I agree with Alan Wise .... "it is great to learn about all of this !!"
Perhaps Lynn would be gracious enough to share more of his road stories and conversations having performed with Maynard at such a young age. Or maybe stories of his time in the Buddy Rich Big Band ... or the Toshiko Akiyoshi / Lew Tabackin Big Band ... or the Thad Jones / Mel Lewis Big Band ... or with the legendary group CHASE or perhaps playing lead trumpet at The Dunes in Vegas.
I bet he has stories of his time studying with Cat Anderson, Bud Brisbois and Bill Adam as well.
Great thread ... please share more Lynn !
...1+++
Lynn: regarding Cat Anderson's "10 Minutes Whisper G" a close comparison to the "shift" in the MF protocol would be from great interest. In my experience this whisper exercise needs more some rolled in lip behaviour than the opposite "shift" behaviour.
Regarding Bud Brisbois you told once that he played mostly with his tounge on the bottom of his mouth - not using toung level support for high notes but mostly air.
...and something like that would be fantastic if you would like to share ....
Posted: Mon Jun 29, 2015 6:01 am Post subject: Re: My lesson with Lynn Nicholson
lynn9544 wrote:
Thanks for your version of the facts, Geezer. I'm sure you're a nice guy, too....
... I do not know who you are, but I do not recall hearing of anyone named geezer for the entire year I was on the band.
I simply asked if anyone here had ever heard Maynard say anything that resembled your protocol in a public clinic.
We do know that in the 1970's,
when you knew him,
Maynard essentially endorsed Donald Reinhardt's "Pivot System"
when Maynard hired Reinhardt to teach Maynard's son.
Reinhardt showed me the check from Maynard, and many others here also saw that check.
So if Maynard later abandoned Reinhardt to follow some different protocol,
we need to know if Maynard ever said so in a public clinic.
1973 Holton brochures said that Maynard used the MF6 with 19 throat
while Lin Biviano used the MF3 with 24 throat.
Since the Holton brochure that I obtained in 1973 mentioned Biviano as being in the band at that time, that definitely confirms that Holton was attributing the MF6 19 throat to Maynard in 1973.
That was not a prototype mouthpiece, but rather a stock MF6 with 19 throat that Holton was offering for sale to everyone in 1973.
Perhaps Maynard lost his MF6 on tour and he needed you to open the throat on an MF3 until Holton could get another MF6 to him.
There is no version of facts.
Facts are just facts.
I did not say that Maynard never used the protocol that you are teaching.
I am sinply asking if anyone other than you ever heard Maynard publicly teach that protocol,
and if so how Maynard himself described that protocol in his clinics.
That would narrow down when Maynard started using that protocol and how Maynard himself interpreted it, so that we can compare Maynard's interpretation of the protocol to your interpretation of the protocol.
It is standard journalistic practice.
Even if one source is excellent,
a reporter should find 2 or 3 sources that say the same thing before reporting something as fact.
Because old memories can be fallible. (Psychologists say that we remember memories of memories of memories of memories, like a 10th-generation blurry photocopy, rather than actually retaining the original memory all those years. Every time we recall the memory, it is another generation removed from the original memory. Which is why actual 1973 Holton brochures and 42-year-old recordings of clinics are more reliable than 40-year-old memories.)
There can be different viewpoints in recalling memories. (Fact A really did happen, but unreported fact B sheds a new light on fact A. Such as "A punched B in the face", but the fact that "B punched A in the face first" was not included in the initial information and gives a whole new understanding to fact A).
Lynn is a great guy, a great musician, a wonderful teacher.
There is nothing wrong with asking if anyone else also heard Maynard teach the protocol. _________________ Holton MF6
Holton MF3
Joined: 03 Dec 2001 Posts: 2681 Location: Queens and upstate, NY
Posted: Mon Jun 29, 2015 6:55 am Post subject:
Hey Shak, to address some of the things you mentioned, I think the Cat Anderson thing is more of an 'long tone isometric' idea. And it was a 20 min 'G' followed by other 10 min long tones higher up - I think Geoff Winstead, author of the new Cat Anderson method and his student, would know for sure. Also Bill Chase had some type of long tone isometric he did until his corners would burn.. Bud Brisbois always emphasized air, but also had that hanging mouthpiece isometric he did.
