As I’ve mentioned in my anniversary articles, I’ve struggled over the years to increase my range and endurance on the trumpet. My range has pretty much topped off at a C above the staff, and I can’t play that high unless my chops are fresh. Some days, I can only reach a Bb above the staff. Endurance is also a constant enemy, as my chops start to give out after just 15-20 minutes of jazz improvisation.

Hoping to strengthen my embouchure, I recently took a lesson with one of Atlanta’s best jazz trumpet players, Joe Gransden. Among other things, Joe advised me to spend some time buzzing on my mouthpiece every day and he also suggested that I play long tones at very soft volumes. The goal with both of these is to improve my airflow and focus my aperture. It’s only been a week since that lesson, so it’s too early to see any noticeable improvement, but I am optimistic.

TRYING A MONETTE TRUMPET

While improving my embouchure was my primary interest for this lesson, I have to admit that a close second was the opportunity to play Joe’s new Monette Prana 3 trumpet (you can watch Joe trying his new horn at the Monette shop in this video - Joe's parts starts about a minute in). As you may know, Monette trumpets are handmade, very expensive, and are generally considered to be the finest trumpets you can buy. You’ll find Monette trumpets in the hands of many top trumpet players, including Wynton Marsalis, Irvin Mayfield, and Terence Blanchard. Never having played a Monette before, I think you can understand my desire to see if they really live up to all the hype.

At the end of my lesson, Joe Gransden graciously handed me his Monette trumpet and one of his Monette mouthpieces (you have to use a Monette mouthpiece on a Monette trumpet). Unfortunately, the Monette mouthpiece was quite a bit larger than my normal 7C mouthpiece. Generally speaking, larger mouthpieces offer a bigger sound, but they also make it harder to play high. Having just played for an hour and using this larger mouthpiece, I wasn’t expecting much when I brought the horn to my lips. Oh, I should also mention that just moments before I was barely able to play an A above the staff on my normal trumpet and mouthpiece.

My first note on the Monette was a C in the staff. I began at a normal volume, but the horn was begging for more air. So, I took a deep breath and really pushed the air through the horn. The horn instantly opened up, producing a large warm tone. Starting at the same C in the staff, I then went up a third, to an E and then up to a G just above the staff. The G was strong, filling the room with sound. Almost without thinking I went from the G, up to a C above the staff. This was without a doubt, the loudest, fattest, high C I’ve ever played. I couldn’t believe it was me playing, nor could Joe Gransden, judging by the look of total surprise on his face! I was so shocked by the high C, that it didn’t even occur to me to try playing higher. I’m fairly positive, though, that I could have kept going at least up to a D. After the high C, I tried a little jazz improvisation on the Monette, but that didn’t go nearly as well. I felt like I was huffing and puffing to support the notes, but I just couldn’t get enough air into the horn.

I gave the Monette trumpet back to Joe, and picked up my Bach to compare my range. Had my chops miraculously strengthened, allowing me to play a strong high C on any horn? Nope. I couldn’t play a high C on the Bach, nor could I even play a solid G above the staff with my tired chops.

While it’s tempting to think that a Monette trumpet and/or mouthpiece is the answer to my problems with range and endurance, I think the take-away here is that I need to work more on air support. The Monette forced me to use more air. When I gave it the air it needed, the notes came out almost effortlessly, and when my air stream wasn’t strong enough, it was hard to play in any range. Hopefully the buzzing and soft long tone exercises will help to get me on the right track with air.

UPDATE: APRIL 4, 2009

After receiving several comments suggesting that my 7C could be restricting my airflow, I asked Joe for the size of the Monette mouthpiece that I tried. It was a B2S3, which according to this chart is similar to a Bach 1 1/4 C. Interestingly, prior to my chop blowout, I always played a Bach 1 1/2 C. It wasn't until my second year of college that my trumpet teacher told me to start playing a smaller mouthpiece, a Schilke 15. During my comeback to the trumpet, I tried a few mouthpieces, and settled on my Yamaha 11C4-7C which I've played exclusively for a few years now.

I think I'll take your advice and experiment with larger mouthpieces. I can't find my old Bach 1 1/2 C anymore, though, and the next closest mouthpiece that I have is a Bach 3C which isn't very comfortable for me. Since I like the feel of my Yamaha so much, I think I might buy a new one of those that's comparable to a Bach 3C and/or 1 1/2 C. I'll definitely let you know how it goes.

UPDATE: MAY 13, 2009

I recently purchased a couple of used Yamaha mouthpieces on eBay. One of the mouthpieces, a Yamaha 14A4a is apparently similar to a Bach 3, but the "A" cup feels really shallow to me and thins out my sound. I don't care for the mouthpiece at all. I should have waited for a 14B4 to become available since that's Yamaha's equivalent to a Bach 3C (you can refer to this page for comparisons).

The other new mouthpiece I purchased is a Yamaha 17B4, which is similar to a Bach 1 1/4 C. The 17B4 is a real contrast from my normal mouthpiece (Yamaha 11C4-7C... too many numbers!). On the 17B4 I can get a nice big sound with a full lower register, and it feels good to get more air through the mouthpiece. Unfortunately it also requires a lot more work. Notes feel farther apart than on my normal mouthpiece and I find myself using more pressure against my lips for the upper register. That's no good. It may be a situation where I just need to give myself more time to adapt to the larger mouthpiece, but perhaps I'd be better off with something a little smaller. It is interesting, though, that after playing on the 17B4, my normal mouthpiece feels very restrictive, like I can barely get air through it.

