I feel that much respect should be given to all players who have helped pave the way to the music that we enjoy today. On a popular trumpet website that I used to frequent (USED to because I won't anymore after today), someone actually questioned whether Freddie Hubbard should still be playing or not. It really got under my skin. Perhaps it is because I have been listening to a lot of Freddie lately and I know enough about what he has done for jazz trumpet to give the man the respect he deserves — then and more importantly now. I also have a feeling that even now he has MUCH to say through the bell of his horn and anyone with a clue will hear it when they listen. Maybe I am being overly sensitive but honestly – I really don't care. Hub is still the man in my book and I will go out and listen to him if he ever makes his way to my area. I know that even if he isn't in his prime – there is much to be learned from him and his playing.

To me, it is much like Tiger Woods giving respect to guys like Jack, Arnie, Byron Nelson and Lee Elder for what they did. Without those men it is pretty safe to say Tiger would not be playing golf at the level that he is today. Can he beat the pants off of them even if they are hitting from the senior tees? I think so — but he respects (and understands) the game enough to know that it goes WAY beyond scores and 300 yard drives. Just as trumpet playing goes way beyond double Cs and 32nd notes played in a blur.

Maybe it is in a trumpet player?s nature to brag and boast. Maybe we're supposed to tear down other players if they are not doing everything perfectly. If that is a requirement to be a trumpet player I will put this horn down right now and pick my sax back up. If sax is the same way – hand me a tin flute.

Fortunately I know that all players are not like this. Clifford Brown – one of the deadliest trumpet players ever was also the most humble off the stand. When I become the player that I want to be I will follow his example.

Work is finally starting to settle down and I can tell by the intensity and
quality of my last few practice sessions. I've been able to do some
improvisation and even started doing some transposition. I can't really
transpose entire songs right now. Once the player I'm listening to gets above
that old G on top of the staff… I'm toast. I will usually pick out a long
phrase that I like and write down the notes (no rhythms) and then I try to play
along with the recording. It is actually quite fun AND difficult. Writing down
the notes is easy — matching an artist's tone and articulation is a completely
different story. Still, it is a nice reward after sloshing through my technical
studies. As my first trumpet teacher always told me… you gotta throw yourself
a bone every now and then.

Inspiration is always a CD or article away. I can thank my lucky stars for
some of the CDs that I've had the pleasure of listening to these past few weeks.
Wayning Moments, Bounce, Little Red's Fantasy and The Complete Donald Byrd and
Pepper Adams have really helped me maintain my focus on what I'm trying to do —
even when work was driving me nuts. As far as articles go — I found three
really good interviews that I would like to share with you from the All
About Jazz website. If you haven't checked this site out — add it to your
favorites. Lots of great interviews, general jazz articles and CD reviews.

The three interviews are listed below… Enjoy!

Project
O: Pushing Creativity, Hoping for Longevity

Nicholas
Payton: In Conversation

Terell
Stafford: Pushing Music and Community

All is still well on the practice front. I will admit to focusing more of my time on trumpet technique than actual music making. Part of it is due to my almost mindless state when coming home from work. As stated in a previous message I find it difficult to be creative and make music when my brain is still whirling with bits, bytes and chunks of computer code. I have been spending a lot of time with leadpipe buzzing, long tones, Clarke #1, a series of Schlossberg lips slurs ascending and descending followed by some articulation studies. I finish it off with some pencil exercises while watching the late night news. It may actually be more of an intense workout than I do when my mind is free to focus on music and improvisation but I really want to get back to doing that as well. I am still under the impression that I need to focus on the things that make me a better trumpet player right now and these exercises are doing just that. To become the improviser that I want to be the trumpet needs to get out of the way and let more of ME come through. It is definitely a barrier in this early stage of the game but hard work will fix that.

I've had the mouthpiece itch over the past few days. It all boils down to my tone. I love the size and feel of my Bach megatone 2C but it still seems a tad dark. I've been listening to a lot of Freddie Hubbard and Donald Byrd. While they are both known for their technique I adore their tone. They can hold a single note and it sends goose bumps down my spine. Anyway — I tried a standard Bach 2C but the rim was WAY too flat and uncomfortable. The megatone is more rounded which seemed strange to me as I thought the only difference was in mass. I may try something else but I am married to the 2C size and cup depth. I still don't know if my dark tone is due to equipment, my short 2 years playing experience or a combination of both.

In an effort to improve my consistency I have extended the amount of time that I take to warm up. Up till now, I often started my warm up with long tones. I have found that the quality of my tone when doing long tones is greatly improved if I spend a little extra time doing at least 15 minutes of mouthpiece and leadpipe buzzing. On weekends I add a few extra minutes with a breathing bag. Once I feel that my chops are warmed up (and I am at the point where I can tell the difference) I begin the long tones. I figure since the whole point of long tones is to work on my tone production ? how can I properly do that if my chops are not warmed up? I?ve done this for a few days now and I like the results. Granted, the warm up takes time from my already shortened practice time, but I think the benefits far outweigh that. Warming up properly is just as important as the actual practice.

