Guy from Ky!!:

@Gendreauj said in New Guy from Ky!!:

@Charles77
Welcome to the forum.
What brand, model and mouthpieces do you have? Have taken a lesson yet?
Do you play other instruments?

Thanks for the warm welcome. I play a Olds student trumpet. I have a 3C and 7C mouthpeice.

Which Olds student? Ambassador?

Guy for Oh. Welcome. Cincinnati is just across the river. Cincinnati taught me jazz. Check out what that scene can offer!

@SSmith1226 said in How about a "Random Meaningless Image...let's see them string"?:

@BigDub
Are you now into abstract performance art?

I would have voted for it if he would have included pierced earrings.

@BigDub said in How about a "Random Meaningless Image...let's see them string"?:

@SSmith1226 said in How about a "Random Meaningless Image...let's see them string"?:

This is a photo I took at a Community Band Concert.

WOW! It would take some lightning fast reflexes to see the note, then flip to the fingering chart, then back to the sheet music, play the note, check the next note, repeat, repeat, repeat.
Yeah. That works

Glad I play an instrument with just 3 keys. Makes the task much easier. Yeah, right!

@BigDub said in A little humour:

This would take as Bach to the future if this a more recent analysis.

@Dale-Proctor said in 1970 Bach 43 elusive high G#:

@Dr-GO said in 1970 Bach 43 elusive high G#:

@ROWUK said in 1970 Bach 43 elusive high G#:

@Trumpetb I will heartily disagree with the mouthpiece having anything to do with a G#.

Do not loose the focus with this response. There is just something about the G# that just bedazzles the note itself from my experience. Doesn't matter which horn I am playing, which mouthpiece I use with any horn, you have to think (and hear) that G# to slot squarely on it.

You just have to think “Ab” instead of G#, and you’ll hit it dead-on…lol

Don't know why, but I think of it as 2,3. I plead neutrality.

@ROWUK said in 1970 Bach 43 elusive high G#:

@Trumpetb I will heartily disagree with the mouthpiece having anything to do with a G#.

Do not loose the focus with this response. There is just something about the G# that just bedazzles the note itself from my experience. Doesn't matter which horn I am playing, which mouthpiece I use with any horn, you have to think (and hear) that G# to slot squarely on it.

I use to teach trumpet lessons (Buddy Rodgers Music, North College Hills) when I was a starving college student trying to make extra cash as a musician. That and my band paid my way through college. And I still perform today, 50 years later as a musician (and a card carrying AFM member to boot) but no longer teach trumpet. I now teach however, in my other chosen profession, health care. Wish I had the wisdom way back then, 50 years ago, that I have now as I would have been much more accomplished as a trumpet teacher.

Fast forward to today. I address my patients by putting them into the prospective that you (the patient) are my boss, and I am only your spiritual advisor. I then let them know it is my role in our relationship to provide them with the relevant clinical expertise centering around their needs, and then provide them several options. They choose the option they want (or sometimes even create an option I did not even bring forward to them). I will go with whatever direction they provide (as long as it does not harm them - "first do no harm"), but then follow them up shortly to take inventory as to where they are and if their goals are being achieved. If so, continue in the same direction, if not, try one of the other methods that I provided based on well documented evidence.

Key is, you got to get their trust to move forward and if you hear and work with each other, a successful outcome will be achieved.

Relax. Don't fight it. Open the airway as much as possible (that comes from relaxing). I find also touching the tip of the tongue to your upper incisors helps physically relax an open airway just prior to calling up the note.

Finally, my range has become most consistent and accurate when I "hear" the note in my mind that I am going for and then aim to that heard note. More mental relaxation when you can feel what you are going for. Also have my diaphragm loaded to provide the air support so my lips do not have to do any extra work, and this helps mentally as well.

Bottom line, match the mind with a relaxed body, and the high notes will happen, with accuracy and without fatiguing as you continue.

@john-e Listening and asking. I started my career in NYC in 1979. It may have been a different time, but here is how it worked for me.

