Education · Interview

Johnny Thirkell : Horn Camp 2019

Johnny Thirkell is one of the great unsung heroes of the music industry. With a truly prolific recording output, his trumpet features on thousands of hits over the past thirty odd years. To find out more about Johnny, please follow this link to read this great interview (even if I do say so myself!) that I did with him last year.

I caught up with Johnny recently to find out about his creatively-named ‘Horn Camp’, a residential course in the beautiful surroundings of the Sierra Nevada mountains…

Tell me about Horn Camp.

Horn Camp is about a group of Trumpet and Sax players getting together for a week to play, learn, talk and hang together in a friendly and relaxed atmosphere.

I’m very fortunate to have a house in the beautiful Sierra Nevada mountains, about 20 minutes out of Granada and it’s where I go whenever I need to get away from all the distractions of life  and focus on something that needs to be done – whether it’s practice, writing, business or just thinking, I find the relaxed and peaceful environment helps me to really get down to work and I always achieve much more there than I could ever do at home. So it seemed to me that it would be the perfect place to take a bunch of students if we wanted to focus on the fundamentals of playing as well as look at the peripheral things which can really make all the difference. Things which aren’t easily taught within the confines of the regular teaching schedule.

I’ve always found the traditional 1 hour a week teaching model to be quite limiting insofar as there is only so much you can convey in an hour and often, by the time the student has gone home and gets around to practicing, he/she may well have forgotten some of the teachings and you, the teacher, are not there to answer any questions. Also, in a one hour lesson it’s very difficult to fit in some of the peripheral disciplines which can be hugely beneficial to wind players – things like breathing exercises, posture, stress management and mental well-being. So, by running the camp we allow students to put a week aside to focus on all of these things while we, the teachers are available all day long to answer any questions and provide help and guidance. Plus, it will be fun too!!

What can students expect?

Aside from a great environment where we all work together, we will look at a more rounded approach to playing your instrument. Not just technique on the instrument but also the things you can do without the instrument to improve your playing and musicianship. There’ll be modules on Pilates for Wind players, Cognitive learning techniques, Breathing exercises, stress management and lots more. Plus, after dinner there will be the opportunity to talk about a broader range of things – like how publishing works, copyright protection or brass arranging – or simply to answer any questions the students might have.

We aim to create a relaxed environment where we all help and encourage each other, irrespective of individual ability, and no-one needs to worry about traffic or the daily chores of life. We’ll break up the day relaxing by the pool or walking the famous hanging bridges of the Los Cahorras, which are close by. We might even have the odd drink!

Why Trumpet & Sax?

Being wind instruments, there is so much crossover in technique between the two  – particularly in the fundamentals such as breath control – and I think there is much that we can learn from each other. The Sax tutor is my old friend Snake Davis. He and I have been best buddies for 40 years and in that time we’ve worked together on more sessions and tours than I care to remember. However, as well as being an amazing sax player he is one of the best communicators and educators that I know and he will be leading a lot of the ‘off-instrument’ subjects like Pilates, Yoga breathing etc. Things which are highly relevant to both instruments, irrespective of ability level. Ideally we will have 3-4 trumpeters and 3-4 sax players so there’s also plenty of scope for knocking up some ensembles too.

What standard do you need to be?

Because there is a lot of focus on fundamentals such as breath control, expression and musicality as well as the ‘off-instrument’ disciplines, the camp will be relevant to players of a wide range of abilities. In fact I see it as a plus to have a range of abilities as it usually winds up with everyone helping each other. We always ask students to leave their competitiveness at the gate and enter into an atmosphere of mutual trust and support. That way we will all take away the maximum from the week and no-one need feel awkward or out of their depth. Having said that, you will need to be able to play – but I would say that so long as you play to a reasonable level, you will fit in and benefit greatly from the course.

What’s included?

The camp runs from the 4thto the 10thMay 2019 and the fee includes all tuition plus resources – worksheets and music – breakfast, lunch and evening meal every day and all beer, wine and soft drinks for the duration. We will collect students from Malaga Airport and drop them back at the end of the week. There are double and twin rooms available and non-playing partners are welcome.

Finally, where can folks find the details?

Full details including booking etc. can be found at https://www.johnnythirkell.com/horn-camp


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Interview

Trumpet Artist Profile: Jerry Hey

Jerry Hey is one of the most prolifically recorded trumpet players around. His style, sound and musicality made him the go-to guy on the LA scene, and as a horn arranger he is second to none. His collaborative projects with the great Quincy Jones are now legendary, and even now, after 40 years at the very top of the business, Jerry is still the man to go to for scintillating horns.