The past few weeks have really positive for me in the sense of making progress. Whether it was the equipment games or just working on the right things, I am very pleased and encouraged to press forward. I?m trying to think of the last week that I?ve posted one of those ?I can?t stand the way I play? posts. It has been a while. Here?s hoping that along with my equipment changes I have also developed the patience and persistence to continue to work hard ? enjoying the journey good and bad. A good friend of mine likened the journey of becoming a good musician as a trip cross-country. You can complain and whine about the long drive OR you can enjoy the trip, check out the sites and learn some things. To me it was the perfect analogy (thanks Lou!) and I would suggest that anyone trying to do what I am doing to follow that advice. Enjoy the trip and learn something.

Today we lost a very talented entertainer in Gregory Hines. I have always been a fan of tap dancing and Gregory was one the greatest – especially in terms of bridging the gap between the greats of the past and our modern tap stars like Savion Glover. He was also a very gifted actor and singer. He will be greatly missed.

Work has been really busy these past few days and it is affecting my practices. Not so much in the amount of time that I have to practice but in my mind set when I get home. Programming work can be very draining mentally and on a very difficult day I usually come home in a vegetative state. Still, I make myself pick up the horn and go through my normal routine. Sometimes I am energized by working on certain things but most of the time I struggle to get through the routine. My attention is probably not where it should be — cleanliness of attacks, focus on good tone, execution. I'm usually just trying to get through it all. Still, I figure I should spend time practicing no matter what. If nothing else, I can condition my mind and body to get used to practicing in this state and over come it. I used to write science fiction and stopped because of the same reason. I refuse to let work kill this creative flow. I've worked to hard to get where I am.

I have family in town this weekend so I know my practice sessions will be short. I'll cover the basics and keep my chops fresh. Once my schedule returns to normal – full steam ahead. In the mean time — I will enjoy the visit. Who knows, the wonderful times I have with them could sudden come forth during a solo or song. That's the wonderful thing about jazz… even when you're not playing; just living life is a form of practice that will work its way into the music. Live life!!

Over the weekend I went to Lowes hardware to pick up some materials for minor household repairs. It was pretty early in the morning and I had “Moontrane” from Larry Young's Unity blasting from my truck CD player. I pulled into the parking lot beside two gentlemen loading drywall into a pickup. One of the guys asked me who I was listening to. I enthusiastically told me the song title and artist to which he exclaimed… “MAN that sounds GOOD!” I grinned from ear to ear as if I had performed on the album myself. I think it makes me feel good when an under appreciated art form like jazz gets a positive nod from anyone. It also gives me hope that people will still be coming out to hear me when I start playing.

I?ve had another solid week and making progress. These journal entries are going to get boring if this keeps up! More than anything I think my attitude has been positive and that is where it all starts. I am trying to finish up some assignments that my teacher gave me so I can get another lesson in the next few weeks. It includes memorizing a few licks (in C Major, C Minor 7) and getting familiar with some basic chords on piano. The focus isn't really on where my hands are but how each chord sounds and what formula creates those sounds. Fun stuff so far. I still need to work on my scales and intervals.

I sometimes wonder if I am getting way ahead of myself with regards to playing the trumpet and learning jazz. While I am improving on the trumpet I wonder if the time I spend working chords and practicing improvisation would be better spent doing more long tones, slurs and articulation studies. I'm hoping a happy medium will still give me the results I?m looking for.

Of all the concerts that I have been to this year – the Keter Betts birthday celebration was by far the best. Keter Betts is a legendary bassist who lives in the Washington, D.C. area. Keter has played with such greats as Dinah Washington, Clifford Brown, Count Basie, Nat Adderley, Bobby Timmons, Sam Jones and many others. He also played with the great Ella Fitzgerald for over 25 years. To say he is a living legend in jazz would be an understatement.

The first part of the concert included performances by several local artists who had the pleasure of working with Mr. Betts. The line up included Robert Redd on piano, his brother Chuck Redd on drums, Tom Williams on trumpet, Charlie Young on alto saxophone with Michael Bowie and James King took turns on bass. The group performed well and in my mind they must have played together in the past. Tom Williams (who is also an accomplished drummer) was simply electric on the trumpet ? making it seem a lot easier than I know it is. I have heard him live once before and he is a tremendous talent. I was really impressed with the playing of Charlie Young. He allowed the fantastic rhythm section to fill in the spaces between his well thought out and wonderfully executed lines ? something I will make a note to do when I play myself.

Two amazing vocalists also joined the group. I will admit to not being a big listener of vocal jazz ? but these women changed my mind by grabbing a hold of my ear and subsequently my soul with amazing performances. Sharon Clark opened her mouth to sing and the audience (myself included) literally gasped at the beauty and feeling in her voice. It was stunning! Delores King Williams sang with an energy, gentle fire and charisma that held my attention from beginning to end. I made a mental note to attend ANY area concerts that included either of them.

