So, what does Articulated Air mean? Some teachers may refer to articulation or tonguing as an isolated discipline in trumpet playing. The reality is that everything comes back to the way that we control our flow of air through the trumpet. This is nothing new, of course, we know that the air is what fuels the machinery of our music-making. So why, do we as teachers so often talk to students in terms that can be confusing and take the emphasis away from the only truly crucial element?
The use of language in teaching, particularly with younger and developing minds is crucial to give clarity of message and to make sure that the correct mental triggers are in place to help them in their development. This is a concept in which I have a great interest and have worked extensively with students and teachers to develop a way of communicating sometimes complex ideas in a simple and straightforward way.
The relaxed and full breath at the start of any phrase is always crucial and should be foremost in the player’s mind, no matter how challenging the exercise may appear. A beautiful sound is only possible from a sense of relaxation and should always be aspired to. I try to avoid words such as blow and push, as they automatically trigger a sense of tension in the mind and body. Instead, we think about releasing the air through the trumpet, and setting up a steady flow of air.
Articulated Air is a concept that adds the tongue (in various shapes and positions depending on what you are playing) to your airstream. The focus as ever is on the breath in and supporting the flow of air out. We set up the air to flow and allow the tongue to articulate as the icing on the cake.
In this publication, I have developed several exercises that encourage this natural use of articulated air. Many of them also include aspects of traditional airflow and flexibility work to make sure that the emphasis remains on this. In our standard repertoire of standard methods and study books (including Arban, Clarke, Schlossberg, Vizzutti etc.) there are many excellent exercises that can and should also be used. It is important though to always focus on this relaxed air. This can easily be forgotten during an intense practice session.
Below are 4 chapters from the book (Articulation Slur Warm-ups, Circle of 5ths Articulation Patterns, Dotted Rhythms and Irregular Patterns) which you are welcome to download and use for free:
Marvin Stamm is a colossus of the music world, having performed and recorded with many jazz legends throughout his illustrious career. At 79-years-young, he is still going strong and has many interesting thoughts here on adapting to change, both musically and physiologically over the years. There is sound and compelling advice here for musicians of all instruments and of all ages!
What first drew you to the trumpet?
Upon reaching the seventh grade in the school I attended in Memphis, Tennessee, every student was required to participate in a form of the arts—either become part of the band or sing in the chorus and take art. I had no talent for art nor any interest in singing in a chorus, so I chose instrumental music, which at my school was the standard concert band instrumentation. Part of my decision also rested upon the fact that I was rather shy at that age, and thought I could hide within a larger organization and not be noticed. The reason I chose the trumpet was because my older brother, an avid record collector, had a recording by Clyde McCoy entitled “The Sugar Blues” with which he employed the Harmon mute with the stem to produce wa-wa effects, growling, and flutter-tongue. This was quite impressive to me, and this is why I chose the trumpet.
Were there any particular early influences or musicians that you admired?
There were many early influences upon me, and they would have great consequence on the path I chose. Among the important people who first influenced me were my two wonderful band directors during my school years in Memphis; they gave me great training in the basics of music, playing in their concert bands. Another was my afore-mentioned brother, Gordon. My interest in jazz came about very early in my musical experience because hegave me access to his complete jazz collection, allowing me to play along with his records pretty much from the genesis of my musical endeavors. This gave me early exposure to this music and hadgreat impact on me. I was so enthralled with playing music that I decided after only two years—at age fourteen—this would be my path in life.
Another person exerting great influence during my high school years in Memphis was my trumpet teacher, Perry Wilson. Perry helped me build my musical foundation. He took me through Arban’s, St. Jacome, Schossberg, and Klose, also spending a great deal of time playing duets with me in order to teach me how to work, phrase and blend with other players. At the end of each lesson, he took me into one of the piano rooms and played tunes with me to help me broaden my improvisational skills, learn new material—and, so very important—develop my ear. He also was instrumental in my working in Memphis dance bands from age sixteen. I was very fortunate to have fine and dedicated teachers from the very beginning who prepared me well for my chosen career.
Through every phase of my musical and personal life there have been people willing to offer encouragement and help. There were several very fine musicians form my growing up in Memphis, many of the professional players the Dallas/Ft. Worth area and at the university during my years at North Texas State (now the University of North Texas). The years with Stan Kenton and Woody Herman were of immense value to my growing and developing as a player as well as the two years doing show work in Reno, Nevada. And then throughout all my years working in New York and beyond.
It would be impossible to list all the musicians with whom I have worked and who personally influenced me, but among the trumpet players whom most of our colleagues would recognize would be Mannie Klein, Bernie Glow, Ernie Royal, Snooky Young, Thad Jones, Ray Crisara, Burt Collins, and Kenny Wheeler. And this lists just a few of the many who were of enormous significance to my music and my life. Someone once said to me that I had achieved a marvelous career and I had done all on my own efforts. I laughed and told him he could not be more mistaken. I had help every step of the way and experience this still to this day—from friends and musical colleagues alike.
As a young player, what was it like joining Stan Kenton?
I joined the Stan Kenton Orchestra as his jazz trumpet soloist immediately upon graduation from the University of North Texas in 1961. However, my relationship with Stan pre-dated that occasion because the North Texas band was kind of a house band at the 1960 Indiana University Kenton Clinics, serving as his band for that week. He conducted us in nightly concerts and became quite familiar with my playing, In November of that year Stan asked me to complete the last three and a half weeks of the 1960 tour because Sam Noto had been offered a steady gig at the Latin Quarter in New York City and needed to leave the band. This was really my baptism of fire with the band.
I joined fully after graduating from North Texas and toured with him for two years, recording five albums with the band. The orchestra, during my tenure, toured only in the U.S. and Canada, mostly playing one-nighters. I gained a good bit of national recognition and exposure touring with the band and especially through my being featured extensively on the recordings.
Working for Stan Kenton was great—he was very much a father figure, quite a special person, and very dedicated and inspiring to one such as myself. He was also very patient with me during my time with the band. I underwent a bit of an embouchure change because I was playing low onto the top lip, that is, onto the red tissue of the lip. Because the band played so hard, and most times quite loud, this caused me to cut my lip. With the help of John Haynie, my trumpet teacher from the University of North Texas, I moved the mouthpiece up on the top lip a good bit, providing more vibrating surface for playing and more muscle tissue, more “meat”, for the mouthpiece to rest upon. This was quite a drastic move for me and took a long time for me to adjust to, causing me a great deal of stress. During this whole period of adjustment, Stan was very patient and encouraging to me, showing how much concern and care he had for the people who played in his band.
My time on the Kenton band provided great experience in that it gave me a clear view of “life on the road.” I received a lot of solo exposure and met many people who contributed much to my growth and life experience. Some became friends for life. This playing experience was especially invaluable because you had to be at the top of your form every night in spite of being weary or sometimes ill; or many times playing where acoustics were less than perfect with tired or hurt “chops” and always being on the move. This instilled the concept that when it was time to perform, it didn’t matter how you felt—you were expected to be at your best at all times, under all sorts of conditions. And the one who expected the most from you was you yourself!
During your period as a busy studio player, what were the main things that you concentrated on in practice sessions to keep yourself in good shape and ready for anything?
Fundamentals, fundamentals, fundamentals! I wanted to keep my embouchure strong, but flexible and my technique accurate. We almost never knew what we would be playing from session to session until our arrival at the date. And some days we would be playing three or four different sessions, all of a different musical style. I might be playing lead trumpet on one session, flugelhorn on another, and piccolo trumpet on a third. Our musicality depended upon our exposure to many styles of music and the interpretation thereof. But the ability to go into number of different musical environments, having the flexibility and stamina to perform to the highest standards day in and day out was the foundation of such a career. I found that keepingmy“instrumental”side in it’s best working order was the best way to be prepared for this kind of functionality. That meant stressing fundamentals.
What prompted your move away from the studio work to concentrate on your own jazz projects?
In the late ‘80s I realized I was feeling musically unfulfilled by the work I was doing. For the first 17 years or so of my studio period, while doing a lot of commercials and such, I still was also involved with a lot of musical recording projects, many of which were in the jazz genre. In the early ‘80s, the shift in work was more to commercials, and the recordings were mostly R&R recordings. There was little creative input being asked of the players, and I was feeling like just a journeyman musician, like “cog in the wheel” of most projects.
In addition, the technology aspect of the music was growing and many of the keyboardists and synthesizer players involved in projects were also being asked to write the arrangements for these projects—few with any knowledge of or skills in orchestration. We became the sources for informing them of what possibilities there were for various instruments, sometimes teaching them the most rudimentary things such as what was the lowest note on a trombone and the highest note playable by a typical saxophonist. It was very frustrating to most of us who had worked for years to become educated, masterful musicians.
In 1987, Lew Soloff introduced me to Swiss composer and and band leader George Gruntz, who was looking for someone to replace Lew for an upcoming tour, as Lew was already booked at that period of time. George invited me to join his group of U.S. and European musicians and I accepted, beginning what was to be a twenty-three year association with his Concert Jazz Band.
The musicians for this tour included Americans Lee Konitz, Claudio Roditi, Larry Schneider, Mike Richmond. Adam Nussbaum, Ray Anderson, Art Barron, David Taylor, Joe Henderson and others. Among the Europeans were trumpeters Palle Mikkelbourg, Manfred Schoof, and alto saxophonist Luten Petrovsky. There were straight-ahead players, BeBop players, and avant-garde players, all coming from across the musical spectrum. Moming from a more traditional big band background, I was initially taken aback by it all, but by the end of the tour, I was inspired. I felt that it might just be possible to move away from being a studio musician to become a jazz musician.
The thought was, at first, frightening. I remember one night discussing what I intended with drummer Ed Soph, wondering aloud how I was going to make this happen. Ed told me not to worry, it would definitely happen. Of course, I also talked all this over with my wife, who felt I should go for it. From this, my decision was made. For the next three years, i put myself out there, and if there was a choice between a recording session or a jazz gig or a tour, I took the jazz gig and turned down the session. Eventually, it became obvious to those in the business and they started calling others for studio dates. As well, my work as a jazz player was growing, so over time, one replaced the other. This began the most creative period of my musical life, and I never looked back.
As the years have gone by, would you say that your approach towards practice, preparation and performance has changed? If so, is it something that has had to change?
I certainly feel my approach has changed over time. It is true physically as well as musically. People tend to change physically as they age, even from their 30’s into their 40’s. and again from their 40’s into their 50’s and so on. This is just a physiological fact. Understanding when one’s practice and approach to the instrument needs to be altered—even if only slightly—from time to time to meet these circumstances is a great challenge. No one wants to change from what has worked successfully for a long time. But sometimes change is necessary, particularly when the problem may be physiological. I have seen many examples of players who don’t understand when their physiology changes and are so stymied by this that they don’t recover. They keep trying to approach everything the same way they have done for years, and yet, it doesn’t work anymore. Having a teacher or outside coach can help when one feels frustrated. A coach or teacher one trusts may see things looking from outside our faces than we don’t perceive on the inside. I sought help several times from the late Laurie Frink, a most wonderful teacher and player, who helped me to understand and work through my own problems.