I think that isometrics that in some way work out the same muscles at the ones we use to do lip slurs, are the ones we want to focus on - or, then again, just do a lot of lip slurs! I wish I still had the copy of the old NYBC Maynard book from the 70's- does anyone have it and can scan it in? Hopefully Lynn will chime in and clear things up more but, to my knowledge the only chop exercise MF endorsed were lip slurs - like starting on pg.42 of the Arban's - other than transposing melodies upward - this is what I've heard from players who knew him. In that NYBC book there are some lip slur/trill exercises MF wrote out for the book.. kind of like the one's you hear him do when he's actually playing. Maybe MF instinctively knew that these slurs developed a sort of 'relaxed strength' in the right muscles? Also, any thought to lip slurs engaging/exercising the breathing muscles in a good way? I seem to remember reading MF talking about something like that somewhere too - I also think to Lynn's video with the octave slurs and his talk about air with them. Again, hopefully Lynn, Alan, and maybe even others who played on the band and are reading this can chime in on anything.
Geezer - I wonder if the word 'protocol' is giving a little hang up in this discussion - what if we were just saying 'the way MF approached the horn'?
I don't get the impression that MF and Reinhardt's approach are at odds really - sure, MF didn't do everything to the letter that DSR taught - but it's obvious he had great embouchure mechanics naturally - and also there is a whole chapter in the Encyclopedia of the Pivot system Reinhardt devotes to breathing/air usage.
Lynn - One of your last posts reminded me of something I wanted to ask you. I have heard also from players that knew MF, that he would carry around a trumpet mouthpiece and buzz melodies on it during time off - nothing structured or anything, but did you ever witness him doing anything of that nature?
All the best, Lex _________________ Mpcs: Jim New-Manley Jazz1/Jazz2/Jazz4/Lead3. Legends MF1. Reeves 39EX/HV. Frost 39MVD. Flugel: Jim NewMF3. Jim New-Manley F1+F2. Pickett MF. Reeves HF.
Trumpets: THE LYNNZHORN!!/Stomvi Forte pocket
Flugel: Manchester Brass Pro Model
Www.LexSamu.com
Joined: 23 Aug 2002 Posts: 383 Location: St Augustine, FL
Posted: Mon Jun 29, 2015 7:42 am Post subject:
I didn't know MF personally, but I do recall a story from the first time he appeared at our college. It was Fall of 1971 and he was appearing with the british band (living in UK I think) He forgot his trumpet and had to use other horns for the beginning of the tour. (his wife flew home to get it) Story was that he had the habit of carrying his mouthpiece in his pocket so at least he had that with him. Heard the story from a local friend of his so I assume it was true.
In 2001 Maynard Ferguson and my band at the time Macs Smokin Section did a week long double bill at the Blue Note NYC when I was on the Blue Note Club label. All shows were sold out and the club packed so he and I did not get a chance to talk until Sunday after the week of shows concluded.He complimented me on my choice of set lists and said he was impressed with my air power. It sounded funny to me because I never really think about air,I think more about lips in relation to exposure to airflow. Speaking to him at close distance I could see his top lip was freshly cut with a pronounced sideways S shape which at the time verified what I had seen him do all week long a shift in mouthpiece weight when ascending. I could also see a slight un furling of the lower lip creating a lower bulge. I thanked him for our team effort that week and as I was walking out he said keep that strong air thing goin.. So in conclusion I do think he was convinced of the air being priority. As for my opinion on air power,most players have enough of it already. The part that presents issues is get lips exposed and reacting to the airflow they have already.
Joined: 14 Aug 2002 Posts: 795 Location: Rich Wetzel
Posted: Mon Jun 29, 2015 9:11 am Post subject:
Actually, Lynn is correct.
