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Robert P
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 Posted: Fri Mar 24, 2017 2:34 am Post subject: |
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| razeontherock wrote: | | I would be very surprised if the Condoli Bro who played first didn't have a DHC. |
They were both solid players, I believe Conte sometimes played lead on the Tonight Show, he was their main jazz guy aside from Doc. My sense is that Pete was the stronger technician and chops guy of the two, had the more solid sound. Conte had kind of an odd embouchure, like his teeth were set farther in than normal in relation to his cheekbones, the tops of his cheeks puffed when he played. I noticed on his solos he was prone to having moments where the notes didn't speak. If either of them had a dub C in them I never heard it, but I also can't claim a comprehensive awareness of their recordings.
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Last edited by Robert P on Fri Mar 24, 2017 10:04 am; edited 1 time in total |
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Benge.nut
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| Posted: Fri Mar 24, 2017 2:38 am Post subject: |
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| razeontherock wrote: | | What about Roy Eldridge? I've listened to him in some "cutting sessions," and I don't think he made it to DHC. |
I've heard recordings of Roy playing double Cs and above. They aren't pretty  but they are definitely there |
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Trumpetingbynurture
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| Posted: Fri Mar 24, 2017 4:46 am Post subject: |
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It's true what Hermokiwi said I think. There are a LOT of players who can play a Double C - even pretty loud ones - in some contexts. But guys who can sit on a lead book and play good Double Cs on demand right up until the end of the 3 hour gig. They're something else.
Wynton for example can play a double C but I don't think he could replace someone like Wayne Bergeron on a tough lead book though...
There are very few who can have the sensitivity and control for a tricky orchestral part, and then turn around and cover a lead book. A few of the studio guys like Mike Lovatt are super impressive in this regard.
But my point is that there are a lot of people who can touch a Double C, but in a musical situation that requires them to pick off notes above 4th ledger G at the right place, right time, right volume, they'd be racing to hand the book off.
Do they still count?
If not, your list would have 9 out of every 10 players on it. |
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Paul Tomashefsky
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| Posted: Fri Mar 24, 2017 6:00 am Post subject: |
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Posted by another TH member back in October 8, 2004
| Quote: | | The first time I ever saw Doc Severinsen was in 1966. He was soloing with a high school band in Nebraska. I was in high school and drove over to hear the rehearsal, clinic, and evening concert. During his clinic, a kid asked him how high he could play. He said he really didn't know and didn't want to place a limit on his range. He said he had no gimmicks for high notes and merely worked his upper register to be solid for whatever the MUSIC called for. He then said that high G was the highest note he would be needing on the concert that evening, and there was only one of them. He then thought a second and said that he also would be needing a couple of high Fs, a few high Es, etc. He ended the clinic saying that he mainly played in the "cash register".....low F# to high G. He said that as long as those notes were sounding good and he was able to play them MUSICALLY, he would always get gigs. |
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Pete
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| Posted: Fri Mar 24, 2017 7:46 am Post subject: |
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Okay, I'll play (although the Double C thing as mentioned, is only a concern to trumpet players):
Bob Millikan
Lee Morgan
Clifford Brown
Tom Harrell
Clark Terry
And for all of you sexiests that haven't mentioned any women:
Laurie Frink
Bria Skonberg
Andrea Motis
Ingrid Jensen
Liesl Whitaker
Pete |
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lipshurt
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| Posted: Fri Mar 24, 2017 9:20 am Post subject: |
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roy eldrige was the king of double C. He could ply them over and over and over and did so many times recording for norman granz in live settings. Pegging them over and over
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trickg
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| Posted: Fri Mar 24, 2017 9:40 am Post subject: |
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On that original list, I think there are a few who could be removed - pretty sure they "had" it, even if they never displayed it.
Al Hirt - come on, Jumbo improv'd to Gs - I bet he had a C, even if he chose not to use it.
Harry James - he most certainly had a the "dubba C" - he's the one who Jerrome Callet modeled Superchops after. Again, Harry wailed Gs in solos, and I'd bet he'd have had it if it was needed.
The Candoli brothers - those guys also wailed - they probably had it, but they just never recorded it.