Musical circumstances can also require a player take a different approach to practice. It all depends upon the kind of music and performance one is being asked to play, especially if one is working as a free-lance player. One example would be someone playing a show night after night that requires a hard blow, but then being asked to play a week in a small chamber orchestra where the music is softer and requires a different sound. The practice necessary to prepare for this kind of change would be quite different than the preparation for a difficult show. Practicing fundamentals to keep one’s embouchure flexible to play in any circumstance is necessary and certainly helps one to overcome many of the changes one must go through.
Every player experiencing physical or musical changes in their playing must be mindful of finding his own solutions to whatever challenges might arise. This will involve being flexible in his thinking and approach to these challenges going through the various stages of their careers. There has never been one answer for everyone; each of us must find our own. This is a challenge we all face.
What equipment do you use?
My trumpet is a Bach Model 72 Lightweight that the great lead player Bernie Glow picked out for me in 1969. My mouthpiece is a Najoom 7M (for medium). I play two flugelhorns, an old Cousnon I bought used in 1964, probably made in the 1950’s, and a French Besson, made under the auspices of Boosey and Hawkes by Zig Kanstul, at the urging of me and Guido Basso,the great Canadian trumpeter. I use either a GR custom mouthpiece (close to a 62M) or a very old Bach 10 1/2 C flugelhorn mouthpiece.
What do you think the priorities are for young aspiring players to keep in mind to give themselves the best shot at a long and successful career as a trumpeter?
There are a number of priorities to developing a long and successful career, each being a key basis of the other. Mastery of one’s instrument is certainly the foundation of any successful career, and practice of the fundamentals is the basis of that foundation. Part of this is also understanding the importance of developing a good sound because one’s sound is his voice, who he is musically. And while mastering etudes, solos, and excerpts are important, listening to and performing in many areas of music is the key to becoming a versatile player—and versatility is central to being a busy, working musician. There are those who are able to develop a career as a specialist in a given field, but they are rare birds in the equation. Being able to answer any work call and performing whatever that call requires is the key to having a successful career as a working musician. And that means having a working knowledge of many kinds of music.
What are your proudest career moments?
Over many years of playing music, I believe the thing I am most proud of is all the years of playing in the company of so many great musicians and being accepted as one of them. I had the great privilege of playing with my heroes, and to this day, I still feel that I am trying to play up to the level of musicianship that they set. But I don’t feel this as an element ofpride; I actually feel great humility at this acceptance and being a part of so many wonderful musical moments. I had the privilege of living my dream, fulfilling my musical fantasies.
What are your most enjoyable career moments?
There have been so many that it is difficult to pick one or two special experiences because there have been so many. Sitting a the trumpet section with people like Bernie Glow, Ernie Royal, Snooky Young, Ray Crisara, Randy Brecker, and so many others was always special. Reaching to achieve the highest level of performance in the company of many great musicians was constantly thrilling. Words can’t really express the feelings this generated, day after day, performance after performance. I guess the most important thing to take away from what I am trying to express is that music is never about “me,” but about “we.” Community, everyone striving to bring the best to each musical moment, is the most fulfilling element of great musicians playing together. And I was most fortunate to be some part of so many of those experiences.
What projects have you got coming up?
I am going to be doing a project in the UK next summer with Matt Gough and Andy Bush, both excellent trumpeters and composers. Andy and I met in the mid-1980’sand have been dear friends ever since. Matt is a new friend and the composer of a magnificent multi-medium suite, “The Forgotten Fairground.” I’m sure you’ll be hearing a lot about this project soon.
I’ve also been privileged to be a part of several projects by pianist and composer Michael Holober. We’ve become very close friends dating back to when he conducted the Westchester Jazz Orchestra of which I was a member. I have been a part of four of his projects in the past four or five years, and he has mentioned two or three future projects that he is working on. Michael is also a musical partner in my quartet along with drummer Dennis Mackrel and bassist Mike McGuirk.
And I continue to perform as a guest soloist in various settings. I appeared at the Guildhall this past July, performing two of the Miles Davis/Gil Evans suites, “Miles Ahead” and “Sketches of Spain,” with Scott Stroman conducting. Working under Scott’s baton is always exhilarating! I shared the solo chores with UK trumpeter Robbie Robson, and if any of your readers are unfamiliar with Robbie’s music, please do become familiar with it. Robbie is extraordinarily creative and gifted musician. I enjoyed so much sharing this program with him.
In closing, let me say that in light of all I have been so fortunate to do in music, I am happy any time I can be in the company of extraordinary and like-minded musicians, people I can enjoy playing with, listening to, and learning from. To me, that’s what it’s all about!
Please click here to read about Marvin’s time studying with Carmine Caruso
You can see and hear lots of great clips of Marvin playing on his website
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Acclaimed trumpet soloist and respected educator Rex Richardson has been described as “one of the world’s most engaging and astonishingly versatile trumpeters” (Style Weekly), and “among the very best trumpet soloists in the world today” (ITG). I was delighted to be able to catch up with him and to find out more.
What drew you to the trumpet as a child?
I think it’s funny in retrospect, that I began playing the trumpet, only because I’m asthmatic. My family, into which I was adopted as 9-month old, was not the slightest bit musical, but my mother tells me that I was drawn to music from the very beginning. Early on, I joined church and school choirs, and quite surprisingly (to anyone who has heard my raspy speaking voice) I was often given solo parts, so I must have had a bit of an affinity for it. Then at the age of ten, the family doctor suggested joining the school band on a wind instrument to assist with my asthma. Because my best friend at the time played the trumpet, I thought I’d give it a go!
Were there any particular early musical influences, or any musicians now that you particularly admire?
One of my very first influences, before I even really “took” to the trumpet at age 14, was Maurice Murphy. I had the Star Wars soundtrack on vinyl, because as an eight-year old (when the film was released in 1977) I thought the film – and the music – were the best things ever! The London Symphony personnel were listed in the credits, which is how I discovered Maurice and the rest of that phenomenal brass section. Years later I’d be thrilled to play with him and to develop a wonderful friendship with him and his lovely wife Shirley.
I think it was seeing Doc Severinsen on the Tonight Show, as well as seeing the Boston Pops on TV – when the trumpet section included Tim Morrison – that nudged me in the direction of wanting to pursue the trumpet more seriously. From that point, I was spending my allowance on records: Maurice André, Rafael Mendez, Wynton Marsalis (whose first records were just being released), Miles Davis, Freddie Hubbard, Woody Shaw, Louis Armstrong, saxophonist Mike Brecker – these were the earliest influences, but the list started to expand rapidly.
To this day, the list of musicians that I admire continues to grow…to list all of them might be beyond the scope of this interview, ha-ha! I find inspiration in wildly varying sources, from trumpet artists of every stripe to jazz saxophonists, and from classical singers to rock bands. I’ve been blessed to share the stage with a number of my recent heroes (Trumpeters Pacho Flores, Sergei Nakariakov, Til Brönner, Wayne Bergeron; saxophonists Steve Wilson and Chris Potter); some I would love to play with are vocalists Jan DeGaetani, Dawn Upshaw and Inari George, as well as Beck and Radiohead.
I have spoken with a number of players for this blog, and one thing that keeps coming up is how players often get categorised or pigeonholed into one particular genre. This could be a tough one, but if you were pushed to have to categorise yourself into one particular musical genre, where would it be?
Interesting question. I think that everyone finds it convenient to label things & people, but I don’t think it’s so easy to do that for most players anymore. Someone might “live” in a particular genre but make strong statements in another…take Pacho Flores, who is renowned as a classical soloist but whose latest amazing recording features folk arrangements for trumpet and guitar. Or take Mark Inouye, one of the U.S.’s very best orchestral players, who is also a dynamite jazz improviser. In my case, it’s tough because I pretty much split my time and energy as a classical soloist and a jazz musician. I suppose I’d categorise myself as living in “new music,” if that can be considered a genre, because I specialize in post-bop as a jazzer and often premiere solo works on the classical side. However, my last recording featured “old” music – our famous concertos by Haydn, Hummel, Telemann, Albinoni and Tartini (albeit, played on modern rather than period instruments), and I often play tributes to Louis Armstrong or other “older” jazz trumpet legends.
So, I don’t really know! I used to be more concerned with musicians trying to “limit” me with a label, but I don’t really care anymore; I just play music that I enjoy.
You are renowned for your skill as an all-round musician playing a wide variety of settings and styles. Mentally, is there a big shift from going from say a concerto with orchestra to the next night, playing a jazz set?
In a word: YES! The bigger challenge for me is that I often need to shift in the middle of performances; that is, I might do a pops show with orchestra that features concertos in the first half and jazz in the second. But truly, the challenge for me is less about making the shift itself, than it is about being physically and mentally conditioned to play whatever I have to…I find that, if I get out of shape, it tends to be my physical conditioning on the classical side (mostly with regards to delicate attacks, pristine articulation, details like those) and my mentalconditioning on the jazz side (losing my sense of “flow” when improvising, getting rusty in certain keys, etc.).
How do you keep that level of versatility in your playing? Do you have a set routine that works for everything or do you have to change it drastically depending on what gigs you have in your diary?
I’ve found that a balance of disciplined routine and flexible adaptability works best for me. I have certain fundamentals that I love and tend to hit every day: Stamp bending exercises, Clarke Technical Studies with every form of articulation (including jazz), and flexibility. I have a quite elaborate routine with the Clarke book in particular; too complicated to detail here! But working jazz articulation into the mix with along my single, K-, double- and triple-tonguing helps me to feel that it’s natural to switch styles, like switching accents if you’re bilingual.
I also tend to do an elaborate workout on certain harmonically “dense” tunes, playing modes, arpeggios and bass lines, as well as improvising at different tempos, to keep my improvisation skills in shape. I still listen and transcribe too (mostly stealing licks from Chris Potter or other saxophonists I admire!).
Beyond this though, my practicing tends to be based on what I need: What’s the repertoire for the next concert? Am I rusty in some area; e.g., is my single tonguing getting clumsy, fingers stiff, flexibility need a touch up? I have ways of dealing with any area of my playing that may be slipping.
I guess your teaching is pretty important to you? You have been at VCU since 2002 and also a visiting professor at the RNCM – have you found that your teaching methods and emphases have changed a lot over the years?
Yes, while I feel most comfortable and confident in my work as a performer/composer, I really enjoy teaching and feel that I have drawn tremendous personal and musical benefit from working with students, as well as from my long tenure at VCU and my association with other schools. I was International Tutor in Trumpet at the RNCM from 2012-2015 and have been back several times since, to teach and to perform. I really love that place! It’s bristling with musical energy.
For sure, things have changed over the years. When I started teaching, I understood almost nothing about the mechanics of playing; I have always simply found exercises that allowed me to develop skills without considering what I was doing with my lips, tongue, breathing etc. To this day, I feel that this is still a bit of a blind spot for me; I don’t entirely understand “how” I play but I can tell you which I exercises I practiced to get there! So, virtually everything I know about the mechanics of playing the trumpet is through teaching, not through my own playing. On the other hand, I feel I’m pretty good at teaching people how to structure a practice routine.