An interesting post from Eric Miyahiro on the MF forum on these pieces, etc:
Holton MF 1 comes with #27 drill, (according to info I got from a friend) I have 2 MF 1, but one has a #26 drill so I really can't be sure. I have 4 MF 3 Holton pieces, and they all have different drill size, at the time,I guess the mouthpiece quality control was pretty loose at Holton.
The altered Holton mouthpiece that Maynard used was only bored out, and shank shaved, nothing was done to the rim or the cup.
You can check out few of these "Nicholson-Holton" mouthpieces on the Ferguson estate webpage's archive photos.
(I think Lynn played on Jettone T-1A witch he opened it up from #27 to a #19, JL can correct me on this)
Greg Gisbert gave me a Holton MF 3 that he got from Maynard, and it was bored out from #27 to # 19.
Holton made MF 1, MF 3 and MF 6. There were 2,4,& 5, but only as proto types. The difference between these were cup diameter and depth, MF 1 and MF 6 were similar, but with different drill size, and MF 3 was bigger in diameter and cup volume.
MF 1 was close copy of FBL, only slightly shalower. FBL had somewhere near a #26-27 drill size. (due to metric drill bit size)
Maynard went to Jettone with the Holtone pieces, and worked with Bill Ratzinger to modify and improve on it's design.
Interesting to note that over the years, when Mayard switched to bigger horns and bigger throat size, his cup depth got shallower.
The FBL was pretty deep, and so was the Holtons, His Girdenelli was shallow, but he was using large bore Callicchio and Conn 38B.
The Liberator he mainly used was .462 bore, (they came in 2 different bore size) so his FBL was deeper.
On Kenton, when he was using large bore Selmer and extra large bore Bach, he was using Ruddy Muck 13C that he had Canadian mouthpiece guy altered to be shallower.
ST 301 was .464, and he was using the Holton 1. When he went to the bigger ST 302, he started to use the shallower Jettone MF.
So you can see that Maynard was balancing out the resistance factor by mouthpiece and horn combination. _________________ Rich Wetzel
Bach Artist and Clinician
Rich Wetzel's Groovin Higher Orchestra
www.richwetzel.com www.facebook.com/rich.wetzel
Joined: 13 Nov 2001 Posts: 9830 Location: Chicago, Illinois
Posted: Mon Jun 29, 2015 9:16 am Post subject:
Mac Gollehon wrote:
As for my opinion on air power,most players have enough of it already. The part that presents issues is get lips exposed and reacting to the airflow they have already.
I think most players from age 16 or 17 onward have enough innate air power to reach a good, strong F above High C and squeak up to around a Double High C if they have the tongue level and the lips working correctly. Several research studies have shown that each octave climb in range at a particular volume level requires an approximate doubling of the supplied air pressure. To reach the Double High C range with full power probably requires the average person to increase his or her blowing strength by a solid 40-60% (and have the "knack" or "feel" of how to play the notes up there).
I'd love to see a wide-spread study measuring how much air pressure various players can generate, along with how high each player can play. I think there would be a very clear correlation between blowing strength capabilities and upper range limits. While there would probably be a significant number of players with lots of air power but not fantastic upper registers (because they haven't gained the knack of it) I think there would be few if any players capable of playing full power Double High C's without significantly above average air power capabilities. In particular, I'd like to know how much air pressure guys like Arturo Sandoval, Lynn Nicholson and Wayne Bergeron can generate. Maybe someday, I'll put such a study together.
Best wishes,
John Mohan _________________ Trumpet Player, Clinician & Teacher
1st Trpt for Cats, Phantom of the Opera, West Side Story, Evita, Hunchback of Notre Dame,
Grease, The Producers, Addams Family, In the Heights, etc.
