[besson3c]

Now that I've been posting a little more often in here, and am now officially famous and loved (or infamous and despised) in here, I thought some might be interested in hearing me play my trumpet:

http://netmusician.org/~joe/LinksForBrotherTed.mp3

This was recorded this spring. The recording quality isn't great, the mix isn't hot, but... not my department.

I'd love to hear your feedback, from both musicians and non-musicians. I won't be crushed if you say something negative about it, it's cool. Just interested in what you hear.


edit: one more...

me playing trumpet in the Stan Kenton prologue to West Side Story:

http://netmusician.org/~joe/Prologue.mp3

[11011001]

Thumbs up!

I enjoyed it. I'm not a brass guy, but I found it nice and clean.

How long have you been playing?

[besson3c]

Originally Posted by 11011001

Thumbs up!

I enjoyed it. I'm not a brass guy, but I found it nice and clean.

How long have you been playing?

Thanks!

I've been playing around 15 years or so. I pursued a professional career for many years, now I'm trying to do web stuff to pay the bills (via my company below), and gigging on the side.

[JustAnOl'Broad]

I enjoyed it too! Nice. And I'm not a brass "guy" either. snicker

Needs more cowbell tho...

[mojo2]

Originally Posted by besson3c

Now that I've been posting a little more often in here, and am now officially famous and loved (or infamous and despised) in here, I thought some might be interested in hearing me play my trumpet:

http://netmusician.org/~joe/LinksForBrotherTed.mp3

This was recorded this spring. The recording quality isn't great, the mix isn't hot, but... not my department.

I'd love to hear your feedback, from both musicians and non-musicians. I won't be crushed if you say something negative about it, it's cool. Just interested in what you hear.


edit: one more...

me playing trumpet in the Stan Kenton prologue to West Side Story:

http://netmusician.org/~joe/Prologue.mp3

I'm very honored to have the opportunity to hear your playing and, more importantly, share with others some small role in your progress.

Thank you for the invitation to provide you feedback.

I like your taste in music. Jazz, particularly late 50's, early 60's jazz, is a musical genre I've just begun to explore. (be-bop and a bit later)

My main impressions while listening...

- you have the 'licks' or technique. What I was hoping to hear was your musical interpretation. You know HOW to say it, now what comes next is having something to say.

Your solo in the first piece was ok for a few bars and then you just wandered.

I have an opinion (on most things, yeah, I know!) that a sucessful solo should be tightly scripted UNTIL inspiration so fills your soul that you can't take it no mo and you HAVE to break out of your own 16 or 32 (or however many) bar solo composition to play spontaneously.

Some artists can be brilliant spontaneously. Others aren't ready. It takes lotsa practice and until you reach that point, well, be prepared to wander.

The playing in the links isn't bad, and when you are playing with the ensemble you are fine. You seem to listen well. (Very important!) So as a member of a group you are already there. I would imagine you could play gigs regularly as part of an ensemble it would be just a matter of knowing the right person(s) and getting a break.

My feeling on the basis of just those two examples (I will go to your site afterwards and see if there are more samples) is that you have much more talent in you than might be heard yet.

Your talents and the DEFINING pieces of you somehow don't reach your lips and tongue! They are still developing.

This anecdote came to mind as I was thinking about writing this for you. It's an interview conducted by Russ Mitchell of CBS News interview with Rev. Al Green and his first producer, Rev. Willie Mitchell.

http://www.cbsnews.com/stories/2005/...in712918.shtml

Green formed a vocal group, and later, at a show in Midland, Texas, in 1968, Green's voice caught the attention of Willie Mitchell, back then, a successful bandleader, who offered to record Green in his Memphis studio with the promise to make him a star.

Rev. MITCHELL: We came in here on a Sunday, Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday, Monday. It was nine days I make him sing it all. He sang...

MITCHELL: "Let's Stay Together."

Rev. MITCHELL: He sang from six in the evening till four in the morning.

Green remembers Mitchell was trying his patience.

Rev. GREEN: Because Willie was trying to find out where Al is, so I kept singing like James Brown and Wilson Pickett and singing like Mavis Staples and anybody I could find.

