Just a general comment regarding thread censorship: Keep in mind that we would also like to attract younger members and that some profanity or personal attacks can be a deterrent to joining the forum.
I have certainly used colourful language in my time, but I also considered who my audience was. In that regard, I think some restraint should be shown and when it's not, then to be removed. We won't always agree on the outcome, or lack thereof, but the Moderators have a fairly arbitrary job.
I got Double High C in 37 Weeks and all was well . . .
. . . not.
I have had several strokes and am on a road to recovery. I want that fully understood. But . . .
I've posted this before, but one of the best things that affected my approach for playing high notes on trumpet came, ironically, from playing sax. Although I started off life as a trumpet and French horn player, and played professionally on both, I played sax professionally for a couple of decades and was a woodwind minor on my Master Degree.
When compared to trumpet, instead of going through all this angst and gyrations to produce a high note, I just depressed my thumb. Using that concept of just relaxing and making minor adjustments helped my trumpet range immensely. I didn't overreact, playing-wise, and just relaxed (relatively).
Specifically, and this will vary based on preferences and needs, I got the most benefit from Jeff Smiley's The Balanced Embouchure and the Maggio system. My range increased from an obtainable High C and workable A above the staff, to a workable E above High C and a playable Double High C.
I scrunched my chops getting out of bed this morning. Came right back to me.
When I was a kid, I got separated from my parents at Coney Island. In panic, I saw a cop and said,
"Pardon me, sir, but could you help me find my parents?"
"Gee, I don't know, kid. There are so many places they can hide."
Well, on the subject of using original material to help comeback, I did the opposite.
I concentrated on mainly The Balanced Embouchure and a few supplemental exercises from more "modern" materials (compared to my original approach). While, I think, I based things on my original teaching (my teacher studied with Schilke, so that whole "wind", Chicago thing), I went beyond that in development materials.
I went from struggling with High Cs and a workable A above the staff to a workable E above High C with a playable Double High C.
The full quote on Miles is, paraphrasing, that his teacher said, "Don't use vibrato. You're going to get old and start shaking, anyway".
Professional is an arbitrary term in its common usage.
A professional usually means one who makes a living at it. But within that category, I have known sublime musicians to downright hacks who don't really deserve the term - but they do qualify. OTOH, I have known weekend warriors who play very well.
It seems to me, then, that the term is relative and is more descriptive using two different terms, professional alone, referring to their income source, and professional-level relating to their skill.
I've used it for a couple of years and have had two, in-person lessons with Jeff.
I like the system (BE). To me, it's valid in that it acknowledges a roll-in embouchure for high notes. Then, through a set of exercises, reconciles the use of both rolled-in and roll-out embouchure, balanced embouchure, if you will.
In the book, he mentions playing other exercises, which he does not provide. I asked him about that and he mentioned also using the mainstream books, like Irons, Clark, etc. for other technical facets. In that matter, it's like Claude Gordon's system.
I think he has used some approaches of Claude Gordon and others, but his basic work on roll-in/out approach and his supporting exercises are unique. You might get a balanced embouchure but not a balanced technique until you add the supplementary material.
@flugelgirl said in Crickets?:
Many days I finish work and head straight to a gig.
Know the feeling. I once flew all the way from Texas to Germany and went right into a club for gig. Gad!
@Trumpetsplus said in How To Play Trumpet With Less Tension:
One should never play a piece of music the same way once.
Some of us can't help it. 
Kailua-Oahu, Hawai'i.
No songs that I know of about Kailua but a song by the group "Olomana". Olomana is a landmark mountain in Kailua and the band, from Kailua, takes its name from there. Very nostalgic song about how it was in one's youth, there.
Straight mute, cup mute, harmon mute, George Dickel.
It sure got quieter around here, suddenly. And less abrasive. I wonder what changed?
Caveat. I have nothing against circular breathing or those who use it.
I have never encountered a legit piece I was playing that required circular breathing, although I admit it can come in handy. Wind instruments are just that, wind. And any mature writer should take that into account and write accordingly.
I realise that there may be some contemporary Musics or solo pieces that use circular breathing but they are an anomaly.
Some ethnic Musics require it. I'd hate to try to get through some Eastern European music without it. But, since Homey don'r play dat, I default to its not being necessary for me.
As far as Jazz, if you're taking a solo, you can control the phrases and where to breathe, so it's just what you want. Aesthetically, if it fits and you want it, do it. On the other hand, I don't need no stinking Kenny G hotdogging. 
Trumpets and saxes also transpose into ungodly sharp keys in pop music. Playing in B can be a lot of fun. . . not.