I have also been experimenting with an old Bach 5C mouthpiece. On the 5C I feel like I can get a decent amount of air into the horn, but the mouthpiece itself isn't comfortable on my embouchure. Specifically, it feels like the inside rim isn't rounded off as much as the Yamaha rims, so the Bach creates more of a pressure point on my chops. Consequently, I can only play on the 5C for a few minutes before I start to feel pain and fatigue.

The search continues...

UPDATE: MAY 22, 2009

A few days ago I got a Yamaha 14B4 mouthpiece. Of the various new mouthpieces I've tried, this is definitely my favorite. I'm going to gradually spend more and more time on this mouthpiece over the coming weeks before coming to any conclusions.

I recently watched the TEDTalks presentation, “Classical music with shining eyes” by Benjamin Zander. It was recorded in 2008 and I’d guess some of you have already seen it. For those who haven’t, I encourage you to set aside 20 minutes to give it a viewing (Click here to watch it). Even though the presentation talks mostly about classical music, there are many similarities to jazz. And moreover, the fundamental concepts apply to everything we do in our lives. If you do watch it, be sure to stick with it through the end. It just might change your life.

IS CLASSICAL MUSIC DEAD? WHAT ABOUT JAZZ?

Zander states that there are two main views in the world of classical music. One view is that classical music is dead and the other view is that classical music has a bright and untapped potential. Many people hold similar views about jazz music. But, while classical music truly is dead, jazz is doing just fine. Just kidding. In reality, both genres struggle to stay afloat in a world that seems singularly focused on popular music and passing fads. The good news is that there are plenty of devotees who are keeping both classical music and jazz alive. We attend the concerts, we buy the albums, and we practice and play the music. For us, the music will remain vital as long as we make it so. It isn’t even close to being dead.

Depending upon how you look at things, the limited popularity of jazz and classical music actually represents tremendous potential. After all, there are literally billions of people who have never really listened to classical or jazz music. Zander believes that all of these people can grow to love classical music, and I believe the same could happen with jazz. In many cases, people just need to know what to listen for. Zander demonstrates this by explaining, in simple terms, the melodic and harmonic devices used in Chopin’s “Prelude in E Minor, Op. 28, No. 4.” When he finally performs the entire piece, the audience is thoroughly engaged and moved by the performance.

NOBODY IS TONE DEAF

According to Zander, some of the people who don’t listen to classical music operate under the misconception that they’re tone deaf. This belief leads them to think that they lack the capacity to listen to and appreciate classical music. Of course, as Zander points out, none of these people are actually tone deaf (well, aside from truly deaf people I suppose). If they were tone deaf, they wouldn’t be able to recognize voices on the phone, they wouldn’t be able to tell where people are from by their accents, and they’d never know when people are asking a question. Since most, if not all, of the so-called tone deaf people can in fact do these things, then they certainly have the ability to hear nuances in classical music, and for that matter, jazz.

PLAYING WITH PASSION

As musicians, our ability to connect with an audience is directly related to the passion we convey in our performance. Zander refers to this passion as “one-buttock playing.” As he demonstrates, a great pianist isn’t sitting still on the piano bench (both cheeks firmly planted), but rather they’re putting their entire body into their performance, leaning from side to side as they become one with the music. This elevates the music, engaging the audience both audibly and visually. This part of the discussion reminded me of the various jazz concerts I attend. There are nights when the musicians just sit or stand there, with blank expressions. Sometimes they'll even look visibly upset (perhaps if there's a small audience). Their performance almost always mirrors their appearance on these nights, as the musicians fail to entertain and engage their audience. On the other hand, when you can see the joy in their faces and bodies, the music practically jumps off the stage.

Of course, the notion of “one-buttock playing” isn’t limited to piano players or to music. It extends throughout every aspect of our lives. In music, work, and in our relationships, we always have the potential to share our passion and to inspire others. All we need to do is try.

As I’m sure all of you know by now, Freddie Hubbard passed away on December 29, 2008. Since that time, several articles have surfaced to pay respect to Freddie Hubbard and to celebrate his contribution to jazz music. You can find links to many of these articles over at the Secret Society blog. One of my jazz trumpet blogging pals, Eric at JazzBrew.com, also wrote a nice send off.

For the past two weeks, I’ve wanted to write an article about Freddie Hubbard's passing, but each time I sat down to write, paralysis would set in. I’d just stare at the empty page, overwhelmed by the impossible task of saying goodbye to a dear friend. I never met Freddie Hubbard, nor have I even seen him play live, but through his music he’s been a constant companion and a source of inspiration throughout my musical journey.

Freddie Hubbard's "Red Clay" album was one of the first records that I got from my local library when I started listening to jazz. “Red Clay” introduced me to Freddie Hubbard’s impeccable virtuosity, his ferocious yet beautifully melodic style, and of course, that big fat Freddie Hubbard sound. I was just a high school student at the time, but I was hooked on jazz forever thanks in large part to Freddie Hubbard’s playing on “Red Clay.”

A couple of years after first hearing “Red Clay,” I enrolled at the University of Michigan as a jazz studies major. Early in my freshman year, I was practicing with a jazz combo when the bass player called “Speak No Evil.” I had never heard the tune before. Come to think of it, I hadn’t even heard a single Blue Note recording at that point. Crazy, huh?! Anyway, I tried to sight-read the tune from my freshly purchased Real Book, but it was a disaster. Especially when I tried to play the demanding bridge. Hoping to avoid another embarrassing performance, the next day I went to the local record store to see if they had a copy of “Speak No Evil.” They did have it, but I remember looking at the price tag and wondering if it was really worth the money (like most college students, I was broke). I almost walked away from the album, but then I noticed that Freddie Hubbard was the trumpet player. I thought to myself, “If Freddie is playing on it, it must be good.” And boy was it. Not only would “Speak No Evil” become one of my favorite jazz recordings of all time, but it also introduced me to the 60’s Blue Note sound that I’ve come to love.

