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razeontherock
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 Posted: Sat Jul 28, 2012 5:25 am Post subject: Callet Jazz |
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I have seen it said in this forum that this trumpet was the best ever built, on a step bore design, which has limitations. I'm wondering if any of you would be so kind as to spell out what those limitations are? Does it have anything to do with shifting registers, or focusing in the lower register?
I find myself playing my gold-plated Jazz these days, and am surprised it seems to be the best horn for the job out of my stable, for the gigs I've got on the books and coming in. It's great for developing my upper range, and also my "wind power!" I can certainly see why Jerome would take the same bell and put it on a smaller bore; after switching to the Jazz and playing on it exclusively for a week, (switching from another .470" bore no less) WOW were my blowing muscles sore, and tight  The ability to make this transition also marks a development in my playing. Those of you familiar with this trumpet know it has rather wide "slots," and doesn't really give you resistance type feedback as to where the pitch is, or should be. So the fact that I can play it and sound good, which includes being in tune, means my embouchure is now more responsive to my ear, and more automatic. I think this trumpet design might have something to do with Jerome's teaching re: the importance of pitch wrt embouchure function? |
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crzytptman
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| Posted: Sat Jul 28, 2012 9:01 am Post subject: |
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I didn't experience any of those traits you describe. But, I had a really good one, copper insulated with right side up 3rd slide and Reeves alignment. It is just a flat out great playing horn. I just sold it to one of my star students (8th grade) and she is killing on it. Plays it with an old Corp. 3C.
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markchuvala
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| Posted: Sat Jul 28, 2012 1:19 pm Post subject: |
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The jazz was a great horn. A little on the dark side for my taste, but a great horn. Really put out the volume, or could be controlled nicely for a jazz/classical job.
To me I never felt like I was swallowed up in it, being a .470 large bore horn. It to me did have wider slots that was nice for playing with pitchy players, was easy to adjust.
I've played a bunch of them when I was selling them for a while. The copper insulated jobs had a really great sound and projection. I played some with the third valve slide standard and reverse. Couldn't tell a lot of difference.
He made a ML version...with an equally silly name Stratosphere or something. Anybody ever play that?
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tommy t.
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| Posted: Sat Jul 28, 2012 1:30 pm Post subject: |
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| markchuvala wrote: | | The jazz was a great horn. A little on the dark side for my taste, but a great horn. Really put out the volume, or could be controlled nicely for a jazz/classical job.
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For me it played loud or not at all. I had owned a New York and then a Solo and was pretty excited about the idea of a horn that played as well as the Solo but was built with some care in the manufacturing. I demoed it in New York and I played Jeanie Pocius's model in the Boston area. For me, it just didn't have a good dynamic range. In my hands it would have been strictly a lead style horn and would not have fit in with a pit orchestra or community band section.
Shortly thereafter I got a Wild Thing and Jeanie got a MAX.
Tommy T.
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crzytptman
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| Posted: Sat Jul 28, 2012 2:33 pm Post subject: |
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I never had a problem with dynamic range. Even though I consider myself to be a pretty powerful player, I am often complimented on how soft I can play. It was no different on the Jazz. Over the years I played it, I used Jerry's 15S and 10S Bukurs, a custom VF around a 7M size in Acoustic blank, Schilke 14A4 and 14B4E, and finally Kanstul copies of Mt. Vernon 1-1/2C and Giardinelli 10S heard here:
http://www.reverbnation.com/open_graph/song/158364
http://www.reverbnation.com/open_graph/song/158384
The only reason I stopped playing it, was I was trying to get a certain tone quality I couldn't get on it. Bachish probably describes it. But Bach doesn't respond like the Jazz. For me, Flip's horns give me the sound and response I'm after.
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markchuvala
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| Posted: Sat Jul 28, 2012 3:12 pm Post subject: |
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The smaller Superchops is a beast. Of course its powerful, but surprisingly can be backed off and has a warm side to it. It's louddddd
I'd like the Jazz more if it coulda got brighter, but again it's also a great horn.
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tommy t.
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| Posted: Sat Jul 28, 2012 3:37 pm Post subject: |
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| crzytptman wrote: | | I used Jerry's 15S and 10S Bukurs.... |
With the Solo trumpet (I thinking maybe it was "Soloist" and "Solo" was an early small mouthpiece?), I was using an unmarked piece that was probably a pre-Burkur 10S out of the "small" drawer in the shop. I liked that piece but it didn't produce an in-tune scale on the Wild Thing.
Tommy T.
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crzytptman
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| Posted: Sat Jul 28, 2012 5:41 pm Post subject: |
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Soloist trumpet. I believe it used what became the Superchops bell. I have a Solo mouthpiece. A little v cup. I used it a couple of times for recording some other latin stuff. Like an ice pick to the eye . . . 
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razeontherock
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| Posted: Sun Jul 29, 2012 9:40 am Post subject: |
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| markchuvala wrote: | The jazz was a great horn. A little on the dark side for my taste, but a great horn.
It to me did have wider slots that was nice for playing with pitchy players, was easy to adjust.
The copper insulated jobs had a really great sound and projection.