A coworker had a friend that played piano and was getting a group together. I started rehearsing with the group (only horn player, piano, bass, drum, female vocalist). Bought my first Real Book from the Piano Player, from which we played. Played a few charity gigs with that band, up to that point. So started improving on listening and playing with that ensemble. The singer had a friend however, name was Claudio Roditti. Just so happened at the time, Claudio (and Arturo Sandoval) was at the time playing with Dizzy Gillespie.

I called Claudio, he scheduled me for lessons, and the rest as they say was history. He taught me though having me write out solo transcriptions from well known artists, to learn them in every key, and through this, Claudio said, I would develop my jazz voice. So to assist in the process, I chose to transcribe ONLY sax solos, as I didn't want to sound like just another trumpet player. It paid off well. I had a fresh sound by using sax phrasing on trumpet.

All the while, I went back to my original quartet (actually became a sextet with an added alto and vibraphonist) and became the house band for weekends at a club called Carol's Town Pub on the corner of 53rd and Lexington. That is how I broke into the music scene in NYC.

So my recommendation is go out, actively listen to local bands, talk to performers ask them for lessons or leads. and let serendipity take you to where you can go, as if it can do it anywhere, it can truly do it in NYC.

@Shifty said in Brasswind Research:

@barliman2001
They are on the web: https://brasswindresearch.com/

Thanks Shifty. After going to your link I checked the "About" page and found this:

After reading this, I felt like such an idiot. Robert Love plays in a big band, 2 chairs down from me. I rehearse with him tomorrow night. I knew Robert made mouthpieces but did not know Brasswind was his company. He is an amazingly nice person. This is a truly good man to work with.

Just received an email from a past TM member asking if this group was still in business. I any of you know or have recently used this service, do let me know so I can pass on the word.

Of course, not to miss the obvious, have you given Monette a call to see if he still has this in production?

@sonicimpact it is great to have you here on this site for this specific reason or many more for which you wish to contribute.

If resorecting this thread does not work, I would recommend contacting Jason Harrelson and letting him know your interest in this mouthpiece. He may have it scanned in his modular system to reproduce this for you.

I had him reproduce a vintage Jettone Studio B with his modular system and it feels and plays like the original. And with his modular design exchanged a more open backbore that allows the endurance to play lead charts for a 4 hour gig. The original Jetone had a lot of resistance that would start fatigue me after an hour. The modular gave me the performance of the original but with the endurance of being on steroids.

Arbans is key. I played many many years in many many keys in Arbans. It resulted in amazing finger memory, such that in songs that move like the wind, I just acknowledge the key, then put my Arbans finger memory in gear. No thinking, just Arbans under my fingers: (By the way, the bassest in this clip is ONLY 11 years old) - The song = Cherokee.

https://www.facebook.com/audrey.whitakerwright/videos/1803729576777517

@Trumpetb said in The Serpent:

@Dr-GO

What have we lost, we have lost the sound of the old instruments that we cannot hear at all anywhere else.

Are we right to abandon these old instruments and never hear them or play them, that is a personal choice.

If you abandon something unique you lose it.

That is what we have lost, the unique sounds of ancient instruments.

One of my oldest horns is a 1946 Martin Committee, my newest is a 2017 Harrelson Summit. BOTH play exceptionally dark (when I want the Harrelson to do so) and BOTH peal paint when playing lead (Dizzy played the Committee as I am sure you know). I have not abandoned either. I play in small jazz ensembles with the Committee as I do not need to work so hard in those venues, and the greasy transition of the Committee is a virtue in those gigs.

The Harrelson, has the Committee sound (uncanny and spookily identical with the Harmon mute in), but I have to work half as hard to get lead playing results and it projects so well so it gets the big band nod for that reason.

What have we lost with our modern instruments?

This is so cool to see, hear and feel your experience. It's the personal touches you put into this site that made it the BEST.

@Dale-Proctor It's in Cincinnati after eating a 5 way chili at Skyline!