Posted: Fri Aug 12, 2016 2:55 pm Post subject: Experience - Kanstul 1603 "Committee"
Experience
Kanstul 1603 “Committee”
The Mystique ~
She takes his arm as they glide between circular tables draped in fine linen and set with lovely china, crystal and silver. Expertly, he draws out her chair and she slides into her seat. She is liquid. Dinner is superb and she is magnificent. The room cannot keep from staring, as he wittily keeps her timbrel laughter from straying too far from the conversation. The house is dark, the stage lights are dim, but not so much as to hide the sparkle in her eyes…
The background musicians begin to come to the fore, as remnants of tonight’s entrée are whisked away. They crescendo, seemingly to steer away the audience’ gaze from this Persephone of the front table. Then, out of the mist, flowing from back stage, the figure of a man steps into the spotlight. His pinstripes somehow speak as harbinger of the magic to come. To come from the trumpet in his hand. There is something different here. Something subtle. A quality most people would miss… This is classic.
As if from the same mist, the low thrum of the acoustic bass, the rhythmic swish of brushes on drum skins and a distinctly spare intro from the grand piano set the mood. Then Pinstripe Hades begins.
“What are you doing the rest of your life?” He is asking… her. Just her. She has become riveted to each flowing phrase. The man at the table feels his night slipping away as her eyes slowly close. He watches her breath rise and fall, as she tries to break the rhythm of the trance… She draws in a silent “Oh!” as the player soars to the climax of his song.
The man at the table turns his face into the shadow. He mumbles to the back of his hand, “Damn!” He knows he’ll be going home tonight. Alone.
This is the mystery of the Martin Committee. Somehow something more than just brass and nickel, this enduring jazz master can weave your most intimate fantasy into unforgettable musical phrase. It’s emotional. It’s sexual. It’s powerful. There is a cult-following.
The History ~
Many people have written versions of the story behind the Martin Committee. One that was told to me spoke of a hastily put together trumpet that was far from well developed, but overdue. A decision was made to proceed with production, and so, the “imperfect” Martin Committee was born. This person thought I’d be disappointed, if I had the chance to play an original, that they “weren’t very good.”
I guess that’s a matter of perspective, but the Committee trumpet does not seem to have had a lasting effect on the bands and orchestras that made up the landscape of the 1940s and 50s. Until it became a soloist’s horn. Dizzy Gillespie and Miles Davis come immediately to mind as famous players who used the Martin. Later, Chet Baker would join the list. The seeds of a legend were born. But, it is said that, after the mid 1950s, the Martin Committee began to lose it’s way and later horns didn’t have the same qualities. Years went by. Martin was absorbed by Holton. The name “Martin” was all but forgotten by most trumpet players. Then, a young musician by the name of Chris Botti decided to play the early Handcraft Committee as a smooth-jazz soloist. His success has resurrected so much interest in the Martin that at least three notable trumpet makers developed versions of the old Committee. While there may have been others, of the three, Lawler was the first with its C7 line. Schilke came next, breathing hints of its Handcraft, while Adams concurrently developed its A9. Enthusiasts began to ask, “What about Zig Kanstul? Would he ever produce a Committee?”
Over a 60 year career, Zig Kanstul has come to be regarded within the brass instrument industry as the greatest designer/manufacturer of brass instruments alive today. His tenure at the Olds, Benge and Conn factories preceded him establishing his own brand and factory in Anaheim, California in the early 1980s: The Kanstul Musical Instrument Company. I, like most musicians, hadn’t heard of Zig Kanstul and didn’t know of the Kanstul brand before I came back to playing trumpet in 2005. Since that time, I’ve come to understand that this man is a living legend. Sort of like the Martin Committee, itself.
The last few years have brought a transition to the Kanstul Factory. Zig has turned over the daily running of the business to his two sons, Jack and Mark. The trumpet community wonders what will become of this company that has been responsible for so much that is good in the brass instrument industry over the past 30 years. The torch is passing, but can it still burn bright?