I still find that I can’t always diagnose student embouchure issues with perfect confidence, so I turn to some of my colleagues, in particular Taylor Barnett and Kevin Maloney at VCU, to help with that. I don’t pretend to be a “master” teacher and don’t tout my students’ accomplishments, which I feel are wholly their own; I simply want to help every musician that I can, and am very happy to enlist the assistance of wiser pedagogues whenever I feel that will benefit a particular student.
What are the key things that young aspiring players should concentrate on?
Get your fundamentals together and be a good musician.
That is, spend the time to acquire the skills required of every trumpeter (healthy/efficient sound production, flexibility in every register, articulation, fingers, etc.), then commit wholly to becoming the best interpreter of music that you can, whether you want to play in an orchestra, improvise, play with rock/pop/folk groups, or any combination of any genres. Remember that people should feelsomething in response to our performances, so as you learn to play expressively – and to master the nuances of what that means in any particular context – you have to stay tuned in to your own emotional connection with music as a listener. I don’t care about my own feelings while I perform; indeed, I always play best when my heart and mind are quiet. However, I want to play in such a fashion that the listenercan have a special experience, will feel moved, or uplifted from hearing the music. If that doesn’t happen, then all my practicing is for naught.
I learned this by simply observing my own emotions when I listen. Being overwhelmed while listening to Mahler’s Das Lied von der Erde,or just by the sound of Coltrane’s saxophone or Inari George’s voice…this is a powerful thing, and I want to my make my own small contributions to music lovers’ experiences.
Most enjoyable project?
Actually, this is a Manchester story! I’ve had a myriad of enjoyable projects of course but playing at Band on the Wall in 2012 with the jazz bands from Chetham’s School of Music really stands out for me. It was the perfect night…the kids were astonishing, as they always seem to be at Chet’s, and we were all – performers and audience alike – completely swept up in the excitement, indeed the magic, of sharing that music. Yes, performing with young students turned out to be one of the most musically satisfying experiences of my career!
Proudest professional moment?
I’d have to say that’s quite recent: I played with Doc Severinsen and the Indiana Wind Symphony in mid-March. Doc heard me play a new concerto by Allen Vizzutti the night before on a different concert, then another new concerto (by the RNCM’s own Andy Scott) on the concert we shared…and we played together too. Doc had incredibly kind words about my playing; I was stunned and humbled by his reaction. It was deeply validating!
What have you got coming up that you are most looking forward to?
These are busy times! Tomorrow morning, I fly to Minnesota to play as soloist with the Adam Meckler Jazz Orchestra, and then on to Wisconsin for a residency at Lawrence Conservatoire. This will be followed by a concert with the Motor City Brass Band in Detroit, then a residency in Austria, doing several jazz concerts (including a trumpet summit with Austrian virtuosos Thomas Gansch and Daniel Nösig); then back to Michigan to work with the Brass Band of Battle Creek, and then off to perform a couple of concertos at the ITG Conference in San Antonio. So….that gets me to the end of May!
My big news is that I’ve got a new CD coming out in mid-May: Freedom of Movement: 21stCentury Trumpet Concertos, featuring the aforementioned works by Vizzutti and Andy Scott, as well as Tony Plog’s Concerto for Trumpet and Brass Band and Jim Stephenson’s “Rextreme” Concerto. That was a lot of work for a multitude of people (recorded in four cites on three continents), and I’m very excited about it!
Thanks for this Rex, and I am looking forward to seeing you at the ITG Conference next month! Is there anything else that you would like to add?
Just wanted to thank you wholeheartedly for thinking about me, John!
For further information about Rex including upcoming concerts and projects, please visit rexrichardson.net
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I met up with Markus Stockhausen on a (typically) rainy day at the Royal Northern College of Music in Manchester, UK on 23rd March 2018. He is a trumpeter at the cutting edge of modern performance, and as I was to find out during the course of this interview, a fascinating one at that!
JH: Thank you for meeting me here in Manchester Markus! You are in the middle of a tour at the moment I believe?
MS: Yes, last week I was touring with Florian Weber, we had 4 concerts in the UK. And here in Manchester I have a guest professorship at the RNCM, so I come here once or twice a year to either teach or do concerts. This time around I am doing a concert of my compositions with Big Band and String Orchestra. There are some smaller scale pieces in the first half with different instrumentation and lots of different elements including free improvisation. The second half is a piece called “Tanzendes Licht” [Dancing Light], a work that I wrote around 10 years ago for the Swiss Jazz Orchestra together with the Camerata Bern. That was a commission to bring those two ensembles together. I also later adapted it slightly to perform with the Metropole Orkest under Jules Buckley. This is the version that we are performing now in Manchester. I am very happy to come here, and the students, particularly the rhythm section, are excellent. I was so astonished to find such good players here, and all so young too!
Festival Time in Jazz, August 2017 in Ozieri, Sardegna, Italy. Photo: Gerhard Richter
JH: Can I take you back to the beginning of your trumpet experience and ask you what made you choose the trumpet?
MS: My father [Composer, Karlheinz Stockhausen] brought me a small post horn back from England when I was about 8 or 9. I had a blow on that one a few times and somehow, I felt drawn to the trumpet players of the brass section whenever I would go along to hear my father’s works in rehearsals and concerts. I don’t know why, I just found this fascinating! I started on piano when I was age 6, but when I was 12 we had to choose a second instrument at school. I tried the trumpet, and although I don’t think that I was especially gifted at that stage, I loved the sound and also the possibilities of being able to play with other players in small ensembles, wind bands, big bands, dance music, on weddings, funerals! … everything that you can think of! We had a band at school, we started to improvise, I had a small motorbike and with the trumpet on my back I was travelling all over the place going from one rehearsal to another. School wasn’t really that important to me, it was more about making music.
When I was around 15 or 16 we had a lot of good teachers. Jiggs Whigham lived near my home and leant me some important LPs. He also came down to teach our school big band sometimes which was great.
There were 3 main strands to my music making in those early days: The 1st was my classical teacher who took me through the major repertoire – Haydn, Hummel, Telemann, Hindemith etc, and orchestral excerpts and studies. The 2nd was the jazz and improvising that I enjoyed doing. The 3rd was from when I was 17 when I started to work with my father who would take me into orchestras to sit in the trumpet section to play his pieces. And when I was around 18 or 19 I began to take solo roles in some of his projects. He wrote “Sirius” for me which was an incredibly musical and demanding piece, 96 minutes of music we had to perform from memory. I was just 19 at this point! Shortly after, in 1978 he wrote “Michaels Reise um die Erde” as a trumpet concerto for me, which – being part of the Opera cycle “Licht” – in 1981 had its opera premiere at La Scala di Milano.
The kind of training that I received through my father really exceeds anything that any other student could possibly have! It was so broad.
JH: With this incredibly broad training that you had, with so many different styles, did you identify mostly with and enjoy one particular kind of playing?
MS: At that age, no, I enjoyed everything. I was ambitious and wanted to develop everything. I entered solo competitions which opened the door for me to perform with orchestras. I was taken on by an agent who helped to develop this side with me. I lost count of the number of times that I performed the Haydn concerto… with my father’s cadenzas of course! I had requests from other composers to perform their works, which I did sometimes, but I favoured working and collaborating with my father.
People told me that I had to decide which direction to take. I also considered conducting which I enjoyed, but ultimately decided not to pursue that as my trumpet playing would suffer. That was a big decision. I made the decision NOT to choose between playing different styles, but to continue pushing myself with classical, jazz etc. It became hard sometimes when a concerto one night would be followed by a jazz club gig the next, followed by a project with my father! I tried to space things out but it was not always possible – it sometimes was difficult and stressful.
JH: And what about now? Do you find that it is difficult to prepare for so many different kinds of projects?
MS: Yes, but in 2001 I took the decision to stop the collaboration with my father and to concentrate more on my own projects. This gives me more space to contemplate and organise. I also no longer take on classical concertos, I think my last Haydn concerto was 2008. There are lots of people that can do that – I think that it is important that I concentrate on what I can do that is unique. I wanted to explore my creative side deeper, and since then I have started various projects, duos, trio, quartet, larger ensembles… I recently started 2 new ensembles with 7 musicians, one is called Wild Life, the other is called Eternal Voyage. Sometimes I composefor them, but Wild Life is completely improvised.
I do not write so much now for larger ensemble. My son is now 25, and when he started to get older I was writing a lot. But when my daughter arrived in 2009, I felt that my energy and time to compose reduced drastically. Part of that creative energy goes into a person rather than into compositions! And it has to be that way.
JH: And are you able now to manage your work schedule pretty much how you want it, around your family life? It is that age-old dilemma for working musicians isn’t it?!
MS: I get complaints from my family that I am not at home enough, but they get used to it of course. It is difficult, but we manage. But if you want to keep the trumpet up at a good level, you have to be performing constantly. So, it is an essential choice for me to be on the road a lot, and away from the family sometimes. You certainly get used to airports and train stations! I try to do mostof my organisational work while I am travelling so that when I am at home, I can be more present. The projects that I do now are all incredibly enjoyable and rewarding, and I am at least able to stay in control of my schedule from this point of view. Sometimes I go on tour with my wife Tara Bouman, our duo MOVING SOUNDS. Then the whole family travels, which is very nice too.
My duo with Florian Weber is particularly busy at the moment, I think as funding gets tighter, a duo is suddenly much more appealing to a promoter than a quartet! And we constantly change our performances and the pieces depending on how we feel. It is incredibly liberating to be able to follow your emotions and state of mind instantlyin a performance.
As an interpreter,preparing a concerto is completely different as you have to train yourself to replicate a state of mind that is particularly suitable to that repertoire. The mental preparation is often the biggest challenge with that. With improvised music, I can just follow my own intuition, emotion and energy levels. “Go with the flow” as you say in English, and ride on the wave of your energy. It is more natural in a way.
Markus Stockhausen in Starnberg, 2016. Photo: Thomas J. Krebs
JH: You talk and teach on the subjects of the emotional, mental and spiritualpreparations towards performance and music making. Do you think that this is an aspect that can be ignored with a lot of ‘traditional’ trumpet teaching?
MS: No, they are as important for traditional performance also. Yet, I would say that it is very personal. From a young age, I was interested in finding better ways for controlling my body, controlling my breathing, and found that yoga was very helpful. I still do it on a daily basis. When I am travelling I will go for a short run every day and also do some meditation which helps me to stay calm, centre myself, and also to connect to something that is much bigger than we are, I call it ‘The Source’. Everything that we are is a manifestation of something vaster than we can possibly comprehend. And yet every one of us is a representation of that, and if we can make that conscious link to that ‘source’, by reducing our mental activity to an open state, we can have access to a much greater wisdom and energy that we can use in our lives. It brings us forward, it inspires us, it gives us ideas, and also good health. It is nothing strange or foreign, it is our deeper nature. Just open up to it.
