Biviano has always been an interesting lead player

[Lionel]

Speaking of Lin Biviano. Lead player in 1970's and '80's with a number of name big bands. I always liked him but he does have some detractors. Lol, as if playing the trumpet, esp in the upper register wasn't hard enough?

Something about good high note players that brings out the very devil in the critics. I had never heard Maynard play an out of tune note in his life. Yet that never stopped Leonard Feather from lambasting The Boss for "roaming around out of tune in the upper register". However when it comes to unfair criticism if lead trumpet players? Lin Biviano received the most by farcooll despite that he played great on all of those old albums.

Anyway one of my favorite Biviano leads is his work on Buddy Rich's vinyl 33 rpm record "Stick It". From about 1972 to 73 or so. And if you want to know what your trumpet will start sounding like as you break through the typical barrier our chops usually have? Listen to Biviano's lead on the whole chart called "Space Shuttle". Esp towards the end.

Okay his lead isnt dead perfect but is still damned entertaining. Check out his final chorus as he goes for some "trippa notes". In the altissimo register where Cat Anderson used to "live". You can easily find the tune on Youtube. Anyway Biviano goes for something in the area of a G above double C. And while the note does kind of splinter is still a really cool sound. Anyway take some time, listen for the note I'm thinking of and commit its tone to memory.

Because that sort of "splintered" sound is characteristic of someone breaking through their internal barriers. Usually around the high G# 4th ledger line above the staff. Removing their cut-off point and discovering unlimited range. Similar to what Roy Roman speaks of as he explains,

"Limited vs unlimited trumpet players"

Good luck with that!
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[New.Vintage]

I love a powerful lead trumpet player in a big band.

When I think of lead trumpeters I think of Snooky, Gozzo, Buddy Childers, Al Porcino, Bernie Glow, Ernie Royal, Dave Stahl, Mike Williams, Wayne Bergeron, Frank Greene, Earl Gardner, Chuck Findley, Bobby Shew, Roger Ingram, Brian Macdonald, and the list goes on and on.

Lin Biviano rarely plays in a way pleasing to the listener. While "leading" his trumpet section, he plays like a soloist instead of as a section leader. I understand "lead player's prerogative", maybe adding a turn, or doit, or shake, or scoop, or so,e other ornament. But Lin was unpredictable and inconsistent on almost every recording I've heard.

To my ears there is a difference between a rich, powerful in tune high note vs. a screech, squeal, splintered, blistered undefined high note pitch. Anything above a double C or D just becomes ridiculous. And in Lin's case, his squeely high notes are so far from the register of the rest of the trumpet section, they just sound out of place, and awkward.

I believe he is/was quite capable of being a great lead trumpeter, but maybe he aspired to be a soloist/showman more than he wanted to be a lead trumpet player.

When I hear a Buddy Rich recording I get excited, when I realize Lin Biviano is on the record, I cringe, and feel disappointed.

[brassmusician]

had a listen to the Space Shuttle track you mentioned. A bit like a mosquito in the ear, his crazy high notes. But kind of cool too. It's a great number. Actually if you're going to have a look at the album Lin does a great solo number "Something" worth a listen IMO.

[deleted_user_02066fd]

While I've liked Lin's playing in the past I can understand how his over the top approach as a lead player just doesn't fit sometimes. I never saw him on Buddy's band. I saw him with Maynard and Basie's band. I think in many ways he was the trumpet equivalent of Buddy. Buddy was more of a soloist in my opinion. Two massive egos like that on the same bandstand.

[trickg]

[trumpetteacher1]

I disagree with much of the criticism. Critics like to pigeonhole.

Lin was a bit loose in his younger days with Buddy, but his playing got much more solid with Maynard, and fully matured while he was with Basie.

I heard him live with Basie. He was perfect all night. To this day, I have never heard a better lead trumpet performance.

Jeff

[Brad361]

[New.Vintage]

[trickg]

Absolutely - there will never be another Maynard. As a player, IMO, right now the only person who comes close to having the same kind of swaggering brashness in the way they play James Morrison, but aside from that, Maynard hit at a time when instrumental music was still popular among the masses. That's a bygone era now.

FWIW, I love Maynard's playing - chips, overshoots, undershoots, intonation quirks - all of it. The guy has been gone for over 10 years, but his legendary status as a trumpet player remains, and when we think of trumpet players who are known for their high chops, inevitably they all get compared to the Boss in one way or another.

This thread was started to talk about Lin Biviano. Fantastic player, but yet will probably always be known for his work in Buddy's and Maynard's bands more than anything else.
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[cheiden]

Add me to the list of those who really enjoy the high notes but mostly when it's paired with more. Maynard bought a lot to the party other than high notes. I've heard plenty of guys who can play up there, but if there's little more (style, personality, humor,...), then it often leaves me cold.
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[Arjuna]

+1

[NevadaBigHorn]

To me Maynard, in his earlier days, displayed an amazing amount of control considering the "drive it like you stole it" way he played. He played very high while, at the same time, being very agile and exciting. I've heard other amazing trumpet players.......but none like him.........yet. James Morrison is probably closest if I had to pick one.
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[New.Vintage]

[Pete]

I heard Lin play with Maynard's band when I was in college. They spent a week in a nearby jazz club here in MA. I caught 12 hours worth of that band during the week. Lin sounded great! I also heard him play at Tanglewood with Ella and Basie. He was great on that gig too.