The Torch Passing ~
Those of us who know Zig Kanstul have known that someday he would step down from leading the factory he had built. It came about somewhat suddenly, though not entirely unexpectedly, a few years ago. The reins passed to two of his sons. Mark, who has worked in the factory most all of his life now oversees production and the executive side of the business. Jack has taken over the marketing aspects once again. It is good to see Zig still at the factory, quietly watching as his sons work to take Kanstul Musical Instruments into the next generation.
Because the Kanstul family keeps their affairs private, there have been some fears, as people considered what would happen when Zig no longer ran operations. Kanstul did a good thing, this past June during ITG, when it opened up its factory for tours. Friends of Kanstul took up stations throughout the factory and groups of ITG attendees were shuttled over from the convention to get up-close and personal with the workings of the factory. We saw a reorganized layout that reflected a leaner, more efficient organization. Excess property has been sold, the once satellite showroom has been brought in-house and the factory floor rearranged for better work flow and more efficient use of space. A staff of 50 employees are able to effectively keep instruments flowing out the doors and Kanstul finds that it has successfully weathered the economic storm that threatened to close its doors, as so many other companies have had to do in recent years.
Now, they are in a growth pattern, having landed contracts with a large Chinese conglomerate that, in Jack’s words, “have plenty of money and want to buy the best brass instruments available in the world. They have chosen Kanstul!” There is now even talk of adding staff to their numbers, climbing back toward the 100 or so they were used to before the late 2000s. This is all happening without debt and with positive cash flow. The ship, as it were, is ready to sail! I, for one am happy and relieved to see it in such good shape. It’s good to see Mark, Jack and even production foreman, Troy, taking on their new roles, learning new business skills and applying their considerable experience to move this company forward. They are already catching the attention of the community around them. The City of Anaheim asked to come tour the facility, some months ago, and produced a video spotlighting the company.
Out of this newly-won stability and growth has come what potentially may be considered Kanstul’s crowning achievement in their trumpet line. They have indeed decided to produce a Kanstul version of the classic Martin Committee Large Bore. Unlike other manufacturers, Kanstul has decided not to try and change the original design in order to overcome what some consider “faults.” Instead, Kanstul is doing what Kanstul has always done. They are seeking to reproduce the Committee experience. They want it to look like a Committee, sound like a Committee and, most importantly, to play like a Committee.
The Instrument ~
I had the opportunity to attend ITG in Anaheim and took the chance to play the Kanstul 1603 Committee there. Even in the noise and bustle, and even though I’ve never seen, heard or played an actual large bore Martin, the first phrase I played on the 1603 told me where players like Chris Botti have gotten their sound! Here were the colors and flavors one can hear on recordings done with the Martin. I was intrigued, to say the least, so I asked Jack, and later Mark and Zig, if they would allow me to take one of the four pre-production horns for a few weeks in order to write an article reviewing it.
I was a little hesitant to ask, I admit. Over a five or six year period, I had forged a friendship with Zig and had done this sort of write-up for him before. But, that was five years ago and now I would have to establish that trust with Mark and Jack, whom I barely knew. Still, they agreed and I got the chance to spend some real time with this alluring horn.
I can tell you that they have done a beautiful job on it! Right from the first glimpse out of its case, the 1603 positively drips with style. The nickel-on-brass detailing along with the classic bell bracing and water key elements give this horn a strange sense of time travel. It looks as new as any Martin looked on its first day back in 1946. Vintage presence with modern promise.
The next things to notice are more subtle. The tuning slide crook is quite square. I searched out photos of vintage Martins and some of them had this sort of hard radius slide configuration. Also, the valves relative to the mouthpiece are positioned closer than any other Bb trumpet I’ve handled. It brings the player’s hands in close for a more intimate, introspective feel. Hmm, I wonder…
It is said that Renold Schilke was the central member of the designing committee after which the Martin was named. Taking the look of this Kanstul as evidence, the DNA carries on to this day in the B series Schilke trumpets. The reversed leadpipe configuration is still there with the tight radius tuning slide in a sort of generational echo that harkens back to that seminal beginning.
