As mentioned in the "My playing history - the beginning" article, I began taking trumpet lessons in the 7th grade.

At the time, I was really shy and felt intimidated by our middle school band director. In fact, I didn't think he liked me at all since I had switched from the French horn to the trumpet without asking him for permission. In actuality, he wasn't mad at me at all, but nevertheless it kept me from asking him to recommend a private lessons teacher. Instead, I turned to the phone book for guidance and basically picked the first place that mentioned trumpet lessons in their ad.

I'd later learn that all of the best trumpet players in the area took lessons from a well-known teacher who consistently turned out the best trumpet players in the state. No doubt, had I asked our band director for a recommendation, I too would have studied with that well-known teacher. But, as luck would have it, I ended up with a private lessons teacher that nobody at my school had ever heard of.

I'll never forget the first time I met my trumpet teacher. I was sitting with my mother, in the waiting area of a small music store. The store had a merchandise area with several electric guitars on the wall, and a hallway with 4 or 5 lesson rooms. While we waited for my teacher to appear, we were treated to a muffled concert of rock drumming, the sound of an electric guitar being tuned, and a beginning trumpeter slowly playing scales. Before long, one of the practice room doors opened and out came a trumpet student, about my age at the time, followed by my new teacher: Bruce Staelens.

The first thing I noticed about Bruce was the square patch of facial hair located below his bottom lip. It was the first time I had ever seen a real live soul patch! Next, I saw that he was wearing octagon-rimmed eyeglasses (another first!), which rested low on his nose. You can probably see where this is going, so I'll cut to the chase. Bruce was a jazz musician.

Since I hadn't been playing the trumpet for very long at the time, my first lessons were spent entirely on fundamentals and whatever music I was playing in band class. Jazz didn't come up until I joined the middle school jazz band. At that point, I'd bring in my sheet music and Bruce would help me with the rhythms, phrasing, etc. Once I learned how to play the tunes, the focus shifted to jazz improvisation. Bruce would put on a Jamey Aebersold record (yes, it was a record back then) and we'd take turns improvising.

Jazz improvisation definitely didn't come easily to me. I couldn't play anything by ear back then and I had very little experience listening to jazz. I kept with it, however, because of how good Bruce's trumpet solos sounded. With each of his solos, my appreciation for jazz grew and so did my determination to improve.

In total, I took lessons from Bruce Staelens for four or five years. The lessons were pretty short and we usually didn't spend more than ten minutes or so practicing jazz improvisation. While the bulk of my jazz education would come from other sources, Bruce's early role in my jazz education was perhaps the most important. It was Bruce who sparked my interest in jazz and it's that love of jazz which keeps me playing to this day.

The next phase of my jazz education began when I turned 16. With my drivers license in hand, I now had the freedom to drive myself to the public library. It was there that I'd discover recordings by Miles Davis, Clifford Brown & Max Roach, Ornette Coleman & Don Cherry, Freddie Hubbard, and John Coltrane. They even had that awesome video of Coltrane and Eric Dolphy playing "Impressions" with that erector-set/scaffolding backdrop. I'd say the pivotal moment of my "library years" came when I first listened to "Lonely Woman" on Ornette Coleman's "The Shape of Jazz to Come." That was (and still is) the coolest thing I've ever heard. After that, all I wanted was to be was a great jazz musician.

ADDITIONAL READING

• In 2009, I reunited with my first trumpet teacher, Bruce Staelens, in Seattle!

MY PLAYING HISTORY - ARTICLE LINKS

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

Since I was one of the top high school trumpeters in the state, it seemed only natural for me to continue with music when I went to college. So, I enrolled at the music school at the University of Michigan.

As I mentioned in "the beginning", I averaged about 3 hours of practice a day during my senior year of high school. Once college began, I figured I should continue to increase my daily practice time and within a few months I had reached 5-7 hours a day. There were plenty of days where I'd even practice as many as 8 hours. The logic behind these marathon sessions stemmed from my high school experiences. The more I practiced in high school, the better I got. So, it only made sense that the same logic would apply to me at college. Also, I quickly learned that it's extremely cold in Michigan, especially for a kid grew up in Florida. It's so cold, in fact, that once you brave the icy walk to the practice rooms, you tend to want to stay there until you can feel your toes again.

