I am beginning to see the value in words spoken to me about a year ago by a pro player. He told me to focus on learning the trumpet FIRST before pursuing jazz. My goal to play jazz is currently being hindered by my lack of abilities on the trumpet. By my range being limited, I can't do many of the drills that I read about because instead of focusing on the object of the drill in a jazz sense because I'm still focused on just getting the notes out in a trumpet sense. It totally defeats the purpose.

On trumpet bulletin boards and web sites you hear of players who desire additional range. In most cases it appears that this additional range is need to peel the paint off the walls on a lead sheet. I only want range that will allow me to do many of my jazz drills without being concerned every time the notes start to leave the safety of the staff. Patience. I won't even count the number of times I've mentioned my lack of range on this website. You can bet money that this will not be the last time. The good news is the Caruso exercises seem to be helping me a great deal. Some of the changes are very subtle but I definitely notice them. I'm going to stick with it and see where it takes me.

The Cubasis software that I purchased is really holding me back from posting recordings to the site. It requires a more power soundcard than I have and everything has a serious lag on it when I record and play back. I am going to have to upgrade the card OR go back to my old software. Still, I managed to post a recording of the song “Sing Soweto” using the standard Windows sound recorder. Not as clean as I would like it but it's something. If you recall, I mentioned trying to record this wonderful song by Terence Blanchard a few weeks ago. Check it out…

I have moments when I wonder what pro or full time players think when they see my website. One is that they think, “Here is a guy trying to play musician.” They perhaps view my attempt at learning to play trumpet (and having the gall to have a web site about it) as taking what they do for a living – lightly. I can imagine some of them listening to my sound files and thinking of how bad a player I am and why the hell would I make something like this public? I'll answer that in another journal entry.

More than anything – in trying to learn to play trumpet and improvise, I have a new appreciation for professional musicians. I used to be a reed player and I can honestly say, playing the trumpet is much harder in comparison. It can sometimes be a brutally frustrating instrument to play and requires constant practice and dedication. Anyone who can do it well has my ultimate respect and admiration. Compounded upon that is the music theory that must be mastered in order to perform and communicate with your peers. Scales, transposition ? the amount is overwhelming if you come in on the ground floor. Since embarking on this endeavor I realize how under appreciated musicians really are. It has also raised my distain for some pop stars who make millions of dollars when there are so many players current and past who have more talent in a single hair than these millionaires possess in their entire bodies.

The reason why I am trying to play trumpet and improvise is because of the wonderful impression that professional players and their work have made on my life. I am the fan who is moved beyond buying recordings and seeing live shows – I am the fan who hopes that by picking up my own instrument and trying to perform – am paying homage and respect to all of you. So please – if you happen to fall into this category – know that all this is more out of respect than taking what you do lightly.

In a way – you are Dr. Frankenstein and I am your monster. If you weren't so good and didn't move me so – this would have never happened.

Seriously – I salute you all.

On another note – I haven't done any recording for some time. Part of the reason is I am becoming increasing critical of what I post to the website. I'm actually tempted to snatch some of the recordings from the site because I don't like them. At the same time, I remind myself that the recordings are as much about things I don't do well as the things that I can actually handle. So – I won't do that. One thing I have noticed is I can play something perfectly before recording but once I hit that record button I freeze up. It's funny actually.

The MAIN reason is because I have new recording software and I'm having some problems figuring it out. I don't want to waste my practice time trying to get things working so I'm waiting till I have time to address it. Stay tuned… I will post something soon enough.

On Friday night I started using the rounded .464 tuning slide in my Zeus and it makes a great improvement in how it plays. I had originally tried using this slide when I first got it but could not tell the difference. This was largely due to me being more used to the open blow of my Conn V1. After playing the Zeus non stop for a few weeks I could definitely tell the difference. Looks like I found a configuration to stick with for a long time.

I'm sure a lot of people who visit my site wonder why I play the Zeus instead of the Conn. The main reason for me is the sound. I love the sound of the Zeus. The Conn, while dark – definitely has an edge that I am not looking for. The Zeus is mellow, dark and rich – qualities that I have in my head when I think of the best trumpet sound. It's all personal taste and sound is the biggest concern for me. A good friend of mine told me that a trumpet player's chops can adjust to any type of horn. I am willing to make the adjustment from the Conn to the Zeus to get that idea sound.

I have been working heavily on the Caruso stuff for a week now. As I sit here and type this journal entry and I can feel that my chops are slightly fatigued. Not to the point where I have swelling or pain – just evidence of a good solid workout. I like that. Right now I do the Caruso drills, rest, play my usual long tones, articulation, etc., rest and then close out with Caruso. I'm getting some great online help from the folks at the Trumpet Herald and my teacher is familiar with the routines as well. Hopefully I am on to something here. Only time (and patience) will tell.

More importantly – I feel like the distractions are behind me and I can focus again.