Ex LA Studio Musician
16 Year Claude Gordon Student
Joined: 03 Dec 2001 Posts: 2681 Location: Queens and upstate, NY
Posted: Mon Jun 29, 2015 11:31 am Post subject:
Unfortunately we might not be hearing from Lynn for awhile - He was pretty unhappy with a couple of the people's posts on here. I told him to do what I do - which is just totally ignore the people who bother him - like their posts aren't even there.. and that are MANY more players here who really dig what he's talking about - and a lot who don't post.. so, hopefully, we'll see him again at some point. Sorry for the bad news guys! _________________ Mpcs: Jim New-Manley Jazz1/Jazz2/Jazz4/Lead3. Legends MF1. Reeves 39EX/HV. Frost 39MVD. Flugel: Jim NewMF3. Jim New-Manley F1+F2. Pickett MF. Reeves HF.
Trumpets: THE LYNNZHORN!!/Stomvi Forte pocket
Flugel: Manchester Brass Pro Model
Www.LexSamu.com
Joined: 27 May 2009 Posts: 712 Location: Indianapolis, In.
Posted: Mon Jun 29, 2015 7:52 pm Post subject:
I'm just an old guy that is an average player that leaves this site and the other site from time to time because of the comments posted. I have seen more than just a few pro players that graciously gave of their time and experience get chased away. To Lynn I completely understand your frustration but want you to know that there plenty of us here that value your input. Take care my friend [ also enjoy your beautiful pictures, you're a man of many talents]. _________________ Chicago Benge 33XX
Burbank Benge 5X 59XX
Yamaha Flugel 231
assorted other horns
I'm just an old guy that is an average player that leaves this site and the other site from time to time because of the comments posted. I have seen more than just a few pro players that graciously gave of their time and experience get chased away. To Lynn I completely understand your frustration but want you to know that there plenty of us here that value your input. Take care my friend [ also enjoy your beautiful pictures, you're a man of many talents].
...1+++
please some questions to Geezer:
Geezer:
Quote:
Maynard was using the Holton MF6 with 19 throat in 1973 before Maynard met Lynn for the first time
Lynn:
Quote:
I remember quite clearly the day Maynard came back to me on the bus, and asked me to open his Holton prototype. It never occurred to me to interrogate him to see if I was the first to "19" his mouthpiece. I just did as he requested. If memory serves, it originally had a 24-25 hole. It was January 20th, my 22nd birthday, and after the reamed 19 (16 at the big end), that night he played the biggest/loudest triple C I have ever heard. Is it possible that Holton had previously tried a 19 hole before then in their MF series? Sure. I've learned that anything is possible, but Maynard never played a production model (deeper/darker like the FBL) while I was on the band, only the shallower prototype. I have a few of the production versions here, given to me by Maynard and Sandy Sandberg later in the year. My impression was that the production versions were made AFTER the prototypes chronologically, as is the case in all the rest of the manufacturing world. None of these resemble what Maynard actually played in 1974.
...comparing both post I would say: Lynn remembers exactly and clearly stated, what he was doing and what he observed. Even he concides the possibility that there could be a 19 throat Holton MF6 before but stated clear his observation that Mynard uses Prototyps. So what is the problem here to insist again like:
Quote:
1973 Holton brochures said that Maynard used the MF6 with 19 throat
while Lin Biviano used the MF3 with 24 throat.
Since the Holton brochure that I obtained in 1973 mentioned Biviano as being in the band at that time, that definitely confirms that Holton was attributing the MF6 19 throat to Maynard in 1973.
That was not a prototype mouthpiece, but rather a stock MF6 with 19 throat that Holton was offering for sale to everyone in 1973.
Perhaps Maynard lost his MF6 on tour and he needed you to open the throat on an MF3 until Holton could get another MF6 to him.
??
regarding stating "facts":
In my experience when someone is stating something as "facts" he only is going to argue for what ever reason (mostly not for truth but for to be justified). But anyway...if your demand is so great regarding telling "facts" and a decent journalistic behaviour to collect a second and third verification on things Lynn is sharing (mostly a human - me included - searches for second/ third verifications of his own opinion), and if old memories could be fallible:
can you give 2nd and 3rd verifications about the 1973 Holton brochure you obtained ? I have tried something like that with the Jet-Tone brochures regarding MF models and failded even there are copies in the net because they did not state the date of publication.
