I was too young to remember MM's stint as Principle Cornet at Black Dyke, but I found this clip of him playing 'Zelda' by Percy Code accompanied by the National Youth Brass Band, and conducted by none other than the great Harry Mortimer.
A bit of a contrast to his Star Wars stuff!
Enjoy.
@IrishTrumpeter said in A little humour:
Given the topic of the thread
The ONLY version of that book that's worthwhile
@j-jericho said in Conjecture, Please:
@seth-of-lagos said in Conjecture, Please:
@j-jericho said in Conjecture, Please:
Who played lead trumpet in Edwin Astley's orchestra on the original "Danger Man" theme (0:00 - 4:53)?
Are you sure that the original (ie series 1) Danger Man theme was played by Edwin Astley's orchestra?
My Dad had the Parlophone recording (1961?) by the Red Price Combo - a one hit wonder. But Red Price played (tenor sax) mainly with Ted Heath so maybe (going off links like https://www.discogs.com/master/576628-Ted-Heath-And-His-Music-Ted-Heath-Recalls-The-Fabulous-Dorseys) one might speculate Bert Ezard?, Bobby Pratt? Duncan Campbell?, Eddie Blair?
I was hoping you'd respond, since you're familiar with that part of the world (and at least one other) and the approximate time frame, that you would have some insight into my question.
Edwin Astley wrote both "Theme From Danger Man" and "High Wire" for the series. I would think that since he had his own orchestra and used it for all the musical accompaniment for the program, that he would have used it for the themes as well. His orchestra did play "High Wire", and to my ear it has the same continuity of sound as "Theme" and "The Saint", unlike other recordings by Red Price, Ted Heath, and others who covered the tunes, and with whom the players you mentioned were associated.
It just now occurred to me that Edwin Astley and John Barry created very similar sounds (at least the way I hear their arrangements). I wonder if there were musicians who played in both men's orchestras....
Not really. The lone trumpeter in the John Barry Seven was John Barry, and through that period he was under contract to Columbia.
Quoting from https://en.wikipedia.org/wiki/Danger_Man:
"Singles
1961 – "Theme from Danger Man", The Red Price Combo (main theme used in the 1st Series) – Parlophone 45 R 4789
1964 – Danger Man "High Wire", The Bob Leaper Orchestra (alternative main theme, not used in any episodes. Features electric piano) – PYE 7N 15700
1965 – Danger Man "High Wire", The Edwin Astley Orchestra (not used in series, arrangement influenced series 4 theme arrangement) – RCA 1492
1965 – Danger Man "High Wire", The Ivor Slaney Orchestra (alternative arrangement, not used in any episodes) – HMV POP 1347"
... which confirms the Red Price -Ted Heath link.
Plus Bert Ezard was something of a legend on the London sessions scene so if I were a betting man, that's where my money would go.
John Barry Seven were more Yorkshire based, and indeed John Barry was born in York a couple of months before my mother. As she was a fanatical cinema goer and Barry's father managed a bunch of local cinemas, she knew of him (though obviously denied that he knew her in any way shape or form. Ahem).
@Dr-GO my viewing equipment is a pair of contact lenses!
Jupiter's just about to set (4:30 CEST here) in the West and Venus is just rising above the dawn horizon, so they're all in a line: Venus, Mars, Saturn, Jupiter. 
@administrator said in TrumpetBoards Moving Servers this Week -- Expect Disruptions.:
What the title says. Not sure when exactly but if it's down you'll know why please don't spam my email unless it's down for more than a day. Thanks!
Good move!
Until now, I'd not been able to log into the site for well over a year!
@GeorgeB said in Favorite Music:
I thought I knew most of Louis Armstrong's work but neal085's post of We Have All The Time In The World piqued my interest so I did some research on it. It was released in 1969 on a 45rpm single ( Pretty Little Missy on the flip side ) and was the featured song in the James Bond ON HER MAJESTY'S SECRET SERVICE film, one of the few Bond films I missed seeing.
This was sort of a come back for Louis who had been seriously ill for some time and was unable to work much. Most importantly, this apparently was the last time he played his trumpet in a recording studio ( 2 years later he would die of a heart attack ).
Being released as a single on 45 without much pomp and ceremony was probably the reason I was unaware of the song.
The song was better known in Britain. I've always found it very moving since time was one thing Louis didn't have much left of.
And written by that slightly more famous son of York, John Barry of course.
@Dale-Proctor said in Saturn:
@Seth-of-Lagos said in Saturn:
@Dr-GO my viewing equipment is a pair of contact lenses!
Jupiter's just about to set (4:30 CEST here) in the West and Venus is just rising above the dawn horizon, so they're all in a line: Venus, Mars, Saturn, Jupiter.
Well, to our perspective, they’re always in a line (the ecliptic), but not always close together.
True. But don't forget, I'm used to the ecliptic being overhead so it's all a bit novel for me.
The same view from our South facing balcony in Lagos before we left in February was the line up of Fomalhaut, Achernar and Canopus.
@ssmith1226 The cover image of your video was maybe too big a clue for those of us down south who see that constellation regularly!
Could have been 'Stars in a Velvety Sky' I suppose.
Entirely coincidentally, I was doing a quick shop yesterday and spotted a type of flattened peach I don't recall seeing before. Googled it this morning, and apparently it's called a Saturn peach.
So I have the next rung on life's ambitions: to watch Saturn while eating a Saturn peach on a Satur(n)day.
Shouldn't have too much difficulty finding the appropriate saturnine expression. That comes naturally.
@dale-proctor said in Funny story that's sort of trumpet related...:
I sat next to John Williams in a trumpet section years ago. No, not that John Williams…lol
A few years before Brassed Off, my concert band had the honour of playing a set directly after Grimethorpe had given an absolutely spellbinding, vituoso performance of the Lohengrin Prelude.
So I duly settled into the chair just vacated by THE Alan Morrison :
... and launched into Girl from Ipanema.
And that, my dear friends, is the very definition of the phrase 'from the sublime to the ridiculous'.
@rowuk said in Dry instrument vs Wet instrument:
Moisture! The speed of sound in moist air is different than in dry and in the microcosmos of the trumpet, that is a big deal. Intonation and targets change.
Granted, if one has minimal chops, other issues may mask the effect.
A „moist“ instrument is different than just running water through it first (although that does help some).This is such a fundamental thing for me that I will not risk playing a gig on a dry trumpet (even although it is only dry for the first 10 minutes or so). When testing trumpets, the first 10 minutes do not count.
This. Sort of.
On a microscopic level the inner surface of a brass pipe is quite rough and it will not reflect pressure waves, especially the higher frequencies, straight and true. You could say the speed of sound is 'reduced', but more in the sense of being sent on numerous detours. This will tend to push the sound towards dull and lifeless.
A bit of moisture on the other hand will tend to fill in the valleys and present a much smoother surface, truer wave reflections and richer sound.