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Re-visiting the 2016 Callet NY Soloist



 
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deejaymushone
Regular Member


Joined: 11 Feb 2012
Posts: 84
Location: Flatbush

PostPosted: Mon Jun 07, 2021 3:08 pm    Post subject: Re-visiting the 2016 Callet NY Soloist Reply with quote

Greetings !

I am very excited about all of this, and my wife, daughter, and cat don't want to hear my thoughts on this, so I thought I would share this with all of you!

I purchased Jerome's final horn, his 2016 NY Soloist, from him in person upon its release. I have a gold-lacquered model, which I think may be 1-of-a-kind, and was a prototype. Jerome had said that OSHA in CA prohibited their gold lacquer process, so Kanstul could not make them (!)

I had initially paired this with his SC8 MP - the SC "Symphonic" model, and at the time, his largest. It had a fat, dark, sound, and was incredibly responsive, and I loved it to death - it made everything easier to play than my previous Callet Symphonique (which was the Jazz, but w/ a copper bell).

However, given that I did almost everything Jerome said for a LONGGG time, I switched to the SC 1ss immediately upon its release and sold my SC8, even though the SC8 sounded awesome. The 1ss took a WHILE to get used to, but I eventually did, and played it exclusively for ~2.5 years.

I will not lie - with the NY Soloist + the 1ss MP, I could play REALLY high! Not with a good sound; not with a full sound; and not loudly - no one was going to mistake me for Bill Chase, etc. - but I could get up there.

~2.5 years ago, I started the vintage horn and vintage MP safari, and now play 2 MPs with very similar cup profiles at the 1ss, but not as crazy shallow - a 40s Muck 17 and a 40s Parduba 5. However, I never had a backbore that matched the NY Soloist, so it sat in the case lonely for the past 2.5 years.

I finally just got a 1ss backbore threaded to play w/ the 2 aforementioned tops, and finally took the NY Soloist out of the case. WOW ! Especially on the Muck top, w/ the 1ss backbore, the NY Soloist has a dark, buttery sound, and is still REALLY responsive and easy to play. This is in part due to the fact that the final/last Callet backbores are REALLY tight. Like - Dave Rogers measured it against some of the tightest/smallest ones in his collection of ~1,000 vintage mouthpieces (a majority from the big band era), and it was significantly tighter than ANY of them.

Being armed with alot more knowledge about this stuff now (mostly from Dave R), I really wish I could speak w/ Jerome again about his thinking about all of this. Jerome developed his ideas about MP and horn design for ~45 years, and the 1ss-1sc and NY Soloist are the culmination of his decades of research, as well as his collaborations w/ the master Zig.

The extreme upper register obv. does not come as easily on the NY Soloist w/ the Muck top as the 1ss top, but the horn is still REALLY easy to play and so responsive - it just takes less work (when paired w/ a Callet backbore) than any other horn I owned or have tried. I am sure this is in part due to his *super* tight, straight backbore design, but it is also due to Callet's choice of gap, (my threaded backbore and cups are all 27 throat - Jerome's stock is 29), and most importantly, how Jerome's backbore communicates / matches with his horn. I have not found his backbore (which is 1/4" longer than most standard ones) to match w/ any of my other horns, but for his, its really perfect.

Anyway, after sitting in its case for 2.5 years, I was considering selling it so someone else can enjoy it (although I am sentimentally attached to it), but its back in the rotation now - its just so easy to play, I can play it for hours without getting tired; and the tight backbore and overall tight blow just don't let you overblow on it; and by only using minimal air and effort, you really conserve energy and endurance goes through the roof !

I am particularly attached to the 1957 "early" Conn 10B right now, but the NY Soloist is right along w/ it; the Conn has a "wider", more spread, sound (due to the 5 1/8" bell) and more open blow, and more feedback behind the bell as well, but the Callet is also so sweet sounding, and just so easy to play ! This was one of Jerome's stated goals - that as he was getting on in years, and had less lung capacity, he wanted to work less for the same results - he really succeeded with these !