...and last but not least:
Quote:
In the early 1970's Maynard endorsed Donald Reinhardt of "Pivot System" fame when Maynard gave Reinhardt a blank check so that Reinhardt would teach Maynard's son the right way to play trumpet.
and
Quote:
As stated earlier,
Maynard hired Donald Reinhardt ("Pivot System") to teach Maynard's son in the early 1970's,
and Maynard was already playing a Holton MF6 mouthpiece with 19 throat in 1973, before Maynard met Lynn.
If I send my son to a good teacher, is this called to be an endorsement?
And when I am fantastic in the subject I would like my son would make progress too, and I have no time to teach him personal, I will choose a good one - but gives this some proof about how I got my personal skills? I think not.
I have watched some youtube clips of Maynard clinics - yes: he never comes to state in detail what his embouchure is function like. Even in his autobiography nothing is stated except his mouthpiece design. But I think he did not need: you can see it on every picture or clip in action.
And when one compares Lynn's teaching regarding that and one looks close to Maynards embouchure, all is answered very well I think.
For me you are pretending to give a more rounded picture about what Maynard was doing in regard to what Lynn shares. Just my impression.
I'd loved to have heard more historical stories from Lynn about his time with Maynard, Bill Chase and Bud Brisbois as well as his own playing experience and advice ... however, true to the Trumpet Herald mantra of negativity we now have yet another Professional Trumpet Player who will not be posting here anymore.
When Lynn was contemplating entering this forum I told him this is what he should expect. This forum is very predictable. _________________ Schilke X3 Bb trumpet
Yamaha 631g Flugelhorn
Nicholson Monette Prana Resonance LT mouthpiece
Kanstul Claude Gordon Personal mouthpiece
Last edited by RussellDDixon on Tue Jun 30, 2015 9:17 am; edited 1 time in total
Joined: 03 Dec 2001 Posts: 2681 Location: Queens and upstate, NY
Posted: Tue Jun 30, 2015 7:18 am Post subject:
Quote:
When Lynn was contemplating entering this forum I told him this is what he should expect.
I also told him about this aspect. It's a worldwide group and anyone can post. The way I am able to do it is just by ignoring the posters I don't care for or who I feel just waste my time. It's harder for someone like Lynn I think since he is selling something - not even for the money (because what is he really going to make on this? A few thousand?) but for the integrity of MF.
It's probably the biggest challenge for people who make their livings selling horns - but, then again, I guess then it becomes part of the job where you have to read and respond to all posters - in that light, not such a hard part of the job when it's how you make your living. Anyway, maybe Lynn will come back at some point and post more.
Quote:
And when one compares Lynn's teaching regarding that and one looks close to Maynards embouchure, all is answered very well I think.
Since I am a pro player and have worked with many who work with MF, obviously the subject of The Boss has come up! So besides the footage we have of MF, talking with cats who worked with him and questioned him and observed him up close, it was very easy for me to accept what Lynn was saying about how MF played - it was like, "oh yeah, of course!" I just never heard it in such great detail.
Shak - as far as the mouthpieces go. A mouthpiece maker who makes a lot of pieces for well known players told me once it just wasn't practical to keep changing their 'endorsed model' on the webpage. Some players just change and tweak so much, that they couldn't really keep up! so the mouthpiece you are using that you think 'player x' might be using, they might not be using anymore!
Also, as far as Lin Biviano and the MF mouthpiece. The story I heard from a friend of his was that he tried to make it work for several months but lost an octave of range and just couldn't do it - then he went to a more conventional design based off a 6a4a and everything was good. But I can understand why Holton would put that in their brochure - heck, what are the chances Holton even found out Lin stopped playing the mouthpiece?