From a personal perspective, Jerry is the reason that I picked up a trumpet as a child after hearing those early Michael Jackson albums, so I was delighted that he could spare me some time to answer a few questions:

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Jerry playing with Seawind in the ’70s

My reason for first picking up a trumpet was hearing you on those Michael Jackson tracks! What was yours?

My father was a trombone player and my 10-year older brother had a bugle he played in the Boy Scouts that I picked up as a child.

Who would you say was your biggest musical influence in those early days?

Clifford Brown – my father heard him live in Chicago and bought his first record.

VISIT THE ‘EDUCATIONAL RESOURCES’ PAGE FOR FREE WORKSHEETS AND LINKS TO PUBLICATIONS

Can you tell us a little about your time studying with Bill Adam?

He was simply the greatest person I have ever met, and that has nothing to do with the trumpet but a lot about life, which I try to emulate.

[youtube https://www.youtube.com/watch?v=qWrxgrDMQmE&w=854&h=480]

Your time in Hawaii in the early days sounded huge in terms of your development as a player and arranger. How did that move to LA come about and how was that transition?

Hawaii was pivotal in my development with forming Seawind and meeting Gary Grant. Seawind moved to LA to record and Gary had moved from Hawaii a year earlier. Seawind played at the Baked Potato in North Hollywood at least once a week for a couple of years. A lot of musicians came to hear us so that helped get my start in the studio scene, but Gary Grant was instrumental in getting me on many sessions. Also, having met Chuck Findlay and Dalton Smith in Hawaii, they also recommended me for sessions.

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Gary Grant, Jerry Hey, Bill Reichenbach, Larry Williams

Did you have any regular practise routines to keep you in shape during busy periods?

I did the daily routine that evolved under Mr. Adam’s teaching and that Larry Hall and I adapted.

What are the priorities for young and aspiring players hoping to have a long and successful career?

Listen, listen, listen… and then practise!

[youtube https://www.youtube.com/watch?v=IhssbQAbM10&w=854&h=480]

What trumpets and mouthpieces have you used over the years?

Bach 37 and Bach 3C were my standards throughout, but I played a Calicchio for a while and a had a Bob Reeves mouthpiece which was a copy of a NYC Bach 3C rim.

To read reviews of the latest Bach models, click here.

This is a guest question from Johnny Thirkell, who I interviewed a few weeks ago! [you can read it here] “In the lesson that you gave me, you had me blowing super loud through everything. Much louder than I would ordinarily practise. Is there a specific reason for that or is it just that I am a wimp?!”

It is mainly to get the sound concept that Mr. Adam was trying to impress upon us all. And also to keep the air moving at all times. But once that is established it doesn’t have to be at full volume all the time, like when playing Arban or Charlier for example.

VISIT THE ‘EDUCATIONAL RESOURCES’ PAGE FOR FREE WORKSHEETS AND LINKS TO PUBLICATIONS

Your horn sections have always had a trademark sound and style that have set the benchmark that producers and engineers now aspire to. Where did that rich, bright and intense sound come from?

It all starts with the players and everyone having a concept of how to make the section sound the best. Then the writing and engineering also play a big part in the sound. Fortunately, I started with Bruce Swedien and Quincy, who both knew exactly how the horn section should be recorded and what the section should sound like. It was a big learning experience for me with both of them.

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Jerry with Quincy Jones

What are your favourite microphones for recording trumpet?

Bruce Swedien has an incredible array of mikes he used on us, and any mike he used was amazing. My general favourites are Neumann U47, Neumann KM54, Neumann FET47, Neumann U67, and most recently the Royer 121 and 122.

What are the horn sections that you like to listen to that you have not been involved with?!

Tower of Power, Brecker Brothers, Edgar Winter White Trash, Stevie Wonder, Snooky Young with Count Basie and Thad Jones.

Is there a particular project that you can say has been your most enjoyable?

Too many to single out just one! Any Quincy projects, Al Jarreau, Earth Wind and Fire, David Foster Projects, and George Duke.

Do you have proudest professional moment?

There are so many recordings that I am very proud of, but maybe the proudest moment was the first time I worked with my son, Andrew, when he recorded the horn section. We were doing our usual recording when I said, “Let’s double that!”  Andrew talked back through the phones and said, “maybe we should do one more”.  “Play that back for me Andrew. Wow, OK, you’re right. Let’s do one more take!”  And from that very point on, I knew he had some really amazing ears and I go with his suggestion every time. I’m a proud father!”

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Gary Grant, Wayne Bergeron, Andrew Hey, Jerry Hey, Bill Reichenbach, Dan Higgins

If you are interested to read more from Jerry, please give Michael Davis’ Hip-BoneMusic a visit. There is a great interview covering all sorts, from ‘Arranging Techniques’ to ‘Wine Recommendations’!


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