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:
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.
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!
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/