After my freshman year of college at University of Michigan, I transferred to the music school at DePaul University in Chicago. I was glad to be living in Chicago, but I was kind of lonely during the first month or two since I didn’t live on campus and I didn’t know anyone in town. Eventually, I met some other students in the jazz program and they invited me over to their apartment to hang out. When I arrived, they were playing a jazz recording that I hadn’t heard before, but it sounded vaguely familiar. Sure enough, Freddie Hubbard was the trumpet player. The recording was “I Was Doing Alright,” from Dexter Gordon’s “Doin’ Alright” album. There I was, happy to be chatting with my first friends in Chicago and Freddie Hubbard was providing the soundtrack! That’s such a great memory for me that I immediately thought of it when naming this website.

During that first year in Chicago it became painfully obvious that I wasn’t going to be good enough to become a professional jazz trumpet player. So, I quit music school and stopped playing the trumpet for a period of seven years. When I finally returned to the trumpet in 2002, I had major doubts about my ability to rebuild my chops. Mostly, I wondered if the damage I caused to my chops from my freshman year of college had caused irreparable damage (I practiced too much and developed a blister on my top lip). I spent a lot of time searching the Web for advice that might help me improve my embouchure when I came across an article about Freddie Hubbard. The article discussed a lip injury that Freddie suffered in the early 1990's. That injury became infected and doctors performed a biopsy which destroyed his embouchure. I couldn’t believe it. Freddie Hubbard was no longer Freddie Hubbard.

It might sound strange, but Freddie Hubbard’s embouchure problems actually became a source of inspiration for me during my return to the trumpet. When my chops wouldn’t cooperate, I’d think about what happened to Freddie Hubbard’s chops. I might have an imperfect embouchure, but at least I didn’t suffer through a debilitating operation. When I’d get discouraged about my progress, I’d think about how Freddie Hubbard must feel every time he picks up his horn. He knew with certainty that he’d never play as well as he used to play. I, however, have plenty of room for improvement, especially since I wasn’t that good to begin with! But seriously, I did and still do feel a tremendous responsibility to give it my all every time I pick up the trumpet to practice. I never know how long the gift of music will last and I want to make the most I can of every minute.

At the end of each day, when I practice jazz improvisation, more often than not I’m playing along with a Freddie Hubbard recording. Every so often a few seconds will pass where I’m totally in sync with him and we’re both at the top of our game. And when I close my eyes, I imagine him with that big grin, smiling back at me. It’s the happiest part of my day.

Goodbye, Freddie.

RECOMMENDED RECORDINGS - FREDDIE HUBBARD AS A LEADER

• Freddie Hubbard - Ready For Freddie
• Freddie Hubbard - Open Sesame
• Freddie Hubbard - Goin' Up
• Freddie Hubbard - Red Clay (this album has a 70's funk/fusion influence)

RECOMMENDED RECORDINGS - FREDDIE HUBBARD AS A SIDEMAN

• Dexter Gordon - Doin' Alright
• Wayne Shorter - Speak No Evil
• Art Blakey & The Jazz Messengers - Free For All
• Herbie Hancock - Empryean Isles
• Herbie Hancock - Maiden Voyage
• Oliver Nelson - Blues & The Abstract Truth
• Hank Mobley - Roll Call
• Eric Dolphy - Outward Bound (this album is a bit more adventurous than those mentioned above)

... you might as well just get all of the 1960's-era Blue Note albums featuring Freddie Hubbard.

One of my favorite jazz blogs, Do The Math, recently featured several interesting articles about Wynton Marsalis. If you aren't familiar with Do The Math, it's a blog by Ethan Iverson, the pianist from The Bad Plus. As Ethan would readily admit, the articles tend to be a tad on the long side (some of these Wynton articles are real doozies!), but don't let that scare you away. I think you'll agree that Ethan's intelligent and insightful writing is well worth your time.

I'd expect that these Wynton Marsalis interviews and articles are of more interest to my trumpet playing readers, but I'd encourage any jazz enthusiast to give them a read. If nothing else, I'm sure you'll come away with several new albums to add to your listening lists.

ARTICLE LINKS

• Interview with Wynton Marsalis (Part one) - detailed discussion with audio clips of Wynton's latest major opus, Congo Square.
• Interview with Wynton Marsalis (Part two) - blindfold test of classic trumpet solos including a dissection of "Knozz-Moe-King" from Live at Blues Alley. If you only have the time or interest to read one of the interview parts, read this one.
• The "J" Word - a discussion regarding some of the controversies surrounding Wynton Marsalis and his relationship with the jazz community at large.

Following are some of my thoughts about the articles:

THE WYNTON CONTROVERSY - BACKGROUND AND COMMENTS

As you may already know, Wynton Marsalis' definition of what is and isn't jazz is a source of controversy in the jazz community. As Ethan Iverson points out, Wynton's definition of jazz seemingly excludes free or avant-garde jazz, the even-eighth-note jazz associated with ECM artists, and musicians who straddle the worlds of free and straight-ahead music, such as Paul Motian, Charlie Haden, and Dewey Redman. For Wynton, it isn't jazz unless it's blues-based and swinging. It also helps if the music sounds like it was composed before 1955.

