Ever since I put this site online, I've been recording my improvisation sessions at least once a week. After just a month of reviewing my playing, I'm already hearing significant improvements in my rhythm, articulation, and phrasing. I wish I had been recording myself this often all along.

I've decided to put up a few of these daily recordings on an ongoing journal entry. This way you can follow along as I (hopefully) improve. Feel free to offer comments or suggestions.

All of my jazz improvisation recordings: 2004 - 2005 - 2006 - 2007 - 2008 - 2009 - 2010 - 2011 - 2012 - 2014 - 2015 - 2016 - 2022

DECEMBER 1, 2004

iwasdoingallright - audio clip

- Aebersold #108, Mo' Joe by Joe Henderson

I recorded the track above, took a short break and then recorded the track below. When starting the track below, it occurred to me that this tune would make a good note limiting example. In my solo, I think there are only five notes (F, G, Bb, C, D). I guess that's a lot of notes for a note limiting exercise, but here's the twist: I only used first and open valves.

iwasdoingallright - audio clip

- Mo' Joe - first and open valves

As I've mentioned before, note limiting simplifies the task of searching for notes. This freedom can help you focus more on rhythm and phrasing. It can also help you to discover some new ideas by breaking your normal playing patterns. In this particular session, I think my note limiting solo is better than my *normal* solo...

NOVEMBER 22, 2004

iwasdoingallright - audio clip

- Aebersold #108, A Shade Of Jade by Joe Henderson

This is one of my favorite tracks from this recent Aebersold play-a-long. I'm not all that happy with my playing on this recording, but it's the best I could come up with.

This was a typical session where I picked up my horn to improvise. I played a solo that I really liked and thought: I should record this! Of course, once I hit the record button, the pressure was on and I struggled to play anything well. That's one of the main reasons that I continue to record myself. Eventually, I hope to play equally well whether I'm recording, playing in front of an audience (doubtful, but you never know...), or just playing for myself at home.

NOVEMBER 9, 2004

I just realized: we're nearly halfway through the fourth quarter and I don't have any new recordings online! I guess I've been more focused on other parts of the site (ear trainer and site redesign). In any case, here are a couple of new clips.

iwasdoingallright - audio clip

- Down By The Riverside

This clip is an example of the sort of thing you could play while working on simple song ear training. The recording begins as I play the song by ear, starting on a G. After playing the main melody, I improvise a bridge and continue to improvise until the end of the tune.

When practicing simple songs, it's important to remember that you can play anything you like. If you only know one part of the song, just play that. If you feel like improvising the rest... go right ahead!

iwasdoingallright - audio clip

- Freeform improvisation

After recording the "Down By The Riverside" clip, I thought it would be nice to try and play something unstructured. Naturally, I turned to some freeform improvisation. This clip still has some Dixieland elements to it, as I was still feeling the groove from "Down By The Riverside".

While this clip isn't anything special, I am pleased with the ending. Those octave leaps popped out of nowhere!

SEPTEMBER 27, 2004

I recorded a couple clips tonight, in an attempt to squeeze in some more recordings for the third quarter.

iwasdoingallright - audio clip

- Aebersold #56, Well You Needn't by Thelonious Monk

This a fairly long clip (for this site) at two choruses in length. After the first chorus I stopped playing but then got the urge to continue a phrase. Eight bars later, I jump in to complete the second chorus. Those eight bars are a great example of "less is more" ;-)

iwasdoingallright - audio clip

- Aebersold #25, Summertime by Hayward & Gershwin

Just a short clip. Nothing fancy. I do like the triplet run in the 5th and 6th bars. I *think* that's the first time I've ever tried something like that.

AUGUST 18, 2004

iwasdoingallright - audio clip

- Aebersold #44, After You've Gone by Creamer & Layton

This is my first recording on my new flugelhorn! It's just a short clip, but I've been anxious to get something online.

