Got it, thanks.
Posts made by Kehaulani
-
RE: How Louis Armstrong, Jazz, And The Mafia Got All Tangled Up In Storyville
Interesting read, I enjoyed it, thanks. I didn't see how a direct Mafia-to Louis link was made, though.
-
RE: AR Resonance Mouthpieces
So, I'm not clear. Did you go for a smaller or larger diameter? At any rate, what Jet tone model did you settle om?
-
RE: AR Resonance Mouthpieces
I have one. Good mpc. but no added-value for me, so don't use it.
-
RE: How many is too many?
For me, it's just a tool. To whit I have 2 trumpets*, one Flugelhorn and one cornet. I don't specialize in any one thing to where I need a another horn for that.
*The second trumpet I just got to fill n the gap while waiting for my primary. I actually like it better than my primary but presently the trumpet's weight is a factor, so I'm keeping it for the time being,.
-
RE: A great ear training tool.
It's a good approach. When I was in D,C., I and the other arranger used to have regular ear-training sessions with one another. It started with simple melodies phrases and two-note harmonies. We ended the two-year stint by playing atonal melodies and note clusters. Good approach.
Howeret, I do not like the playback on this tool
-
RE: I have decided on a Superhorn!!
Be careful that you don't get nailed with import taxes when you return home. I knew musicians who would carry a really cheap instrument with them when they went abroad, got the "new horn" and carried it back as if it were the same horn, they had left the country with.
As long a the registration on the horn doesn't have any give-away specifics on the exit papers you could substitute on the return trip and customs wouldn't know.
But exit the county with no horn and then carry the "new" one back could be expensive.
I don't know Columbian import duties but in Germany it could be a rather large and unexpected expense.
-
RE: Tough Decision to make
A word about individualism. First a caveat. I have always been, at heart, an improvising jazz musician. And my related equipment has usually been compatible with that aesthetic.
But if I was playing a predominantly orchestral and small-group music with some detours playing "Pops" repertoire, my choice in an instrument would not be the same.Today's classical music (American) has certain expectations in sound and equipment. Yamaha and Bach with some side excursions to Schilke et al.
If you are primarily looking to playing in large, classically oriented and related ensembles, one of your considerations is how you blend with the other players and there is an understanding of what that is.
I do not know Blackburns, but regarding that, or any other horn, I would consider your goals and expectations, as well as the expectations of your colleagues and musical directors in making your selection.
-
RE: Diversions
I think I'm just getting frustrated with people who are chasing their tails as a diversion from spending their time getting in solid practicing. Micro-analyzing this and that; not only missing the forest for the trees, but nit-picking what kind of tree it is, how many rings, what kind of bark, when it might be more productive to grab an Arban, Claude Gordon, Papa Mitchell, sticking with it and getting as good as you can.
-
Diversions
I didn't find a category that this fits in, so this is as good a one as any. This was posted elsewhere, and I had a request from a credible poster to post it here. I don't know the motive and I certainly don't have one so just take it-or not- for what it is. To wit:
I'm thinking out loud and any one can jump in with thoughts on this topic. Which is: seeking perfect trumpet methods and exercises vs. practicing just about anything. A short anecdote to illustrate.
When I lived in S. Calif., I went looking for a Martial Arts studio convenient to me. I already was a 4th degree blackbelt and had trained in a variety of styles so, to an extent, it didn't really matter what style I trained with. I went to a studio a few minutes down the street from my house. I saw some things they were teaching that I strongly disagreed with, so I decided not to work out with them. But the result was, I seldom worked out regularly with anyone and my skill suffered.
In retrospect, it would've been better to have done something instead of nothing. Isn't that what some of us are doing regarding finding this perfect system or that perfect exercise, this Goldilocks mouthpiece or that Goldilocks horn?
Wouldn't it be better to just pick a system/exercises/horn/mpc. and hit the shed? Do we divert too much time and energy on extraneous things, resulting in too much of nothing instead of a lot of something?
-
RE: Help identifying Nikkan Tokyo trumpet model
Pejorative? I'm just pointing out that some instruments work fine if their purpose is for beginner/intermediate/amateur use as contrasted with more refined needs of a professional symphony/big band player. Depending on one's needs, some horns are perfectly suitable while, for others, they need more refined features.
-
RE: Help identifying Nikkan Tokyo trumpet model
My guess, and that's all it is, is that this is probably a pre-Yamaha trumpet.
"Tokyo", of course, identifies it as made in Tokyo, although it may have actually been made elsewhere in Japan.
Nippon Gakki is the name of, first, the parent company of Yamaha and then, later, Nippon Gakki changed its parent-company name to Yanaha.
As a player, it's probably relates to your skill and need. As a collector's item, it may be rare, previous items having been melted to make Kirin Beer cans, LOL.
-
RE: Artist on BOARD
Awesome. Makes me nostalgic for Maryland, that time of the year.
-
RE: Greetings from Florida's Jazz Scene
Does this mean I can finally get a Pan American?