Rev. MITCHELL: I said, 'I want Al Green. I don't want no Sam and Dave and Jackie Wilson.'

Rev. GREEN: I don't know how Al Green is supposed to sing, so I got mad. I left the studio. I squeaked my tires in front of Willie's studio (imitates tires squealing). I rode around for 20 minutes, I came back and I says, 'Forget this, man. I'm just going to sing this and I'm not going to put any feeling in it. I'm not going to put no emphasis in it. I ain't going to put, I'm just leaving it dry, just sing it.' I said, 'You ready?' He says, 'Yeah, I'm ready.' So then I said, (singing) 'I'm so in love with you, whatever you want to do is all right with me.'

Rev. MITCHELL: I said, 'Well, hello there.' Yeah.

MITCHELL: You just knew.

Rev. MITCHELL: Sure I knew.

Rev. GREEN: And that's how we discovered Al, I guess.

When he got mad enough to abandon his own perception of what is good or desireable...when he gave what only HE could deliver, then that was not only good enough, but it was GREAT!

I wish I were there to ask you to tell me without using words, but only in a 32 bar solo:

- Why you love a particular person.
- What this world is heading for.
- How you feel after making sad sweet love.
- About the excitement you feel at the prospect of new love.
- About a taxi ride from club to club.
- How it feels being in a relationship that's going nowhere.
- What it's like playing with a puppy or kitty.

I would take you to the countryside and I'd pack a lunch and all other necessary items for a whole day spent together without your talking. Not a word. Anything you wanted to say HAD to be communicated with your horn. We might record the whole afternoon or we might not.

I want you to get so used to communicating with NOTHING BUT YOUR HORN that when it came time to solo, even if you didn't have a composed piece you could just enunciate what you were feeling in THAT MOMENT, (my feet hurt, I'm elated to be performing here, I hate this song, I see a cute guy in the audience and I wonder if I could make him approach me after the set, I have such contempt for the promoter of this event...you get the idea) that you would forever more be known as a very distinctive solo artist who plays well with others and whose artistry is the kind that people will say, "speaks to them."

I hate wandering solos. If the artist has nothing to say, then let's not waste each other's time, eh?

If the artist HAS something to say and I don't like it, then I'll just keep walking.

But, if the artist has something to say and they can say it well enough I will listen and if I like it I will become a fan. And one or two others will do likewise.

Yeah, you have lotsa talent. Maybe one day we'll REALLY get to hear it? All of it.

For those who might tend to think I'm SLAMMING you, I know YOU know where I'm comin from. Right?

Once again, thanks for inviting us in. It was an act of faith that takes guts. I hope you consider this post as being some kind of reward for your artistic courage.



mojo2

P.S. There's something called getting wonderfully lost in the song and THAT is the next step.

[mojo2]

Well, I couldn't tell if any of the looping samples were yours. But, I listened to Chase Sanborn's, "Crazy She Calls Me" and it sounded good enough, so I ventured a buck and bought a copy on itms.

I was really enjoying it until the guitarist got itchy feet (fingers?) and began wandering at about the 5:00 mark. He/she tries to make a silk purse out of a sow's ear and doesn't get BACK to the song for real, until a minute and a half (almost) later.

On Michael Hackett's, "Invitation" the trombonist (or was that a fleugel horn?) has that wandering solo thing too. But he/she ALSO has a difficult time being able to hit the notes. Not much to say and not much skill in saying it. A double threat. The Hackett song isn't bad, either.

Where's some more of YOUR stuff???

[Kevin]

Originally Posted by mojo2

I have an opinion (on most things, yeah, I know!) that a sucessful solo should be tightly scripted UNTIL inspiration so fills your soul that you can't take it no mo and you HAVE to break out of your own 16 or 32 (or however many) bar solo composition to play spontaneously.

Some artists can be brilliant spontaneously. Others aren't ready. It takes lotsa practice and until you reach that point, well, be prepared to wander.

I remember my first attempt at improv,

I am just glad I knew what key I was in at the time.

[mojo2]

Hey, that's a big plus! You don't need me to tell you how many people lose even that when they start wandering.