As you may be able to tell from the opening phrases, I'm still having trouble locking in some of the notes on this new horn. A note like an 'F' at the top of the staff is actually easier for me to play on the flugel than on my Bach trumpet (maybe it's the mouthpiece? maybe it's the horn?). Even though the note is easier to play, my embouchure needs to adjust slightly to account for the different setting/tension/etc. It's that adjustment that I'm still getting used to...

JULY 13, 2004

iwasdoingallright - audio clip

- Freeform improvisation... with Spanish flair!

Originally, I was trying to do some freeform improvisation based loosely on the tune "Witchcraft" (I had just listened to Donald Byrd's recording prior to picking up my horn). I was struggling for ideas, however, and I didn't care for anything that I played. Prior to putting down the horn for the day I figured I'd give it one more shot... this time playing whatever came to mind. This track is the result.

In the beginning of the track I was thinking about (and picturing) Miles Davis' "Sketches Of Spain" album and toward the end I was thinking about the "Return To Forever" album, by Chick Corea. I think both influences can be heard in my playing.

If you haven't already, be sure to read my journal entry on Freeform Improvisation to understand my goal/intention with this type of playing. This also happens to be a decent example of thematic development (taking a theme/phrase and developing it throughout the solo).

JUNE 30, 2004

iwasdoingallright - audio clip

- Aebersold #6, Confirmation by Charlie Parker

Yesterday was my first day playing again, after having my wisdom teeth removed (four days earlier). Everything seems to be working as usual, however it's a bit painful to play for more than 15-20 minutes at a time. Perhaps unwisely (get it? hilarious, I know...), I pushed through the pain today to get one more recording in for the second quarter. This is a fairly simple/restrained solo, perhaps due to the painkillers and antibiotics; who knows. I should also mention that I recorded this on my new Shure SM57 microphone. Can you tell? --neither can I...

JUNE 15, 2004

iwasdoingallright - audio clip

- Aebersold #25, My Funny Valentine by Rodgers & Hart

After recording "On A Misty Night," (see below) I was in the mood for some more ballads. "My Funny Valentine" seemed like a natural choice. The Aebersold version starts slow, then goes into double time, and then ends at the original (slow) tempo. This recording begins right before the double time. I'm not sure what visitors will think of it. You might think it sounds sloppy. I guess it might, but while playing I was totally absorbed in the moment. The fast bits were simply part of the expression. This is probably my favorite recording thus far --even with the 3 failed attempts to hit a G at the top of the staff...

iwasdoingallright - audio clip

- Aebersold #99, On A Misty Night by Tadd Dameron.

I bought this play-a-long recently, but I've only had time to use it a couple of times so far. Knowing I was due for a recording (I've got to have something to show for myself in Q2!), I figured I'd try to work the play-a-long into my evening improv routine. I played this tune through once while looking at the changes, to get a roadmap. When soloing, though, I just closed my eyes and let my ear guide me (ok, so I may have remembered some of what I saw...). [Added on June 17, 2004] The more I listen to this recording, the less I like it. I thought about taking it down, but decided it's probably better to just leave it online. This way I can come back to it years from now to see how much I've (hopefully) improved...

I've come to the decision that I MUST buy a new microphone. I'm tired of sounding like I'm playing through an overdrive pedal. I think I'm going to get the Shure SM57.

MAY 27, 2004

iwasdoingallright - audio clip

- Aebersold #61 (Burnin'), Keep It Up by Mark Levine.

I haven't been too happy with my playing lately. I'd pick up my horn to improvise, but I was having trouble playing the ideas in my head. Sometimes my ear is good, sometimes not so good... lately it's been letting me down. Hoping to get back on track, I skipped most of my normal routine today and instead focused on ear training (simple song playing).

At the end of the day I thought I'd try playing something off of Burnin'. I purchased this play-a-long a few weeks ago, but hadn't yet had a chance to give it a try. I randomly started playing a track and before I even had a chance to get the book out I realized: I know what key this is, and I know what to play. So, without seeing a single chord change, and without ever hearing this tune before, I picked up my horn and this is what I played. There are some rough spots (I got excited and my rhythm slips a bit), and it's not the most musical solo I've ever played (fast solos rarely are musical, at least for me) but overall I'm pleased with what came out, particularly the break that happens right before the cycle begins (about half way through). Anyway, this shows me that I should spend more days focusing on ear training...

