Topics created by J. Jericho

@georgeb I'd say that his interview skills are on par with his other abilities. He certainly knew how to make her reach deep inside for answers to his questions. Wynton really makes people not only think, but also enables them to discover things about themselves that they hadn't considered before.

@j-jericho

New to me but I like.
George

Aside from appearing to be a Bach Stradivarius, what caught my eye was the reversed front bell brace, the finger ring under the third slide, and the red upper valve cap felts. Upon further examination, there is only one third valve slide brace, and there is no third valve slide stop rod, just the piece that the rod would go through on the moveable part of the slide, and I'd say that the tuning slide water key is an Amado.

Alan Rubin lived up to his name, "Mr. Fabulous". Whenever I think of "Peter Gunn Theme", I think of The Blues Brothers' version, and vice versa. Hearing the way he handles it continues to be an inspiration. I've posted it before, and here it is again for those who share my enthusiasm for it:

@j-jericho

Thanks for that video on Pauly. I was was really saddened when I learned of his death at age 98.

It was players like Doc Severinsen and Pauly Cohen still playing trumpet into their 90s that were my inspiration to make a comeback at the age of 79 back in 2016. Even as things are getting tougher for me at 84, due to a lot of health issues and medications, those guys kept me in there and will continue to do so.

Pauly had a fantastic sound and an amazing ability to make that horn talk. As a lead trumpeter, he was one of a kind.

Update: The credit card charge reversals posted yesterday. This WWBW story is an illustration of potential vs. reality. They had a great sales model which they just did not fulfill - for a number of reasons.

A tuner is often the worst thing that we can do to our playing. Drones, Stamp and simple duets (not recording one voice and then the next however - then only one voice "gives" - the second one!) are about the best.
The tuner is almost always wrong except for establishing a one note reference.

There are a couple of internal mechanisms for tuning, none are accessible from the intellectual level.
Drones teach us to relate with sum and difference beats
Stamp teaches to find the resonant center
Duets teach us give and take in the context of ensemble playing.

The consummate trumpeter needs it all. We need thousands of repetitions to claim "habit".

Yes, and his orchestration had surprising depth.

I remember getting into a (harrumph) "discussion" with a conductor colleague about my use of only one bassoon when it was written for four. My philosophy was that people can't miss something they don't know was there. I don't think I've ever done that piece with all four bsns. yet, it never seemed to make a difference to the listeners. That's masterful writing.

I feel very sorry for the person that überhaupt (to use a German word) considers buying this horn

That's good to know. I paid $300.00 for a used Committee case, and when I got it stunk so much I couldn't use it. (Of course the seller, now $300.00 richer, didn't mention it.)

I tried everything and absolutely nothing worked. I finally had to get rid of it. Glad, for the future at least, to know of your solution. Thanks for sharing it.

When I was mentoring a JR High jazz band, the director would write on the white board the notes in the blues scale then would have the rhythm section play the chords while choosing the student whose turn it was to play.

Youtube Video

I'm sad to hear that. He was also on a TV show named "Run Buddy Run" and sang some of the old "Schoolhouse Rock" commercials.

@SSmith1226 said in Need help finding Blues recordings:

I was always better at Math than English Literature, but Anatomy and Biology were my strongest subjects.

The only math equation I have remembered is:

The cube of the boob is directly proportional to the angle of the dangle. That of course does have anatomy and biology application, so we are all good here.

Well, I'm out of this one, too. Gotta go practice my buzz. 😁

I believe we are creatures of feedback. Listening to the horn and feeling it's feedback is highly influential to how I play the horn.

My flugelhorn gives me a rich buttery feedback so I do everything in my power to fill it with puffs of air that allow that buttery sound to float. I back off on the attack from the dark feedback my Martin Committee gives me to enhance the soft darkness of it's rich tone.

HOWEVER, with all of that said I truly believe The Harrelson is a chameleon. I get to control the sound on that horn that will then determine the feedback that horn gives me. I can make it sound like a flugelhorn, create an airy throaty sound, snap on a Harmon and produce the same Committee textures of Miles Davis, or peal the pain off the wall when playing lead. Control... I love Control!