Unfortunately, my lengthy practice sessions didn't produce the results I was looking for. After a few months, my upper lip developed a bb-sized blister on the exterior and the inside of my lip became bloody where I had already formed creases due to excessive mouthpiece pressure. My lip eventually healed, but my playing ability would never be the same. From that point on, I'd always experience some degree of lip pain while playing. Also, while I used to practice for hours on end, I could no longer play for more than 30 minutes before my lip became too fatigued to play. Making matters worse, I often forced my lip to play by using more and more mouthpiece pressure.

Despite the problems with my lip, I was still committed to becoming a professional jazz trumpet player. I was so committed, that after one year at Michigan, I transferred to DePaul University in Chicago so I could live in a big city with more playing opportunities. Before long, I met some other music school students and became a member of a funk band and a jazz combo. For several months, both of these bands had steady gigs once or twice a week. Even though these weren't fancy high-paying gigs, it really felt nice to perform around town in front of other people (even if they were waiting in line for coffee!). Unfortunately, I enjoyed playing live so much that I continually pushed my lip beyond its limits.

At the end of my first year at DePaul, it was clear to me that I wasn't going to be a professional musician. I simply didn't have the chops for it. Also, I was also keenly aware of how difficult it would be to try and make a living as a musician. It would have been extremely difficult even at my peak (my peak didn't even come close to the level that most pro's play at)... but with a weak lip, there'd be no way. So, at the end of my sophomore year at college I dropped out of music school and entered DePaul's business school.

With a more strenuous business school schedule (there isn't much homework in music school!), and since I had to work full-time to make ends meet, I gradually stopped playing the trumpet altogether. During the next seven years, I picked up the trumpet only a handful of times.

On to chapter 3... the comeback

MY PLAYING HISTORY - ARTICLE LINKS

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

My trumpet-playing journey began when I was in the 6th grade (1984), where after a brief introduction to the various band instruments I chose to play the French horn. Yes, the French horn. By the end of that first school year, I had learned everything I needed to know about the French horn: it's boring.

Not willing to be a background player for the rest of my band-life, I decided to switch to trumpet. Using a Rubank trumpet book, I taught myself the fingerings and practiced the same exercises I had played the preceding school year on the French horn. By the end of the summer I was as good on the trumpet as I had been on the French horn, so I started 7th grade in the next level band class. I soon began moving up in chairs and started to take private lessons that same year.

While in 8th grade, I auditioned for Florida's all-state band and was accepted. I'd continue to make all-state throughout high school, but that first year probably had the greatest impact on my playing. The pivotal moment occurred while watching the top high school band perform. They sounded incredible to me at the time, especially the trumpet section and trumpet soloists. I honestly had no idea high school kids could play so well and I certainly didn't think I could ever be that good. Inspired by the high school players, I endeavored to see just how good I could become. And with that, I increased my daily practice time to one hour.

I kept up my 1-hour practice routine during my first year of high school, but by my sophomore year I was beginning to get frustrated. Sure, I had continued to make all-state band, but at all-state and at my own school, I was always behind the same handful of players. No matter how much my playing improved, theirs improved at the same rate or better. While I enjoyed playing the trumpet and to some extent would have enjoyed playing any part, I was dying to play first trumpet. I should explain to my non-trumpet playing readers that first trumpet is the heart of the action in high school band. It's a magical wonderland filled with triumphant high notes, dazzling solos, and instant popularity. In fact, it's just like being the star quarterback on the varsity football team. Sadly, high school cheerleaders are oblivious to this truth... Anyway, the point is that I really wanted to play the first trumpet part but there were always better players at my school.

Things started to turn around for me toward the end of my sophomore year, however, when my parents and I went to visit some old friends of theirs. At their house, I met their son who was then in his late twenties. He had also played the trumpet when he was in high school, but he wasn't stuck in the middle of the section like I was. He was first chair. Before long, we were talking about my situation in band. After telling him that I'd never be first chair because of the better players at my school, he looked at me and said, "why not?" And that was all he needed to say. The only thing holding me back was my lack of determination.

By the end of my sophomore year I had increased my daily practice routine to two hours, and managed to rise above one of the players in the "unbeatable" group. Now confident that I could actually make it to first chair, I spent the summer practicing nearly 3 hours every day. And guess what? During the first playing test of my junior year of high school I made first chair. Not only had I become better than all of the trumpet players at or below my age level, but I had also become better than all of the seniors!