APR 14, 2004

iwasdoingallright - audio clip

- Aebersold #108, Granted, by Joe Henderson.

And, because it's been a while since I've had a chance to record, here's a bonus clip from the same recording session: iwasdoingallright - audio clip

--I'm playing too close to the mic, so the sound is a bit distorted.

This is the second track I've recorded with the new Joe Henderson play-a-long (see Mamacita). This is the most energetic play-a-long that I've heard. Its peaks and valleys are similar to those you'd hear from a real band. I highly recommend it.

I think the intensity of the play-a-long can be heard in my solo. Even though my chops were tired, I gave it all I had.

MAR 10, 2004

iwasdoingallright - audio clip

- Aebersold #56, I Mean You, by Thelonious Monk.

I like this solo, even though toward the end I was struggling to hold on to my idea. I eventually lost it a bar or two before the end of the cycle (I faded out the collapse).

FEB 24, 2004

iwasdoingallright - audio clip

- Aebersold #108, Mamacita, by Joe Henderson.

This recent Aebersold release has a lot of great tunes, with lively rhythm sections. I especially like 'A Shade Of Jade,' 'Jinriksha,' 'The Kicker,' and this track, 'Mamacita.'

This is the bluesiest (there must be a word for it...) recording I've done thus far. There a few weak spots, but I guess it's ok.

FEB 14, 2004

iwasdoingallright - audio clip

- Aebersold #40, Days of Wine and Roses

I tried to create continuity in my solo through the use of phrase linking. Where one phrase stops, another begins with a similar melody and/or rhythm. In the end, it should all sound like it goes together. While I try to do this in every solo, I find it's easiest to practice in slower tunes, like "Days Of Wine And Roses."

Another thing worth mentioning is the use of space between phrases. Rather than overwhelm the listener with continual playing, the pauses create a conversational flow. Say something. Let people think about it. Say something else.

FEB 4, 2004

iwasdoingallright - audio clip

- Aebersold #34, Just Friends

After the lead-in, you'll hear me play a simple phrase, which I repeat towards the end of the solo. This is an example of thematic development: play a phrase, and continually develop it throughout the solo. When done well, the phrase evolves into a new tune, and the solo can stand on its own. My phrase didn't get very far in this example, but hopefully you can hear the attempt ;-)

For some reason, fatigue set in early today and you can hear it in my range. I'm using too much pressure to hit the high notes --in this case, just a G at the top of the staff. *sigh*

JAN 30, 2004

iwasdoingallright - audio clip

- Aebersold #106, Zambia, by Lee Morgan. The tune was originally released on "Delightfulee," but I've never heard it.

I really like the way I played in the beginning of this clip. About half-way through, I started thinking to myself: "Don't mess this up. This is great... and then I messed it up. After cracking a couple of notes, I fell out of the groove and never got back on track.

As I mentioned in a previous journal entry, I've been playing with two embouchures since starting the Balanced Embouchure (BE) method six months ago. I begin the day with BE exercises, but when it comes to real playing, I revert back to my old embouchure. My guess is that every experienced player uses two embouchures (old + new) while developing a dependable BE. After all, we spent several years developing our existing embouchures, so of course learning a new embouchure will take time, right?

I don't know if trumpet players are an impatient group of people, but it seems like many of us (myself included) ignore the common sense approach. Instead of patiently letting our new embouchure develop, we get frustrated, looking for immediate results. I suppose this is a testament to how well BE works. When I first tried it, I hit some really high notes. I was thrilled with the idea that I could play them with little mouthpiece pressure. But, of course, I wanted to use it for ALL of my playing, right away.

Unfortunately, it doesn't work like that. BE takes time. In my case, the frustration continued throughout my initial 4 months of playing BE exercises. While I was getting better at BE, I still found it unusable for regular playing due to poor accuracy and a lousy tone.