During the latter part of Ethan Iverson's interview with Wynton Marsalis, Wynton attempts to justify his narrow definition of jazz by comparing jazz to basketball. Wynton argues that if we were to call everything "basketball" then you couldn't teach people how to play basketball anymore, since the word itself would no longer have a distinct meaning. This argument suggests that jazz actually benefits from a narrow definition, because it's easier to identify, teach, and learn.

While I agree with Wynton's argument in theory, I think his definition of jazz is so limiting that the basketball equivalent would state that it's only basketball if you've got a full court, 15-minute quarters, referees, regulation equipment, and five people per team. A half-court, one-on-one game would have to be called something else entirely (Hiphopketball?). Personally, I prefer a more inclusive definition of jazz in conjunction with qualifying words like "free," "straight-ahead," "atmospheric," or "smooth" -- if you must.

You might say, "Why does it matter what Wynton thinks about jazz? After all, he's entitled to his own opinion and he can believe whatever he wants." True enough. The issue, though, is that Wynton Marsalis also happens to be the most visible and influential person in the jazz community. When he defines jazz, people listen. His voice has an impact on audiences, club owners, and ultimately the livelihood of those he excludes. His influence came to a head with the Ken Burns "Jazz" series, in which the Wynton Marsalis and Stanley Crouch school of "jazz" casually omitted all jazz from the 1960's and beyond. Members of the jazz community were not in the least bit happy to see themselves and/or their favorite musicians erased from the history of jazz, and I can't say I blame them.

It isn't my intention to start a new debate about Wynton Marsalis or the definition of jazz. I'm simply mentioning the above issues to provide some background for the Ethan Iverson articles. As a trumpet-playing author of a jazz blog, I expect that several of my readers will be big fans of Wynton Marsalis. Some of you will be learning about this Wynton controversy for the first time and it might come as a shock to discover that not everybody digs Wynton Marsalis as much as you do. If all of this is new to you, please try to keep an open mind when reading the Ethan Iverson articles. Also, keep in mind that while you might be on the Wynton side of the argument, most of Ethan Iverson's readers probably are not.

Regardless of your views about the Wynton controversy, I think you'll agree that it's pretty cool for Wynton Marsalis and Ethan Iverson to come together and talk so openly with each other about jazz music. I also appreciate how despite their differences, Ethan Iverson writes about Wynton with respect both for his music and for his role in the jazz continuum.

KNOZZ-MOE-KING - IT AIN'T NO GOOD?!

One of my favorite parts of the interview occurred during the blindfold test when Ethan Iverson put on Wynton's recording of "Knozz-Moe-King" from the "Live at Blues Alley" album. I first listened to that recording almost 20 years ago, when I found the record at my local library. "Knozz-Moe-King" is the first track and I still remember exactly how I felt when I first heard it. I felt terrible. It was the first time I had heard Wynton really open it up on a solo, and it made me miserable to know how bad of a trumpet player I was by comparison. Of course, I still can't play any of that, but at least I now know there are very few trumpet players who can even come close to what Wynton played on "Live at Blues Alley."

Anyway, what fascinated me about the interview was when Ethan Iverson played the "Knozz-Moe-King" clip for Wynton, and Wynton immediately started to pick it apart. Wynton criticized the interaction between himself and the other musicians and even said, "it ain't no good". Obviously, Wynton's aesthetic has changed over the years and I'm sure that has a lot to do with his current assessment of the music, but damnâ?¦ It's an incredible track by any standard. Ethan Iverson seemed equally incredulous as he expressed his admiration of the recording. I guess it goes to show that regardless of how things might seem to you or me, an artist will always find something to critique about their work.

YOUNG LIONS AND EXPERIMENTAL MUSIC

In both the Young Lions article and in "An Old Feud," Ethan Iverson laments the fact that the Young Lions of the 80's didn't embrace the avant-garde jazz scene that existed contemporaneously. He goes on to say that he "can't stop feeling that ignoring free and experimental jazz was the greatest weakness of the Young Lions."

I tend to disagree, and wonder if today's experimental scene is actually more interesting thanks to the Young Lions' singular style of music. I say this because I think the Young Lion style of virtuosic, rhythmically and harmonically complex jazz (HardBop++!) raised the bar for future generations of jazz musicians. Seeking to approach the same level of mastery, young players probably spent more time in the practice room and consequently became better overall musicians. If they then decided to use their heightened skills to play experimental jazz, then the experimental jazz community would benefit from having better-quality players. Perhaps Ethan Iverson and the other guys in The Bad Plus are themselves examples of fantastic musicians who were motivated to achieve excellence thanks in part to the virtuosity of the Young Lions.

You might say, "Hey, the experimental jazz scene had virtuosos. Weren't they raising the musical bar too?" Absolutely. I think the problem here is that to many outsiders, free jazz can sound like a bunch of random noise. If it sounds like noise to you, then it probably also sounds like anyone can just pick up an instrument and squawk away. I know this isn't the case, especially when speaking of the truly gifted free jazz musicians and their music, but I do think it can be an uphill battle to convince some people that a) free jazz is music and b) that it takes skill to play. As such, I don't think free jazz on its own is capable of inspiring the same levels of musicianship that you'd get from the music of the Young Lions. This might not be the cool thing to say, and I could certainly be wrong, but I think it's a point worth considering.

This page contains my jazz improvisation recordings from 2008. As you'll hear below, these jazz recordings feature such highlights as cracked notes, poor note choice, unsteady rhythm, and meandering phrases! And that's why recording myself is so important. It's the best way to evaluate my playing and to chart my progress over time. I don't expect that I'll ever become a great jazz trumpet player, but I am anxious to hear how much better I can get with practice. As always, I welcome your comments and suggestions.