[OwlBoy]

sweet, on my iPod now

-Owl

[besson3c]

Hey Mojo,

Thanks for everything you have said. I'm at a loss of words to know how to even respond... just... thanks!

Clark Terry (a great trumpet player who used to play with Duke Ellington) once said "Assimilate, Imitate, Innovate". I'm definitely at either the "assimilate" or "imitate" stage in my playing. It takes many many years to get to the innovation stage - some people never do.

There is little you could say that would truly hurt me about this clip, it is indeed a work in progress. I do have a decent understanding of using jazz (bebop) vocabulary. While it never hurts to have more facility, material, flexibility in all 12 keys, etc. I've been working on playing tighter, more concise lines, leaving space, and simply making more "optimized" musical statements. You'd be surprised how difficult it is to exercise restraint, many players don't.

I do have more clips of me soloing, but nothing any better than the clip you heard.

Of all of the musicians I work closely with, Lynne Arriale is the biggest name in music. If you want to hear somebody who *has* come a long way, listen to her. Both Come Together and Arise are in the iTunes store (ignore that cookie album, that wasn't hers). She really is something, and I'm honored to work with her. Drummer Steve Davis in this group is also a very well known drummer. I'd be interested to hear what you think of this group. Lynne is a great example of a player that does play in very tight concise statements, she thinks and plays like a composer. Very little wandering in her playing.

[Kevin]

Not my tastes of music.. but it was well done.

I don't think I would have the lungs to play that steady. I used to mess with the sax now and then.

I did some jazzy stuff with a band a few years back. Nothing really obnoxious.

But to each his own.

[besson3c]

Originally Posted by Kevin

Not my tastes of music.. but it was well done.

I don't think I would have the lungs to play that steady. I used to mess with the sax now and then.

I did some jazzy stuff with a band a few years back. Nothing really obnoxious.

But to each his own.

Cool!

I often wish I learned how to play a rhythm instrument to better establish my sense of time and rhythm. What about the reverse though? How has playing the sax benefitted your triangle playing?

I've never heard jazz triangle, do you have clips of that? Obnoxious... hmmm.. I generally don't think of triangles as obnoxious instruments, although I haven't listened to a lot of triangle-heavy music.

[Kevin]

Are you purposely retarded? Who said anything about triangle?

And a guitar can by rhythm or lead.

[besson3c]

Originally Posted by Kevin

Are you purposely retarded? Who said anything about triangle?

And a guitar can by rhythm or lead.

I'm just assuming that the triangle is your current instrument? Or did it come before the sax? No need to be insulting.

[mojo2]

Originally Posted by OwlBoy

sweet, on my iPod now

-Owl

Which one(s)?

[Scandalous Ion Cannon]

Ya this triangle stuff sure is interesting.

Ding ding ding!

[besson3c]

Originally Posted by Scandalous Ion Cannon

Ya this triangle stuff sure is interesting.

Ding ding ding!

Indeed... how long have you been playing Zimph?

[mojo2]

Originally Posted by Scandalous Ion Cannon

Ya this triangle stuff sure is interesting.

Ding ding ding!

I was a percussionist and the job with some percussion instruments isn't one of interpretation (as much as with other instruments from the various families including the percussion) or nuance (as much as...) but faithfulness.

You will count the rests and stay "into" the piece until that moment or those moments when the composer says your contribution is needed. And in a symphony orchestra with 60 + players, NO ONE ELSE can deliver the sound you are called upon, in that moment or in those moments to deliver.

So, you'd better be there when the time comes, 100%. And most of the time, especially if you are constantly doing new pieces, being there when the time comes means paying attention from the first measure.

Want to really understand the importance of the triangle to a song?

Consider Harry Chapin's classic, "Taxi." You know the one. Without that ONE triangle note, the song is woefully incomplete.

Lyrics for: Taxi

It was raining hard in 'Frisco,
I needed one more fare to make my night.
A lady up ahead waved to flag me down,
She got in at the light.

Oh, where you going to, my lady blue,
It's a shame you ruined your gown in the rain.
She just looked out the window, and said
"Sixteen Parkside Lane".