JH: Would you say that this outlook changes the way that you approach playing and practicing the trumpet?
MS: I just try to listen to my body when I practice, to see what it needs. There is still some ambition there to cover the full range and to play strongly. I usually do some flapping of the lips and a short mouthpiece warm-up to promote blood circulation. I then activate my breathing as I learnt under Carmine Caruso. I have a pdf available to download on my website of my version of some of these exercises, that I find really helpful, I call them “The Basic Caruso”. Then I proceed with gently soft low register exercises for a few minutes before I start to play whatever I want to.
Coming back to Caruso, I studied twice with him having been recommended to him by Marvin Stamm. I was initially irritated that he was not a trumpeter, and there was a sterile system of how to practice… but then I understood, and it opened up something in me and made me understand that activating your breathing is the MOST important thing. I added a little bit myself, where you exhale completely before inhaling. You are then full of breath which gives you much more energy, even to approach simple things. Teaching your body to work in this way takes a lot of the problems away from the lip.
Another thing is that when you play a difficult passage, of course there is tension in the body. The important thing is that once you no longer need the tension, you should release it and move past it. I learnt this from yoga. The balance between contraction and relaxation is key. We have this in trumpet playing all of the time.
Another piece of advice that I would like to offer is not to overdo the practice. Stop as you are beginning to feel tired, do not push on through. I made this mistake too many times in my youth, it is much better to play in smaller units and then take a break. I tend to do 2 or 3 sessions each day, around 40-45 minutes each time. I try to make sure that I really challenge myself in that time, but then take the time to relax afterwards. A lot of my practice involves improvisation, so I like to sometimes use a metronome to train my timing, as well as varying the spaces in which I play – sometimes a dry room, sometimes a big resonant space. It can feel physically very different playing in different rooms as you need to breathe much more deeply in a bigger space in order to fill it. The whole body vibrates differently, as well as your instrument of course. Sometimes I will also change my equipment depending on the space too.
JH: Do you tend to stick to a fairly set routine when practicing, or does it change a lot depending on what projects you are working on?
MS: It is pretty fluid really. The warm up is only 10 to 15 minutes and then I practice whatever I need to be working on, whether it be improvisation, pieces with my small groups, or something else. Usually there is a lot of organisational work to do along with lots of travelling so my practice time is limited. I have to really focus on what is coming up next and make the best possible use of my available practice time. My equipment changes depending on whether or not I will be miked up or not, so that also affects my practice.
Festival Time in Jazz, August 2017 in Ozieri, Sardegna, Italy. Photo: Gerhard Richter
JH: And what equipment are you using mostly?
MS: I mostly play Bb trumpet, Flugelhorns and Piccolo. These are the instruments that I generally travel with. I have a tuning bell, large bore Bach with a lightweight 72 bell. This is my oldest instrument and is the one that I fill has ‘my sound’. I also recently bought a Bach 43B (Mariachi) with a bronze bell. I love the sound of it and I am gradually getting used to having a bit more resistance. I also have an Olds Recording that has been customised, a Callichio with a Bach bell, a Schilke X3 with a beryllium bell and several others! Sometimes I don’t really feel like playing a particular trumpet on one day, so I will change things around and pick something else. On longer tours of course, I have to decide on an instrument to take with me. When I am going to a concert by car, sometimes I may take several instruments with me including perhaps 2 different flugelhorns – I have a very nice Van Laar flugelhorn which is quite heavy – great sound, great projection, but can get tiring playing for long performances. I also have a much lighter instrument, an Adams with a very light copper bell that was made for me by a local maker, Gaertner und Thul. It allows me to play very evenly and in tune in the whole register and does not tire me. I took off all excess weight including the triggers and the regular water-keysto make it as light as possible. At least with the flugelhorn, you can still get the water out quickly and easily by twisting and tipping the instrument. I am quite extreme in the way that I adjust and customise my instruments! My research on flugelhorns lasts about 4 years now …
I also am particular with mouthpieces. I have a wide variety of different styles, cup depths, apertures… but all with the same rim from JBS. These rims were unfortunately discontinued so I made sure that I bought a lot of them! I combine the rims and cups with different Warburton backbores. The difference a small adjustment to throat or backbore can make to the whole response and intonation of your instrument is phenomenal, and I like to experiment until it is as good as it can be.
I must say that in the last 20 years or so, the quality of mouthpiece manufacture around the world has drastically improved and there are so many makers that can produce consistent products. Even the Bach mouthpieces tend to be very consistent now! Thanks to the new digital technology.
Young players now have such an advantage having access to fantastic craftsmanship with instruments and mouthpieces. The only question is making sure that you have opportunities to try them.
JH: Would you say that things have changed in the past 20 or 30 years to make it even more important for students to be developing versatility in their playing and being open to trying lots of musical styles?
MS: The possibilities are there more than before, and maybe also the necessity to be a versatile player. I you go down the route of being a freelance player, I think that versatility is an absolute ‘must’. From early on I would encourage students to be good readers, to have orchestral experience, to have big band experience, and also some small group experience including improvisation.
But this is one answer only… The alternative answer to this question is, in the end you must realise yourself. Find out whatyou love, who you really are, and try to find situations which match your satisfaction and musical desires and instincts. Or else, you might be unhappy. In the end, we live our lives for ourselves, not for the money, not for anyone else. Through music we have incredible opportunities to express ourselves. It is worth saying that not many of us know at a young age exactly what we want to do, so perhaps a combination of both of these answers is the correct approach, try out many things and distillate your taste, style, abilities and thus find yourself.
JH: What are your plans looking ahead?
MS: Right now, I want to concentrate on the projects that I currently have going on, including my duo with Florian Weber called ‘Inside Out’, our CD ‘Alba’ on ECM has been doing really well. I have a new recording coming out in July with an ensemble that I have got going again called ‘Eternal Voyage’, on Sony Records. There are a lot more ‘world music’ elements in this and it is a bringing together of East and West. I like the name and concept of ‘one world music’ as a way of describing this group, but it is sometimes difficult to get engagements for this ensemble, because we are many players. I also have a new improvising group that includes my brother Simon again – we hadn’t worked together for about 15 years. The project is called Wild Life and we have just had a beautiful festival appearance, which has been filmed for the prestigious arte tv.
The ‘Moving Sounds’ duo with my wife Tara Bouman on clarinets also has some concerts coming up later in the year. We perform together since 2002 and have steadily developed our playing. It is maybe the most spiritual music of all my projects. My quartet ‘Quadrivium’ had a CD release with Sony last August that has been successful. Because of this recording I am nominated for the German ‘Echo Jazz Prize’. We will promote this group still further. We have to put a lot of energy into developing these projects, but I am pleased that we are getting a lot back now as a result of the hard work.
I am also continuing my seminars which give me occasional moments of rest from the touring and concerts. This is almost a second life in parallel with everything else, where everyone can come and participate. We do introspection, singing, voice improvisation and silence – this has the purpose of relaxing and finding your own centre in a more spiritual environment. I find that music is such a perfect means to dive into silence and meditation and expand yourself and relax. I found some beautiful places where I can run these seminars throughout the year and for me it is a really good mix.
MS: We are in a world with more possibilities than ever before, of course also with more competition. Have trust in yourself, don’t compare yourself in a judging way, follow your inner vocation, and if you pursue you ambitions, they willmaterialise. Follow your inner conviction and your desires, and in the long run you will succeed. And above all: enjoy your life. It is the only thing you have, and you will only ever live NOW.
JH: Thank you for your time Markus, and I am looking forward to hearing you perform at the ITG Conference in San Antonio, TX in May!
D.H. Lawrence writes: “Never set a child afloat on the flat sea of life with only one sail to catch the wind.” The same could easily be said about trumpet students and the importance of developing versatility in not only their playing but also their outlook on life.
To discuss how we achieve this, I have been fortunate to have the thoughts and experience of 2 fantastic trumpet players who have both made careers out of crossing musical boundaries, genres and pigeon holes.
Mike Lovatt is primarily a commercial player (John Wilson Orchestra, BBC Big Band and session and show extraordinaire) although classically trained, who is often asked to guest on principal trumpet with the major orchestras. www.mikelovatt.co.uk
Shaun Hooke is a classically trained player, now Principal Trumpet with the RTE Concert Orchestra in Dublin and regularly also plays lead trumpet with the RTE Big Band. www.dublintrumpetacademy.com
They both have some fascinating insights into approaching very similar problems and challenges, but from different perspectives.
Can you tell us a little about your background as a player, and what you got you into the trumpet in the first place?
Mike: I was born into a musical family. My Dad was head of music at a secondary school and my Mum was a fine amateur singer with the local choral society. Early in his career my Dad began to collect instruments and taught himself to play them. There were no peripatetic teachers in those days and he wanted to be able to teach well enough to form a youth orchestra within the school. By the time he retired he was conducting an orchestra of about 70 children! The trumpet was one of the many instruments lying around the house. I really wanted to play the trombone but at the age of eight my arms weren’t long enough.
Around that age on a shopping trip to the local supermarket, I was drawn to the record carousel and saw a record with a picture of a trumpet player on the front. It was Eddie Calvert ‘The Man with the Golden Trumpet’ I immediately asked if I could have it and after listening to the album I tried to play along with it using an old Selmer. I was hooked! Trumpet playing was all I wanted to do.
I began to play in my Dad’s youth orchestra and eventually the Staffordshire youth orchestra. I really wanted to be a professional and every day I would rush from school to try to play along to all sorts of records. I would pretend I was doing a concert with the Syd Lawrence Orchestra or that I was Maurice Murphy with the London Symphony Orchestra or a member of the PJBE, or the great Kenny Baker. This developed my ear not only for pitch but also for sound, style, articulation, placement of time and phrasing.
Disaster struck when aged 14; I was involved in a serious cycling accident. I lacerated my top lip and lost several front teeth. I thought my playing days were over. Thanks to the skills of the plastic surgeons of the North Staffs hospital I healed and began to try to play again. At first it was terrible, I could not produce a sound. Eventually I got it working again enough to do my grade 8 and I then auditioned for the music colleges. The range I previously had didn’t come back however and it wasn’t until I discovered the Maggio system some 10 years later that finally my chops came together.
I was fortunate to study at Trinity College of Music in the 80’s. My teacher was Norman Burgess, formally principal trumpet of the BBC concert orchestra, and later co-principal in the BBC Symphony. He taught me to be as versatile as possible with a view to being employable in the future. He also encouraged me to attend the extra-curricular college big band rehearsals run by the great Bobby Lamb. There were no Jazz courses available at music colleges back then, so I was lucky to be able to learn from these two great musicians who between them had a wealth of experience from all sides of the profession. I quickly realized that whatever style you play, a good solid technique on the instrument is essential. With a strong technical foundation and embouchure, it is possible to cope with the demands of all styles of playing.