Well I have gotten my focus back. It seems as if the distractions or lack of focus comes in waves… a few days here and then something will happen to just knock me right back on track. This time that something was a song by Terence Blanchard called “Sing Soweto”. A beautiful tune that was inspired by a terrible event (the Soweto massacre in 1978). It is a simple song but it spoke to me so much that I took the time to transpose the head. I wish I knew how to figure out the chord changes for songs. I would surely take this tune and plug it into band in a box for recording. I may still do a version without accompaniment – stay tuned for that. Right now Terence Blanchard is easily my favorite player because of his playing and his writing.

I am beginning to work with the methods of Carmine Caruso in addition to my regular practice routine. His 'musical calisthenics' are designed to coordinate and strengthen the muscles needed to play a brass instrument. My current teacher introduced me to the “six notes” at our first lesson. I remember them being very difficult for me to complete then and that was about 6 months ago. I am doing them now and they are much easier than they used to be — that tells me my chops are indeed getting stronger. There is nothing better than finding something that used to be hard — easy. Progress. Grab it and hold on to it for those days when you're ready to throw your horn out the window. I have talked to several people who use this method and they all had good things to say about it. I look forward to the new challenge and benefits that it will bring.

A quick comment about equipment ? as a beginner I used to find that I was easily swayed by the comments and suggestions of others. While this information is valuable and definitely helpful I have discovered that when it comes to equipment (mouthpieces, horns, heavy valves caps, etc) it truly comes down to the feel of the player. What works for John or Jane may not work for you. When it doubt ? try it yourself and come to your own conclusions. Don?t be afraid to go against the grain to get the feel and sound that YOU are looking for. Let folks argue and say what they say ? you?re the one playing the horn, not them.

I have one of those funky breathing devices with the ping pong ball and the
tube.  I brought it around the same time that I decided to play trumpet
hoping to use it to improve my playing.  It sat on my dresser for months
until recently I decided to give it a try.  After talking to my teacher
about it I decided to use it regularly when I practiced.  I would take big
full breaths into it – keeping the ball suspended.  Complete inhale and
exhale with no hesitation between the two.  It made a tremendous difference
in my playing.  Transferring that same feeling of moving air COMPLETELY
improved my tone and attack.  Before starting on a new element of practice
(long tones, slurs, articulation, etc) I would use the device to remind myself
of how to breath completely.  It is very similar to blowing through the
lead pipe but more exaggerated.  It still gives the effect of moving air
through the horn.

I had my first lesson in MONTHS on this past Tuesday.  It was a great
reminder that I should back in the habit of meeting with my teacher at least
once a month.  One of the things that I enjoy most is trading 8s and 4s
with my teacher.  As much fun as it is playing with CDs and midi tracks on
my computer – there is nothing like communicating with another human being on a
musical level.  It definitely adds to the experience.  My next few
lessons I would like to focus on music theory and learning to play basic chords
on the keyboard.  I've been reading a few books on the subject but there
are some holes that I need filled in.

At the suggestion of a friend I am reading a new book called "Effortless
Mastery:  Liberating the Master Musician Within" by Kenny
Werner.  I'm only through about 60 pages or so but it really makes me look
at music in a different light.  It talks about a lot of the unnecessary
pressure that we put on ourselves as musicians and how it can hold us back from
enjoying the experience and blessings of creating music.  Maybe I'm biased,
but I think trumpet players are guilty of this more than anyone else.  We
have so much that we THINK we have to worry about – chops, equipment,
range…  it is easy to get caught up and forget about why we choose this
wonderful instrument to begin with.

I posted a new sound file on the Sound Room
page.  I created the accompaniment using Band in a Box.  When I first
started working with it I wasn't very impressed with the quality of the midi
files.  I have since upgraded my midi bank and it sounds 110% better. 
Much more realistic.  This is also my first recording using a JoRal Bubble
mute.  I need to do more mute work.  It is a different blow and I'd
like to be more comfortable with it as I like the sound very much.

My new horn (and the story behind it) will be here tomorrow.  Check back to
the site on Tuesday or Wednesday for details and pictures!

This week I tried to pay particular attention to breathing and air. It is something that I have not truly focused on in the past – as crazy as that may sound. When paying attention to it I noticed how vital it is when playing the trumpet. If I “tanked up” and played a phrase it sounded so much better than if I just took a quick breath of air. I also noticed that if I ran out of air while trying to play a long phrase I would immediately resort to using extra pressure to get the notes out. If I had enough air – no problem. My tone was better and my chops were not as tired after a 30 minute straight playing session. I played my usual Clarke studies but tried to stretch out the number of measures I played before taking a breath. That was a true work out. I also recorded the Getchell #13 piece again. I played it slower but I tried not to breath as much in between phrases. I did it in the beginning but went back to my short breaths near the end. Sounds like I need to hit the studio again. You can check it out in the Sound Room.

Speaking of studio – I purchased some software called “Band in a Box“. It is pretty cool. It allows me to enter chord changes to songs and it plays back the accompaniment. You can change the style of music, the tempo… it’s really flexible. One of the first things I’d like to do is re-record Summertime. I want to slow it down to match the tempo of the Miles Davis version from “Porgy and Bess”. Stay tuned for that. I also want to start writing my own songs.

Guess what? I’m getting another horn. I sold one of my current horns and I’m using the funds to buy another. You’ll be the first to know when it arrives. I can’t wait?