How does the Kanstul play? Attitude. Seriously, this trumpet evokes a stronger sense of attitude and personality than anything I have played in my life, by far. First is the sound. Now, I know that you can put different model trumpets from different manufacturers in front of a good player and he will sound pretty much the same on all of them. But, somehow, there is a difference with the 1603. From behind the bell, the mix of overtones in each note is different and unique. The first thing I noticed is that it resonates more at mezzo-piano and mezzo-forte than the other large bore trumpets I have on hand. I think of Andre Boccelli’s voice, how it has such character while he is almost whispering into the microphone. Also like him, the Committee can rise up and soar at a strong forte that pulls at the heart, like none other! My son Charlie likened it to the mournful feeling of the theme for Sonja the Duck in Peter and the Wolf. I found myself playing the same phrases over and over, just to hear the sound again and again. It was intoxicating… and deeply exciting!
At the same time, this 1603 required a very narrow, disciplined approach. It is not one to suffer fools. Let your air stream venture off center, or put too much pressure on the top lip and the sound comes back to bite you with chipped notes an unpredictable response. I began to recall video of Chris Botti, Miles Davis and Chet Baker standing still, hardly moving as they played. If the Martin is anything like this Kanstul, I know that it is the horn that demands this. I could not let my concentration lapse for even a moment without the phrase going all wrong, but get it right and magic happens!
I feel this trumpet requires dedication. The approach required is narrow and intolerant. It requires almost tai-chi levels of body control to extract what it can produce. In my mind, it would take an good amateur player a few hundred hours to really know the instrument. I caught a few glimpses, though, of what awaits the player who commits to it. I felt flashes where the horn began to disappear to where I wasn’t conscious of it. Music began to flow out from the two of us. Just for an instant, here and there. That is the allure, the promise that if you spend the time needed to know this trumpet, music will flow.
Someone’s going to ask, “But does it blend well with other horns? Does it slot well? Does it play in tune??” What’s your point, Xeno Boy? This horn isn’t about slotting or secure intonation, it’s about responding to your thoughts and playing what is coming out of you. If you play accurately and in tune, this horn will and with a velvety smoothness that stirs the soul. It has as good a scale as any Bb I’ve experienced. Yes, I’ve said that before about other trumpets, but Kanstul seems to be getting better and better at producing an immaculate scale. On the other hand, if you can’t hear the pitch, you’re on your own, Buddy! The 1603 isn’t going to save you. The slots are there, but they are wide, like few other horns, and notes resonate well pretty far off of the pitch center. You can easily land each note, but they also can be bent up or down with ease and without sacrificing tone.
It’s not about blending. It’s about a voice that will get you Sophia Loren. You young guys should Google her. She had a visceral and earthy sophistication, a powerful feminine sexuality that whispered timeless strength. While you’re at it, go watch Anthony Hopkins in any of several movies, but perhaps the best scene is in The Mask of Zoro where he begins to teach Alejandro to take up the sword and put on the “Mask.” Strength that suffers no fools, yet causes you to believe and inspires you to excel. That’s what this trumpet is about. Do you have what it takes to play it?
Note ~ I've written a follow-on article about Wallace Roney's personal version called the 1603+, which is also available from Kanstul. The article is found here. _________________ Brian A. Douglas
Flip Oakes Wild Thing Bb Trumpet in copper
Flip Oakes Wild Thing Flugelhorn in copper
There is one reason that I practice: to be ready at the downbeat when the final trumpet sounds.
Last edited by shofarguy on Sat Feb 24, 2018 8:54 am; edited 3 times in total
Mercy! It's like I'm back in grad school, grading sophomore lit assignments. Too many words for me to read them all.