Shaun: I grew up in Leicestershire in England. I was enormously lucky to be able to avail of free trumpet lessons provided by our County Music Service. Particularly Don Blakeson, who was taught by David Mason who in turn apparently could trace back teacher to teacher all the way back to Handel’s time! I’m doing the Messiah next week so hopefully something has worn off on me. I was also heavily involved with Enderby Silver Band. I started with them as they reformed in ’77 when I was a nipper and enjoyed many happy years growing up with so many wonderful people to mentor me.
I decided to do Chemistry at Oxford University rather than going on to music college, but I had the trumpet bug and after completing a doctorate I knew I wanted to at least give pro trumpet playing a go. Jon Holland and Wes Warren at the CBSO taught me orchestral skills and still now I put myself back in their presence the moment before I play something. What did Jon say to do here? What was Wes’s trick for this?…
Quite quickly I was appointed to Principal Trumpet in the RTE Concert Orchestra but to this day I’m still thinking about how these guys coached me and I’m passing it on to my own students.
Your job involves you constantly switching styles – do you have a regular practise routine that encompasses everything, and what are the most important things to concentrate on?
Mike: I believe production is key across all types of trumpet playing. In commercial music, big bands and some Jazz playing the style requires a more defined articulation and sometimes brightness and sizzle in the sound. I always maintain that under that brightness there should be a full broad tone across the entire register. High notes are expected in lead trumpet playing and some areas of commercial music and so should be developed. However, they must never be the be all and end all at the expense of a good sound and considered playing. Super C is almost normal range these days but it’s important to have a full rich centered sound. You should always use your ears and listen to all types of music… try playing along with the music you listen to and copy it. You could also record yourself playing different styles and listen back and compare. For a particular style to come across to the listener, it needs to be exaggerated.
Shaun: I don’t really have a set practice routine. As a full time performer, I think it’s important to have some time away from the trumpet. I try to have one day a week where I’m neither playing or studying repertoire to help clear the head and relax the muscles. My emphasis on preparation is looking after the basics. Generally, I always have plenty of strength, stamina and range because I’m working pretty constantly. There are skills however that might not be required week in week out, and these are the ones that I’m careful to maintain at home. Flexibilities and double and triple tonguing can get rusty pretty quickly if you don’t end up being asked to produce them, particularly valve/tongue coordination so these are the things I always make sure stay sharp. The other golden rule is “practice what you’re NOT doing currently.” If I’ve been doing lead big band charts at work I try to make sure I play something at home on my regular orchestral mouthpiece and something on the piccolo trumpet – choose something for my own pleasure rather than something coming up in the schedule. Vice versa, I always try to do 15-20 minutes on my lead mouthpiece, 2-3 days before I start a project that is going to need that. Other than that, I try to listen to recordings of stuff I have coming up. Not really to familiarise or learn repertoire but more to guard from getting “stuck in your ways”.
It’s nice to be inspired by others and try to do repertoire differently the next time it comes around. I listen to lots of players from the 20s,30s and 40s and try to emulate their styles. There are lots of transcriptions of their solos and I like to collect the original recordings.
Do you have a basic instrument and mouthpiece setup that covers most things, or is it very different depending on what the schedule brings?
Mike: My basic trumpet and mouthpiece set up is the same for most of the works I perform. I play my own signature model Mike Lovatt Smith-Watkins Bb Trumpet exclusively. It is a 460 bore. The bell is similar in size to a Bach 37 except that is a heavy weight. I have two gold plated instruments and one that is silver-plated. I use my own range of signature mouthpieces of which there are three models: Studio, Lead and Classical.
The majority of my playing is done on the Studio mouthpiece. On this set up I play first Trumpet in the John Wilson Orchestra, perform lead on the West End show 42nd Street and the BBC big band, and when on first trumpet in Studio sessions. Mouthpieces are very personal and what works for me may not work for someone else. Lip formation and lip thickness determine what might work and feel comfortable to the individual. My mouthpieces are perfect for the various styles required of me. It seems other players like their ability to be used in different settings. When playing in the high register, I find the Lead with its large back bore, medium shallow cup and the comfy 5ish Bach diameter rim enables me to produce a bright sound I need, and stamina is helped by the resistance being transferred to the trumpet through the large back bore. I use my classical piece (more or less a Bach 3C) for studio sessions sitting down the line, my practice and occasionally on first trumpet if I require a broader darker sound.
My instruments have different qualities because of the plating. The silver ML Smith Watkins trumpet enables me to produce a cutting bright sound not only useful in Lead but also certain styles of orchestral music too. I don’t change lead pipes for different styles of playing. I could if I wanted, as the trumpet features an interchangeable leadpipe system. However, I like to keep the feel (resistance) of the instrument the same regardless of the genre of the music I am playing to help me with my production and familiarity in supporting the notes and sound. I use the ML designed pipe that comes with the trumpet as it balances perfectly with the 37-size bell and the bore size of the instrument. The most important thing here is sound quality whether it is classical, jazz, lead in a big band, pop horn section or solo.
Shaun: To be honest, kit is everything in my job. We try of course to perform in the correct style, but the range of sounds and timbres required is so varied that it really means you need some different equipment to achieve that. At the beginning of my career I did that mostly by playing on my beloved Bach (then later Yamaha) B-flat and using quite a variety of mouthpieces. It had a degree of success, but it is hard work on the embouchure, chopping and changing rims, cup depths, throats, backbores etc… and I certainly felt that my tuning and accuracy suffered.
For the past number of years I have had a different approach. My responsibilities at RTE were putting more emphasis on my role as lead trumpet in the RTE Big Band and I felt I needed a dedicated lead instrument. I tried great gear from Shires, Smith-Watkins and Schilke but I fell in love with B&S’s JBX trumpet. When I’d decided to buy this, the store asked if I’d like to try the B&S Challenger II trumpet (their standard classical model). Well I loved it. So now I have two B flat trumpets, one for classical work and one for light repertoire. The huge advantage for me is that the reverse leadpipe is almost the same on both, the bore is the same, the bell profile is the same, so the tuning slots and the way it “blows” feels entirely similar, making it so easy to switch back and forth.
But the JBX bell is lightweight and has a French bead giving it a really exciting live fizzing sound. Whilst the Challenger II bell (a 43) is much more solid and rounded sound much like the Bachs I’d been playing for the previous 30 years. Since then I have B&S C and E-flat trumpets both light and heavyweight bells. As to mouthpieces I use a Bach 1 1/4c on both of my B-flats for orchestral (Challenger II) and “Show” work (JBX). For lead work I use a Marcinkiewitz 3/3C. I turned up at work once without my old lead mouthpiece and was loaned this by my excellent co-principal Eoin Daly – I liked it so much I bought 2 so I could keep one at home and one at work and therefore wouldn’t be caught out again. I have a Schilke piccolo that I use for recording work but have recently just bought a Scherzer rotary valve piccolo for baroque and orchestral repertoire. Again, it’s all about making the right sound. I use a Marcinkievitz 7s mouthpiece on the piccolo. I found one in 1989 in an “odds and sods” box at a band competition thinking it would be a good “screamer” mouthpiece but it didn’t work for that. It got me through a tour of Brandenburg 2 though so I’ve stuck with it.
How has the versatility that you require affected the way that you approach teaching? Do you recommend that advancing students work on a wide variety of playing styles or concentrate on fundamentals?
Mike: The versatility that I have developed over the years is something I try to pass on to my students. I encourage listening to all types of music. This is essential for stylistic development. Occasionally this is done in lessons but I encourage listening to be done on a regular basis to keep ones ear in tune with different styles. A couple of years ago I gave a trumpet class at a major conservatoire in London and when I asked if anyone had listened to any music recordings or attended concerts recently, not one of the 12 classical trumpet students had. One of them admitted to listening to Bruno Mars three days previously!
I teach fundamental trumpet techniques. First and foremost, I make sure the student has a solid embouchure formation and can make a good basic sound. I’m a stickler for note production and articulation so there are exercises based around those techniques using Arban and Schlossberg. I use Caruso, Stamp, Maggio and my own ideas to develop the embouchure. I try to instill playing with reverence for the music. Long notes are important to develop resonance and to find the ‘soul’ of the note and the core of ones playing. When you have control of the sound, this can be adapted and applied to whatever style you are playing. I teach different vibrato techniques and ways to help note projection whether at the back of an orchestra, in a west end pit or in a studio microphone technique to record well.
Shaun: The music business is hard and getting harder. I always encourage my students to be flexible even if you’re pretty sure that you will be going in one particular direction. Make sure you have the skills to be able to say ‘yes’ to the next call and go in and do a good job. It is a wonderful way to earn a living but at the outset, you need to be out there making contacts and proving your professional credentials. One of my colleagues in the RTE CO was a regular in a German Beer band to put money on the table while he was trying to break into the orchestral scene. Work hard but don’t be over focused is my advice.
What is easier, a classically trained player playing light music or a commercial player playing in a classical orchestra section?
Mike: As someone who has dipped my toe into both sides of the profession, I am inclined to say that both styles are as difficult as the other to play convincingly. You need to apply yourself honestly to the style and exaggerate it enough to come across to the listener. I have always had the view that trumpet playing is trumpet playing and that the most important quality to have is solid musicianship built from listening. Always listen carefully to your sound and the music going on around you. If you’re playing third trumpet in a classical section on a film soundtrack recording, you then respect that and whoever is on first trumpet. Try to blend with them and above all support the sound style they are playing. The same goes for an orchestral player playing big band repertoire on a symphonic pops date. I have played with orchestras from San Francisco Symphony, the Concertgebouw Amsterdam, CBSO, BBC Symphony, LSO, LPO, Philharmonia, BBC Scottish, BBC Philharmonic, RTE Concert, Gothenburg Symphony, BBC Concert and many more. On many of these occasions my role is to help shape and lead classical players into becoming commercial big band section players in a three-hour rehearsal followed by a concert. Some seem more capable of giving up to the music and using their ears more than others. If they have a solid technique and command of their instrument, then they are more able to adapt successfully.
To quote John Wilson “anyone who can play good lead trumpet in a dance band can play first trumpet in a symphony orchestra”.
I think it can be difficult for ‘classical’ players to get used to playing swing quavers, combined with the way in which articulation changes in commercial playing. I always try to help by singing the phrasing to them and making them feel confident they can do it. It’s also important to tell the players to articulate and play the shorts and longs accurately.
Shaun: I think that it is not always right to pigeon hole people like that, but there are people who specialise of course. I remember taking the chance to have Tony Fisher come over to cover a James Bond concert for me when my wife was about to pop with our first child. Of course, I waxed lyrical to our management – he was interviewed for RTE radio about the very first Bond sessions including of course the original theme track – it was a brilliant week. Then the baby was born, and I was gone for a few weeks and they asked him to come and do a week of Mendelsohn… he gracefully declined – although it would have been interesting I expect!
I come from a classical background, trained over the years and “on the job” to do light repertoire, and I have local guys here that slot in well in the RTECO and RTE Big Band, but similarly we have guys who mostly do commercial work who are fine sitting down the line on orchestral repertoire. We have lots of mixed programmes where this is required. All the “classical” guys have plenty of “light” experience and the commercial guys are for the most part classical trained so have orchestral skills and can TRANSPOSE. That is the key!