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

DECEMBER 15, 2008

iwasdoingallright - audio clip Aebersold #15, Cherokee

As I'm sure most of you know, "Cherokee" is one of the more demanding standards and it's become sort of a rite of passage amongst jazz musicians. I've tried to play "Cherokee" a few times over the years, but I always break down during the bridge (don't we all?). I never really focused on the tune until a month or so ago, after chatting with Atlanta jazz trumpeter, Joe Gransden. We were talking about the video I shot where he and Sam Skelton are playing "Cherokee". I told Joe how intimidating it is for me to hear him play Cherokee so well and he told me that he practices the tune every day. Often he'll play nothing but Cherokee for an entire hour! I found it comforting to learn that even a great player like Joe has to work hard for a tune like "Cherokee". I was also inspired to see how good I could get if I practice "Cherokee" every day. So, for the past month I've tried to practice Cherokee every day for at least five or ten minutes. I'd put in more time in if I had it.

Above, you'll hear my first recording of the tune. There are some definite problems, like the clam during the bridge and the hurried/uneven tempo near the end, but it's a major improvement from where I was a month ago. I encourage you to pick a tune and work on it for a month. I think you'll be happy with the results.

SEPTEMBER 28, 2008

iwasdoingallright - audio clip Aebersold #25, Have You Met Miss Jones

You may recall that I recently switched to using a Mac as my primary computer. Even though I could still use my old PC to record with, I really want to have a Mac solution that sounds as good (or as bad, depending upon what you think of my other recordings). For this attempt, I used GarageBand to do the recording. Unfortunately, the levels came out awfully low, especially after I exported to mp3. I ended up amplifying the mp3 in Audacity, but that resulted in a lot of clipping on the trumpet track. I also tried adding some reverb to my sound in GarageBand, thanks to a suggestion from a reader named Raphael. Whatever reverb I added is just about impossible to hear in the final clip, though, perhaps due to the Audacity amplification. The next time I record my playing, I'll probably try using Audacity to do the whole thing. In any case, I've got quite a bit of tinkering in my future.

JUNE 23, 2008

iwasdoingallright - audio clip Aebersold #25, My Foolish Heart

Unless I overlooked a recording, it's been about four years since the last time I posted a ballad recording (iwasdoingallright - audio clip "My Funny Valentine" from 2004). Hoping to meet my unofficial ballad quota of one every four years, I gave "My Foolish Heart" a try tonight. This was my first time improvising over the tune. I don't think it sounds too bad, especially considering the fact that I didn't look at the changes. And for the sake of consistency, I even threw in one of my trademark cracked notes near the end!

APRIL 19, 2008

iwasdoingallright - audio clip Aebersold #116, Trane's Ride

I recently purchased the "Miles Of Modes" Aebersold recording. As you might guess from the title, it has a lot of modal exercises and tunes. It also has a pretty energetic rhythm section, at least on some of the tracks. This clip features one of my favorite tracks from the play-a-long, "Trane's Ride" (written by Jamey Aebersold). If you've listed to several of my recordings, you know cracked/missed notes are par for the course. Heck, my recordings would probably be unrecognizable without them! Well, let's just say this recording doesn't disappoint. Near the end of the recording are two notes in a row which I totally miss. They're just tiny squeaks of air...

MARCH 9, 2008

iwasdoingallright - audio clip Aebersold #104, Drone in E

As I often do when recording, tonight I set my Aebersold tracks to shuffle and tried playing with whatever was randomly selected. I was really in the mood to play something fast and hard-hitting, so when this track from the Kenny Werner - Free Play play-a-long began, I was tempted to hit the "next" button. I decided to give it a try, however, when I saw the title of the track, "Drone in E". Since that's the key of F# on the trumpet, I figured this would be a good chance to challenge myself to play in one of my less familiar keys. This is my first time playing with this Aebersold track, and it's the first time I've shared a clip quite like this, but I thought it came out good enough to share. Just pretend I actually hit those two notes at the end :-)

FEBRUARY 16, 2008

iwasdoingallright - audio clip Clip #1 - Aebersold #56 - "I Mean You" by Thelonious Monk.

iwasdoingallright - audio clip Clip #2 - Aebersold #56 - "I Mean You" by Thelonious Monk.

I first recorded with this "I Mean You" play-a-long track back in 2004 (iwasdoingallright - audio clip). I've improvised with the track a few times over the years but I hadn't had the inclination to make any new recordings until last weekend. Above you'll find a clip from last weekend (Clip #2) as well as a clip from this weekend (Clip #1). As you'll hear, Clip #1 is similar in style to most of my other jazz recordings while Clip #2 is a little more adventurous (at least in parts).

When practicing jazz improvisation, I try to approach my solos with a variety of styles. I'll play a few choruses in a straight-ahead hard/bop style, then I might try something really sparse, or maybe I'll play in an angular or avant-garde style. These varied approaches aren't always successful, but they do help open new avenues of creativity that I might otherwise miss by playing everything the same way all the time. Variety... it really is the spice of life!

All of my anniversary articles: 2 years - 3 years - 4 years - 5 years - 6 years - 7 years - 9 years - 10 years - 11 years - 12 years - 13 years - 15 years

It has now been over six years since I started playing the trumpet again. You know what that means, don't you? That's right, it's time for another anniversary article!

A MAJOR MILESTONE: SIX YEARS

Most people focus on periods of five or ten years as 'milestone' years, but in my case six years is actually more significant. That's because six years is roughly the same amount of time that I had played the trumpet prior to my freshman year of college, when I had my big blowout. The 'blowout' occurred during a period where I was practicing 6-8 hours a day. The inside of my lip split open and the outside developed a nasty blister. My lip eventually healed, but my embouchure never fully recovered. The year after the blowout I dropped out of music school and quit playing the trumpet for seven years. I guess you could say the blowout was the beginning of the end of my trumpet-playing career.

