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Classically Trained Jazz/Pop Artists



 
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ComeBackTumpet
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PostPosted: Tue Oct 09, 2018 9:37 am    Post subject: Classically Trained Jazz/Pop Artists Reply with quote

Can you name some classically trained Jazz/Pop trumpet players?

Al Hirt
Wynton Marsalis
Others
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Turkle
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PostPosted: Tue Oct 09, 2018 10:14 am    Post subject: Reply with quote

Me!
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LSOfanboy
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PostPosted: Tue Oct 09, 2018 10:18 am    Post subject: Re: Classically Trained Jazz/Pop Artists Reply with quote

ComeBackTumpet wrote:
Can you name some classically trained Jazz/Pop trumpet players?

Al Hirt
Wynton Marsalis
Others


I understand the question you are asking, but the answer really depends on your definition of ‘jazz/pop’ and what you mean by ‘classically trained’.

Remember a lot of studio and session musicians, who are frequently employed for pop recordings are, in many ways, ‘classically-trained’.

To address the latter point; what constitutes ‘classically trained’? If that simply means they have used ‘classical’ pedagogy such as Clarke, Arban, Schlossberg etc then you can immediately add: Arturo, Wayne, Vizzutti, Ryan Kisor, Sean Jones, Marcus Printup, John Barclay, Mike Lovatt, Harry James, Thomas Gansch, Lee Morgan, Clifford Brown, Doc Severinson, Randy Brecker, Adam Rapa and so many others to your list.

If, however, you mean a more stringent ‘classical trainig’ that extends beyond technical improvement and includes stylistic understanding of Symphonic or solo classical playing, the mastery of multiple trumpets (your C, Eb, Picc etc) and achievement of core ‘classical’ skills such as transposition, multiple tonguing and a sound quality uniform enough to fit into a Symphonic section, then there are far far fewer players.

All the best
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Robert P
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PostPosted: Tue Oct 09, 2018 11:02 am    Post subject: Reply with quote

According to Clark Terry's bio when Doc Severinsen auditioned for Charlie Barnet he played Hora Staccato. Per Clark, Barnet's reaction was "F@@@ that, can he play blues?"
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peanuts56
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PostPosted: Tue Oct 09, 2018 1:00 pm    Post subject: Reply with quote

Allan Vizutti comes to mind. Years ago, around 71 I heard Al Hirt play Carnival Of Venice. Al was in his early 50s and really impressed me.
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Pete
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PostPosted: Tue Oct 09, 2018 1:50 pm    Post subject: Reply with quote

Bill Chase
Byron Stripling

Keep in mind that those that attended music colleges back in the 1950's and 60's and maybe the 70's more than likely were classically trained exclusively at those schools. They would search out others for additional needs with teachers such as Jimmy Maxwell, Bobby Shew, Dr. Reinhardt, Carmine Caruso, Don Jacoby, etc

Bill Chase studied with John Coffey and Armando Ghitalla. Byron Stripling studied at Interlochen and graduated from Eastman.

Pete
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Robert P
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PostPosted: Tue Oct 09, 2018 2:09 pm    Post subject: Reply with quote

peanuts56 wrote:
I heard Al Hirt play Carnival Of Venice. Al was in his early 50s and really impressed me.

I saw a video on Youtube where Al talks about his early musical life - he said he studied strictly classically, it wasn't until after he'd left the Cincinnati Conservatory that he began playing Dixie even though he was born and raised in New Orleans.

It always struck me as oddly incongruous that as much technical prowess as he obviously had that he struggled with the Haydn Concerto, which he surely must have worked on at the conservatory.
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Robert P
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PostPosted: Tue Oct 09, 2018 2:11 pm    Post subject: Reply with quote

Maynard went to the Conservatoire de musique du Québec à Montréal on scholarship studying to be a symphonic player.
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peanuts56
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PostPosted: Wed Oct 10, 2018 12:38 pm    Post subject: Reply with quote

Robert P wrote:
peanuts56 wrote:
I heard Al Hirt play Carnival Of Venice. Al was in his early 50s and really impressed me.