I stopped taking lessons during my senior year of high school because my private lessons teacher moved out of state. But by that time I was practicing at least 3 hours a day, so I was steadily improving on my own. I was improving so much that when all-state auditions came around, I tried out for all-state jazz band and was accepted -- and we didn't even have a jazz band at my high school. Needless to say, I was feeling pretty good about my potential as a professional trumpet player at the time. Unfortunately, those good times would soon come to an end...

On to chapter 2... the big blowout

TRUMPET

I play a Model 37 Bach Stradivarius trumpet, purchased new in 1987. It's seen a fair amount of wear and tear over the years. A wooden rifle once whacked it while I was in high school marching band, it's been dropped many times, and a friend once stepped on it by accident.

In 2008, I had my trumpet professionally repaired by Rich Ita of Brass Instrument Workshop. Rich did a great job, and I'd definitely recommend him if you're in the Southeast and in need of repairs. When he returned the trumpet to me, it was as gleaming and shinny as a brand new silver-plated trumpet. You'd never know, though, considering the amount I've allowed it to tarnish since then!

I've thought about buying a newer horn, but it just isn't a priority right now. My horn isn't holding me back. I also like the idea that my horn (in its current condition), is affordable to a fairly wide population of would-be trumpeters.

POCKET TRUMPET

A few years ago, I decided to get a pocket trumpet to bring with me while traveling. I originally bought a used Colin Pocket MAX, but I wasn't happy with the intonation in the lower register. I eventually sold the Pocket MAX and replaced it with a used Carol Brass pocket trumpet. I've used the Carol Brass pocket trumpet on several trips and I've been fairly pleased with the intonation. It isn't as in tune as my Bach, but it's good enough to use for ear training and that's good enough for me.

FLUGELHORN

In 2004, I bought a Jupiter 846RL flugelhorn, which I sold about a year later. I don't own a flugelhorn at the moment, but I'm mentioning the flugelhorn since you will see some references to it in the comments.

MOUTHPIECES

I've only played on a few different mouthpieces. I started out on a Bach 1 1/2C. When I went to a music store to buy my first mouthpiece, they were all out of 3C's. Not knowing any better, I bought a 1 1/2C and used it exclusively for about 6 years.

Since then, I've gradually been moving to smaller mouthpieces. The shift started with a Bach 3C that I played during my college years.

When I started playing the trumpet again (I stopped playing for 7 years), I switched to an old Schilke 15 that somebody once gave me several years ago. I really like the way the Schilke plays. To me, it feels like the air is accelerated. It's easier to lock in high notes (my range isn't so great? high for me is a G at the top of the staff). Unfortunately, the Schilke's rim isn't very comfortable on my embouchure.

After a year or so on the Schilke, I switched to a Bach 5C. Yet another free mouthpiece! This one was actually sent to me by mistake in an order from music123.com. When I told them that I hadn't ordered the mouthpiece, they let me keep it.

I found the rounded rim of the Back 5C to be more comfortable than the Schilke 15, but I missed that accelerated feeling. So, I bought a used Yamaha 11C4-7C on eBay... followed by the purchase of a Marcinkiewicz 4/7C.

The Marcinkiewicz has the accelerated feeling that I liked with the Schilke, and it has a comfortable rounded rim. I've come to discover, though, that the rim is a bit too narrow and it causes me to fatigue early. So, I've returned to the Yamaha as my primary mouthpiece.

I may do another mouthpiece trial in the future, but for now, I'll alternate between the Yamaha and the Marcinkiewicz.

RECORDING EQUIPMENT

To learn more about the microphone, software, and overall craziness I use to record my audio tracks, click HERE!

Welcome to my jazz trumpet blog! I've still got quite a bit of work to do before this site is truly complete, but I figured it's probably best to add new things over time.

Things I'll be adding in the coming months:

- Audio clips of my practice routine, ear training, and improvisation. I'd like to continually record myself so I can monitor my progress over time.

- Lots of new blog posts with details about my trumpet playing history, embouchure problems, performance experiences, etc.

- Ear training tools: I want to make a randomizer that will display the name of a tune at random, along with a starting note/key. The tool will be available for everyone to use when playing simple songs by ear. It may even allow people to build their own song lists and save them on my site. I'd also like to make a random interval tool. I'll have to give that one some more thought, though.