Not sure- are you reviewing a horn, a lifestyle, or a company??
You've never played the Martin it is supposed to be modeled after?? Isn't a comparison the whole point of this model?
I would suggest that you remove my post, disable comments, and let this post stand alone as the apparent work of art that you intended it to be.
Here you go. This is the abridged version.
Dan O'Donnell wrote:
TH Friends,
I visited the Kanstul factory (bought a new MP backbore) a few days before the ITG Conference and played the Committee copy.
Here's MY personal thoughts and opinions on the horn...
(Note: The bore size of my Trumpets that I have played for many years range from .460 to .464.)
1.) The sound was big, warm and dark (more lower overtones) similar to some of Jason Harrelson's horns however MUCH lighter.
2.) The response was not as quick as I am used to on my heavy horns (Harrelson 909 & Bravura and Getzen Genesis).
3.) The intonation was great and there was minimal "fighting" any notes.
4.) The dispersion of the sound was focused yet rich. It was not a wide dispersion as a conical designed horn (Cornet, Flugelhorn, Wild Thing).
5.) I have never played an original Committee however, I did hold and inspect Chris Botti's Committee; needless to say; you will find no heavy caps or receiver, or other "bling". Just a straight ahead horn which is nice in these days of pimping horns.
6.) The playability was good. It obviously became brighter and I ascended notes and warmed down more than a traditional horn in the lower range. The flexibility was good and enabled me to bend notes at will however, the slots were not so wide that I had to struggle centering the notes.
Overall; I think it is a great Jazz or solo horn that would sound great in a combo setting. Due to it's distinct sound and POSSIBLE less projection due to the lack of some of the higher overtones, I would not recommend this horn for anyone trying to play lead or blend in a section.
Note...Your miles might vary...
Have fun with it. _________________ Brian A. Douglas
Flip Oakes Wild Thing Bb Trumpet in copper
Flip Oakes Wild Thing Flugelhorn in copper
There is one reason that I practice: to be ready at the downbeat when the final trumpet sounds.
Joined: 24 Dec 2010 Posts: 2197 Location: Venice, CA & Paris, France
Posted: Fri Aug 12, 2016 4:46 pm Post subject:
that's some real Penthouse Forum material
but you know?
i only buy horns to read the études............. _________________ ron meza (deadbeat jazz musician) & (TH 5 post ghost neighborhood watch ringleader)
waiting for Fed-Ex to deliver a $50 trumpet to my door. shipping was prepaid by seller of course!
http://ronmeza.com http://highdefinitionbigband.com
Right, no flowery prose here but the same basic problem.
Pssst! Hey, ProAm, I don't think this is a comparison. It's a review that has an artistic approach. If you need a comparison, go get a donor Martin large bore and work it out with Kanstul to borrow (or better yet, buy) a 1603. Then, YOU can show us how it's done. _________________ Brian A. Douglas
Flip Oakes Wild Thing Bb Trumpet in copper
Flip Oakes Wild Thing Flugelhorn in copper
There is one reason that I practice: to be ready at the downbeat when the final trumpet sounds.
Yes, it is. And, as a review, practically worthless. I already know that you like Kanstul. Which is fine, nothing wrong with that; happy that you do.
And yes, I was expecting a review of Committee copy or of a horn built-in-the-spirit of a Committee and, because of that, expected a comparison. More fool me, I suppose.
I just don't have the artistic bent to appreciate fine works like this. I'm sure others do and will give you the proper praise you deserve..
Joined: 11 Aug 2004 Posts: 12663 Location: Gardena, Ca
Posted: Fri Aug 12, 2016 8:37 pm Post subject:
ProAm wrote:
Yes, it is. And, as a review, practically worthless. I already know that you like Kanstul. Which is fine, nothing wrong with that; happy that you do.
And yes, I was expecting a review of Committee copy or of a horn built-in-the-spirit of a Committee and, because of that, expected a comparison. More fool me, I suppose.