With six years back on the horn, it's tempting to compare my current playing to my playing right before the blowout. But that would be an unfair comparison. For starters, I had much more time to practice back when I was in high school. By my senior year I was practicing my trumpet 3-4 hours ever day. Now it's a major accomplishment if I can get two hours of practice in a single day. I also have a lot more distractions and stresses in my life now. Oh, to be young again... sigh.

Even though I was a stronger technical player at the end of those first six years than I am now, I'm definitely a much better overall player today. One important improvement that I've made is with my embouchure. When I started playing the trumpet again, I made some modifications to my embouchure which have resulted in a much more efficient setup. That allows me to use less mouthpiece pressure when playing and I can still get a big full sound. In fact, I've got any bigger sound now than ever before. And best of all, I now know how to use that sound to make music. I don't have any jazz recordings from those first six years, but let's just say they pale in comparison to what I can do now. I've still got a long way to go, but I'm well aware of how far I've come.

EAR TRAINING PRACTICE

Over the past year I've averaged about 30 minutes of ear training practice each day. Without a doubt, those ear training sessions are responsible for the bulk of my improvement as a jazz improviser. Before I started to practice ear training, I could barely play two notes by ear. Now, however, I'm able to hear and play multi-measure phrases accurately by ear. I'm not nearly as consistent as I need to be, but I feel like my improved ability to play by ear has me on the brink of a new chapter in my jazz improvisation journey.

To keep up with my improved aural skills, I've modified my ear training routine a little over the past few months. I used to begin each ear training session with intervals, but now I start with 4-note random melodies. Also, while I used to use major scales as the source for my random melodies, I now use all 12-notes of the chromatic scale. Introducing the full range of half steps has really pushed my ear to differentiate between similar note sounds. I typically play 4-note melodies for a few minutes, adding an extra note once I've demonstrated that I can play a majority of 4-note melodies accurately by ear. I'll then add one additional note at a time until I reach 6 or 7 notes. At that point, I'll move on to simple songs or jazz licks. If I have enough time, I might add modulation to the various melodic exercises. Lastly, I wrap up my ear training practice with a few minutes of listening to and playing back random chords by ear. Of course, I do all of these exercises with my free online ear training tools.

It's important to modify elements of your practice routine so they keep pace with your developing skills. In the case of ear training, it would be a waste of time to practice intervals (2 notes) if you're already able to accurately play 3- or 4-note melodies by ear. You'd be much better off practicing longer phrases that challenge your current abilities. But, it's also important that the new exercises aren't too challenging (don't try going from 4 notes to 12 notes). When determining how hard to push yourself, think back to 'the edge' diagram that I shared from the Thomas Hooten masterclass. Practicing at the edge of our current abilities gives us the greatest chance for improvement. Here's that diagram in case you missed it:

RANGE AND ENDURANCE

I'm pleased to report that both my range and endurance continue to strengthen. Neither is where I want it to be, but at least there is noticeable progress. Last year at this time, I was just starting to be able to play C's above the staff while improvising. Now I can hit several of them each day and I've even managed to hit a few D's. I'm still using a little too much mouthpiece pressure in order to hit these higher notes, but at least my upper range is improving.

Consistency is my main enemy right now. There are days when my chops are great and I can play through my entire range for 15-20 minute stretches with little fatigue. And then there are days when I can barely play anything above the staff, even when my chops are fresh. I know that most, if not all, trumpet players battle with consistency so I'm definitely not alone on this. I just need to improve my overall playing so I can still play at a decent level on those bad days.

PLAYING THE TRUMPET IN PUBLIC

This past year included my first public trumpet performance since 1995. That first performance was at the 2007 Atlanta Trumpet Festival where I participated in one of the trumpet ensembles. I was really nervous at the time, and actually hadn't planned on playing at all until the festival organizer encouraged me to do so. There were plenty of things I didn't like about my playing during the festival, but the act of going there and participating helped open my mind to the idea of playing the trumpet with other people.

Were it not for my positive experience at the 2007 Atlanta Trumpet Festival, I don't know how I would have reacted when I was invited to join a weekly jazz jam session in January of 2008. I'm almost positive that I would have declined the offer. As it was, I was leaning toward declining until my much braver wife convinced me to give it a try. Hey, what did she have to lose?!

It's now been about 10 months since I started playing with that weekly jazz jam session. I've learned a lot about my playing during the sessions, mostly because they've helped me to address some of my weaknesses. For instance, the group often calls tunes that I wouldn't normally choose to play. These tunes might have unfamiliar chord progressions or some other quirk that usually steers me away. Playing with the group, however, forces me to play these awkward tunes and overcome some of the barriers in my playing. The results aren't always good, but at least I'm pushing myself to improve.

In addition to the weekly jazz jam sessions, I've also started to play jazz with my neighbor. He's a great jazz guitarist who really knows how to listen and interact with a soloist. The two of us have played jazz together a handful of times and each time I think it sounds better and better. These jazz duets have probably been my most enjoyable playing experiences this year.

Hopefully I'll continue to play in some of these groups and/or new groups over the coming year. As reluctant as I was to start playing music with other people, I'm really glad to have finally taken the plunge this year.

ATLANTA JAZZ SCENE

During the past year, I became a lot more involved with the Atlanta jazz scene, both on this website and by personally attending more jazz concerts and events. Every week I've attended at least one jazz concert, and some weeks I've been to as many as three or four jazz concerts. You can see clips from some of those concerts on the Atlanta Jazz Videos page that I started in December of 2007.