Something about her was familiar
I could swear I'd seen her face before,
But she said, "I'm sure you're mistaken"
And she didn't say anything more.

It took a while, but she looked in the mirror,
And she glanced at the license for my name.
A smile seemed to come to her slowly,
It was a sad smile, just the same.
And she said, "How are you Harry?"
I said, "How are you Sue?
Through the too many miles
and the too little smiles
I still remember you."

It was somewhere in a fairy tale,
I used to take her home in my car.
We learned about love in the back of the Dodge,
The lesson hadn't gone too far.
You see, she was gonna be an actress,
And I was gonna learn to fly.
She took off to find the footlights,
And I took off to find the sky.

Oh, I've got something inside me,
To drive a princess blind.
There's a wild man, wizard,
He's hiding in me, illuminating my mind.
Oh, I've got something inside me,
Not what my life's about,
Cause I've been letting my outside tide me,
Over 'till my time, runs out.

Baby's so high that she's skying,
Yes she's flying, afraid to fall.
I'll tell you why baby's crying,
Cause she's dying, aren't we all.


There was not much more for us to talk about,
Whatever we had once was gone.
So I turned my cab into the driveway,
Past the gate and the fine trimmed lawns.
And she said we must get together,
But I knew it'd never be arranged.
And she handed me twenty dollars,
For a two fifty fare, she said
"Harry, keep the change."
Well another man might have been angry,
And another man might have been hurt,
But another man never would have let her go...
I stashed the bill in my shirt.

And she walked away in silence,
It's strange, how you never know,
But we'd both gotten what we'd asked for,
Such a long, long time ago.

You see, she was gonna be an actress
And I was gonna learn to fly.
She took off to find the footlights,
And I took off for the sky.
And here, she's acting happy,
Inside her handsome home.
And me, I'm flying in my taxi,
Taking tips, (TRIANGLE HERE) and getting stoned,
I go flying so high, when I'm stoned.

By the way, here's an interesting commentary on the song and what it means to one listener.

http://www.progressiverevelations.com/s3-26-02.html

Anyway, I know you are just kidding around about the triangle and I take no offense at such jabs as I got used to such things long ago when I was playing in school and all the other players knew the triangle or the woodblock (or THE COWBELL lol) and etc. was an important part of the piece.

But your comment gave me a chance to say a few words in praise of the triangle and so I thank you for the opportunity.

Now, don't get me started on the maracas or the "ratchet!"

[Kevin]

Originally Posted by besson3c

I'm just assuming that the triangle is your current instrument?

Why? I have told you before it wasn't.

You are just being a troll.

Give it up.

[besson3c]

Originally Posted by Kevin

Why? I have told you before it wasn't.

You are just being a troll.

Give it up.

Oh.. I see...

I was obviously mislead by your signature. Do you think maybe it would be a good idea to include "I do not play the triangle" in your signature? This would be less confusing and misleading for people.

[Kevin]

Let me check.

No.. you were the only person to thing that just because my sig has triangles in it, I play the triangle.

Your mom told me it was because you were special.

I believe it.

[besson3c]

Originally Posted by Kevin

Let me check.

No.. you were the only person to thing that just because my sig has triangles in it, I play the triangle.

Your mom told me it was because you were special.

I believe it.

I find the whole thing a little hard to believe... if you did play the triangle, would you tell us?

[Scandalous Ion Cannon]

Originally Posted by besson3c

Do you think maybe it would be a good idea to include "I do not play the triangle" in your signature? This would be less confusing and misleading for people.

Ah ha ha ha

[Kevin]

Originally Posted by besson3c

I find the whole thing a little hard to believe... if you did play the triangle, would you tell us?

Would you like to go out back and make out?

[Railroader]

Originally Posted by besson3c

I find the whole thing a little hard to believe... if you did play the triangle, would you tell us?

Why aren't you asking SWF if he plays the ion cannon?

I used to play the triagle in a band. But I also had to play the drums and other percussion instruments too. I wasn't a one trick brass kind of guy.

Today I mostly tinker with guitars, mostly 6-string, but sometimes bass. I am currently researching combining two of my hobbies, woodworking and guitars, and making a guitar. I haven't much past aquiring the materials yet unfortunately.