I just don't have the artistic bent to appreciate fine works like this. I'm sure others do and will give you the proper praise you deserve..
Based on the technical discussions leading up to this, like the discussion about the first valve connecting at 90 degrees, I too expected a review.
Yes, it is. And, as a review, practically worthless. I already know that you like Kanstul. Which is fine, nothing wrong with that; happy that you do.
And yes, I was expecting a review of Committee copy or of a horn built-in-the-spirit of a Committee and, because of that, expected a comparison. More fool me, I suppose.
I just don't have the artistic bent to appreciate fine works like this. I'm sure others do and will give you the proper praise you deserve..
Well, ProAm, I'll continue our conversation for the sake of other readers who may be struggling, too. First of all, I ran a thread asking for members to volunteer their Committee or Committee-like trumpet for the sake of this article. The only forthcoming response came from a member nearby who had a medium bore Martin. Since that horn reportedly uses a different bell, as well as bore, I didn't think it would contribute anything helpful, so I abandoned the idea of a direct comparison.
I do however have two large bore trumpets of my own and another on loan, which I used to help define the characteristics of the 1603. All of my observations can be found woven into my review, though I refrained from direct comparison, because two of the three are Kanstul-made instruments and I have long ago promised Zig that I would never directly compare a Kanstul brand horn to a Kanstul made horn of a different brand. Since this review was to be scrutinized and approved by Mark and Jack, I chose to abide by that promise.
Also, there is another thread running right now which discusses the design aspects and objective playing characteristics of the 1603. To include a bunch of rehashed facts here would be redundant and boring.
If you take just a moment to read the first word of the title of my review, you can pick up the focus and intent I used to guide my composition. Experience. That thought permeates the entire work and appears in each section in one form or another. Experience is not objective. Especially when one speaks of the real-time sensory application of the word, one must seek to recreate the feelings "experienced" as one "experiences" the event. Objective descriptions fall short.
But, you already know this from your days grading English compositions at the Sophomore undergrad level.
By the way, do you like your Yamaha? _________________ Brian A. Douglas
Flip Oakes Wild Thing Bb Trumpet in copper
Flip Oakes Wild Thing Flugelhorn in copper
There is one reason that I practice: to be ready at the downbeat when the final trumpet sounds.
Joined: 08 Aug 2012 Posts: 368 Location: Waltham, MA
Posted: Sat Aug 13, 2016 3:59 am Post subject:
Thanks, Brian! I enjoyed reading that, as romantic as the horn, and those who poo-poo it are just too cynical.
However, to correct your history, I was surprised to recently learn that the MHC version of the pre- and early war years was actually used heavily by commercial (big band) players of the time, at least according to a Martin marketing publication from 1941...
On the front page, Artie Shaw's entire brass section plays Martin Handcraft Committee Models, including Billy Butterfield, George Wendt and Jack Cathcart. Woody Herman's band claims six Martin players, "Martinites". Lou Breese and five of his members play "Committee Model Martins". Charlie Spivak "swears by his Committee Martin". On page 3, Rafael Mendez is "a Martin man from 'way back. Member of Martin Trumpet Committee". The list goes on.
I had posted the publication in question to a thread on the TM site...
http://www.trumpetmaster.com/vb/f139/infamous-martin-committee-committee-48143-5.html _________________ 1963 Martin Committee #3
1962 Martin Committee Cornet #3
1961 Martin Custom Committee C
1941 Martin HC Committee #2
1945 Martin Committee #2
1942 Martin HC Committee Cornet
1941 Martin IBICO Indiana
2012 Kanstul 1525 SLB
1977 Olds CT Flugel
Joined: 06 Jan 2007 Posts: 310 Location: So. California
Posted: Sat Aug 13, 2016 6:10 am Post subject:
Brian, I enjoyed reading your post and thought it was pretty well written. I have one question, what horn is that in your 4th photo laying flat under the upright 1603. _________________ Yamaha YTR-9335 NYS III
Bach Commercial - LT190SL1B
Yamaha YTR-9445 NYS-YS - C Trumpet
Wild Thing Flugelhorn - Copper - Raw
Yamaha YCR2330 Cornet
Yamaha Custom Piccolo
Monette B4S S2 Mouthpiece
Thanks, Brian! I enjoyed reading that, as romantic as the horn, and those who poo-poo it are just too cynical.