Thank you for reading -

Jeremy Mush1
Flatbush
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1924 Besson Rapuwana
1941 Martin Handcraft Imperial / 1949 Martin Committee Deluxe
1929 Conn 2B / 1924 Conn 22B / 1934 Conn 8B / 1957 Conn 10B
1950 Olds Ambassador
2016 Callet NY Soloist

https://www.youtube.com/watch?v=NC1993QIK7E
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royjohn
Heavyweight Member


Joined: 12 Jan 2005
Posts: 2187
Location: Knoxville, Tennessee

PostPosted: Mon Jun 07, 2021 4:10 pm    Post subject: Reply with quote

Hello Jeremy,
Thanks for this very interesting writeup. But, I'm confused. I thought the NY horns were early ones for Jerry and that his last horn was the Sima. Can you explain the chronology a little further?
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royjohn
Trumpets: 1928 Holton Llewellyn Model, 1957 Holton 51LB, 2010 Custom C by Bill Jones, 2011 Custom D/Eb by Bill Jones
Flugels: 1975 Olds Superstar, 1970's Elkhardt, 1970's Getzen 4 valve
Cornet: 1970's Yamaha YCR-233S . . . and others . . .
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deejaymushone
Regular Member


Joined: 11 Feb 2012
Posts: 84
Location: Flatbush

PostPosted: Mon Jun 07, 2021 4:17 pm    Post subject: re: Royjohn Reply with quote

Jerome liked to keep things interesting over the decades, by doing things like crazy, differing MP #'ing systems, and in this case, calling his final horn (2016 release) the NY Soloist, while this is a horn name he already used in the 1980's for a MUCH inferior, DEG-built horn lol !

This is the horn that came several years after the SIMA, and is very similar, but has a different lead pipe, as well as a larger bore size. (There may be other minor differences that I am not aware of, but I never owned a Sima to measure/compare; I do know that the SIMA has significantly more resistance, and is even harder to overblow on; but if you are a "resistance" player, and follow Jerome's instructions to only use the tiniest amount of very highly compressed air, the Sima also plays beautifully. According to Jerome, the NY Soloist was his response to customer complaints that the SIMA was too tight, and that players were unable to overblow on it w/ out the it backing up (!)
_________________
1924 Besson Rapuwana
1941 Martin Handcraft Imperial / 1949 Martin Committee Deluxe
1929 Conn 2B / 1924 Conn 22B / 1934 Conn 8B / 1957 Conn 10B
1950 Olds Ambassador
2016 Callet NY Soloist

https://www.youtube.com/watch?v=NC1993QIK7E
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tptguy
Jerome Callet Forum Moderator


Joined: 11 Nov 2001
Posts: 3362
Location: Philadelphia, Pa

PostPosted: Sat Jun 19, 2021 4:52 pm    Post subject: Reply with quote

Though Jerry would spend countless hours investigating, designing, and fine tuning trumpets and mouthpieces, he really had no patience or interest for naming things. It’s especially clear with the mouthpieces that there was never a plan. He could keep them straight in his mind, so he was ok with that.

The Sima trumpet was named in honor of his Mother. Sima was her maiden name. For his last horn he wanted to highlight his adopted city and the great trumpet soloists that also made NYC their home. So he actually intended to simply name it the Callet New York. His very first trumpets were also stamped NY, but Jerry didn’t worry that this would be confusing. His 1st great full design was the Soloist. So I suggested he pull all the history together by naming his last and greatest design the NY Soloist. Yes, it’s still confusing. But it makes more sense when you know the full history.
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tptguy
Jerome Callet Forum Moderator


Joined: 11 Nov 2001
Posts: 3362
Location: Philadelphia, Pa

PostPosted: Sat Jun 19, 2021 5:22 pm    Post subject: Reply with quote

The Sima is a pinch tighter in the valve section and a little more open in the lead pipe. The NY Soloist switches that around. My Sima always felt a little more open to me than my NY Soloist. But my point is that there was not a lot of difference in the end product, and that was intentional.

I can’t tell you how many people declared the .453 Sima “too tight” before ever blowing it. It was many. We knew we had a great bell, and Jerry was a real master with lead pipes. So I suggested to Jerry that we start with a .460 valve section and Jerry then find the right lead pipe to get back to the blow, power, and pitch of the Sima. It took some encouragement and persistence. But Jerry not only nailed it, in a very short time he actually got more accustomed to his NY Soloist than his Sima.

From then on, whenever we were talking trumpets, Jerry simply referred to the Sima as his horn, and the NYS was my horn. But the only thing I did was prod him a bit. Both designs were entirely his - 2 great horns.
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