@Kehaulani said in Fast Tempo and old farts:
Original performance by the composer and his band:
Youtube Video
Last night's practice went well. The MD slowed the tempo a tad ( I'd say to about the same tempo as heard in Kehaulani's link above ). I only flubbed a couple of places early in the first third of the arrangement. I'm getting there, by golly.
Good for you, Wayne. Here our band director buys various brass instruments that need work, fixes them up and donates them to the local school bands. I've donated a couple of mouthpieces but no trumpets so far, but that could happen down the road.
@tmd
I didn't have any trouble accessing the site. I'm sending Bob a request for his Fake Book.
@ROWUK said in Fast Tempo and old farts:
@GeorgeB For things at the limit of what I can play (recently 1st trumpet in the orchestra version of Rimsky-Korsakovs Scheherezade), my standard take is to completely memorize the difficult licks. Once I have freed up my eyes, they do not slow my fingers or tongue down any more!
This thing about memorizing difficult licks worked for me on Liberty Bell and now I am using it effectively for other pieces as well. Thanks for that tip, Rowuk.
From an old goat born in 1936, I ask the age old question: What will they think of next ?
I have some great horns in my collection but the Olds Recording is the only one I have a hard time putting down for the day. I just want to go on playing it forever.
George
The book arrived the day after I requested it. I already found three pieces of music I was looking for and I haven't had chance to go through it all. I like that it is available in concert and Bb. Fantastic collection, too.
@BigDub
Ha Ha... I stopped playing in 1965 and started playing again in 2016... that made it 51 years. Should have written that differently to make it clearer.
What an amazing talent he was. But you know, whenever I listen to his music or watch his videos, I always come away feeling a heavy sadness in my heart.
@BigDub said in I really should be a better player.:
That trumpet in the photo.....no finger hole, no bracing, absolutely no engraved brand anywhere to be found on the Horn. Surprising I was even enthusiastic enough to continue playing since it was so difficult to get any decent sound. Of course the player didn’t help much. It was a bit of a joint effort in that sense. That Horn wouldn’t even be lamp worthy, I don’t think.
But it sure looked purdy, Wayne .
The book is called : HARRY JAMES, TRUMPET ICON , written by Chuck Par-Due, a pretty good trumpet man in his own right.
If you read the Trumpet Blues biography about Harry, which really only centered on the negative side of Harry's life, this book by Chuck is not a bio of Harry's life but more penetrating look at his music skills and playing experiences. I just started reading my copy the other night. I only had 30 minutes to spare before leaving for band practice, but I became so absorbed that I ended up being late for practice.
Harry has always been my hero so I am a little bias, but believe me, this book every trumpet player will truly like.
Yes, I did my playing between 1953 and 1965 and in the 50s the Selmer Paris horn was a big favorite of the pro players like Louis Armstrong, Harry James and Ray Anthony to name a few. I played a Constellation 28B and got to play a Selmer Paris as a loan when I was having some work done on the Conn. I really liked the Selmer and wished I could afford to buy one, but one horn was all I could afford in those days. Now I own two Selmers...
I recall seeing at least one Welk episode where Pete Fountain was playing but I never saw one with Hirt.
Correction on the picture I posted : when a print was made from the negative, the neg was flipped. I incorrectly look like a left handed player. This next picture was printed correctly: 
@Kehaulani said in Anyone remember JOHNNY ZELL:
@GeorgeB said in Anyone remember JOHNNY ZELL:
Yes, I did my playing between 1953 and 1965 and in the 50s the Selmer Paris horn was a big favorite of the pro players like Louis Armstrong, Harry James and Ray Anthony . .
Ah yes, Swingin' at the Tower.
I remember a contemporaneous article in downbeat by Ira Gitler where he referred to a special being as a "rayanthony" (one word), to be used synonymously with "copycat". Ouch.
Gosh, who wasn't a copycat in that era. All the trumpet guys wanted to sound like Harry James, including myself. But I was a kid and didn't know better. Strangely enough, though, not many wanted or even tried to copy Louis Armstrong's staccato style of playing.
I am into my 5th year as a comeback player. The first three years were a struggle, and most of the struggle was embouchure related, although I didn't realize that until approximately 2+ years ago.
I always liked to watch videos of Chris Martin, Principal Trumpet with the New York Philharmonic Orchestra. I loved how he sounded and how he seemed to make playing the trumpet look so easy. Amongst the videos of Chris I came upon one of him being interviewed on Sarah's Horn Hangouts. Near the end of the interview he discussed the poo attack. I was intrigued by what he was saying and watched him demonstrate it. That was the beginning of me and the poo attack .
Although I don't recall having any problems when I played in the 50s and 60s, since my comeback my attack, and articulation in general, had always been inconsistent, and mostly on the messy side. Well that all changed after I mastered the poo attack and I haven't looked back since.
I know everyone is different. What works for one person won't necessarily work for another. So I am not advocating a change to anyone, but if you are interested in the poo attack you can do a Google search of Sarah's Horn Hangouts videos and you'll find the one I came across of her interviewing Chris. I believe the part where he discusses the poo attack is somewhere near the last 10 minutes. But the entire interview is really interesting.
@kehaulani said in Star Spangled Banner:
There's a BIG difference in Lady Gags's interpretation and many others. Her's, while modern, was respectful, at the same time modern with a use of contemporary harmonies and rhythms. It was emotional as a means of singing tribute to those fallen, yet avoided the hot-dogging, melismas of many of her predecessors.
I am not a US citizen so maybe my opinion doesn't count, but I agree with kehaulani. I have heard many versions over the years ( some pretty horrid ) and I really felt Lady Gaga's is one of the best. So much heartfelt emotion and from a gal with a voice that's the sweetest thing this side of Heaven.