Remember the backs of the old NYBC Journals with all the pics of the players who used to play jettones - I used to think that was so cool when I was a kid! Still, the OLD jet-tone line (and actually the very new Schilke repros are very good) are some of my all time favorite pieces - there's a reason a few guys are copying that line these days. Check out Derek Saidak at Legends for some great repros on those:-) _________________ Mpcs: Jim New-Manley Jazz1/Jazz2/Jazz4/Lead3. Legends MF1. Reeves 39EX/HV. Frost 39MVD. Flugel: Jim NewMF3. Jim New-Manley F1+F2. Pickett MF. Reeves HF.
Trumpets: THE LYNNZHORN!!/Stomvi Forte pocket
Flugel: Manchester Brass Pro Model
Www.LexSamu.com
Unfortunately we might not be hearing from Lynn for awhile - He was pretty unhappy with a couple of the people's posts on here. I told him to do what I do - which is just totally ignore the people who bother him - like their posts aren't even there.. and that are MANY more players here who really dig what he's talking about - and a lot who don't post.. so, hopefully, we'll see him again at some point. Sorry for the bad news guys!
what a pity lex, a valuable resource like Lynn is wasted. I never really understand why so many of these threads degenerate into verbal attacks more or less. People can disagree about ideas for sure, but it doesn't have to get mean. I have gotten all sorts of ideas from what i would call opposing camps. sometimes its just reading similar ideas in different ways that spawn ideas in my own head that can be helpful. I like to read about all the different ways that people are approaching the horn, mouthpiece, air, tongue, etc. Some things stick in my mind as making sense and some don't.
In the end its up to me to follow the path i feel will help. i don't have to bash the ones that don't. "Build up, don't tear down", its not only a quote about our chops, its a good life lesson.
Lynn's ability on the horn and his resume speaks for itself. I heard Lynn live with Maynard back around 74 and he was amazing. He was all off 22 and probably weighed 130 lbs. soaking wet. Kind of resembled Donny Osmond with longer hair. I spoke with him after a show and he was also a really nice guy.
I casually knew Rick Petrone shortly after he left Maynard and heard his group New York Mary a few times. A very close friend of mine was studying with him at the time.I got to speak with Bruce Johnston and Rick at length about Lynn. Bruce and Rick had wonderful things to say about Lynn.
Lynn, if you are still checking this thread, please stay involved. Your input and wisdom would be sorely missed. You Rock!!!!!
Joined: 10 Mar 2004 Posts: 650 Location: Johnson City, Texas
Posted: Wed Jul 01, 2015 12:33 pm Post subject:
Wow! This thread is really active. I miss a few days online and there are pages II haven't seen.
I'd like to revisit the reference to Maynard and Doc Reinhardt. Bentley was to attend Valley Forge Military Academy outside Philadelphia and Maynard asked Doc look in on Bentley. I have a photo Doc had taken with Maynard at the time. On the bottom, Doc wrote, "I wish he was my student."
Joined: 26 Mar 2002 Posts: 397 Location: The Great White North
Posted: Wed Jul 01, 2015 3:06 pm Post subject:
ljazztrm wrote:
Unfortunately we might not be hearing from Lynn for awhile - He was pretty unhappy with a couple of the people's posts on here.
I hope Lynn will reconsider. I assume he's motivated by helping others by imparting the knowledge he has acquired throughout his career, and I for one have learned a lot. His posts are always well reasoned and supported by his own personal observations and experiences. To let a few less than supportive posts from a handful of anonymous people sway his opinion about contributing to this forum would be unfortunate. We can't control what others think or do, but we can control how we choose to react. Lynn, don't stop sharing. ljazztrm has it right, make the decision to ignore the posts that look to undermine your message. Why give them the power to silence you? Your ability to back up your opinions with your playing, and having been up close and personal to the all-time greatest player in history makes you uniquely qualified. For every one naysayer on this forum, you have 500+ that want to hear more! _________________ MF Fan
__________
L.A. Benge 5x
Holton MF3
Lead Trumpet - My Basement Jazz Orchestra
Unfortunately we might not be hearing from Lynn for awhile - He was pretty unhappy with a couple of the people's posts on here. I told him to do what I do - which is just totally ignore the people who bother him - like their posts aren't even there.. and that are MANY more players here who really dig what he's talking about - and a lot who don't post.. so, hopefully, we'll see him again at some point. Sorry for the bad news guys!
what a pity lex, a valuable resource like Lynn is wasted. I never really understand why so many of these threads degenerate into verbal attacks more or less.
