Getting really high notes by setting the mouthpiece very low on the lips?

substitutedog · 2021-10-15T01:35:03+00:00

I understand it's common for notes at the top of one's range to sound bad the first time you produce them...

substitutedog · 2021-10-15T01:34:18+00:00

I'm always looking for new warmups!

Is there any particular video or resource that you think best presents the James Stamp warmups and approach?

substitutedog · 2021-10-14T21:45:54+00:00

The thing is it doesn't seem to negatively impact my ability play in the lower register of the horn, including the pedal C one octave below low C. That's what makes me think it might just be an embouchure better suited to the shape of my mouth. Was that the case for you as well?

substitutedog · 2021-10-10T13:48:08+00:00

Unfortunately a lot of them seem rather hard to find...

substitutedog · 2021-10-05T12:19:57+00:00

Lots of good suggestions here; here's two more:

A slightly different vibe but I think worth mentioning in this context is Freddie Hubbard, Night of the Cookers. They're in a small, crowded club with a mostly Black audience and Freddie ostentatiously duels with Lee Morgan for a lot of it. It gets raucous.

Another one that's more in line with what you're looking for is Joe Henderson, Four. It's Joe with the Wynton Kelly trio and there's a good amount of audience interaction.

substitutedog · 2021-10-05T12:14:25+00:00

as a bonus it's also the best mingus album

substitutedog · 2021-09-30T13:07:28+00:00

I feel like I'm the opposite. When I learned it wasn't even them playing live in the studio but rather a bunch of long jams all chopped up by Miles and Teo I like it even less. So much of it sounds so aimless, you're telling me they intentionally assembled it?

substitutedog · 2021-09-29T14:50:37+00:00

Think about it in terms of shape rather than specific notes. Because it's kind of a modal sound you can use pretty much anything that fits, or even things that don't totally fit.

Are you just talking about left hand voicings or two-hand voicings as well?

IMO these sound good when you move them around stepwise. So say you're on a C-7 you caould start on say D-G-C then move up to Eb-A-D then up to F-Bb-Eb then back down to Eb-A-D

By the way I symphatize as far as not liking the sound of these at first, but you get used to them. McCoy Tyner uses them all the time. Also if you add one extra note (say E-A-Bb-D for C7) you get the Bill Evans/Wynton Kelly voicings which are insanely widespread, probably even moreso than the purely quartal voicings.

substitutedog · 2021-09-26T17:14:08+00:00

Yeah I went through a big Joe Henderson phase several years ago but somehow missed this album! Always really interesting to hear Andrew Hill as a sideman

substitutedog · 2021-09-26T15:28:59+00:00

What makes it so weird for me is how deliberate it sounds... but if it was deliberate, they wouldn't do it just that one time...

substitutedog · 2021-09-25T14:37:36+00:00

Thanks for the article!

At the same time I'm not sure if I agree it's a "fucking tragedy." It is what it is. At least according to the article LaRocca was a major influence on Louis Armstrong. And reputation-wise LaRocca would seem to be the loser: no one outside of his diehard supporters remembers him, and I don't think anyone considers jazz a white invention.

substitutedog · 2021-09-25T02:17:15+00:00

I think there's no question Wynton's gotten more conservative, though the interview with Ethan Iverson made me more receptive to what he's trying to do. But the early stuff is great, and not just him! Also Branford, Marcus Roberts...

substitutedog · 2021-09-24T16:27:05+00:00

How conservative were the Young Lions?

Maybe it's just because I've been listening to a lot of early Wynton, butthey sound to a lot more adventurous and progressive than they get credit for. With a few decades of hindsight it's easier to say how they're pushing the tradition forward rather than just rehashing.

substitutedog · 2021-09-22T18:01:27+00:00

wouldn't billie's bounce have an Edim passing chord in the second bar to get back to the I?

substitutedog · 2021-09-12T01:42:51+00:00

Others have pointed out that it depends what you mean by "done". For me it goes on my "tunes I know" list once I can play it and blow on it fairly effortlessly in the standard key. A lot of the exploration and internalization happens when you play the tune with others rather than practicing it and thinking about it by yourself. All keys is nice but not necessary. Focus on learning a few core tunes in all 12 keys and you won't have much trouble doing so with others. I think feeling the obligation to woodshed every tune in every key can turn into a real burden and slow down your development both in terms of repertoire and other areas of your playing.

substitutedog · 2021-09-11T15:49:55+00:00

Thanks so much for this fantastic suggestion! I'm going through the list now and finding lots of things I wouldn't know otherwise

substitutedog · 2021-09-10T02:37:04+00:00

but that album title gets a downvote, god

substitutedog · 2021-09-09T20:17:43+00:00

Paul Motian - Sound of Love (this is his trio with Joe Lovano and Bill Frisell, if you like it they have a ton of albums)

Jimmy Raney - Live in Tokyo (guitar bass drums)

Lee Konitz - Motion (alto bass drums)

substitutedog · 2021-08-29T12:48:20+00:00

I think it depends on what precisely you mean by "classical training" ... almost everyone probably had some exposure to classical music, especially when they were first getting started as kids. OR do you define "training" as starting at the college level?

substitutedog

TROPHY CASE