[JazzCatDRP]

Nice solo man...I'm a professional trumpet player, so lemme throw some constructive criticism your way.

I dug your Lee Morgan-esque descending sixteenth note triplet licks.

You seem to have a pretty good collection of licks...one thing you might try out is really expanding dynamically with the band. You started to do that, but it kinda faded back out to the norm. How's your range? As the band kicks in, pop up the range to the next octave. Throwing in some extended syncopation patterns would help give it that bouncy, driving feel as well.

When you try double-time licks, you might try practicing with a metronome slowly, gradually building up speed until you can really get those fast licks in with PERFECT time. That's a very impressive thing to hear.

Try not to think too much when you improvise, at least if you know the changes. Getting outside of your own thoughts will open up so much melodically, harmonically, and rhythmically. An interesting trick I learned on a tour just this past year is to try playing with a few drinks in you (obviously not for anything high profile). You'll be amazed at how not caring if you're "right" and not having to (or being able to) think about the solo will improve your improvisation, and open up your mind for the future.

Overall though, it was a nice solo. Had I been there live to hear it, I would've been hootin and hollerin for ya!

[besson3c]

Originally Posted by JazzCatDRP

Nice solo man...I'm a professional trumpet player, so lemme throw some constructive criticism your way.

I dug your Lee Morgan-esque descending sixteenth note triplet licks.

You seem to have a pretty good collection of licks...one thing you might try out is really expanding dynamically with the band. You started to do that, but it kinda faded back out to the norm. How's your range? As the band kicks in, pop up the range to the next octave. Throwing in some extended syncopation patterns would help give it that bouncy, driving feel as well.

When you try double-time licks, you might try practicing with a metronome slowly, gradually building up speed until you can really get those fast licks in with PERFECT time. That's a very impressive thing to hear.

Try not to think too much when you improvise, at least if you know the changes. Getting outside of your own thoughts will open up so much melodically, harmonically, and rhythmically. An interesting trick I learned on a tour just this past year is to try playing with a few drinks in you (obviously not for anything high profile). You'll be amazed at how not caring if you're "right" and not having to (or being able to) think about the solo will improve your improvisation, and open up your mind for the future.

Overall though, it was a nice solo. Had I been there live to hear it, I would've been hootin and hollerin for ya!

Very cool! Thanks for the advice...

Who do you play with, where are you living? This particular group is David Baker's Indiana University Jazz Band.

As far as the range question, I'm kind of a split-lead/soloist type player, but I've also done some lead playing. The other clip of the Kenton West Side Story is me playing lead (we played that entire collection of music, it was the most physically challenging show I've ever done). At any rate, I'm still trying to sort out how to put all of the pieces together and use the range effectively (but not overuse it, like many other players do).

Thanks again for your post... Do you have any clips of you playing? I'd love to hear your musical voice!

[JazzCatDRP]

Right now I'm in the mecca of jazz (just kidding) of Kansas. I'm doing just enough to pay the bills. I'm getting a backup degree in jazz studies to help me pursue a teaching gig if things get tight. I've got some buddies in LA (big name players, but can't really say who on a public board) that are hooking me up with some some studio work (commericals, TV shows, movies, etc) in a year.

I completely hear you on not overusing the range. There's a fine line between showing off enough range to get the crowd going, and using it so much that there's no meat to the solo. Think of a solo as having a beginning, a peak, and an ending. That'll help you pop the range when you need it, but not overuse it. It'll also help mesh the solo together, rather than just being a random assortment of licks.

My credo is that a solo should sound exactly as it would had you spent a month actually writing it as a song. Not easy for an improvised solo, but it's a great goal to strive for.

[JazzCatDRP]

BTW, is Pat Harbison still at Indiana? What a great music school, and what a great jazz player.

[besson3c]

Originally Posted by JazzCatDRP

Right now I'm in the mecca of jazz (just kidding) of Kansas. I'm doing just enough to pay the bills. I'm getting a backup degree in jazz studies to help me pursue a teaching gig if things get tight. I've got some buddies in LA (big name players, but can't really say who on a public board) that are hooking me up with some some studio work (commericals, TV shows, movies, etc) in a year.