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PH
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| Posted: Fri Mar 24, 2017 9:58 am Post subject: |
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| razeontherock wrote: | | ...What about Roy Eldridge? I've listened to him in some "cutting sessions," and I don't think he made it to DHC. |
Roy's solo starts around 6:20 and features F and A above double C.
https://www.youtube.com/watch?v=SThGnrorGW8
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Fuzzy Dunlop
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| Posted: Fri Mar 24, 2017 10:04 am Post subject: |
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I've heard this before but never noticed how many funky fingerings Roy is using. Whoa. |
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razeontherock
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| Posted: Fri Mar 24, 2017 11:22 am Post subject: |
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| PH wrote: | | razeontherock wrote: | | ...What about Roy Eldridge? I've listened to him in some "cutting sessions," and I don't think he made it to DHC. |
Roy's solo starts around 6:20 and features F and A above double C.
https://www.youtube.com/watch?v=SThGnrorGW8 |
Doug Meeuwsen mentioned Roy Eldridge playing with Norm Granz and I have never heard that either. This gives me more insight into why you're such a fan of his! Not the high notes, (notes? more like an effect?) but his honest expression, which just happens to utilize a trumpet. While he shines, he also fits the music, and the group. I wish the American public appreciated musicianship like this. The whole group, I mean.
For the purposes of this thread, your clip gives some substance to the OP's query. For instance, some have asked about those who can "hit the note," but not play it as written in performance, which I think the OP is pretty specific about. Some have supposed that most players "have it." In the sense of the OP, I wouldn't call Roy's double register in this recording as "having it," and even his high F is too weak for a lead book, in the context of the OP. Of course, Roy may have been playing about as quietly as he could, trying to fit that particular setting? |
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Larry Smithee
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| Posted: Fri Mar 24, 2017 12:23 pm Post subject: |
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| Many years ago and back when the Trumpet Herald was basically a use-net site we had this very discussion. This was the early years of the internet. Back then I compiled a list of around 150 prominent past and present trumpet players who never played a double C yet somehow were able to eek out a living as a jazz trumpet players. It was a fun exercise then but I'm just not that into the idea anymore. |
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razeontherock
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| Posted: Sat Mar 25, 2017 9:48 pm Post subject: |
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Larry not only has the T-shirt, he's wearing it 
This thread needs the story about the local Union listing Bobby Hackett's horn for sale, and including in the description "high range like new, never used." (Or something to that effect) |
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etc-etc
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| Posted: Sun Mar 26, 2017 12:11 am Post subject: |
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| razeontherock wrote: | Larry not only has the T-shirt, he's wearing it
This thread needs the story about the local Union listing Bobby Hackett's horn for sale, and including in the description "high range like new, never used." (Or something to that effect) |
Never played above staff? |
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WillyCook
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| Posted: Sun Mar 26, 2017 2:33 pm Post subject: |
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I agree with a previous reply that stated this thread might be more clear, and therefore receive better replies if it were directed at "lead players" not simply trumpet players. As the question stands it is like asking how many football players can throw a 60 yd touchdown. There are lots of football players but no one expects a 350lb lineman to be throwing touchdowns. That's the quarterbacks "thing". Mentioning someone like Lee Morgan or Miles Davis makes no sense. They didnt play a style that ever needed a double C.
Somewhat unrelated, I get sick of every Facebook post etc. I see being someone just playing the nastiest bad tone sounding run up to to the highest note they can play (or try to play) ...... especially when they are playing cornet or flugel (really?!!!). That's not music. It's a gimmick that means nothing (in that setting I mean). And before you roast me ..... I have a double C. I use it when necessary and when it makes sense musically.
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92bach
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| Posted: Sat Apr 01, 2017 12:35 pm Post subject: |
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A bit surprised at the list.
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JoeCool
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Tony Scodwell
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| Posted: Sat Jul 01, 2017 9:54 am Post subject: Lead players and high notes |
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One of the very best lead players in history would have to be Bernie Glow. He was quoted as saying, "if it goes higher than an F, call Ernie Royal". Bud Brisbois would have to be the definitive example of a high note "specialist" and was called on mainly to execute ridiculous passages in the LA studios. I have often heard that he was somewhat bugged that he wasn't called on as a lead player often enough. Most of the top studio players these days will say that the "money range" is between middle and high C. The great Snooky Young certainly could play double notes but seemed to limit them to an occasional solo passage. Goz seemed content to play up to a G and had Maynard in the early days to cover anything way up. Those notes are very nice to have but zone in on what you do best.
Tony Scodwell
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RussellDDixon
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| Posted: Sat Jul 01, 2017 9:59 am Post subject: |
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As we continue our assault on the high trumpet range ... let's take a quick Commercial Break ... ENJOY !!!
http://www.youtube.com/watch?v=qMuz8agbOKY
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Ed Kennedy
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| Posted: Sat Jul 01, 2017 2:02 pm Post subject: |
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| Definition of a gentleman (or woman): One who can play double C but doesn't. |
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John Mohan
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| Posted: Sat Jul 01, 2017 2:46 pm Post subject: |
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I get it! It's the Suzuki School of Trumpet playing with a Yamaha trumpet. Vrrroooomm Vrooommm! |
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