I can understand the financial precariousness of cancelling this, but it has to be kept in mind that this is not only a conference with, perhaps limited enough of an attendance to justify its still going on, but it should be kept in mind that they have to get there. That means, for many, the use of cramped public transportation and airlines, and that puts the conference in a totally different perspective.
Wynton said something elsewhere very colourful and so true. "Everybody wants to be the hero but no one wants to slay the dragon". There you have it.
When I first started playing, a few weeks in, I had a similar experience with my teacher that Wynton had. He gave me a lesson one day for which I was unprepared. I'll never forget it. When we came down the stairs my parents asked how'd it go and he said matter of factly, I had to practice or it was "a waste of my time and your money". And he was fully prepared to walk if it didn't get better. He didn't care. Man, I practiced after that.
Wynton also says that "You have to practice". I think I've written it before, but Dave Liebman in his book on sax playing wrote, "Practicing isn't something you like or dislike. It's just something you do."
I have never sought the super ranges. My role models probably kept things at Double F if not lower. One of my favorite players is Chet Baker. He usually keeps things below a High C, and that only on occasion. OTOH, Jon Faddis plays most of his solos in the upper register. To me his solos are boring and overuse the upper register.
But, and not to belabor it, being able to have control over the upper register means security on your notes below that and is liberating. It means that, although you don't have to use it, you have all the tools you might want. I can see it if it's for security.
I can't see it if the main goal is just to be the baddest dude on the block, especially if it's done at the ignoring of other needed techniques.
@ssmith1226 said in Forced Layoff:
@trumpetb
On this trip, Iām afraid the weapon of choice will have to be my seven year old Mendini Pocket Trumpet.
The last time I went to Germany, I had a pocket trumpet, too. Carried it in my suitcase. No problems.
(Glad you got out of Saudi Arabia in one piece, Dr GO. I assume you took no women.)
@fels said in Community Bands:
Frustrations are also strong. How to cope?
Is the topic: How to cope?
I cope by voting with my feet.
In my area there are at least three serious wind ensembles from which to choose, in addition to a New Horizon band (NH). The NH offers a great service for new players, comeback players and those who just prioritize their practicing regime differently.
I visited them when I looked around. They did not provide for me the kind of opportunity I needed. They seemed to be well led but his directions just scratched the surface, due to his players. Rehearsals were only one hour which, for me, just wasn't worth the time.
I noticed when they broke up for the day, one woman putting her sax in the case and then putting an oxygen tube in her nose. Bless her and bless the NH for giving her a place to come. But it was just too amateurish for me, so I passed.
@Dr-GO said in Vernacular (of range):
Is it just me or does anyone else have this trumpet dyslexia where I just cannot play a C trumpet for the life of me as the fingerings are just not matching with what my ears wants to hear.
I knew a guy, pretty good musician, who played C Melody Sax exclusively, because he had the same problem as you. He eventually quit playing, altogether, because he also had problems adjusting to pianos, or ensembles, that were not playing exactly on pitch.
I, OTOH and just to use an example, have played and adjusted to instruments in Bb, C, D, F, and Eb with little to no problem. As a matter of fact, I used to switch between C Flute, Eb Alto Sax, Bb Soprano and Tenor Sax and Trempet on the same gig. Ironically, the biggest problem was also going between Bb and C Trumpet.
@Dr GO - are you sure of your remembrance of Maynard saying he's influenced by Doc? I don't hear it. Maynard's (earlier) improvisations were, IMO, much more sophisticated than Doc's; more, maybe to Brownie's.
(Of course, you can be influenced by someone and sound like someone else. I was really influenced on alto by Art Pepper but, on listening to a jazz recording, I sounded more like late Sonny Red, LOL.)
Talking about buzzing can be productive. After the introduction of this topic, the thread has become more about talking about talking about buzzing rather than talking about buzzing, itself. Seems much ado about nothing. But that's me. Carry on.
Is that for playing or mounting on the wall next to the singing bass? 
First off, I'm sorry for your "challenges". Just remember that old saying, "When one door closes, another one . . slams shut." 
No, really, I wish you patience and good luck, sincerely.
To answer your question, with an exception here or there, there were three big chunks of time when I didn't, for the most part, play trumpet. When I worked, solely, as a composer/arranger - for about three years. When I was a conductor - about 16 years. And about two years when I had multiple strokes.
To add to that, I played woodwinds about 20 years while I also conducted. So, played but not trumpet.
I get your point about replacement parts and I think it's a valid one, but OTOH, I've never had to work with a secondary horn, ever, nor have I ever been in a compromising position due to a malfunction. YMMV.
@Kehaulani said in Jazz Trumpet Family Tree - Find Your Branch:
@Bay-Area-Brass - I don't understand you latest post. (Kehaulani?)
LOL. Well, I thought it was self-evident. I am saying that I don't hear a direct influence of Doc on Maynard.
@Tobylou8 said in Fine Tuning:
All I can say so far is that this is one of the best mobile experiences I've had ever!
Obviously you haven't joined The Mile High Club. 
@neal085 said in Longest Layoff:
So a total of 21 years off, if I read correctly?
I don't know.
3 years soley as a composer/arranger.
16 years soley as a conductor.
But there were almost another 20 years when I conducted and played, but those were woodwinds, not trumpet. I was laying off trumpet but I never laid off music.
Another 2 years that I didn't play or conduct anything, due to strokes. I get it all confused at times. I think this is accurate.
I am a certified Yamaha teacher. My experience is that the success of Yamaha schools, while providing a great system of wind tuition, relies on the participation of singers, guitarists, keys, and drummers. The size of a program like this doesn't necessarily reflect the quality or style of music taught. It is modern, not relying on paradigms that are 200 years old.
Sinatra. Oh yeah. "In the wee small hours of the morning."
Why not? I've seen Roadhouse probably over fifteen times. Stopped counting at thirteen on Calamity Jane. 