We got dumped on with about 1.5 feet of snow this weekend. More is expected tonight and Monday morning through the afternoon. It is a pretty amazing thing to see. It?s funny — we spent most of the weekday worried about a terrorist attack and we should have been concerned with mom nature. Now THIS is a show of power. I used the time to get in a lot of quality practice. Usually short focused sessions of 15 to 20 minutes with 30 minute breaks in between. It was great.

I spent a lot of my time practicing mostly long tones and soft playing. I tried something different that was suggested by a friend. I opened the blinds and watched the snow swirl about in front of me. I tried to play something on horn that matched what I saw and felt. It was difficult at first but after a while it became easy. As soon as I ignored the sounds I was making and focused on the flakes, the wind, the huge drifts, the trees bending and swaying ? it was easy. I may challenge myself this way more often. It?s more of an exercise in expression than anything else.

The long soft tones have really made me focus my embouchure. I have a feeling I was playing more spread out and not direct (for lack of a better word). Getting a nice tight air stream really gives you a good sound not just when playing soft ? but when you play loud. It really gets the corners burning when you do it right and that tells me I?m building muscle (and endurance). I think I?m on to something here.

I discovered a really cool online music service called Spinner. It has several different music channels and they play without commercial breaks. The Bop channel is fantastic. If you curious and looking for some fresh sounds – check it out: http://www.spinner.com.

Over the weekend – I tried something new. I actually applied the dynamics to my exercises! Yeah, yeah… I know I’m supposed to but in the past I was so focused on getting the notes right and creating a good sound, I rarely paid that much attention to “p” or “pp”… I basically played everything “mf” or “f”!

One exercise in particular had great results when I followed the dynamic markings. I frequently work from Clarke Technical Studies – specifically #1. When I applied the dynamics as marked, the exercise became much more difficult (which as I mentioned in an earlier entry – that usual means it is more beneficial). I could really feel my chops burn as I tried to play with the same full sound but at a softer volume. I originally thought that I needed brute force to get some of the higher notes out but I was surprised that I was able to play them without killing myself.

Later in the day when I went on to play my etudes I was surprised at how easily some of my ceiling notes popped out. I usually struggle with E, F & G but they did not seem as hard. Usually after practicing all day I can forget about getting these notes out at all.

I remember getting advice from several experienced players when I first started about practicing long tones… softly. Must be something to this. I have already decided to include this into my regular routine and will even attempt to play softly after hours when I normally have to put my horn away. As usual, I will let you know how that turns out.

I had the pleasure of hearing the Lincoln Center Jazz Orchestra perform at the Kennedy Center this evening. As usual their playing was absolutely amazing. They had just flown in from doing a show in London. You would think they would be tired but they played with amazing life and energy. This is hands down one of the tightest big bands that I have ever heard. They performed songs by Ellington, Coltrane, Mingus and some originals by Wynton Marsalis. Every musician in the group is on top of his game – some of the songs were arranged by members of the group and they did every one of them supreme justice. I think I have seen this band perform 4 times and each time it is a major treat and source of inspiration. It makes me want to run home and practice even more. These cats enjoy what they are doing and they do it so very well. My hat is off to the Lincoln Center Jazz Orchestra for that do to keep the music alive.

I am also very lucky to have a wife who works with the Kennedy Center so I had an opportunity to go back stage and hold court with the man himself – Wynton Marsalis. This hard working player takes the time to speak with everyone who comes to see him. He truly appreciates people coming out to hear the music and it shows in how greets each one of them. He is especially giving to young people. It was very special to watch. I was able to speak with him for a moment and we talked about some of the important elements of trumpet playing. Mainly the use of air and the importance of realizing the music comes from within. The horn is just the medium to get it out. Words to live and play by I think.

Pardon me while I continue to walk on air. Talk about getting charged up to play the trumpet! More to come?

I will admit to being in the ultra-conservative camp when I first starting learning to play trumpet. There were certain elements that I thought were necessary in order for music to fall in the “jazz” category. I had a hard time listening to avante garde stuff. I couldn’t get into anything that was not “in the box”.

This past weekend, I was in a sour mood and I wanted to stay there for some odd reason. I started listening to jazz albums that I didn’t care for before and guess what – they started talking to me. One song that I couldn’t get enough of was “Mood” from the Miles Davis E.S.P. album. I couldn’t stand it before – now I love it. I’ve been listening to his late 60s stuff and today I’ve been listening to the plugged nickel recordings. I love the way they reach out. The level of personal expression and group dialog is amazing.

I think part of my problem was I tried to get into that stuff mid stream without going back and listening to some of the music before it. I had a bunch of albums that I didn’t care for before and now I’m going back to them. I guess for me it was like starting to read a book in the middle and not understand what is going on. Now that I’ve started building a foundation I can follow and appreciate what they are doing.

I may get an opportunity to play during my church services this year. I spoke with the Minster of Music at my church and he is willing to practice with me on Thursdays to perhaps put something together that we can do regular. As you know, that was one of my goals for this year. The question is – AM I REALLY READY? Not just musically but mentally?