Posts made by Dr GO

I'll pine about getting this horn... Not

Here is the recording I was hired to play:

I was asked to provide a flugelhorn background to a Brazilian vocalist written by her brother. The mix just did not sound right (I will post it later). But during that same session, a friend at the session made an impromptu recording of a duet between the guitarist and myself. Sometimes the unplanned, and spontaneous events turn out to be better then the rehearsed and planned session.

Here is the impromptu event:

Happy Easter Rowuk and all. I am 10 minutes away from opening an Easter Service that starts with Handel's "The Trumpet Shall Sound "

@J-Jericho said in Trumpet Based “News” Article:

@Trumpetb I am living proof that a trumpet player can both suck and blow when they blow. Hope this helps.

As a physician, I was always confused on advising my patients when donating to a sperm bank. Would it be a deposit... or a withdrawal?

@jdlmodelt said in Matt silver American Standard High Grade Cleveland:

@barliman2001 Thanks! I have no idea what a typical pea shooter from that era means. LOL!

From Rodd Stewart's discussion of the history of the trumpet, he makes this historical perspective of the peashooter trumpet:

From about 1920, the large US makers also made popular models with very small bell flares for the (mostly amateur) dance band market that wanted a sound that deviated more thoroughly from the old fashioned cornets. This fashion was short lived and these trumpets were replaced around 1930 with narrow, "streamlined" (now sometimes called "peashooter) trumpets with small bell rim diameters that were in fact full size trumpets acoustically. These were popular with dance bands and jazz trumpet players, but disappeared from the market after World War II.

Here is a link to that site by Rodd Stewart. https://www.robbstewart.com/history-of-the-modern-trumpet

I believe ANA Mendez (a member here that has not posted in awhile https://trumpetboards.com/user/a-n-a-mendez ) does case repair and construction. Find him on our members' list and message him. Also tell him we miss hearing from him.

@J-Jericho said in The Icon and the Upstart: On Miles Davis’s Legendary Feud With Wynton Marsalis:

So they got together like oil and water....

And Miles and Wynton kept moving on as a result... This also works well in medicine... Keeps the crap moving forward... aka mineral oil and MiraLax.

I had only one incident in my 50+ years where an individual showed up with horn in tow in the audience at an out of town gig we played monthly in Pittsburg at a club called as Little E's. I did not want it to be awkward, especially since my band played nearly all original tunes which would make it difficult for anyone to sit in. However, during one of the tunes, the band went off into an extensive improve, I took that opportunity to invited the individual to the take stage to play. It was a creative way to solve what could have been a difficult situation. My band was a bit miffed with me bringing him up, but the tension was relieved by my inviting him up.

At the time, I did not know that individual with the horn, but he would eventually be well know to me (and many others here on TB) as Dr. Mark. As some people here on TB may recall, that relationship went down into an aka Wynton/Miles downward spiral.

Interesting that in reading the link above, I read this excerpt "the trumpeter Wallace Roney, Miles’s friend and only certified protégé .... was in the audience that [of the feud] night... brings to memory another story.

A band mate of mine with the Eddie Brookshire Quintet, included in his PhD thesis from Ohio State on the African American Music Experience of a particular incident involving Miles. In this entry, my band mate describes a concert, in Miles' later years, where he was so feeble, that he used Wallace Roney (evidenced on video) to patch into the PA under the bleachers of an arena, to dub in for Miles at one of his concerts.

There is a story (not from the autobiography) but rather came from an article written by Eddie Henderson. Eddie (well before he became a jazz icon) was a very accomplished classical performer in his youth. Eddie's father managed the Cotton Club in San Francisco and would have performers stay with the family at there home when coming to the club to play. One particular guest was Miles.

Miles took Eddie to one of his performances, and on their way back with Miles driving (a yellow Ferrari), Eddie wearing his classical hat, began criticizing Miles' performance. As Eddie writes, Miles immediately slammed the breaks on the Ferrari, exclaimed "What the F**k do you know about trumpet playing" and kicked Eddie out of the car to walk his way back home.

I side with Rowuk on this one. If you have not had the chance, read Miles' autobiography (actually written by a biographer). His personality comes out with considerable coldness and anger at times. He did tend to have a chip on his shoulder.

One additional story from the Wynton reflection was when Miles' band was suppose to play "warm up" to the Steve Miller band. Miles had no respect for Steve Miller and instead of just not taking the warm up gig, he purposefully never showed for the "warm up" spot but showed up AFTER Steve Miller played to come off as the featured player.

Miles had feuds with many musicians that come out in his autobiography. To read it, though, provides a great insight into understanding Miles. The autobiography does discuss the Wynton incident.

@Dale-Proctor said in Same high quality as Recording models:

Yep, like I said, you can find a few pros in the past playing jazz on an Ambassador and they work pretty well in that genre. I played lead in a big band for a while on an L.A. Ambassador, and it was ok, but it sure wasn’t suited for “legit” music.

Dale, I agree with you entirely. I have never played my Ambassador for "legit" music as it just cannot live up to the quality of sound you get from more seasoned horns. I just love that the Ambassador when high quality musicians play it can show off it's jazz sound potential.

@Dale-Proctor said in Same high quality as Recording models:

An Ambassador isn’t a Recording. They share some basic parts, but Ambassadors are built to a price point and are well-built low tier instruments that play ok. I’ve owned 3 (two trumpets and one cornet) and that’s my assessment. They are not instruments that players would want to use in any professional-level genre of music, with the possible exception of jazz/ragtime.

Lee Morgan played this cut on an Ambassador. This is my favorite jazz song ever. I was mystified when I found out this was am Ambassador.