Getting more involved with the Atlanta jazz scene is definitely one of the most rewarding things I've done this past year. I've had the opportunity to listen to and to learn from dozens of wonderful jazz performances. And more importantly, I've come to meet and become friends, or at least friendly, with many of Atlanta's top jazz musicians. Sure, there are a few unsavory characters in the Atlanta jazz scene (e.g. Mace Hibbard), but by and large they're a great group of people and I truly feel privileged to be able to hear them play jazz on a regular basis. Sorry, Mace, I couldn't resist ;-)

If you're serious about becoming a jazz musician, or even if you're just an ardent jazz fan, I strongly encourage you to get to know the local jazz musicians in your city. Attend their concerts and talk with them in between sets. If you support your local jazz scene, the musicians will reward you with knowledge, motivation, and inspiration. Trust me, it's well worth the investment.

This past weekend, I attended the fifth annual (2008) Atlanta Trumpet Festival at Emory University. Below you'll find my review of the festival and some notes from the master classes. While this is no doubt of more interest to trumpet players, I'd encourage everyone to read the notes from Thomas Hooten's masterclass. His tips on getting the most out of your practice session apply to any instrument -- and just about any goal for that matter.

TRUMPET ENSEMBLE REHEARSALS

The Atlanta Trumpet Festival has separate ensembles for middle school, high school, and adult trumpeters. As always, there are no auditions. Participants select the parts they want to play and are encouraged to play different parts on each tune. On one tune the best players might be playing 1st trumpet and on another they could be playing 6th or 7th trumpet. This rotation of parts allows younger and/or less experienced players to sit next to and learn from better players.

If you've read my review of the 2007 Atlanta Trumpet Festival, you know that last year was my first time playing the trumpet in public in over a decade. It was such a positive experience that I felt compelled to participate again this year.

While my range and endurance have improved since last year, I didn't want to press my luck when it came to picking music. So, rather than blow my chops away on the higher parts, I opted for the lower charts for every tune. Little did I know, the bottom trumpet parts were probably just as demanding. On one tune, for example, there were several entrances where we had to come in on a low G at a very soft volume. That's a lot harder than it sounds, especially when cottonmouth sets in.

Last year I addressed some of the shortcomings that I noticed about my playing during the Atlanta Trumpet Festival. Notably, I struggled with my limited range and found it hard to blend in with the ensemble. Since I stuck with low trumpet parts this year, I didn't end up testing my upper range at all, but it was definitely easier for me to blend in to the overall sound of the ensemble this year. Mostly this had to do with my improved ability to hear intonation issues between myself and the other players. I credit the jazz jam session that I've been attending each week for helping me with group intonation. No offense to that group, but it's quite common for one or more people to be significantly out of tune. That forces me to really pay attention to my pitch, adjusting as needed while we play.

KEVIN LYONS - BECOMING A VERSATILE MUSICIAN

Kevin Lyons, a member of the Atlanta Symphony Orchestra, led a discussion about being a versatile musician. Versatility will allow you to play a variety of musical styles (classical, jazz, salsa, etc) thereby increasing the potential number and types of gigs you can play in as a professional musician. A versatile trumpet player himself, Kevin Lyons spent a couple of years playing jazz with the Glenn Miller Orchestra prior to joining the Atlanta Symphony Orchestra.

As Kevin Lyons pointed out, when learning various styles of music, the most important thing you should do is listen. If your goal is to play gigs in a salsa band, get some salsa recordings and listen to them over and over again. Listen closely to the phrasing, accents, and rhythms. Listening affords you the ability to really zero in on the nuances that identify a particular style of music. These nuances can't be taught in written music, you can only learn them through listening. Listening to recordings is perhaps the most frequent type of listening you'll do, but Kevin Lyons also stressed the importance of attending live concerts. At live concerts you'll not only get to listen to fantastic music, but you'll also learn how musicians interact with each other and with the audience. You'll also have a chance to meet local musicians and begin the valuable stage of networking.

Once you begin to absorb the sound of a particular musical style through listening, the next step is to record yourself playing the music. Ideally you'll be able to record yourself playing a solo or phrase for which you also have a professional recording. You can then compare your solo to the original to ensure that you're closely emulating the style of music that you're trying to learn. If you don't sound like the original, the recording should help you to quickly identify those aspects of your playing that don't match up. As Kevin Lyons mentioned, recording yourself makes it much easier to find and fix problem spots in your playing. And that's precisely why I record my jazz improvisation solos.

I enjoyed Kevin Lyon's discussion and also appreciated his laid back attitude. It can be very intimidating for young and/or beginning players to talk with such accomplished musicians, but Kevin's friendly demeanor really took the edge off. I also liked it when one of the middle school kids asked Kevin to define the word 'gig.' Kevin replied, 'A gig is a professional job that you get paid for. And a professional job that you DON'T get paid for is called a gag.' Now there's something you don't learn in school!

THOMAS HOOTEN - GETTING THE MOST OUT OF YOUR PRACTICE SESSIONS

Thomas Hooten is the principal trumpet in the Atlanta Symphony Orchestra. He's also the best classical trumpeter I've ever heard in person. During his discussion, Thomas played an excerpt from Mahler's 5th Symphony that was so stunningly beautiful that I it gave me goose bumps. Thomas Hooten's brilliant playing was well matched by the insight he shared during his masterclass about getting the most out of our practice sessions.