The turning point for me began a couple of months ago when I added etude playing to my daily practice routine. Specifically, etudes played ONLY with BE. Any etudes will work, but I personally prefer Charlier's. Each day, I open up to a page and play an etude very slowly. I don't worry about rhythm. I don't worry too much about tonguing either. I just try to play the etude as best I can with BE. I don't even play the whole thing -- just as much as I can while using a comfortable Balanced Embouchure.

There's a reason I mentioned that I don't worry too much about tonguing. For me (and others, it seems), tonguing with BE is a bit awkward at first. If not done properly, it will cause the note to break, forcing me to reset my embouchure. With practice, though, BE + tonguing does get easier. I just noticed that when I didn't worry about it, I felt less frustrated and consequently improved faster.

I still can't play any etudes with speed or great precision (using BE), but I am definitely getting better. More importantly, since I'm using BE to play *real* music, I've noticed that it's gradually getting easier for me to use BE instead of my old embouchure during my normal playing. And, when I do use my old embouchure, it's looking more like my Balanced Embouchure.

Update 4/15/06: For better examples of note limiting, please check out my LEARNING TO IMPROVISE: RHYTHM article.

iwasdoingallright - audio clip

- note limiting clip.

I'm playing a solo to an Aebersold recording of Jordu. As you listen, you may notice that I'm NOT playing a wide variety of notes. In fact, I'm just playing four notes (in varying octaves) throughout the solo: D, F, A, Ab.

I have a few improvisation exercises that I do from time to time. This one, I call "Note Limiting." It works particularly well with blues-based chord progressions. The concept is simple: pick a few notes and play ONLY those notes during your improvised solo.

This exercise has the following benefits:

SIMPLIFIES IMPROVISATION

Since we're only dealing with a few notes throughout the solo, you don't have to worry about which notes to play over which chords. This is especially helpful to beginning improvisers who may stumble through chord progressions. Once you pick your notes (I'm using 1, 3, 5, and 5b in this clip - iwasdoingallright - audio clip

), the focus shifts from theory, to creating music.

ENHANCES RHYTHMIC DEVELOPMENT

Even though I talk a lot about ear training on this site, the fact remains: it don't mean a thing if it ain't got that swing. Interesting and well-phrased rhythms are crucial to a good sounding solo. I find that beginning players (and experienced players too!) often get so caught up with notes that they don't even think about rhythms. That's the beauty of this exercise: you can't get hung up on notes. Try to play one or two notes, and make them sound cool. Rhythm is your key. I suggest short punchy rhythms.

IMPROVES CREATIVITY

I'm not a great improviser. Sometimes I feel like I'm in a rut. Either I can't think of anything cool to play, or I think I'm playing the same licks over and over again. When these issues arise, I turn to an exercise like this. It creates a natural change in my playing. It basically forces me to think differently about my solos. Typically, after a few "Note Limiting" exercises, I approach regular improvisation with renewed excitement and creativity.

I finished the first version of my ear training tool today. I'll be adding some more features in the near future, but I think this initial version has a lot to offer.

UPDATE This original version of my ear trainer has been updated dozens of times over the year. You can read more about the various updates, or you can jump right in and start using my free online ear trainer.

I've been working on the Balanced Embouchure (BE) method since July of 2003. During this period, I've been using two separate embouchures. I use BE for warm-ups, slurs, and when playing etudes, but I typically fall back into my older embouchure when playing jazz. I do this because I still play better (although in a lower range) with my old embouchure.

When I started BE, I found it really tricky to play in the "lip clamp" position. I have a pretty significant overbite (at least 1/3 inch), so it's hard for me to get my teeth to line up in such a way that the mouthpiece forms a good seal. I'd constantly end up with gaps where air would escape. Eventually, I gave up on a full lip clamp (as shown in the book's pictures) and just did the best I could.

After a couple of months doing the exercises, I didn't feel like I was making much progress (looking back, I can see I was probably just being impatient). I figured I needed some guidance from the expert, so I sent an email to the author (Jeff Smiley), along with a couple of video clips showing my version of a BE embouchure.

