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Interesting Discussion about Jerome at Maynard Ferguson Site


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trumpetplanet
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PostPosted: Tue Nov 24, 2015 10:39 am    Post subject: Reply with quote

This is a great answer, thanks Kyle
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rothman
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PostPosted: Sun Jul 16, 2017 12:31 am    Post subject: Reply with quote

trumpetplanet wrote:

I also think it's a real shame that there aren't more recordings of Jerry from the past that are available for people to hear. I'd love even to watch the video that came with the 1987 Superchops book.


Agree..

If Komiko heard the request, she might source a few clinic/lesson recordings, stored for years in tape format..., and without too much hassle have them converted for us to hear.

Sadly, this is perhaps the only way they will ever be heard.

Maynard was unlike Jerry, but there is a lesser known tune of 'Moonlight in Vermont' -- with almost the exact sound and approach on display: www.youtube.com/watch?v=tZed1R1TGJM

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trumpetplanet
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PostPosted: Mon Jul 17, 2017 2:00 am    Post subject: Reply with quote

That sound is something else!
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lipshurt
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PostPosted: Mon Jul 17, 2017 7:55 am    Post subject: Reply with quote

At the ITG in Kalamazoo Michigan in about 1986 jerry had a booth, and with him in the booth was a young guy that looked just like him. Shaved head, but with added tattoos and piercings (kind of avant garde back then) and that guy played the entire time, and sounded GREAT especially on piccolo. Uber musical, and effortless chops for days. Literally days.
Never got his name, but assumed he was a callett student
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Rod Haney
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PostPosted: Wed Sep 06, 2017 7:27 pm    Post subject: Reply with quote

To give the man credit. I met Jerry at a trumpet show about 2 years ago (or so). I was looking to find a modern horn that I thought played better than my 60b or Silver Flair. I was about a year into picking up the horn after a 46 yr layoff and not at all where I wanted to be playing wise. I was looking to see if modern horns were better. i played them all and the last stop I made was at his booth. Only a Stomvi Titan had impressed me to that point and it wasn't a lot better than what I had. So I started playing the Sima, and at that point in comeback the medium bore felt really good. Jerry encouraged me to play up a bit and I could manage a weak hi d. He gave me some advice on breathing when I went thru the arpeggio and I popped a fairly strong hi g. I was impressed enough to with the horn that I ended up buying one a few months later. I watched the weight lifting while popping doubles someone did, and asked him before I left about his methods and he said (paraphrased due to lost brain cells) 'You dont need to change anything , you were taught correctly and learned correctly. I only came up with these methods because I struggled for years and couldn't play above the staff, and found a method that worked very well for me'.
2 things I admired about these statements 1) he recognized I did it right and didn't need to change my mouth and said so instead of trying to convince me to fix something that didn't need to be fixed via his lessons 2) admitted to a problem (and some of us do have them) and had the determination, creativity, knowledge and work ethic to find a way to achieve his goals. I dont use his mouth techniques and never had a lesson on tongue control, but his 20 second advice on breath when ascending worked, and I do appreciate his dealings with me.
Rodt
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razeontherock
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PostPosted: Wed Sep 06, 2017 8:50 pm    Post subject: Reply with quote

Cool story, Rod!
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Trumpetingbynurture
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PostPosted: Sat Nov 11, 2017 5:19 am    Post subject: Reply with quote

Rod,

What was the breathing advice?
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Rod Haney
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PostPosted: Sat Nov 11, 2017 7:44 am    Post subject: Reply with quote

Trumpetingbynurture wrote:
Rod,

What was the breathing advice?

Breath thru nose good breath but donít overfill.

Didnít understand what it was about but I am now starting to understand why it worked. I was filling to the point of creating tension even before I started to play. Helped me at that point. Now that I have a better understanding of what he was showing I donít do it quite the same way, but in another way that minimizes tension above the diaphragm. I now consciously try to never let tension above the ribs, canít tell you how I do it But when it works right my notes arenít strained and are full. I still donít have the hi g to match the octave below, but the ease grows and I now hit the e fairly well and I think musically. I like the blues funk, soul and that would be more than enough to have a hi g that was a set note. at the time he told me this I had never had a single piece of specific advice from a trumpet player except vague generalizations. It started me looking at methods and helped me all around.

I just donít like the tone tongue involved playing generates so thatís as far as I went with it. Manley reinforced it in later lessons, up to that point I wanted tension. Lesson learned.
Rod
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