However, to correct your history, I was surprised to recently learn that the MHC version of the pre- and early war years was actually used heavily by commercial (big band) players of the time, at least according to a Martin marketing publication from 1941...
On the front page, Artie Shaw's entire brass section plays Martin Handcraft Committee Models, including Billy Butterfield, George Wendt and Jack Cathcart. Woody Herman's band claims six Martin players, "Martinites". Lou Breese and five of his members play "Committee Model Martins". Charlie Spivak "swears by his Committee Martin". On page 3, Rafael Mendez is "a Martin man from 'way back. Member of Martin Trumpet Committee". The list goes on.
Thank you for your comments. The new Kanstul really does have a strong sense of personality.
I remember reading something about bands using the Martin, back in the day, but wasn't that short-lived? In conversation with Jack Kanstul, those who are trying the 1603 say that it does sound and play like the old Martin. Taking their word for it, I think the Committee would be a real handful to play in a section! Those guys must have had good ears for pitch, if they sounded any good.
Back in 1982, I performed in a show choir called Citrus Singers. We did a two show exchange with Les Brown's Band of Renown. When they came to our house, instead of setting up in the pit as our own orchestra would do, they sat onstage on risers. We came onstage and I have to say that I felt like their sound would push us right into the audience! "Wall of sound" is not enough to describe the huge volume they achieved. The 1603 is not the horn for that kind of playing. My Wild Thing or Schilke X-4 would be much better there. _________________ Brian A. Douglas
Flip Oakes Wild Thing Bb Trumpet in copper
Flip Oakes Wild Thing Flugelhorn in copper
There is one reason that I practice: to be ready at the downbeat when the final trumpet sounds.
Brian, I enjoyed reading your post and thought it was pretty well written. I have one question, what horn is that in your 4th photo laying flat under the upright 1603.
It's my 2011 Schilke X-4 _________________ Brian A. Douglas
Flip Oakes Wild Thing Bb Trumpet in copper
Flip Oakes Wild Thing Flugelhorn in copper
There is one reason that I practice: to be ready at the downbeat when the final trumpet sounds.
Joined: 06 Jan 2007 Posts: 310 Location: So. California
Posted: Sat Aug 13, 2016 6:16 am Post subject:
shofarguy wrote:
21trumpet wrote:
Brian, I enjoyed reading your post and thought it was pretty well written. I have one question, what horn is that in your 4th photo laying flat under the upright 1603.
It's my 2011 Schilke X-4
Funny how when you put a silver horn on a brown background it looks like a lacquered horn. BTW, great photos. Now I need to go back over to Kanstul and play that horn again. _________________ Yamaha YTR-9335 NYS III
Bach Commercial - LT190SL1B
Yamaha YTR-9445 NYS-YS - C Trumpet
Wild Thing Flugelhorn - Copper - Raw
Yamaha YCR2330 Cornet
Yamaha Custom Piccolo
Monette B4S S2 Mouthpiece
Brian, I enjoyed reading your post and thought it was pretty well written. I have one question, what horn is that in your 4th photo laying flat under the upright 1603.
It's my 2011 Schilke X-4
Funny how when you put a silver horn on a brown background it looks like a lacquered horn. BTW, great photos. Now I need to go back over to Kanstul and play that horn again.
Without Photoshop or another pro-quality editing program, one has to pick a compromise that works. So, if I wanted a silver Schilke, I would have a totally different look on the 1603. Here is the X-4 balanced for silver on the very same background.