I completely hear you on not overusing the range. There's a fine line between showing off enough range to get the crowd going, and using it so much that there's no meat to the solo. Think of a solo as having a beginning, a peak, and an ending. That'll help you pop the range when you need it, but not overuse it. It'll also help mesh the solo together, rather than just being a random assortment of licks.

My credo is that a solo should sound exactly as it would had you spent a month actually writing it as a song. Not easy for an improvised solo, but it's a great goal to strive for.

Cool... let me know if you have a CD, clips, website, or something else of the nature to check out!

I'm trying to make my website (see URL below) my full-time gig, while doing so my playing has been put on the back-burner. However, I don't want to keep it on the back burner for too long!

[besson3c]

Originally Posted by JazzCatDRP

BTW, is Pat Harbison still at Indiana? What a great music school, and what a great jazz player.

YOu know Pat? This is freaky...

Pat is still at IU, I even put together his website! We're pretty good friends.... PM me your name, and I'll tell him you said hi.

I just graduated from IU, it is a great music school... David Baker is great!

[JazzCatDRP]

I doubt Pat would remember me...althought I've heard him several times, we've met only once at the International Trumpet Guild conference in 2001. We had a nice little chat after a set he did about IU and his chops. Great guy. I'll have to PM you my website and some sound clips if I can dig some up. (I prefer my anonymity on the internet!) I gotta run off for the night, I'm late already, but remind me if I forget!

[Rolling Bones]

Pretty groovy..the bee's knees man.

But I agree with the 'ole broad', needs more cowbell and try doing 'Don't Fear The Reaper'.

[besson3c]

Originally Posted by Rolling Bones

Pretty groovy..the bee's knees man.

But I agree with the 'ole broad', needs more cowbell and try doing 'Don't Fear The Reaper'.

Bruce Dickinson called me after hearing this, and said that he is done with me, I'll be wearing gold plated diapers!

He did say it needed more cowbell though, you're right..

[mojo2]

I ran across this while web snerfing (a nerd surfing the web) and thought it interesting and I wanted to share it with you.

http://www.webalice.it/meriot/disco/afro.mp3

[besson3c]

Originally Posted by mojo2

I ran across this while web snerfing (a nerd surfing the web) and thought it interesting and I wanted to share it with you.

http://www.webalice.it/meriot/disco/afro.mp3

Cool....

What grabbed you about this track? Just curious...

[mojo2]

Originally Posted by besson3c

Cool....

What grabbed you about this track? Just curious...

I don't speak or read Italian so I'm guessing here, but it appears this Afro-centric song was composed and performed by Italians and that's an interesting musical perspective.

The whole thing feels VERY 60's ish, (I LIKE THAT IN A JAZZ PIECE! lol).

The interplay between the percussion, bass, piano and guitar is complex and compelling. When making love (or should I say, during foreplay...lol) your sense of feel is on 'high gain,' very attuned to any touch. When you have one pleasurable tactile sensation, it feels great. When you have two going on at the same time and in two (or more) different places it can marvelously short out your mental circuitry and induce pleasure completely without genital stimulation or completion of the "act."

This kind of interplay, (which rock fans might be able to relate to in the Derek & the Dominoes classic, "Layla," or in the Eric Burdon & The Animals' "Monterey") is where several instruments are playing together and you can sense they are playing in unison and in some sort of synchronicity but they are also on their OWN groove, in their own zone.

For me, the pleasure comes in trying to contemplate what each one is doing individually and also what they are doing collectively. Then I appreciate how they are providing a bed for the singer to lay down her track and how the instruments sometimes come to the fore and sometimes lay back and sometimes play the melody and sometimes not and the driving up-tempo pace of the song and how nothing breaks the spell (no one hits a note falsely enough that it is jarring to the mood or the effect) until...

Well, it is aurally sublime IMHO.

The sweetness of the singer's voice and the way she scats is an unexpected treat served up well enough to be a delightful extra.

The song starts out dark and mysterious ( ) although I don't care for that kind of free form stuff, it IS kinda neat in their interpretation of an afro-ness.

All in all it's a real nice little number.