I saw a video on Youtube where Al talks about his early musical life - he said he studied strictly classically, it wasn't until after he'd left the Cincinnati Conservatory that he began playing Dixie even though he was born and raised in New Orleans.

It always struck me as oddly incongruous that as much technical prowess as he obviously had that he struggled with the Haydn Concerto, which he surely must have worked on at the conservatory.


I heard that recording also. That was done live if my memory is correct. It's a little painful to hear. He used Carnival Of Venice in his live shows but probably hadn't played The Haydn in years when he recorded it. It was a bit out of his comfort zone I guess.
I recall watching the old Tonight Show Band play a Christmas Medley on the air one night. There was a section where Doc played piccolo trumpet and it was the only time I heard the man play a serious clam.
As great as Al was and Doc is even they have an off night. I missed more notes in a week than they missed in a two lifetimes!
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vwag
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PostPosted: Wed Oct 10, 2018 1:18 pm    Post subject: Reply with quote

I'm amazed at how knowledgable Wynton is on classical music and jazz, there is a great readout on this if you start at 19:00. Movie is from 1985.

Start at 19:00
https://www.youtube.com/watch?v=GLSsbZFukiE
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Robert P
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PostPosted: Thu Oct 11, 2018 7:48 pm    Post subject: Reply with quote

peanuts56 wrote:
I heard that recording also. That was done live if my memory is correct. It's a little painful to hear. He used Carnival Of Venice in his live shows but probably hadn't played The Haydn in years when he recorded it. It was a bit out of his comfort zone I guess.

I was advised by someone who knew Al Well that Al didn't want to record it but the suits at RCA insisted and that Al regretted making the recording the rest of his life. I'm sure Al realized his straight classical chops were way rusty at that point.

Quote:
I recall watching the old Tonight Show Band play a Christmas Medley on the air one night. There was a section where Doc played piccolo trumpet and it was the only time I heard the man play a serious clam.
As great as Al was and Doc is even they have an off night. I missed more notes in a week than they missed in a two lifetimes!

It might have been the same tune he recorded on an album of Christmas music "Joy To The World" - on the album he does fine. My understanding is it was the only album track he ever did on piccolo. He did the Reiche Abblasen for CBS Sunday Morning after years of using the Don Smithers recording but no one seems to have a copy of it. I've heard it wasn't his best effort but I'd still be curious to hear it. I don't think they used it very long before they had Wynton record his.

The big mega-clam I heard by Doc was during an appearance by Beverly Sills - not the one where she does Let The Bright Seraphim, it was a different appearance. There was a big solo section and right at the most exposed part Doc splattered several notes badly. Later when they had their sit down you could see Doc was perturbed, he said something pretty to close to "I sure wish I could have those clams back". Beverly Sills was gracious and acted like she didn't know what he was talking about - there's no way she didn't hear it.

It's good for us mere mortals to hear the greats step in it on occasion and be reminded that they're walking the same treacherous terrain we are.
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kehaulani
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PostPosted: Fri Oct 12, 2018 9:00 am    Post subject: Reply with quote

vwag wrote:
I'm amazed at how knowledgable Wynton is on classical music and jazz, there is a great readout on this if you start at 19:00. Movie is from 1985.

Immensely talented and the man has not only done just about it all, he's very gracious with his time. But what pomposity at times. "Even those who write it don't like it"? Are you kidding me?
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Ozzbo
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PostPosted: Sun Oct 14, 2018 11:36 am    Post subject: Reply with quote

Doc and Bev !!!

https://www.youtube.com/watch?v=fFVePXzoUw4
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boog
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PostPosted: Sun Oct 14, 2018 1:11 pm    Post subject: Reply with quote

Don Ellis, in composition.
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