Jeff responded with several observations and suggestions. Everything he told me was in his book, but now I had things personalized for my embouchure. More importantly, I knew I wasn't making any major mistakes. This gave me the confidence I needed to continue with the program.

It has only been 6 months since I've been working with BE, but I already have positive and consistent results. I find that I can play above the staff with very little mouthpiece pressure. Also, even though I still practice a lot, I have no scarring on the inside of my top lip, nor do I have any noticeable scarring on the outside of my lip.

I know I still have a long way to go, however. The BE version of my embouchure is still pretty unstable. I also find that it feels pretty good in the beginning of the day, but after a few practice sessions, my top lip feels sore. Around this time, my range and accuracy with BE declines rapidly. I should note that my embouchure is looking more and more like the lip clamp pictures in the book, so perhaps I'm just beginning to get it right.

To close this journal entry, I thought I'd post an audio clip of me doing some slurs: iwasdoingallright - audio clip

. These were done at the beginning of the day, right after my initial BE warm-up. Yes, the slurs are sloppy, and yes the high notes are very weak... but I'd say the results are pretty incredible considering the fact that six months ago I struggled to play above an E in the staff. If you're wondering what note it is that I'm barely playing at the end.... yes, it's a DOUBLE C!

Further reading: my progress after 2 years, struggles with range and endurance.

In the early days, I played fairly well with a corner spreading, pressure-based, flat-chin embouchure: the higher I played, the harder I'd push the mouthpiece into my lips, and the farther apart I'd pull the corners of my mouth. I pressed so hard, that I always used to have creases/scars on the inside of my lip, where the mouthpiece was pushing my lip into my teeth. I also had a noticeable line (a half-moon) on my upper lip that followed the contour of the mouthpiece.

With this embouchure, my playable range went up to a D above the staff. I could play a handful of these D's every day, with decent volume and tone. My highest squeak during this period was an F above the staff, which I managed to play only once.

By the time I was a junior in high school, I was a pretty good player for my age, so I didn't worry too much about my range. Sure, I had listened to recordings of pros like Miles, Hubbard, and Wynton. I knew that they could all play higher than I could. I figured my range would also improve, as I got older. This sentiment would change once I went to college.

In college, I met lead players for the first time. These guys could belt out F's and G's above my high D, and they'd do it tune after tune. One guy's upper range was so strong that he could circular breathe while holding a screaming high note. I saw him do it once in a concert, while holding an A above high C.

For the first time, I became self-conscious about my own range. Was something wrong with me? Why could they play so high, while my range was stuck at a handful of painful D's?

I asked several of the high note players, including my college trumpet teacher, how they developed their ranges. And more importantly how should I go about improving mine. I got a variety of answers including:

"Range will develop over time, just keep practicing"

During the last two years of high school, I practiced at least three hours a day, every day. During my first two years of college I averaged four hours every day (even more before the blowout). I practiced more than any of the players who gave me this advice.

"Practice range expanding slurs and long tone exercises"

These exercises were part of my practice routine for a year or two. I never played even a half step higher as a result, nor did my existing range become stronger.

"Play more high notes. The more you play them, the better they get"

Believe me, I tried. If anything, my attempts at high notes were doing more damage to my range than good, due to the excessive pressure I used when playing.

"Point your chin down more to make it flatter"

My chin was as flat as I could physically make it. And, if I somehow could get it flatter, I fail to see how that would magically open up my range.

"Practice breathing exercises to strengthen the diaphragm"

One teacher wanted me to spend over $100 on a silly breathing apparatus. I never bought it, of course. I may have been desperate, but I wasn't stupid. I did, however, do a variety of other breathing exercises.

"Blow harder. make the air move faster"

Hey genius, thanks for the advice. I was always amazed that people thought I hadn't tried something so obvious.

"Get a smaller mouthpiece"

One of the high note players (the circular breather) gave me one of his old mouthpieces. He used the mouthpiece throughout his days in the Armed Services, while playing lead in jazz bands. I used the mouthpiece for about 2 years, with no positive results.