What challenges and projects have you got coming up?
Mike: I’m so happy I’ve managed to carry on doing many varied projects, gigs and recordings with orchestras, bands, groups and big bands all over the world. My future projects include my first solo album with the amazing Fodens Brass Band, directing the Stockholm Radio Symphony Brass in a concert of Billy May’s Big Fat Brass music, big band lead trumpet sessions for Gary Barlow, UK jazz festivals this summer with the Skelton Skinner all-stars, concerts with the John Wilson Orchestra, concerts and broadcasts on lead trumpet with the BBC Big Band, continuing on lead trumpet for 42nd street and as guest first trumpet for the Symphony in Antwerp. I am fortunate to be looking forward to such a stylistically varied schedule.
Shaun: A few highlights of upcoming stuff are: The Classical Series at the National Concert Hall featuring Mozart, Mendelssohn and Beethoven; studio work with Irish singer/songwriters for rock station RTE2FM; Giselle with visiting English National Ballet, Bartok’s Bluebeard’s Castle with the Irish National Opera. Up to our summer holidays we are also doing 4 sell-out shows at the Donnybrook Dublin Rugby Stadium and The Marquee in Cork with RTE2FM of 90s dance anthems! Hopefully we will tour this show in Australia in the autumn.
Johnny Thirkell is one of the most recorded trumpet players still working today. Through the 80s and 90s, as well as being a member of Level 42, Swing Out Sister and Jamiroquai, he has also worked with George Michael, Bruno Mars, Phil Collins, Pet Shop Boys, Kylie Minogue, Eric Clapton, Buddy Rich, The Who and Tina Turner. He has performed on over 6000 recordings including 23 No.1 records – most recently the Bruno Mars/Mark Ronson smash, “Uptown Funk”. The list goes on and on!!
For 10 years, John had a self-imposed break from the trumpet to concentrate on his various businesses in music and technology, but he is now back playing again and very graciously agreed to meet me in a my local pub to discuss his career…so far!
JH: What got you interested in the trumpet to start off with?
JT: Well an old friend of mine from school in the North-East of England made me want to start. Ken Brown, now 2nd trumpet with the Hallé Orchestra was a boy-wonder cornet player at school and I saw the kudos that this got him at school. This piqued my interest, and then when I found out that band practise was the same time as 2nd period maths, I thought “I’m in, where do I sign?”. I loved it immediately, and there was nothing that I wanted to do more from that point onwards.
JH: And apart from Ken, where there any other particular musical influences or inspirations?
JT: My father took me to see the Syd Lawrence Orchestra at the Billingham Forum. Freddy Staff stood up and played ‘Manhattan’ and this blew my mind. The next big damascene moment was hearing Tower of Power for the first time! “THAT is what I want to do!”. This is probably what guided me towards the pop music scene. And then, before long I came across the playing of Jerry Hey. He is an incredibly nice guy, but his trumpet playing was sublime, and his arrangements are incredible. This is the pinnacle of the craft! Jerry was very much the inspiration for the ‘Phantom Horns’. We could never dream of coming close, but you always want to try!
I have worked with Lisa Stansfield on and off for 25 years and on our most recent album and the previous one, Jerry did half of the horn section stuff in LA, and I did the other half in Rochdale! Trust me, when you listen to the album, you can tell who is who! For me that is such a thrill. This guy has been my idol all through my career. They say “never meet your heroes” but it was amazing having lessons with him.
JH: So, talking about horn sections, when you set up ‘Phantom Horns’ was there a particular identity or sound that you wanted?
JT: No. Really, we wanted to be able to adapt to whatever the artists and producers wanted. Flexibility and versatility were absolutely key. Our job as a horn section is to blend and provide what fits with the particular artist. I have recently been going through a load of old recording and video clips, and I was struck how we sounded incredibly different from project to project. I think that if a band booked the Tower of Power horns they would be wanting and expecting that particular sound. Our job was to fit in!
JH: I really like the incredible stat about your chart appearances. Can you tell me about that!?
JT: Yes, I was on at least one album in the UK charts without a break for 13 years and 4 months. This was with dozens of different acts through that period. At one stage there were 11 albums in the top-50 that I was playing on at the same time! I think that this is not symptomatic of being earth-shatteringly brilliant, more that I always had a business mind. I would approach my work as business, and on keeping good working relationships with people and always treating the artists and their music with respect. If a parent came up to you with their baby, you wouldn’t tell them that it was ugly! It is the same with musicians and their music. You have to treat people well and remember how important it is to them. You also have to remember that once your name is on an album, it is there forever! If I was not happy with the way that I had played on a particular take, I would sabotage it to make sure that nobody would ever hear it. It didn’t make me popular with other musicians on some occasions, but it is important that you take pride in everything that you do. If you don’t, it will come back to haunt you.
JH: Through busy patches and big tours, how do you keep on top of your playing and technique?
JT: I certainly have a strict-ish 20 minute warm-up routine that I do when I am busy. I will vary it though. I had this idea a few years ago, coming back to playing again, that it would be a great idea for a book to talk to all the great players about their practise routines. I sat with lots of great players – Craig Wild, Andy Greenwood, Simon Gardner, Wayne Bergeron, Malcolm McNab, Gary Grant, Jerry Hey… and discovered that hardly any of them seem to have one. There’s the book out of the window!
I love to be organised with my practise and use various apps to keep track of what I have been doing. I suspect that I am rather OCD with it all, but it works!
I had some lessons actually with Gary Grant, Jerry Hey and Malcolm McNab. I love to go and talk to these guys, you can learn so much from them. I have been a massive Jerry Hey fan since I was around 18. He is so gracious and we spent a whole day at his house just talking about the trumpet.
JH: Does that leave you with a feeling of worry or anxiety if you haven’t been able to do your daily routine, like if you have just got off a flight or something?
JT: Yes I think sometimes it does. I also have an emergency short routine too, that I can do in the car that mainly involves buzzing. Jerry Hey would always do lots of practise including long warm-up/set-up before work. I asked what he does if he is on in LA at 9am in the morning. He answered very matter-of-factly that he would just get up at 4am so that he has time to do it and then travel in to the city!
JH: So here is the geek question… Equipment?
I’ve played on the same trumpet throughout my entire career. It is a 1962 Doc Severinsen Getzen Eterna, and I find that it just does everything that I need it to. It started out silver plated, I painted it white for a while during the Phantom Horns period, and it has now been beautifully replated like new. I am also playing on the same Marcinciewicz mouthpiece that I have had for years. I also use a Getzen Eterna Flugelhorn which I bought from Giardinelli’s in 1979. I absolutely love it and everyone comments what a big warm sound it has. I would not swap it for anything!
I must be any music shop’s worst customer! I think that given a bit of time, you end up sounding like yourself on any instrument setup. Some will obviously make it easier, but I have always felt comfortable on what I have so have had no reason to change.
JH: Would you say that the music industry has changed a lot over the years?
JT: Certainly. Some avenues for work have changed and dried up but there are also huge opportunities that have been created by the internet. Even I am able to build my own website, and I’m an idiot when it comes to that! If I can do it, there is hope for us all. I may have run a software company, but I got clever people to do all of that! I think that young people coming into the industry need to be exploring those avenues for promoting yourself and generating additional income streams. We have to be much more self-starting, the world has become much more democratised. In music there are all these outlets, and the long-term winners are the ones that really take advantage of this. Blockchain technology in the distribution of music is also going to keep changing the way that we all work, allowing us to track every digital file that we create.
Some younger UK players are really building a great reputation for themselves. Louis Dowdeswell for example – loads of the top guys in the US like Wayne Bergeron are talking about him. I love the idea of young people just making it happen. What’s really interesting is when I was a young player, all the ‘old-school’ trumpeters would tell us that they would hate to be starting out on a career then as there wasn’t enough work around. It didn’t deter us, and here I am, still playing the trumpet all these years later! So that is the lesson that I would pass on to these younger players. Forget what those ‘old farts’ said! The nature of the beast changes – there was a period of around 10 years where I was surviving entirely on studio work, but then you get a show or whatever, but it has started to get a little more fragmented now. The ‘playing’ industry is certainly different to how it was, but I do not think that it is necessarily worse. The smart ones are the ones that get with the program and make a career for themselves. What these young guys like Louis and Tom Walsh are doing is fantastic. They are really making use of all of their talents.
The key is to embrace a portfolio of careers, whether it be playing, teaching, writing, producing, and to put your heart and soul into it and make it the best that it can be. Embracing the changes and the new technology is key and makes for a much more interesting way to earn a living.
JH: There is a big emphasis on ‘identity’ isn’t there? And I think that if you embrace the fact that being a trumpet player today is so much more than just being a trumpet player, you are going to be a lot happier! And a lot of these younger guys are really going for it.
JT: Absolutely, and in my day, we were very much compartmentalised to an even greater extent. You were either a studio player, or a show player, or a function band player or whatever. That started to break down as there became less studio work and less work generally. I never forget hearing for the first time that a guy like Derek Watkins would take on a show – we were amazed that he would do that. We never thought of him as a ‘show player’ but looking back, that was ridiculous. Why on earth wouldn’t he? It is great work, and he was a great player.
Things are certainly more fragmented now in the music industry, but as I said the key is to embrace it instead of bemoaning it. It is like when the drum machines were first introduced. It showed up that there were 2 kinds of drummer – those that complained that the drum machine was taking some of their work, and those that went out and bought one! Who better to programme a drum machine than a drummer? And for me, that sums up the differences.
JH: So we have talked about compartmentalising and pigeon-holing players. What ‘slot’ would you have put yourself in 20 years ago?
JT: Pop. Almost exclusively pop music studio work. I would tour sometimes. There were 3 bands over the years that I had a spell in: Swing Out Sister, I did about 4 or 5 years. I was with Level 42 for 8 years, then after that, Jamiroquai. Now those bands only toured for part of the year so a lot of the rest of the time was studio work. Myself and sax-player Gary Barnacle set up a horn section called ‘Phantom Horns’ which we branded and treated like a business. For 15 years, I would say that I was exclusively pop music.
JH: And if you had to give yourself a job title now, and ‘pigeon-hole’ yourself, what would you say? I am guessing that it is probably a little more complicated!
JT: My wife describes me as a retired business man, but I am not so sure that I like that particular moniker! I am enjoying being a trumpet player again and feel that I am playing better than ever. For the first time ever, I have TIME to practise, and I am loving it! I had many years as a full-on professional musician, then 10 years as a full-on business person building up and running a number of businesses – throughout all of that though, inside I still feel like a trumpet player, and dress like one too!
I like to be stimulated and love being on the board for various things like the Music City Foundation in Sheffield, and also being involved with numerous projects involving music, education and technology. It keeps me busy and interested. Underneath it all though, there is no hiding from the fact that I am a ‘trumpet player’!
JH: So, here’s a strange thing: Reading your discography I see that you are listed as playing flute on a Kylie Minogue track. Surely that is a mistake?