UPDATE: The ear trainer is now online!

- Fill up the LINKS page

- Add a recommended jazz recording list to the About Me section.

- Add more stuff to this list...

Let me know if you have any ideas (please use the Comment link to post)

I never even thought about ear training until my freshman year in college, when ear training was required in music school (in college it was called "aural training"... but the goal is the same). By my freshman year of college, I had played the trumpet for 6 years and like most classically trained musicians, everything I had played was written down. I could play all the major trumpet pieces: Hummel, Haydn, Hindemith, Artunian, etc. I was also a great sight-reader. But if somebody asked me to play something simple by ear, like "Happy Birthday", I'd be lucky to get half of the notes right. Sadly, I'm just one of many people who reach the collegiate level of music school with little or no ear training experience.

Since I attended music school at two different universities, I witnessed the lack of ear training skills first-hand with a decent sampling of aspiring musicians. At each school, there were two distinct groups of students: (A) those who found the ear training class easy and (B) those who struggled with EVERYTHING.

During my freshman year at the first university I was stuck in group B, the struggling group. I remember the first time the professor asked us to identify some simple intervals. I was totally lost. I don't think I got any of the questions right. The group A students, however, answered every ear training test correctly with minimal effort. I would later discover that most of the students who excelled had attended a performing arts high school where ear training was part of the curriculum. There were so many of these students that the professor ended up creating an advanced class just for them. Naturally, this made the group B students, including yours truly, feel even worse about their ear training skills (or lack thereof).

I transferred to a different school for my sophomore year (I wanted to live in a big city, so I moved to Chicago). This new school didn't honor the ear training class I took at the first university, so I was forced to repeat the freshman ear training class. Amazingly, I did incredibly well at ear training this time around. All of the exercises and tests were easy for me. In fact, I got a perfect score on every test except for one, where I missed only one question (nerves, I guess). Most of the other students in my class, however, had a tough time with the ear training tests and were somewhat amazed at how easily it all came to me. I'd soon learn, that very few of them had any previous ear training experience. They were just like me, one year earlier!

So, what did I learn from all of this? The most important lesson is that a good ear can be developed through ear training. With some dedication and effort, I went from having non-existent ear training skills to being the best in my class. Just because your ear is weak today, that doesn't mean it has to stay weak forever!

ADDITIONAL EAR TRAINING RESOURCES

• My ear training tools - I've created a couple ear training tools which are freely available for anyone to use. Each ear training tool contains more information about the importance of ear training and tips for getting started.
• Learning to Improvise - Introduction - This article discusses my jazz education and the odd absence of adequate ear training.
• Learning to Improvise - Ear Training - This article discusses the importance of ear training in jazz improvisation.

THE PURPOSE OF THIS SITE

I played the trumpet for about eight years until eventually quitting during college. After not playing for a period of seven years, I decided it was time to start playing again. When I began my trumpet playing comeback, I spent a fair amount of time looking for guidance on the Web. Along the way, I visited several websites and jazz blogs by professional jazz trumpet teachers and musicians. While I enjoyed reading these websites and blogs, they typically lacked information about HOW the people became great musicians... and that just happened to be something I wanted to know!

I did find a few exceptions, however, by both beginners and professionals. Their willingness to share their journey through ups and downs, inspired and motivated me to do the same.

I want to be clear: I'm not an expert. I don't think I'm a great jazz trumpet player, nor do I ever expect to become one. I'm simply learning as I go; playing for pure enjoyment. I built this jazz blog with the single hope that my experiences, both good and bad, will offer some encouragement or advice that will ultimately aid you in your own musical journey.

Oh, and my name is Rick...

THIS SITE'S NAME

I named my jazz blog after the George Gershwin tune "I Was Doing All Right." I first heard this tune about 15 years ago, on Dexter Gordon's album "Doin' Allright." The laid-back feel of the recording and the confidence exhibited by the musicians have inspired me ever since. Of course, the name also fits in well with my role as a comeback player :-)

To make things a little easier for my repeat visitors, I've also registered the domain name rickjazz.com. It's easier to remember than iwasdoingallright.com and it will get you here just the same (rickjazz.com does a redirect).