_________________ Brian A. Douglas
Flip Oakes Wild Thing Bb Trumpet in copper
Flip Oakes Wild Thing Flugelhorn in copper
There is one reason that I practice: to be ready at the downbeat when the final trumpet sounds.
Thanks, Brian! I enjoyed reading that, as romantic as the horn, and those who poo-poo it are just too cynical.
However, to correct your history, I was surprised to recently learn that the MHC version of the pre- and early war years was actually used heavily by commercial (big band) players of the time, at least according to a Martin marketing publication from 1941...
On the front page, Artie Shaw's entire brass section plays Martin Handcraft Committee Models, including Billy Butterfield, George Wendt and Jack Cathcart. Woody Herman's band claims six Martin players, "Martinites". Lou Breese and five of his members play "Committee Model Martins". Charlie Spivak "swears by his Committee Martin". On page 3, Rafael Mendez is "a Martin man from 'way back. Member of Martin Trumpet Committee". The list goes on.
Thank you for your comments. The new Kanstul really does have a strong sense of personality.
I remember reading something about bands using the Martin, back in the day, but wasn't that short-lived? In conversation with Jack Kanstul, those who are trying the 1603 say that it does sound and play like the old Martin. Taking their word for it, I think the Committee would be a real handful to play in a section! Those guys must have had good ears for pitch, if they sounded any good.
Back in 1982, I performed in a show choir called Citrus Singers. We did a two show exchange with Les Brown's Band of Renown. When they came to our house, instead of setting up in the pit as our own orchestra would do, they sat onstage on risers. We came onstage and I have to say that I felt like their sound would push us right into the audience! "Wall of sound" is not enough to describe the huge volume they achieved. The 1603 is not the horn for that kind of playing. My Wild Thing or Schilke X-4 would be much better there.
Early 2000s my Yamaha trumpet had some bad bell damage and was in the shop. I borrowed a friends #2 Committee for several weeks....and almost refused to give it back.
It played tight and bright like a Schilke B6 or B4. I used it for lots of big band jobs and other stuff. In my opinion, it made a fine, even fantastic commercial horn. With a commercial mouthpiece, that Martin just seared
Early 2000s my Yamaha trumpet had some bad bell damage and was in the shop. I borrowed a friends #2 Committee for several weeks....and almost refused to give it back.
It played tight and bright like a Schilke B6 or B4. I used it for lots of big band jobs and other stuff. In my opinion, it made a fine, even fantastic commercial horn. With a commercial mouthpiece, that Martin just seared
Fellow TH member, Ed Mann, has a medium bore Committee and let me try it a couple of times. It's much easier to play well than the 1603. The danger in discussing how the 1603 plays is that the comments I might make will make it seem like this is not a good trumpet. It's a great trumpet! It's just a very narrowly focused instrument, from an application standpoint. You can play it anywhere and in any style, but it is SO strong for jazz and ballad solo work. The things that make it great for that also make it challenging for other, high precision work. _________________ Brian A. Douglas
Flip Oakes Wild Thing Bb Trumpet in copper
Flip Oakes Wild Thing Flugelhorn in copper
There is one reason that I practice: to be ready at the downbeat when the final trumpet sounds.
Joined: 27 Sep 2006 Posts: 61 Location: Tecumseh, MI
Posted: Sat Aug 13, 2016 6:51 am Post subject: Experience - Kanstul 1603 Committee
Brian,
I, for one, really appreciate the time that you took to write a great review of the Kanstul 1603.
You are an experienced player, and I value your opinion, and I don't think that you lack objectivity, even though there are those who have been quick to point out your love for the Wild Thing.
I currently own a 1940 #3 extra large bore Martin Handcraft Committee that is very rare, and plays like a dream! Chris Botti's, as you know is a #3 1939 Martin Handcraft Committee. Mine is identical to his, but it is a year "newer" if you will.
I have also owned a late 1950's #3 large bore Martin Committee that was not a Handcraft Committee, but was still a #3 large bore Committee and was also a fantastic horn.