Lynn was not attacked in this thread.
Lynn was treated with respect.
There is no legitimate reason for Lynn to be angry.
I did not know that Maynard had abandoned his well-known belief in Donald Reinhardt to practice the protocol, so I wanted to find out when that change happened.
Lynn did not know that Maynard had previously used a 19 throat before asking Lynn to make another one.
That is what these discussions are for.
A friendly exchange of information.
A friendly exchange of information is no reason to be angry.
Joined: 25 May 2013 Posts: 2123 Location: Atlanta GA
Posted: Wed Jul 01, 2015 3:26 pm Post subject:
I rented Lynn's video, Got High Notes, just out of curiosity after reading about it in TH, not really expecting it would be all that relevant for the playing that I do. I was surprised at how informative and helpful it is for general trumpet playing too (although clearly intended to apply fundamental principles to super-high-note-playing). Very well done, and quite helpful for me. I was performing in a concert just last week that involved some high note (for me) playing, thinking about and applying what I learned in the vid. It really did help.
I hope Lynn comes back to this forum. His abilities and teaching insights really are something special. _________________ Bb Yamaha Xeno 8335IIS
Cornet Getzen Custom 3850S
Flugelhorn Courtois 155R
Piccolo Stomvi
Joined: 03 Dec 2001 Posts: 2681 Location: Queens and upstate, NY
Posted: Wed Jul 01, 2015 9:30 pm Post subject:
Quote:
To let a few less than supportive posts from a handful of anonymous people sway his opinion about contributing to this forum would be unfortunate. We can't control what others think or do, but we can control how we choose to react. Lynn, don't stop sharing. ljazztrm has it right, make the decision to ignore the posts that look to undermine your message. Why give them the power to silence you? Your ability to back up your opinions with your playing, and having been up close and personal to the all-time greatest player in history makes you uniquely qualified. For every one naysayer on this forum, you have 500+ that want to hear more!
_________________
Very well said MF Fan! I think Lynn just wants to respect everyone and read all their posts and respond appropriately - unfortunately, I don't think that's possible on a WWW internet forum where anyone can post.
I don't consider my own decision to ignore certain posters to be disrespectful to them, I simply don't have the time to deal with people that I consider to have ego, emotional, mental, or other types of issues that take away from my own ideas of a normal trumpet discussion with exchange of ideas. Like I said before, were I to have a different view, I simply wouldn't be able to post here just due to lack of time in my life. Doing it the way I do makes it fun and informative for me personally. Best, Lex _________________ Mpcs: Jim New-Manley Jazz1/Jazz2/Jazz4/Lead3. Legends MF1. Reeves 39EX/HV. Frost 39MVD. Flugel: Jim NewMF3. Jim New-Manley F1+F2. Pickett MF. Reeves HF.
Trumpets: THE LYNNZHORN!!/Stomvi Forte pocket
Flugel: Manchester Brass Pro Model
Www.LexSamu.com
Very well said MF Fan! I think Lynn just wants to respect everyone and read all their posts and respond appropriately - unfortunately, I don't think that's possible on a WWW internet forum where anyone can post.
I don't consider my own decision to ignore certain posters to be disrespectful to them, I simply don't have the time to deal with people that I consider to have ego, emotional, mental, or other types of issues that take away from my own ideas of a normal trumpet discussion with exchange of ideas. Like I said before, were I to have a different view, I simply wouldn't be able to post here just due to lack of time in my life. Doing it the way I do makes it fun and informative for me personally. Best, Lex
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