@fels Antibiotics are the staple in treating Acute exacerbations of Bronchiectasis. Pulmonary function test where FEV1, FVC, TLC and DLCO may also be helpful in detailing cofounding measures of level of obstructive or restrictive disease. These values may best predict and follow response to prolonged medications (such as steroids). With that said, the HRCT scan is very helpful in determining the diagnosis and disease course as well. Depending on the underlying cause there may be more specific treatments in managing, so the remaining advice I give is more for general therapy or idiopathic causes of bronchiectasis.

Pulmonary Rehab Therapy is very beneficial for ongoing management and improved outcomes in bronchiectasis, so hopefully, your physician has scheduled you for such a program.

Flutter valve therapy on a daily basis is additionally helpful. Actually, playing the trumpet (especially if you can get in some time at circular breathing) can enhance this. They are simple devices and fairly inexpensive (the flutter valves not necessarily the trumpet).

Daily inhalation of saline by a nebulizer has been found to enhance pulmonary function in bronchiectasis.

Finally, chronic therapy using the antibiotic azithromycin at 500 mg on Monday, Wednesday and Fridays are helpful in systematic reviews. This works more as thinning secretions (called a biofilm) as opposed to the traditional of high dose, daily short term antibiotic courses. So in this way, azithromycin acts more as an anti-inflammatory agent than as an antibiotic.

Run these ideas by with your pulmonary physician and see if he would consider this. Let him know you received this advice from a physician that ran an Adult Cystic Fibrosis clinic for 27 years, and was on the accreditation committee for the Cystic Fibrosis Foundation. Dr. GO

PS: Here is a link to an article that may be of help to you: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5478409/

@Vulgano-Brother said in My Myopericarditis:

@Dr-GO said in My Myopericarditis:

I was impressed with the quality of care I received at Providence Sacred Heart Hospital, but it is sure great to have a professional trumpeter/physician/friend to answer my questions.

Thanks, Gary!

You are so welcome my trumpet playing brother!

@Vulgano-Brother said in My Myopericarditis:

@Dr-GO said in My Myopericarditis:

I'm assuming it is OK to unplug myself to play (the hose interferes with mouthpiece placement).

If you have not yet done so, purchase a pulse oximeter from a local pharmacy (most sell them at a cost of about $6). Apply it while oxygen is in place, then take it off and start playing the trumpet and after 2 minutes, retest with the pulse ox. I am willing to bet during playing the oxygen saturation may increase.

I was in intensive care for 3 weeks in 2014 from massive pulmonary embolisms and had my pocket trumpet and Yamaha silent mute with me, and found my pulse ox raised by 6% while playing the trumpet.

@Vulgano-Brother said in My Myopericarditis:

My question is as follows: My apartment living forces me to use a practice mute, and I'm using the Yamaha Silent Brass on my big horns and a Denis Wick on my piccolo, so I'm wondering, will the back pressure (especially with the Wick) be a factor preventing me from practicing at this time?

Your experiences are most welcome!

The back pressure is actually therapeutic. It is known in the medical world as PEEP (Positive End Expiratory Pressure). It will help remove the inflammatory fluid more than any medicine can with the back pressure pushing fluid from the air sacks into the interstitial space which will move it back into circulation.

The ejection fraction of the heart is excellent, likely more then mine.

Did your physician put you on colchicine? That will help heal the myocardial inflammation from the viral attack.

Man. You had this bad. I believe being a trumpet player may have saved the day for you. If all goes well in 3-6 months you should be back on room air.

@Boolawan said in Play Through or Rest:

Il est important d'apprendre à gérer son repos : une goutte de médicament guérit, une cuillère peut tuer

Or the English Translation:

It is important to learn to manage your rest: a drop of medicine cures, a spoon can kill

An interesting concept that does apply. Dosing the exact amount of time one plays during a session is not a "one dose applies to all" concept and varies very much with an individuals skill and endurance level.

As a physician, I have best learned how to titrate medications to optimize benefit and minimize side effects in for my individual patients. As a musician, I can only prescribe the absolute dose of performance time to myself, as it is very difficult to use my personal experience as a set prescription for others.

What Grateful player describes is normal muscle physiology and trying to train muscle development. This needs to obey the rules of muscle development, through muscle physiology and biochemistry principles. I taught muscle physiology and biochemistry at a medical school for 27 years. I have been able to use this knowledge to apply it to a method of developing a safe and optimal trumpet embouchure, as is outlined below:

When control is lost and repetitively increases in intensity, it is time to put down the horn. Loss of control means fatigue has set into embouchure muscle. Initial fatigue is not damaging but is giving advanced warning that blood flow to muscle groups is compromised. At this point, lactic acid builds. If this continues without rest, the acid environment leads to muscle fiber strain. If this continues then the condition progresses to sprain. This then begins a process of remodeling (disrupting the initial efficient architecture of the motor units connection to on another). That process then progresses to negatively impact the embouchure from that point on disrupting the initial efficient natural architecture, irreversibly.

Carmine himself may be good for playing 40 minutes a day and that may be what he finds is needed to progress, but he is making this recommendation for an individual that has an embouchure that has matured and had the chance to develop and adapt to handle more stressful challenges.

My recommendation would be to start the series but as soon as control is lost to end the session. Note the time it had taken to get to that point. Keep practicing to that point for the next 2 weeks. Then in the 2 weeks that follow, try to increase the session by another 5 minutes. Then stay there again for another 2 weeks. Then add another 5 minutes and repeat the cycle. After a month or so, you can then meet the initial threshold of the 20-40 minute practice range.