Thomas began the discussion by drawing an image like the one you'll see below:

The dark circle in the middle of the diagram represents those things that we've already mastered in our playing. The large dotted gray area beyond that represents things we can do occasionally but with inconsistency and/or lackluster results. And the area beyond the large circle represents things we can't do at all. When practicing, many of us attempt to do too many things that are floating around in the middle of the dotted area. We'd have a much greater chance of success, however, if we focused on things that are right on the edge of what we've already mastered. For example, if I'm trying to learn how to improvise at faster tempos, I won't make significant progress if I start practicing Giant Steps at 300bpm. The mix of fast tempos and challenging chord progressions is setting me up for failure. I'd be much better off playing a tune I already know at tempos that narrowly exceed my current comfort level, gradually increasing the speed as my competency grows. This concept of setting attainable goals is nothing new, but it's still something most of us fail to do because we're in too much of a hurry to improve. Next time you find yourself trying to do too much too soon, remember this diagram and focus on the edge of that inner circle.

Following are several more of Thomas Hooten's keys for success:

• You Perform How You Practice - if you don't take your practice sessions seriously, it will be obvious in your performances.
• Good Performers Are Consistent, Not Lucky ' when you're under-prepared you need luck to get through a performance. Proper preparation delivers consistent results.
• Don't Judge Yourself ' when we play poorly we sometimes become angry with ourselves and overly critical. These negative emotional responses cloud our judgment and inhibit progress. When problems arise, focus on the issues without taking it personally.
• Never Quit ' there's always a way to improve.
• Use a Metronome and Tuner ' good time and good intonation never go out of style!
• Practice Slowly ' don't play something at full tempo until you can play it at half tempo.
• Make Hard Sections Even Harder ' Thomas Hooten demonstrated this one by playing an excerpt with a very challenging leap to a high note. Since it's such a difficult passage, Thomas will practice the phrase while jumping to an even higher note. After that, the real/lower note seems easy. This one only works, however, if you can actually play the intended note in the first place.
• Take a Break After 30 Minutes of Practice ' after 30 minutes, fatigue sets in and it becomes harder to concentrate. Thomas actually sets a timer when he practices so he doesn't accidentally exceed 30 minutes. Once the time goes off he rests for at least 10 minutes, and sometimes for an hour or two.

• Experiment, Be Creative ' you don't have to do everything the same way all the time. Experiment with new repertoire, new approaches to existing material, and add variety to your daily practice routine.
• Keep a Practice Journal ' Thomas keeps very detailed practice journals so he can evaluate his progress over time.
• Practice Active Listening and Record Yourself ' Thomas basically echoed the same concepts I mentioned from the Kevin Lyons masterclass.
• Take Notes After Each Lesson ' if you're taking private lessons, your teacher may be telling you more things than you can remember during a lesson. If you record the lesson or take notes immediately afterwards, you stand a much better chance of retaining all of that information.
• Dealing with Nerves: Be Over-prepared ' a good way of dealing with nerves is to be so prepared that you don't have to worry about whether or not you can perform.
• Dealing with Nerves: Play for your friends ' many of us become self-conscious and nervous when playing in front of others. You and your fellow musicians can combat this by regularly performing in front of each other.

Here's one more tidbit about Thomas that I found especially interesting. While in college, Thomas said he had hit a wall with his playing. His teacher at the time, Armando Ghitalla, told him that he needed to change his embouchure in order to succeed as a professional trumpet player. On a leap of faith, Thomas took the advice, spent several months barely able to play as he adjusted to his embouchure, and look where he is now: principal trumpet of the Atlanta Symphony Orchestra! This story interests me so much because I was a freshman at the University of Michigan when I first ran into major problems with my embouchure (the blowout). And guess who the head of the trumpet department was at the time? None other than Armando Ghitalla. I was a jazz studies major at the time and Armando Ghitalla primarily taught upperclassmen, but now I'll wonder how things might have turned out if he could have helped me with my embouchure back then. Of course, it's extremely unlikely that I would have become a fantastic trumpet player like Thomas Hooten, but perhaps I'd at least be able to play above the staff for 5 minutes before my chops give out! Sigh.

HOPING FOR MORE JAZZ IN THE FUTURE

Given the trumpet's pivotal role throughout the history of jazz music, it seems important to me that jazz should be represented at any trumpet festival. At last year's Atlanta Trumpet Festival we did indeed have jazz performances and discussions, but this year it was strictly a classical production. Whether the omission of jazz was intentional or simply a matter of scheduling conflicts (the festival date changed this year), it was a missed opportunity to expose the young trumpet players to jazz. You never know, jazz might be just the thing that keeps some of them interested in playing the trumpet. It certainly keeps me coming back to the horn. Hopefully next year jazz will return to the Atlanta Trumpet Festival.

Update 9/23/2008: The Atlanta Trumpet Festival director, Kay Fairchild, has informed me that jazz will indeed continue to play an important role at the festival. They actually had two jazz trumpeters scheduled to appear this year but things fell through when Emory University had to change the date on short notice.

ENSEMBLE PERFORMANCES

Attendance at the Atlanta Trumpet Festival was down a bit since last year's record size, but there was still a decent number of participants in the middle school, high school, and adult trumpet ensembles. Each ensemble played well during the final concert and I'm happy to report that I successfully made it through those soft low G's!

FINAL THOUGHTS

As always, I'd like to thank Kay Fairchild, her son David, and the Atlanta Trumpet Ensemble for all of the hard work they put into making the Atlanta Trumpet Festival possible. I look forward to participating again next year and hope more of my trumpet playing readers will attend as well.

ADDITIONAL READING

All of my Atlanta Trumpet Festival reviews: 2006 - 2007 - 2008 - 2009 - 2011 - 2012 - 2013