JT: That is not a typo! Steve Anderson was the producer on that track and booked me on trumpet. We were at Olympic studios in London, I was the last instrument to go on and they needed rough mixes by that night. Steve was struggling to find good flute samples in a hurry so I said, “If it is not too difficult, I’ve got my daughter’s flute in the car!”. I went and got it and played one bar of flute, for no extra money I might add!
JH: Any other projects on the go at the moment?
JT: I am starting the next Lisa Stansfield tour in April 2018 for a couple of months, I then will be working with Marti Pellow for a month after that. I have also just finished doing some arrangements for a great new young artist. Hopefully I can say more soon!
JH: What advice would you give to a young JT?!
JT: Treat your career like a business and don’t worry about what other people think!
Freddie Gavita is a young trumpet player at the top of his game. The trumpet category winner at the 2017 British Jazz Awards is receiving critical acclaim for his debut album ‘Transient’ as well universal admiration for his stunning playing with the Ronnie Scott’s Club Quintet alongside many other projects.
I have caught up with him here to find out a little more about him, and also his new role as an Adams Performing Artist and his work with Adams and Fultone Brass to settle on a new Adams A4 Bb Trumpet. I have also had the opportunity to get hold of a couple of different A4 models from Fultone Brass to include a review of this trumpet range below.
Freddie, can you tell me a little about your musical background and what led you to play the trumpet? Any particular influences?
So I was brought up in Norwich, and started learning the trumpet in primary school aged 7. Back then you got free lessons and a free instrument, and I was lucky to have a teacher in David Amis who had a great knowledge of the physical side of brass playing, a deep love of all styles of jazz (even free!) and was an excellent communicator. I would put a large part of my career down to him, he was my only teacher from 7 – 18 years old. My mum was quite proactive as well, so she bought me a Louis Armstrong cassette which I really took to, and still love his music. My dad was the one that encouraged me to practice until I actually started enjoying practicing!
What trumpet and mouthpieces do you use?
I play a Monette B6 mouthpiece that I bought from eBay when I was 17, and an Adams A4 Custom Series ML with Gold Brass bell.
How did you find the process selecting your new horn? Can you describe the process?
So I was lucky enough to go on the Blue Note Cruise from Miami with the Ronnie Scott’s Quintet and Natalie Williams, and there were about 40 of the greatest jazz musicians on the planet on this boat! I met a great trumpeter called Keyon Harrold who works with Gregory Porter and has just released a brilliant new album of his own, he was playing an A4. As soon as I tried one I knew I wanted to delve deeper as I’d been looking for something like this for years. For me it’s about excitement, which might be dangerous, but I want to feel inspired when I pick up a trumpet and the Adams does this for me! I tried a few other models (A4 LT, A8 etc) with Neil Fulton at Fultone Brass, play testing the horns in the BBC Maida Vale studios! He had a good listen up close and far off, we recorded a few bits so I could hear what it’s like from the other side and then took it away to try it on some gigs, which is the main test any horn has to pass!
I have obviously played a lot of other people’s instruments on gigs, but this had the characteristics I’d always wanted. I can play acoustic gigs with a rhythm section and still not feel like I’m having to over blow to be heard, the slots are wide so you can bend notes and get sounds and tones from the trumpet that you never knew existed. It plays beautifully at a whisper and you can get a big, thick sound from it when you open it up. The valves are amazing as well!
Your album ‘Transient’ has had a great reception from critics and musicians alike. Was it a difficult process getting this album together?
Thanks! It was difficult in one sense, that I’ve not done it all myself before. It does mean you have more control over what happens, who you use and where you record etc, the music was the least of my worries in a way! I also crowdfunded the album, which was very encouraging; not having to worry too much about the financial side of it does help you relax a little and think about the playing side of things more. We recorded 13 tracks in one day (10 made it onto the record) which for a trumpeter is probably a little silly, I’m happy with the results but I’d definitely do two days next time.
How do you find striking that balance between working on and progressing your own projects, and working with other bands and artists?
I think you have to be strong in your practice more than anything. Fortunately, I’m not much of a lead player, so I can focus on more jazz orientated practice which keeps me in good enough shape to play most of the gigs I do without being too knackered! I should probably do more reading practice as that’s one thing that I feel I’ve neglected a little over the last few years, but I’m ok! Having your own band and project gives you a stronger sense of the way you want to play and sound, so I guess when I have to sound like other trumpet players for different situations I’m trying to access a place where it’s still me, but bringing out their influence in my playing. I’d love to do more with my band, as its where I feel happiest and most at home, but it’s hard getting promoters to take you on playing original music sometimes.
Any top tips or preferred materials for technique preservation etc.?
I try to take at least one day off a week! I’ve fallen in love with the Cichowicz flow studies again recently and I regularly use material from Flexus (Laurie Frink) and Gerard Presencer’s book. I try to practise in my head as much as possible (often singing in my head and moving my fingers), so my mind is ready for the trumpet when I play. Especially when improvising, it really helps to have a clarity of idea in your head before you try to play it on the horn! I always feel the benefit when I get the chance to warm down as well, even if it’s just a few pedal notes. I love the Vizzutti Response and Rejuvenation exercise from New Concepts for this.
Do you have any advice for young aspiring players?
I would encourage any young trumpeters or musicians in general to go out and see as much live music as they can! Whatever style, hearing the best people play gives you such inspiration and a better idea of what you might want to sound like. I fully believe that you make the sound on the instrument that you hear in our mind, and the better the sounds you’ve listened to closely, the better the sound you’ll make!
Mouthpiece Online review of the Adams A4 Trumpet range:
The A4 is one of the most popular in the Adams range. Developed in conjunction with Amik Guerra, it is one of their heavier models with a heavy bronze and nickel silver valve block and a heavy 140mm bell. I had two popular options to try – The first, Adams’ Selected Series with the most popular option of a large bore (12mm) valve section and a 0.45 gauge gold brass bell. The second model is a custom instrument, similar to the standard Selected Series, but with a lighter 0.40 gauge yellow brass bell.
My first impression is that these are fabulously designed and constructed instruments. Nothing has been left to chance, and every curve and nuance in the design is there for a technical purpose… and it looks pretty smart too!
I started by blowing the Selected Series gold brass bell model, which I would describe as a real nice combination of silky and solid. The large bore valve section gives you a lovely open feel through the middle of the horn, which is balanced out well with the responsive leadpipe and the larger bell. The harmonics still slot really naturally, yet you are not held back from creating the richness of sound that players want from this style of heavyweight trumpet.
The custom model with the yellow brass bell gave me a similar feel. You can continue to make that rich, dark sound at softer dynamics, yet you get a little more sizzle to the sound when you open in the higher registers particularly.
Customisable options on this model include ML (11.7mm) or L bore (12mm), 4 different gauges of bell and 4 different bell materials. It is easy to see why this model has become such a popular one in the Adams range as it offers the remarkable feature of versatility alongside the tonal characteristics that one would expect from a heavier instrument.
With a trumpet in his hands, Eric Miyashiro is a force of nature. The powerful sound, blistering range and flamboyant lyrical playing suggest a very different personality to the one that I met! Eric is one of the gentlest, nicest people that I have come across so I was thrilled when he agreed to spend some time doing this interview for Mouthpiece Online…
What drew you to the trumpet as a child?
My dad was a well-known trumpet player in Honolulu, Hawaii, so music and trumpet came naturally. It was like a “toy” for me, I really don’t remember when I started to play!
Who are/were your main musical and trumpeting influences?
Well, there are sooooo many… my dad, Maynard, Bobby Shew, Snooky, Doc, Herseth, Vizzutti, Jerry Hey, Chuck Findley, Freddie, Stahl, Chase, Audino, Clark Terry, Faddis, Wynton… too many to list. I like everybody! I always try to find something in a player that I like, and then learn from them.
As a young pro, one of your first big touring band gigs was with Buddy Rich – What was it like as a young player going into that environment on lead trumpet?
To tell you the truth, I was too green to take that chair, I was not ready… but I think that Buddy saw something in me and he let me grow in to that chair. It was brutally a tough, difficult book to play. Buddy’s energy was so strong that you can’t help but to get caught up in that typhoon of power – it was real tough to try to keep up with him. But it was also the best, and the most fun I had on the road… I would not trade those years for anything!
You have worked with a few manufacturers over the years on custom mouthpiece and horn designs. Can you give us any insights on the design process from a players’ perspective, particularly in relation to your GR mouthpiece and Yamaha trumpet?
Over the years, I was able to meet and work with most of the famous makers. Each company has their own philosophy and systems in designing their products, some of them contradicted the others, but overall the science is the same. Yamaha and GR are at the highest level of product tolerance control in my opinion. To me, the horn and mouthpiece are just tools, it really doesn’t make you sound any different or better then you are capable… depending on how long the “honeymoon” period lasts!
But having a horn that is easy to work with is the key to letting your personal voice come through your playing. I have had about 600 mouthpieces, 47 Bb trumpets, 2 MF Firebirds, 5 flugels, 4 piccolos, 3 melophoniums and a superbone. I have tried all the gadgets known to mankind, and my conclusion is in the end, it’s you and your “voice” in your head that matters. You can change the way you sound by finding a sound that you want and need, that comes from listening, and trying to get a strong image etched in your head. Your priority should be finding equipment that is easy to handle. Only then can you concentrate on the music at hand, rather than fighting the horn, and blaming the horn and mouthpiece for your performances.
Mouthpieces are like your shoe size, bigger is not better! And resistance, from your horn or mouthpiece, is your friend. Learn how to use resistance. Lean against it, and let the resistance help to keep your buzz from opening up too much.
In some recent ‘clinics’ of yours that I attended, you discussed some really interesting approaches to playing high notes! You demonstrated with a leadpipe and some tissue paper that it is not necessarily about airspeed. Can you share some of your thoughts, theories on this? How did you come to start using these techniques?
I always knew from early on that it wasn’t all about the “Air”, “Tongue Arch”, “Pedal Tones” etc. Everything is important, and it’s about balance. We often base our playing on physics with fluid dynamic and acoustic theories. What we do is completely unique. There are very few detailed, and scientifically proven studies done on the physics of brass playing. Any studies are not accurate and reliable because of the player’s physical and personality differences.
The amount and the speed/pressure of the air is a factor that will come into play with the lip tension, tongue position, mouthpiece design, the horn, acoustical condition and the size of the room etc… and on and on… So many factors are involved, but one thing that is certain, is that we “overblow” when things are not working with the chops.
I know this because I am guilty of having done this for most of my life. So, I have been doing my share of studies and experimentation to figure what does and does not work. The bore size, bell size, venturi size, or the gap and drill size on mouthpieces does not necessarily determine the resistance. It is the balance between all of this, plus the most unstable factor, you and your preference.
For you, what are the key factors in keeping on top of your playing when you are travelling?
Sleep, (which is hard to do….) Lots of water, avoiding alcohol, (which is really hard to do)… and keeping your chops in shape by carefully maintaining the buzz centre and the mouthpiece position.
