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Wynton's Bach

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Veteran Member

Joined: 30 Aug 2018
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Location: Antarctica Symphony

PostPosted: Thu Oct 11, 2018 2:22 am    Post subject: Reply with quote

You have to admit that there’s a night and day difference between his sound on Bach and Monette. You don’t just sound like a Monette on a Bach
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Joined: 16 Jul 2004
Posts: 681
Location: Sacramento, Ca

PostPosted: Thu Oct 11, 2018 8:51 am    Post subject: Reply with quote

Sharkbaitboi wrote:
You have to admit that there’s a night and day difference between his sound on Bach and Monette. You don’t just sound like a Monette on a Bach

Not sure about night and day, but I do hear some difference. But what Monette and what era are you comparing? In the 80s he played a Vindabonna Bach. He switched to a Monette STC Bb. He doesn't sound drastically different between the two, to my ears. Now, if you compare that 1980s Bach sound to his current Monette Prana, yes there is a difference. But the human factor is also being forgotten: sound concepts do change over time.

My main point is that I could hear his sound concept on both horns. He switched because Monette equipment makes achieving that sound easier. He still sounds like Wynton.
-Tom Hall-
Bach 37 B flat
Bach 239 C w/Akright Leadpipe
Schilke E3L E flat
Stomvi Piccolo
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Joined: 15 Sep 2004
Posts: 3128
Location: West Virginia

PostPosted: Fri May 24, 2019 11:36 am    Post subject: Reply with quote

TrentAustin wrote:
rmch wrote:
Check out this clip of Wynton playing Louis Armstrong's old Selmer... Pretty cool clip on so many levels!


That's an amazing clip, Trent - his sound has a little of Pops pointedness, forwardness and shine in it (thanks to the horn, I guess). What on earth is the mouthpiece he's playing on? It looks like the blank has a lot of added weight to the shank. Anyways, thanks for sharing it!

Tom Williams (the other trumpeter in the clip and a great player in his own right) said it was his Laskey 66C he let Wynton borrow as the Monette didn't fit into the receiver of the horn. Sounded pretty amazing considering it was a new horn and mpc combo. Wish the sound guy would have chosen a better Mic considering Wynton's style to play for the audience rather than be glued to a microphone. A decent room mic or ribbon would have been a much better choice.

I think the mpc had a curry sleeve or something on it.


Yeah man, Tommy sent me a text after Wynton did that. Pretty cool.
Freelance Performer/Teacher WV, PA, MD, and OH http://www.neil-king.com
Yamaha NY Bb, Adams F1 Flugelhorn, Schilke P5-4, Stomvi Eb/D Elite, Bach C 229 bell 25A, York Monarch cornet.
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Big Dave88
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PostPosted: Mon May 27, 2019 8:07 am    Post subject: Reply with quote

trumanjazzguy wrote:
I have never enjoyed his sound on the Monette. Way too diffuse, dull, and no high overtones. Just sounds like a bucket.

Fixed it for you.

Honestly he is a genius, the hardest worker, and national treasure.
But I cannot stand his sound now.
"Bud didn't worry about this..."
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PostPosted: Tue Jun 11, 2019 10:54 pm    Post subject: Wynton's Bach Reply with quote

I remember his bach days and don't feel too much different about him on a Monette. He gets to choose his sound anyway, because he IS Wynton. As people who enjoy and listen to music he is irreplacable as an icon and performer. I actually preferred Maynard's sound before he played Monette, too, but one needs to remember Maynard was lots older when he found Monette. By that I don't mean Wynton is getting old. I will still listen to Wynton on any trumpet any time.
"There are two sides to a trumpeter's personality,
there is one that lives to lay waste to woodwinds and strings, leaving them lie blue and lifeless along a swath of destruction that is a
trumpeter's fury-then there is the dark side!" Irving Bush
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PostPosted: Wed Jun 12, 2019 5:58 am    Post subject: Reply with quote

Just to post a quick challenge reply to this thread, as virtually each time it gets resurrected a handful of members of our community take it as an opportunity to Monette-bash:

Firstly, I've been playing Monette gear for years, and probably wouldn't be a trumpeter anymore if it weren't for Dave's mouthpieces, horns, and concepts.

Secondly, this thread is about Wynton's Bach - a late-70s/early-80s Vindbona model. That was established within the first few replies, and then the thread became a frustrating echo chamber for armchair quarterbacks.
-Kudos to all who note that players have sounds, not instruments.
-Also respect and shout-outs to those who note that the artist in question - arguably the most gifted trumpeter since Gabriel - has gravitated towards the equipment he's chosen in order to facilitate his musical communication; i.e. Wynton sounds like Wynton, always has. And, he's moved through various gear (the focus on this post - his Bach (and also a Holton) back in the day - through early Monette designs, through heavier Raja and Samadhi designs, back to medium-heavy, large-bell removable mouthpiece horns, through more recent, lighter-weight Raja designs) in order to most effectively communicate HIS music.

It is of mild value whether YOU like his sound now, or prefer it then, but here's my challenge:
Listen to Wynton's playing on the recent movie, BOLDEN. Here he uses a historical instrument and mouthpiece, and ends up sounding remarkably - wait for it - like Wynton! His sound shines through.

Sure, his classical recordings on Schilke instruments retain something of that Schilke sheen. Sure, his earliest recordings have certain attributes of 'The Bach Sound' but if you listen carefully to his articulations, vibrato, etc. you'll hear all of the elements he's been refining his whole career. Yes, the heaviest Rajas had the most dense core of his sound heightened, as yes, his sound on his recent Raja P3 STC and current Raja P2 STC show a bit of a difference - the lighter horn is...somewhat brighter!

But, Wynton playing Louis Armstrong's Selmer with almost any mouthpiece will sound, after a few notes, mostly like Wynton. As he does on a late 19th century cornet and mouthpiece, as he did on his decorated 900 series C Cornet he used for the Jellyroll Morton 'standard time' disc or Stravinsky's Soldier's Tale, on Sesame Street and Mr. Rogers on his earlier Monettes, and so-forth.

Let's put this thread to bed and go practice diligently, developing OUR sounds.

Daniel Bassin
Conductor, Composer, Trumpeter, Educator

I play:
Monette CORNETTE; STC Eb; C937
Bach C 229 and Bb 72 Sterling Bells/Monette pipes
Picc: DEG Signature 4-Valve, Blackburn pipes
MPCs: Monette Prana Resonance 1-1 series.
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