Pete

[MF Fan]

It always appeared to me that Lin was trying to up-stage the leader from his position in the back row. Too many antics trying to draw attention to himself. That said, he could light up a chart when he was having a good night, but think he often over reached to the detriment of the music. His reputation preceded him so if a leader hired him they knew what they were getting. He was filling a role they wanted him to play. My favorite recording of him is on the "Live from Ronnie Scotts" lp with Buddy. Some clean section work, with a few notable high note forays thrown in.
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[HERMOKIWI]

A friend told me about a bar gig Lin played in Omaha with Buddy Rich. Apparently Lin got loaded on booze before the gig even started. As the band assembled he stumbled into his music stand and knocked it over. His folder and music went scattering. He proceeded to pick up his music, put it back in his folder and then tossed his folder off the bandstand, played the whole gig minus his music and absolutely killed it.

Lin is a very controversial player but the fact he's still being talked about says a lot about his ability, performance and influence on lead trumpet.
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HERMOKIWI

[Lionel]

And the answer is...

"If you want to start a high note topic and get a lot of hits? Bring up the topic of Lin Biviano. Lol.

I dont know why Biviano didnt sell more records. Because such a controversial figure will always generate fan interest. No such thing as bad press.
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"Check me if I'm wrong Sandy but if I kill all the golfers they're gonna lock me up & throw away the key"!

Carl Spackler (aka Bill Murray, 1980).

[Arjuna]

Lin was great no doubt about that. He was a take it or leave it kind of player. I think people wish they could do what Lin Biviano could do if they really are willing to admit it. Think about Dancing Men from Ronnie Scotts with Buddy, man that's the kind of heroic playing that everyone wishes they could do.

The great thing about music is there are so many great ways of interpreting music. I remember hearing Dave Stahl live with Buddy and thinking wow what beautiful lead playing and just great musicianship, truly inspiring. I watched Dave play the whole book by memory and put on a clinic on how to play impeccable lead trumpet. Then in a moment I would think of the thrilling playing of Lin Biviano and man what an inspiration Lin's playing is.

Lin is misunderstood. His approach is of heroism. The kind of heroism of being true to yourself of representing who you are and leaving it all on the bandstand, it's all or nothing. It takes major strength and courage to play that way, not an easy feat at all. Lin knew he would receive flack from critics, but he had to do it his way being true to himself and thank goodness Lin Biviano played the way he played. I remember Bobby Shew talking to me about Lin and how he would play all out all the time taking things up as much as possible and would go so far as to blow his chops out while on tour and have to leave the tour and have Doc fix his chops then rejoin the tour a few months later. Take it or leave it Lin had to play that way.

Lin had the emotion in his sound, he was trying to communicate something great and important to his listeners. Lin had a need to be the hero and a hero to many. No matter what a person has to face in life always strive to be the hero. Be like Herseth, be like Maynard, and yes be like Biviano. Lin wasn’t perfect and that’s the point, he said here I am whether you accept me or not this is my way of expressing myself. Lin Biviano achieved greatness period.


What's important is to just enjoy all the greats as they are. Even the greatest virtuoso's have limitations and they know it too, that's why Maynard will say "O Clark Terry has the ideal embouchure". The greats are very humble. It’s important to just be happy for Lin and other great trumpet players like Maynard, Doc, Dave Stahl, Eric Miyashiro, Wayne Bergeron etc. who were able to give the world such great and fulfilling music and inspire us like no other. Maynard would inspire in that way, just thrill you to the bone and leave nothing for anyone to play afterwards. Maynard technically did play "out of tune" but it is misunderstood, musically Maynard was spot on. Pavarotti would sing a bit high on the pitch but musically he was great.

[furcifer]

Hearing improvement/changes in the pros who have been doing it for a long time is common enough to be expected. Listen to Ingram when he was with Woody, and you think, "Wow", and then we hear him with Connick and think, "WOW". Same with Dan Miller with Connick and then later standing toe-to-toe with Maynard on St. Thomas. Same with Bergeron before the first BBN stuff and then NOW... These cats practice (you know, like we all should, LOL) so of course they get better, even when we think they already sound great.

(Then again, nobody ever did too much of anything that Maynard or especially Buddy wouldn't like and stay on their bandstands for very long, much less have it make the final take on a record. Buddy overdubbed his own daughter for heaven's sake, LOL!)

A LOT of lead trumpet stylistic cues have been influenced (if not originated) by Maynard and his band's trumpet players (not a lot of standing down from what Lin did), but a lot of that style goes hand-in-hand with the natural "eccentricities" that occur as a result of playing that way all the time. A certain level of comfort is part of that style and 100% perfection is just neither required nor desired! And that's probably why a lot of Maynard's recordings aren't overdubbed all to hell to cover every less than perfectly in-tune note. It sounds real, not over-processed, auto-tuned and mixed down to mush.
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[New.Vintage]