...

If you've played the trumpet for a while, you've probably heard a lot of similar advice. I'm not trying to say that none of this stuff works. Obviously it does work for some people. The problem is that it doesn't work for everyone, particularly people with fundamental embouchure problems: people like me...

Read part 2, finding balance

MY PLAYING HISTORY - ARTICLE LINKS

• My Playing History - The Beginning
• My Playing History - The Blowout
• My Playing History - The Comeback

As mentioned in "the blowout", my chop problems and the obstacles I'd face trying to play the trumpet professionally eventually led me to quit playing altogether in 1995. During the next seven years I only played the trumpet a handful of times. I'd pick it up every once in awhile to see if I could still play, but since my chops weren't conditioned anymore, I'd sound terrible and just put the horn down.

During these years away from the trumpet, I also stopped listening to jazz. I still loved the music, but I couldn't listen without feeling the urge to play again. And, since that urge was unfulfilled, listening to jazz left me feeling depressed; like I had lost something.

After seven years away from the trumpet, I finally started playing again during the summer of 2002. The return was largely due to two new factors in my life: (1) I had just bought a house (I moved to Atlanta), and (2) I started working from home. Since I now lived in a house, I was free to make as much noise as I wanted. And since I worked from home, my schedule would be free enough to practice in short sessions throughout the day.

Unfortunately, just six months into my comeback, my playing hit a wall. After 15-20 minutes of playing, my chops would be totally shot and the old pain from my blowout years resurfaced. Things were so bad that I could barely play an E at the top of the staff, and that's when my chops were still fresh! I continued playing for a few more months, but I wasn't improving much at all.

Not willing to give up (again), I turned to the Internet for possible suggestions. My search led me to two books that have helped pave the way to recovery: "A New Approach to Altissimo Trumpet Playing" by John H. Lynch, and "The Balanced Embouchure" by Jeff Smiley.

I purchased the "Altissimo" book first. I don't actually follow the exercises in that book anymore, but I mention it because it was the first time I had heard anyone suggest an embouchure that uses very little of the fleshy/red part of the lip. The first time I tried the suggested embouchure, I played a C above the staff with little pressure. Before long, I was able to hit a G above that (the highest note I had EVER played). It was amazing. Truthfully, the notes didn't sound that great, but the experience showed me that I could in fact play high notes! Unfortunately, I was unable to use that embouchure for anything other than high notes.

A few months later, I bought "The Balanced Embouchure," which also suggests an embouchure that uses less of the red part of the lip. The key part of the Balanced Embouchure, though, is that the lips roll in or out to adjust for playing throughout the horn's entire range.

When I first read "The Balanced Embouchure," I instantly saw parallels to my own trumpet playing history. Like me, the author had found himself with a limited range and no working solutions (I loved reading the trumpet myth section!). What really stuck with me, though, was the author's suggestion that traditional trumpet teaching is a "numbers game": the standard flat-chinned embouchure works for a small percentage of players. The rest of us will either quit playing, or continually struggle to make it work. Clearly I was in the "struggle to make it work" category.

My comeback story is a work in progress. I started working with the Balanced Embouchure method in July of 2003. So far I've seen definite progress, although I know I've still got a long way to go before my embouchure is solid.

UPDATE 12/3/2006

It's been over three years now since I started the Balanced Embouchure. To this day I still do some of the roll-in/roll-out slurs in my daily routine. I can't say for certain whether I'm doing them correctly, but I can say that my current embouchure is more rolled-in than my old one and my range has gradually improved to a Bb above the staff, which is now about as high as I go when improvising. In addition to the Balanced Embouchure exercises, I have been doing some of the Caruso stuff and some exercises from the Caruso-inspired Flexus book. It's likely that a combination of all of these things have helped me get to the point I'm at today.

ADDITIONAL READING

To see how I've been doing since my comeback, you can read my various "anniversary" entries:

• Two-year anniversary
• Three-year anniversary
• Four-year anniversary

And here's another article I wrote which focuses on the comeback journey.