If you could give any advice to a teenage Eric, or suggest that he does things differently, what would you say?
Take lessons!!!! I have never taken a lesson in my life, I am self-taught so I have many bad habits!
LT weight #1 bell with French bead 5” bell, standard weight 2-piece valve section with bronze upper, custom #43 pipe.
This model was a long time in coming. After much experimentation, the #1 bell (so numbered because it is believed to be the first bell design that Vincent Bach drew) was used in lightweight bronze. One of the biggest features is the 2-piece lightweight valve section with a bronze upper, that really adds a lot of brightness to the sound, particularly when you ‘give it one’! The custom #43 leadpipe has a later taper than the standard #25, but opens out quickly through a nice open-feeling tuning slide section. It is available in both ML and L bore.
Lightness of response, dark tone in mid-register and mid to low dynamics, contrasting with real zip and zing for higher register work make this a real Marmite trumpet. For US readers, Marmite is a disgusting, sticky brown product that a vast number of sick people like to spread on their bread – it is not possible to be indifferent to it, you love it or you hate it!
For the record, I really enjoyed playing this horn. I have spoken to some players who have described this model as like playing on a Yamaha LA only without the good intonation! I do not agree. The LT1901B is an individual instrument with some wonderful characteristics that I have not found in other horns.
Bronze 5” #43 bell with flat bell wire, lightweight 2-piece valve block with nickel upper, LR25 pipe
This custom model for the incredible Jose Hernandez was Bach’s first real success in putting an instrument together for the more commercially minded. Great jazz and commercial players over the years have played and loved their Strads, but there had never been an option for that natural brightness in an instrument.
What I like about this model is it still feels like a Bach. This may sound like a stupid point to make, but it has that natural bite and depth to the attack that makes Bach trumpets different. For a primarily legit player like myself, it feels very comfortable with a natural soft and dark sound, but then opens up as you go through the gears. In the right hands, this trumpet sounds spectacular! My colleagues in the UK and many around the world will already be familiar with Simon Gardner, who uses this model to great effect for warm jazz as well as spectacular full-bodied lead playing.
Standard weight 1-piece body, LR25 pipe, gold trim, yellow or gold brass bell.
This has been available and popular as a special order for a number of years, especially in the UK. It is basically a reverse leadpipe 180 model, but mounted on a standard rather than a lightweight valve section. This has now been launched for the UK market as a standard model with added gold bling and a price tag to match! It is now just available as special order if you want it to look like a ‘normal’ trumpet!
I was working with Conn-Selmer at the time of its launch in 2015 and had the opportunity to blow on a dozen of these models, mainly 37s but also a couple of 43s. They give a combination of the slightly more open feel of the reverse leadpipe with the solidity of tonal core that you get from a standard leadpipe configuration. I had always been intrigued to try this model as I was always unsure how much genuine difference in feel the reverse leadpipe on a 180 Bach actually made. I always put down the difference in response more to the lighter weight valve section that it was mounted on.
What I found was that this model does actually have its own distinct feel and sound and holds its own within the Bach catalogue. Bach marketing material tells us that it is designed with the brass band heritage and style of many top UK orchestral trumpet players in mind. I am not sure that I completely buy this, but it does certainly give a richer core to the sound. One point to note is that out of the many instruments that I tried, there was a huge variation between them all. We all know that the Bach bell-making process deliberately allows for some variation from instrument to instrument, and we are advised to try a selection before making our minds up. The variation between these London models was even greater however, so I would definitely recommend visiting a stockist who is able to keep a good range in store.
I believe that for most US players, this model would still be a special order – contact Thompson Music for further information.
Side seam, round steel bell wire, 2-piece valve block.
This is a natural progression from what Bach have learnt from the design of the Artisan range a few years back. Looking to the past to develop something new is not something that happens too often in this industry, but is something at which Bach excels.
The spec above tells you what is different about this model from the 18037 so I will not rehash it here. There is even more natural resonance than the standard 180, and a more focussed tonal core. There is a fraction more weight in the hand compared to the 18037 which adds to the richness of natural sound and also improved slots. I initially found this disconcerting as I am accustomed to having plenty of room to bend notes in tune, particularly the top of the stave E, Eb, D which are generally very flat. The tuning is slightly better on this model, so having that room to manoeuvre was not necessary!
An interesting point that I learnt from a Bach insider is that they save production costs on the Strad 180 models in silver plate by actually using brass outers to the slides instead of the nickel silver which you can clearly see on the lacquered models. The silver plate hides it, so we can’t tell! I have had assurances that there is none of this cost-cutting on the 190 Anniversary Model!!!
19043 (52nd Anniversary Model!!!)
Side seam, round steel bell wire, 2-piece valve block
This is a model that I have not yet been able to get hold of to assess, so I have been kindly helped out by my friends at Thompson Music! Please see Mike’s video tour of both the 190-37 and 43 below.
Regular readers will most likely need no introduction to Allen Vizzutti – an artist of the highest calibre: soloist, recording artist, composer, educator and master clinician!
On a visit to the UK earlier this year I caught up with him and wanted to discuss two main topics with him – a fascinating topic on which Allen often talks in clinics and also in his method books that have become standard literature for students around the world: whether there is an over-emphasis on the word “buzz” in a trumpeter’s vocabulary; and also the design process behind the impending launch of the new Yamaha Vizzutti Model Trumpet.
I had a (brief!) opportunity to have a blow on a new prototype 9335V when Allen was touring Europe recently, and my first impression was that it felt very similar in response and tonal character to the 9335NY New York model. There was perhaps a slightly richer tonal core across the range though. I very much look forward to having a proper test-drive when the instrument is launched later this year – watch this space!
Below, Allen tells us a little about the thoughts and processes behind this new model:
“ The new Yamaha 9335V Bb trumpet will be launched in it’s second iteration in November. The Vizzutti model idea was born in a conference room in Japan several years ago and I was given the go ahead to help design a personal model from the ground up. It was an exciting opportunity and one for which I am very grateful. I worked on the project with Yamaha genius designers Bob Malone and Wayne Tanabe in New York at the Yamaha Atelier on 5th Ave.
Even though we had permission to start from scratch I had been enjoying using a gold plated but otherwise stock New York Xeno for some time. Logically we chose to start with that trumpet as the basis for the new model. If that didn’t prove successful we could always begin again from scratch. I would like to make clear that I am not a trumpet designer. My input was based on evaluations of the physical feel, the sound, timbre and the trumpet’s characteristics in different registers. Again, I was pretty happy with my stock Yamaha New York Xeno. I should note that I brought along a Bach Strad that belonged to one of my students because there were characteristics of that horn that I liked and wanted to reference.
The short story is after a few hours of experimenting with different small part changes we were getting amazing results. We blew the Bach away early on. Changes consisted of using different small parts made of varying materials and having different weights. We moved bracing and tested myriad slides, water keys and valve parts. I would ask for something and Bob and Wayne would head into the workshop and return to the testing room with changes. The final result came relatively quickly. The new 9335V had a better harmonic structure and was slightly more open and free blowing without being a large bore. It was much easier to play above high C regarding both response and resistance. The sound was a little darker than the New York Xeno. In reality, the improved characteristics of this trumpet are most noticeable by professional or near professional level players. When played with maximums of flexibility, power, control and beauty it is the best horn I have had.
Later when production was in full swing I tried 40 examples of the trumpet. Asked to pick 2 for my personal use I couldn’t really tell the difference between them. In the end I randomly pointed at a couple and those were the horns I ended up using. Unfortunately the first run of the 9335V was limited to a small number of units. The good news is the newer version will be unlimited!
Yamaha 9335V 2.0. What’s been changed? Over a couple of years Bob Malone worked on small tweaks to the 9335V. After he was happy with it I tried out several examples. We ended up with a minimal version of changes through evaluation most of which you cannot see. The water key structure is probably the most observable difference to the newest 9335V. It plays great. I like it a little better. I can honestly say I would be happy performing on either version.
Like a great automobile company, Yamaha is committed to constant development and improvement. The evolution never stops. The Yamaha 9335V should be available in November 2017. “
Regarding the question, “To buzz or not to buzz?”, Allen has kindly pointed me towards the relevant page in his method which I have reproduced below this. From my perspective, buzzing has always been a fundamental part of my teaching and important concept for beginners to grasp early on. The main priority for me is that the buzzing is used to show students how relaxed the chops should be and to put the emphasis on the air and support.
Aged 16, I was put through quite an aggressive embouchure change that set the mouthpiece onto a “buzzing embouchure”. This meant that my embouchure barely moved across the range of the instrument, but unfortunately my sound went to crap! It was only when I started at the RCM at 18 that James Watson told me to ignore the past 2 years, and I suddenly had my sound and flexibility back! Therefore Allen Vizzutti’s theories below strike a chord with me…
“ The use of the word buzz in trumpet study is pervasive. When creating sound with the lips alone or playing the mouthpiece alone it is easy to understand why this is true. The sounds created are sounds of buzzing. However, buzzing one’s lips into a trumpet mouthpiece will create an unwanted “beginner’s” sound. Even actual beginners can avoid ever having a beginner’s sound when taught to blow and not to buzz.
Using the embouchure [described on page 153], one can learn to send a steady and firm airflow through the aperture – made by the lips, into the trumpet, creating a wonderful tone without ever thinking of buzzing. The tense, tight sound of buzzing and the accompanying weeks of frustration associated with “unlearning” this habit can be completely avoided. Unfortunately, for most of modern history, the conventional wisdom of trumpet pedagogy has been to instruct beginners to buzz their lips. Aggressively sending air through the trumpet without buzzing causes the air column to cycle in waves against the tubing of the horn. The vibrating air column is a result of the air meeting the resistance set up by the lips, mouthpiece and leadpipe. The trumpet bell amplifies the vibration. The smoother one blows through the horn, the smoother the sound. Buzzing does not create the sound.
ls there any purpose in buzzing? Actually, yes. Buzzing is just a different entity than trumpet tone production. Buzzing the lips without the mouthpiece and trumpet, including flapping them (loose and low-pitched), is a very useful relaxation technique. I do it to loosen my lips, warm down and as an emergency substitute when warming up may be impossible. Lip buzzing exact pitches to then match on the trumpet, as suggested in some educational material, is of little value (other than ear training), in my opinion. My range on the lips alone is very limited. My range on the trumpet is much more extensive.
Playing the mouthpiece alone is often referred to as mouthpiece buzzing. lt can be very useful as part of an organized warm-up. The concept of playing the mouthpiece should be the same as playing the trumpet. lmproving one’s mouthpiece sound can really help improve one’s trumpet sound as well. Eliminating the trumpet and its sometimes-confusing technical concerns can encourage successful breathing and relaxed blowing. Playing melodies on the mouthpiece is very helpful for ear training and embouchure pitch control. Ultimately, the smoothness of playing the mouthpiece alone will translate to a smooth and steady trumpet sound. “
To find out more about Allen, his projects, recordings and publications please visit www.vizzutti.com
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