Stratosphere or something. Anybody ever play that? |
So you dug the .460 Superchops enough to buy it! Definitely brighter than the Jazz. Any idea when your's was made? I find the SC, in both bores, REALLY "tells you" where the pitch is, and locks in strongly. I always dug that, and the Jazz is about as opposite as can be, also in the respect of what it takes to get the horn to light up. At the same time, I find each pitch (and step in the harmonic series) is a "bigger target," which is currently useful for me cuz I'm doing something else for a while, and picking up the horn cold, and almost always coming in on short chops that are thoroughly exposed. That's always been my weakness ... |
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razeontherock
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| Posted: Sun Jul 29, 2012 9:46 am Post subject: |
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| markchuvala wrote: | | The smaller Superchops is a beast. Of course its powerful, but surprisingly can be backed off and has a warm side to it. It's louddddd |
 YUP! This is the second thing I noted about it that makes me prefer it to the Calicchio 1S/2, which itself is a fantastic horn. The other, is that the SC just responds "that much" better for me.
| markchuvala wrote: |
I'd like the Jazz more if it coulda got brighter, but again it's also a great horn. |
I can put an edge on a rubber ball, and one thing in the extreme about the Jazz is how tonally responsive it is to different mouthpieces. Even so, my Jazz may just be capable of getting a good bit brighter than any you came across? I dunno, but ya gotta get at least FF if not FFF before mine really lights up. Hence the workout I'm still getting in all my blowing muscles |
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razeontherock
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| Posted: Sun Jul 29, 2012 9:49 am Post subject: |
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| crzytptman wrote: | | Soloist trumpet. I believe it used what became the Superchops bell. |
I've never seen a Soloist, but it is my understanding that Jerry designed the SC around a specific bell mandrel he had wanted for a long time, which would mean that bell only went on the SC? I'm not sure, but I'm sure Kyle knows. Did the Soloist have a bell as close to the SC bell as Jerry could make, w/o having the exact mandrel? |
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crzytptman
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| Posted: Sun Jul 29, 2012 1:09 pm Post subject: |
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That was the story of the Soloist bell. I used to have the 1 page ad. The mandrel came from France - Mr. Marceau or something. I think I heard from I don't remember where that the bell didn't work so well on .470, but worked well on the smaller SCs.
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razeontherock
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| Posted: Sun Jul 29, 2012 1:12 pm Post subject: |
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| So Nate, you're sure this bell was on the Soloist? (It was the mandrel used to make the legendary pre-war French Bessons, btw. Thought to have been lost to the war. Which would make it the same bell Conrad Gozzo played) |
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crzytptman
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| Posted: Sun Jul 29, 2012 8:09 pm Post subject: |
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No, I'm not sure. That is the story I remember hearing. I do know the Soloist bell was from a man in France, because I remember the ad. Apparently a long lost bell . . . in France . . .
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markchuvala
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| Posted: Mon Jul 30, 2012 9:21 am Post subject: |
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I saw Jerry last week, and he told me the bell on the SC was one he got from a guy at Besson. Different from the soloist...unless I'm mistaken.
He also said the .464 models had some pitch issues, like they blew real sharp. So far mine is pretty solid.
But I'd rather be sharp than out of tune I guess.
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markchuvala
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| Posted: Mon Jul 30, 2012 10:20 am Post subject: |
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Side-note: Jerry played a couple impressive double Cs when I saw him last week. Full of energy, and busy as ever.
Side-note II: The SC6 played great! Shocking because how wide the inside cup diameter is compared to my hardware. But great sound and power. I liked it the best over the SC3S and the 1 (smaller one)
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razeontherock
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| Posted: Tue Jul 31, 2012 9:07 am Post subject: |
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| markchuvala wrote: | I saw Jerry last week, and he told me the bell on the SC was one he got from a guy at Besson. Different from the soloist...unless I'm mistaken.
He also said the .464 models had some pitch issues, like they blew real sharp. |
Yup, the .464 tends to want some slide pulled out. They're also a bit finicky about what mouthpiece you play; some will have pitch problems, others will lock in just fine. Not sure why (I've removed gap as a variable and it still occurs)
Glad you're digging your .460! If you ever get the chance to try it, play it with a 3rd tuning slide with no waterkey. I couldn't believe the difference it made |
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Froggynut
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| Posted: Tue Jul 31, 2012 9:14 am Post subject: Best Horn Ever |
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| I have a Callet Jazz 470. It is the best horn ever built in my opinion. I have owned a dozen different horns in the past. The only horn that even came close to the Jazz was a Flip Oakes Wild Thing. It did not however, have the rich core of sound and ease of playing like the Jazz |
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tptguy
Jerome Callet Forum Moderator
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| Posted: Thu Aug 02, 2012 12:32 am Post subject: |
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For the Soloist Jerry started with a Benge mandrel for the bell then modified it to bring the funkier Benge pitches into tune. Jerry started with the same design with subtle modifications for the Jazz and the Stratosphere. Because the pitch and sound of this bell were the best Jerry had encountered he used the Jazz mandrel for the SIMA but the bell material and gauge were significantly changed.
The Mazereau bell from France was used only in the Superchops horns. Claudio Roditi knew that Jerry was hunting for a bell like this and called him when he ran across it hanging in the rafters at the Mazereau workshop. Mazereau wouldn't sell Jerry just the bells, but he willed the mandrel to Jerry when he died.
More complete info:
http://www.callettrumpets.com/previous_models.htm
Best to all, Kyle |
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crzytptman
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| Posted: Thu Aug 02, 2012 7:17 am Post subject: |
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Yes, Mazereau is the name! I have the ad around here somewhere. It's a full page ad . . . for the Soloist trumpet.
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