I think that your review of the 1603 captures the "essence" of the vintage Martin Committees, particularly the large bores. That smooth, honey dripping, smoky. mellow, textured sound that is unmistakably that of a vintage Committee.
You mentioned the four of the Model 1603s have been built by Kanstul as prototypes of the new horn, and that a 5th 1603 was in the process of being built for a customer. That customer is me, and my new 1603 with a Gold Brass bell is nearly complete at this writing.
I have owned, and I currently play many different Kanstul built instruments (a gold plated Wild Thing, a 1525 Kanstul Signature flugelhorn, and a .470 bore Zeus Olympus among them) and each and every Kanstul built instrument has been a stellar performer for me. Beyond that, the styling, the playability, and the fit and finish of my Kanstul built instruments has been truly outstanding!
I am not a paid endorser of Kanstul instruments, and I have no financial stake whatsoever in their company, but I DO believe in giving credit where credit is due. Kanstul builds great instruments, and I am proud to own several of them, and I am sure this will be the case with my new 1603.
As a community of trumpet players, I really do wish we could set aside some of our petty differences, and talk about the music business in general, and trumpets in particular, without questioning each other's motives and objectivity.
Brian, I really enjoyed reading your review of the 1603, and I am proud of the fact that you take a very positive and active role in the trumpet community and on the pages of Trumpet Herald.
Sincerely, _________________ Richard Harris
Monette MF Prana
1940 Martin Handcraft Committee #3 Large Bore
Yamaha 8335 LA II Bergeron Custom
Yamaha 8340 EM Eric Miyashiro
Schilke Handcraft HC1
Taylor Phatboy Flugelhorn
Posted: Sat Aug 13, 2016 7:00 am Post subject: Re: Experience - Kanstul 1603 Committee
irememberchet wrote:
Brian,
I, for one, really appreciate the time that you took to write a great review of the Kanstul 1603.
You are an experienced player, and I value your opinion, and I don't think that you lack objectivity, even though there are those who have been quick to point out your love for the Wild Thing.
I currently own a 1940 #3 extra large bore Martin Handcraft Committee that is very rare, and plays like a dream! Chris Botti's, as you know is a #3 1939 Martin Handcraft Committee. Mine is identical to his, but it is a year "newer" if you will.
I have also owned a late 1950's #3 large bore Martin Committee that was not a Handcraft Committee, but was still a #3 large bore Committee and was also a fantastic horn.
I think that your review of the 1603 captures the "essence" of the vintage Martin Committees, particularly the large bores. That smooth, honey dripping, smoky. mellow, textured sound that is unmistakably that of a vintage Committee.
You mentioned the four of the Model 1603s have been built by Kanstul as prototypes of the new horn, and that a 5th 1603 was in the process of being built for a customer. That customer is me, and my new 1603 with a Gold Brass bell is nearly complete at this writing.
I have owned, and I currently play many different Kanstul built instruments (a gold plated Wild Thing, a 1525 Kanstul Signature flugelhorn, and a .470 bore Zeus Olympus among them) and each and every Kanstul built instrument has been a stellar performer for me. Beyond that, the styling, the playability, and the fit and finish of my Kanstul built instruments has been truly outstanding!
I am not a paid endorser of Kanstul instruments, and I have no financial stake whatsoever in their company, but I DO believe in giving credit where credit is due. Kanstul builds great instruments, and I am proud to own several of them, and I am sure this will be the case with my new 1603.
As a community of trumpet players, I really do wish we could set aside some of our petty differences, and talk about the music business in general, and trumpets in particular, without questioning each other's motives and objectivity.
Brian, I really enjoyed reading your review of the 1603, and I am proud of the fact that you take a very positive and active role in the trumpet community and on the pages of Trumpet Herald.
Sincerely,
Your new horn is gonna be slick. Gold brass bell?? NICE! I bet it's gonna be a beast and look wicked pretty.
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