The Holman and Russo Charts – Stan Kenton
Live at the House of Tribes – Wynton Marsalis
Holst: The Planets – Chicago Symphony Orchestra, James Levine
From This Moment – Nicholas Payton
Sketches of Spain – Miles Davis
Stockholm Chamber Brass!
Here’s a fun video of some great brass playing with some fun percussion stuff too!
Snooky Young, R.I.P.
One of the great lead trumpet players of all time has passed away. Famous for playing with the Count Basie Orchestra, the Tonight Show Band, and many others, Snooky epitomized the style, panache, musicality, and leadership of the big band lead trumpet chair. Enjoy these clips!
Playing lead with the Count Basie Orchestra 1962.
Recommended Music!
Consummation – Thad Jones/Mel Lewis
Papa Lips – Bob Mintzer Horn Man Band
Beethoven: Piano Sonatas #8, 13, 23 & 26 – Artur Rubinstein
Schubert/Schumann: Lieder – Elly Ameling
The Messenger – Kurt Elling
Thomas Hooten plays Turrin’s Chronicles
Here’s a fantastic clip of Thomas Hooten, principal trumpet of the Atlanta Symphony, performing with the U.S. Air Force Band at the 2011 National Trumpet Competition. The piece is the third movement of Chronicles by Joesph Turrin. Thomas displays a singing, resonant, focused sound in all registers with incredible articulation clarity. Note the great playing/accompanying of the Air Force band. Enjoy!
Trust Your Projection
Overblowing is an issue encountered by many brass players. Often, it is the result trying to hear one’s self in a large or amplified ensemble. The player pushes his/her volume higher and higher, past the point of their instrument’s physical limits at which point a spread, distorted sound replaces a centered, focused sound. At first, the distorted sound forms a “halo” around the player, giving aural feedback of really “filling the room” or “cutting through”. This lasts only as long as the player’s chops hold out, often no more than a few minutes.
Why do we overblow? As stated above, most of the time someone is trying to be heard above a large or amplified ensemble. Ok, fine, but what is the real reason?
Many brass players have no idea of what they sound like on the other side of the bell. Tone quality, volume, and timbre are some factors to consider when dealing with the “other side”. Trumpets are/were built to be heard over great distances and have many design characteristics to achieve a colorful, resonant sound. Most of the sound produced quickly moves away from the player, leaving a distorted silhouette behind. This, along with some body resonances is what the player hears and most often identifies as “their sound”. Have you ever recorded your voice and played it back? Most people are surprised at what they sound like when they hear it for the first time. This phenomenon is very similar to if not exactly what happens to your trumpet sound.
Most trumpets have a fairly concentrated sound with a sound projection pattern similar to a typical spotlight. The sound within the “beam” is very intense, rich in overtones, and can travel great distances with little drop in intensity. This occurs at every dynamic except for the extremes. Very soft playing often doesn’t “energize” the trumpet (the player) enough to get the projection going, conversely very loud playing transforms the sound projection pattern more akin to a floodlight. Up close the sound is large and intensity is present, but falls off rapidly due to the spread nature of the projection. The wide projection pattern reaches the player’s ears (halo) much easier than the focused, “spotlight” pattern, but the inverse is true for the audience. The concentrated “spotlight” beam will cut through a 110 piece orchestra (or an amplified band) and require less playing effort (volume). This is where trust comes in to the equation.
If a brass player can just relax, play his/her instrument comfortably, and get used to having less aural feedback (especially in a large or amplified ensemble) he/she can virtually guarantee that they will be heard. Simple enough, right? This, of course, all depends on whether the brass player has solid fundamentals and is capable of producing a mature sound……………………future topic perhaps?
Recommended Music!
At Last – The Gene Harris/Scott Hamilton Quintet
Live at MCG – Bob Mintzer Big Band
Sempre Libera – Anna Netrebko
Somethin’ Else – Cannonball Adderly
Sibelius: Symphony No. 2 – Berlin Philharmonic, James Levine
Mussorgsky: Pictures at an Exhibition – Chicago Symphony Orchestra, Fritz Reiner
The $100 investment that keeps on giving
Before you buy another mouthpiece, spend some money on something that will improve your sound and musicianship far more than an equipment tweak. Good musicians do a great deal of music listening, whether examining their own performances, finding new interpretations, or taking the mind off of something. To me, having a quality music playback system is vital so that one may hear everything music has to offer.
It’s often not feasible to own an extravagant audio system with large speakers, an amplifier, and source components. A college student living in a dorm room has limited space (and probably a limited budget). Apartment dwellers have neighbors to deal with, and let’s face it, with the advent of iPods, cell phones, and tablet computers (I’m typing this on my iPad) many of us listen with portable audio devices. Headphones are great for all of these situations.
Now, most headphones that come with a portable device are merely something to stick in your ears. They have mediocre sound quality at best and are made with cheap materials. I’ve used various types of these cheap headphones and have always wanted something more (clarity of sound, real bass response, better quality materials that don’t break if you drop them or trip on the cord). For $100 a company called Grado Labs has the answer.
The SR 80i is a rugged, retro looking headphone that has some serious sonic punch. The plain-jane appearance is a disguise, the truest statement of function over form. Simple round ear speakers have replaceable foam pads that sit on the ear. Easily adjustable, the spring steel headband and ear speakers swivel and pivot to accommodate almost anyone. A stout cable of good length is fitted with a high quality gold plated 1/8″ jack (a 1/4″ adapter plug iis included) and is connected securely to each ear speaker. The sound that comes forth is remarkable. Grado is known for a warm, punchy, and detailed sound. These headphones give you all of the details (superb articulation, clarity, and pitch definition) while retaining lush musicality. They have a sense of drive and timing that rivals many high end home stereo systems. Best of all, they sound GREAT plugged into your favorite portable device. Some high quality headphones require an amplifier to achieve a decent listening volume and obtain their best sound. While the SR 80i indeed sound better with an amplifier, it’s simply not necessary. Your iPod will spring to life, immersing you in sound you never thought possible.
You can use this “costly high end home stereo” when the neighbors are home, fold it flat when not in use, and not be terribly concerned with theft (remember the simple, retro looks?). You can also practice while wearing Grados because of the open-air design (they don’t block out exterior sounds). The only drawback of the open-air design is that you can’t mow your lawn and listen to music or crank your tunes in a confined space (everyone will be able to hear your music).
I’ve had my pair of SR 80(precursor to current model SR 80i) for 11 years, including six years of college. My pair has been dropped, sat on, cord tripped over, and smashed in a suitcase over and over. I don’t recommend that kind of harsh treatment, but they are still going strong. I love them and I think you will too.
For tight budgets, be sure to check out the entry level Grado, the SR 60i. For those wanting higher performance, Grado makes several models above the SR80i but I strongly recommend using a dedicated headphone amplifier to unlock best performance. I recommend buying them here.
Recommended Music!
Live in Chicago – Kurt Elling
Slightly Off The Ground – Tom Kubis Big Band
Bach:Goldberg Variations – Andras Schiff
Mahler:Symphony No.3 – Chicago Symphony Orchestra (CSO Resound)
Unplugged – Tony Bennett
Maria Schneider Orchestra
One of my favorite performing ensembles is the Maria Schneider Orchestra. Maria assembles some of the world’s best talent (many, if not all from New York) to play her compositions. She writes lush, complex, lyrical, beautiful, and momentum-filled tunes that take big band instrumentation to a whole new palette of sound. Can’t get enough! Enjoy!
This one features the great Ingrid Jensen!
Maria’s website.