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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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rothman
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PostPosted: Sat Jan 12, 2019 1:35 am    Post subject: Reply with quote

Without knowing much about the 'soprano' cornet, this one fellow seems to possess an embouchure that's extremely close to Jerry's back in the day. The iron confident manner from phrase to phrase...is a carbon copy of Jerry's upper register confidence. Good sound in the soprano register, and throughtout the piece.

Profile at side : light pressure, horn angle, upper lip strength, etc


Link
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tptguy
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Joined: 11 Nov 2001
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PostPosted: Sun Jan 20, 2019 10:39 pm    Post subject: Reply with quote

Just got a chance to check out the video and agree that he looks a lot like a young Jerome. Doesn't have the power or focus of Jerry in his prime, but that's not a dig. The man is clearly on a good track; he figured out that it's not about blowing harder. And his pitch, though occasionally off-target as on the last note, is still very good. Jerry would shudder at the air attacks because they are under pitch and non-distinct. But note how he corrects that in his upper register (apart from the last note). Hope it doesn't appear like I'm digging at this guy. I'm certainly not. Many players will think he got lucky in the chops pool. But I applaud him because he has it together in the ears pool. And like Jerry, that's how he figured out the mechanics.
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LSOfanboy
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PostPosted: Mon Jan 21, 2019 7:43 am    Post subject: Reply with quote

tptguy wrote:
Just got a chance to check out the video and agree that he looks a lot like a young Jerome. Doesn't have the power or focus of Jerry in his prime, but that's not a dig. The man is clearly on a good track; he figured out that it's not about blowing harder. And his pitch, though occasionally off-target as on the last note, is still very good. Jerry would shudder at the air attacks because they are under pitch and non-distinct. But note how he corrects that in his upper register (apart from the last note). Hope it doesn't appear like I'm digging at this guy. I'm certainly not. Many players will think he got lucky in the chops pool. But I applaud him because he has it together in the ears pool. And like Jerry, that's how he figured out the mechanics.


Hi,

I realise this is the designated Caller forum, so I shall tread lightly.

Am I correct in saying that the 'Jerry' you refer to is Mr. Callet himself? And if so, I must ask where you get this opinion of Callet's supposed extraordinary ability? Are there some recordings or videos that support your statements?

The only video of him playing on youtube is the 'Super chops' demonstration DVD and, frankly, he has one of the worst trumpet sounds I have ever heard and lacks even basic production and tone qualities. Ironically he doesn't even demonstrate a particularly strong upper register either, he 'squeaks' out a double C but nothing in any part of his trumpet range sounds secure, powerful or reliable in the way that a half decent player should.

I understand that you must have respect and veneration for your teacher, but your disparaging remarks about Mr. Roberts (one of the finest soprano cornet players of all time) in comparison to Mr. Callet seem, to me, absolutely ridiculous.

As I say; I am not here to criticise Callet, I am simply asking if there is some recorded evidence you can steer me to so I can hear this player who, on this forum alone, has been suggested to be stronger than (amongst others) Maynard Ferguson and Peter Roberts.

All the best
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rothman
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PostPosted: Sat Feb 02, 2019 1:24 am    Post subject: Reply with quote

[quote="LSOfanboy"]
As I say; I am not here to criticise Callet, I am simply asking if there is some recorded evidence you can steer me to so I can hear this player who, on this forum alone, has been suggested to be stronger than (amongst others) Maynard Ferguson and Peter

[link removed by Moderators - you cannot post copyrighted material on the TH. Please remember to be respectful of the efforts of our fellow musicians.]

More than a few share your frustration there are so few examples of his 1970 thru 1990 playing, although clinic recordings must be collecting dust in a drawer somewhere, yet to be made public.

And it's probably an unfair test to be judging sound or upper register with a modified enbouchure, as a senior, or octogenerian. In the above clip, the horn is of some strange design..between 1906 and 1920. The pedals are very similar to what he played then, but the rest is 'miles' from being representative of effortless pitch, sound, volume..back in the day.


Last edited by rothman on Sat Feb 02, 2019 1:42 am; edited 1 time in total
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LSOfanboy
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PostPosted: Sat Feb 02, 2019 1:41 am    Post subject: Reply with quote

rothman wrote:
LSOfanboy wrote:

As I say; I am not here to criticise Callet, I am simply asking if there is some recorded evidence you can steer me to so I can hear this player who, on this forum alone, has been suggested to be stronger than (amongst others) Maynard Ferguson and Peter Roberts.



More than a few share your frustration there are so few examples of his 1970 thru 1990 playing, although clinic recordings must be collecting dust in a drawer somewhere, yet to be made public.

And it's probably an unfair test to be judging sound or upper register with a modified enbouchure, as a senior, or octogenerian. In the above clip, the horn is of some strange design..between 1906 and 1920. The pedals are very similar to what he played then, but the rest is 'miles' from being representative of the effortless pitch, sound, volume..back in the day.


Thanks so much for your reply!

I'm very grateful for your sincerity.

If a recording does appear from somewhere, please do let me know- I would be very keen to hear it.

All the best
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tptguy
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PostPosted: Mon Feb 04, 2019 12:12 am    Post subject: Reply with quote

For some players, an advanced and highly musical player could be the best choice as teacher. But for many, an inability to focus pitch center let alone meet current demands of range, power, and endurance requires a more specialized pedogue before there is room for rapid growth in musicianship.

In respect to Jerry Callet, I understand there are performance tapes around. I have a pretty good one myself. And I've heard that his NY Big Band performances were recorded, but I've never heard. Regardless, there are hundreds of players who actually heard both Maynard and Jerry live and in their prime, including myself. A lucky few heard them in the same room together. All agree, including Jerry, that Maynard crushed it on musicianship. But in regard to range, power, and endurance, I know fine players on both sides. I truly think that should say enough. I don't understand the need to parse it further. In range, power, and endurance - is Jerry a bit below, even, or above Maynard? Really?

For Maynard, everything fell together naturally. And he didn't know why. For Jerry, everything fell apart. And he didn't know why. So, Jerry applied himself manically. And in time, despite his renowned teachers, Jerry could challenge anyone in range, power, and endurance. If you have as much range, power and endurance as you want (without blasting) and the violinists aren't upset about your pitch then fine. If your ears are correct then Jerry would be the first to listen and approve. But for the majority of us, Jerry is an incomparable resource. He was instrumental in helping me figure it out after nearly two decades of truly abject failure with Gordon and Reinhardt. YMMV, but I wish you all the best. My only other wish - I wish I'd learned this alternative approach many, many years ago. Best to all, Kyle
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