The highlight of the evening for me was an interview with the man of the hour ? Keter Betts. Keter discussed many topics such as his reason for pursuing music and life on the road as a jazz bassist. He is a very wise and charismatic speaker and everyone in the room was educated. He discussed the important relationship between a bassist, drummer and piano. He described the bass as the middleman playing the chords of the piano and the rhythm of the drums ? a concept that I had never considered. He also mentioned something that he told me once on the phone once when I had the pleasure of speaking to him about playing trumpet. The horn (or piano, sax, drums, bass) is not making the music. The PERSON is making the music. The instrument is simply the medium of expression. I have always tried to remember that when playing.

After the interview, Keter did what he does best? made music. He performed several songs and showed why he is greatly respected in the jazz world. The audience was in the palm of his hands. He seems as comfortable playing bass as I do drinking a glass of water or closing my eyes to go to sleep? it?s effortless but my goodness the man can swing. He is the same charismatic and approachable person on stage as he is off.

As much as the people in that room loved Keter Betts, I have a feeling they left loving him, his talent and his jazz legacy even more. I know that I did.

Happy Birthday Keter! The first (and second) round of golf is on me.

I managed to create two new sound files in the soundroom. It definitely isn’t my best work but I wanted to keep something current up and available.

The consistency has been continuing. So much so that I have had to expand or make my regular practice routine more difficult. Because I'm still working with the same amount of time daily, I just replaced some of the easier items with harder ones. Not ridiculously harder, but hard enough to offer a challenge and raise the bar. Once those exercises become easy, I will repeat the process. The Bach Megatone 2C is working just fine. I think I have found the one for me.

I will admit to thinking about taking my journey to become a trumpet player “underground.” I've gotten a lot of compliments on this web site but sometimes I wonder if I should just keep my thoughts, progress and failures to myself. Not really sure why I had this sudden change of heart but it is there and nagging me regularly. It doesn't take a lot of time to maintain because the content is all database driven – time isn't my reason. I just keep thinking that for every person out there that likes it – there are 5 others who look at me as just another wannabe trying to play musician. I'll keep chewing on it and see what kind of conclusions I come to. Right now I am totally content with working hard daily to reach my goal and love every fulfilling moment of it.

Well as you can see – Jazzician.org has a new look! I'm really anxious to hear feedback about it. I got a lot of compliments on the layout of the old site and hope everyone finds this one just as nice if not better. I removed a few areas that were not seeing much traffic like photos and the penguin jazz database. If I get enough requests I will try to find a way to put them back in place. Please feel free to drop me a line and let me know what you think!

This web change goes hand in hand with changes that I've noticed in my playing. Since my last posting the same consistency that I've experienced has continued and improved. It is a joy to pick up the horn now because things that were difficult are becoming easy. Particularly in the areas of playable range, tone and endurance. I am very, VERY pleased with my progress since moving to the Lawler as my only horn. I used to start to fade after playing for an hour or more. Lately, I've actually started playing BETTER after an hour behind the horn. My chops are warmed up and everything clicks. Don't get me wrong – I still have a LONG, LONG way to go. I just feel as though I am on the right track. I am starting to truly believe that all my patience and hard work will pay off in the long run.

I think the biggest reason for the consistency is my chops are getting used to the Lawler. It knows where the notes and sweet spots were located. In the past I would change horns like I change my socks. That may be an exaggeration but the bottom line is the notes and sweet spots are not in the exact same place on every horn. I was playing a Conn V1 and a Zeus which are two totally different blows. The Conn played open while the Zeus was a bit on the tight side. My chops were confused… F on top of the staff was here yesterday but now it wasn't quite the same. By forcing myself to play one horn (and a great one at that), my chops are are getting aclimated AND the target I'm trying to hit isn't moving. It is right where I left it when I last put down my horn. I have also committed to a Bach 2C Megatone mouthpiece. I took all my other mouthpieces to my mother's house so I will not surcomb to the temptation of making another switch.

How long with this high last? Stay tuned…..

This was a good…no… GREAT week. Although I am still kind of on the fence regarding mouthpieces – playing one axe for a month is really starting to pay off. I am beginning to get acclimated to the Lawler. I have had about 4 days straight of good, solid playing. The sound that I have in my head is beginning to come out. I am very far from where I want to be but the path that was once covered with roots, leaves and debris is now starting to take shape. Musically I am moving in the direction of the summit that inspired me to begin this journey. That makes me feel VERY good.

While cleaning a few closets this weekend I found my old clarinet. It has been years since I have played it and I could not resist the temptation to pull it out and give it a try. After blowing a few notes, running and running a few memorized Clarke studies… let's just say this… I am definitely a trumpet player now. The buzz of a reed in my mouth feels so foreign and strange… not natural at all. The sound it created did not excite me in the way that a trumpet does. I know that I could probably spend a few weeks on it and be back in playing shape but it doesn't move me. AT ALL. In fact, I felt as if I had betrayed my Lawler! I put the clarinet back in it's case and put in BACK in the BACK of the closet. For reassurance I picked up my trumpet and repeated the same Clarke studies. It was good to be home again.

I write this stuff sometimes and I wonder what people think reading it. They probably think I'm straight nuts and two steps away from the funny farm. Am I crazy? Maybe a little. Thelonious Monk once said in an interview with Downbeat that it is sometimes to your advantage for people to think you're crazy. I'm inclined to agree.