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Wynton's Bach


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Trumpetingbynurture
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PostPosted: Thu Sep 14, 2017 5:25 am    Post subject: Reply with quote

Great video of Wynton playing the Selmer. Pretty sure it's a Curry "Lead Sleeve".
http://www.osmun.com/curry-lead-model-sound-sleeve.html
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FDC05
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PostPosted: Thu Sep 14, 2017 7:55 am    Post subject: Reply with quote

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

https://vimeo.com/213245842


This gives me chills, Trent!!! Absolutely beautiful. Tommy on trumpet, I think that's Charlie Young on alto, and one of my favorite piano players Tony Nalker, who just retired as the enlisted leader of the Army Blues.
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Turkle
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PostPosted: Thu Sep 14, 2017 8:11 am    Post subject: Reply with quote

Regarding Wynton's Monette sound: I really think it's impossible to convey the depth and power of his sound in a recording. I get why some people prefer the Bach sound on his early records. But when you hear Wynton live, his sound on that horn is one of the most incredible sounds I've ever heard.

Just my thoughts there. I think you have to hear Wynton on that instrument live to really grok why he plays it. I don't think you get that on a record.

FWIW, the only trumpet sound I've ever heard live that was as totally jaw-dropping as Wynton's was Thomas Gansch. For both of them, my mouth quite literally was hanging open the whole time they were playing. And you'll notice, BTW, that both of them play some quite specialized gear. I don't think its necessary to do so, but both of those monumental artists have chosen to get some custom kit, which helps them with their unique sound concept.

Cheers.
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Grits Burgh
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PostPosted: Thu Sep 14, 2017 8:29 am    Post subject: Reply with quote

Turkle, excellent point.

I haven't heard Wynton live. I've heard Tuba skinny live and the tuba player sounded great, but recordings did not do him any justice at all. Same for Chris Botti. His recordings are nice, but they are nothing like his sound live - which is pretty spectacular.

Two years running I have had to miss Wynton when he played in my area due to my singing in a local choir production the same night. If it happens again next year, I'm out of the choir. I really need to hear Wynton live.

I am trying to take in as many trumpet performances as possible. Byron Stripling will be here and I've got tickets to that. Mike Sailors will be in my neck of the woods next year. I'm really looking forward to that.

The point is, I think that you are on to something. Before you can evaluate a performer, you really need to hear them live.

Warm regards,
Grits
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tomba51
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PostPosted: Thu Sep 14, 2017 4:47 pm    Post subject: Reply with quote

Grits, I see that you are in South Carolina. I also live in SC. Where & when is Byron Stripling appearing? I'd love to see him. I went to his website but tour dates are not listed. Thank you.

Tom B.
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Grits Burgh
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PostPosted: Thu Sep 14, 2017 5:14 pm    Post subject: Reply with quote

Quote:
Where & when is Byron Stripling appearing?


A Night at the Cotton Club
Thursday, March 8 | 7:30pm
Bell Auditorium, Augusta, GA

Byron Stripling, guest conductor
Musicians Byron Stripling, Carmen Bradford, and Bob Breithaupt and tap dancer Ted Louis Levy join SOA to transport you to the jazz era of the 1920s with music of Duke Ellington, Louis Armstrong, and Ella Fitzgerald!

Premium Orchestra $66
1st Balcony $57
2nd Balcony $30
3rd Balcony $16

http://soaugusta.org/event/night-cotton-club/

Warm regards,
Grits
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Bach Stradivarius 37 (1971)
Schilke HC 1
King Master Cornet (1945)
B&S 3145 Challenger I Series Flugelhorn
A bunch of mouthpieces, none of which are the right feel, size, depth or sound - except for my Curry 3FLD.
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tomba51
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PostPosted: Thu Sep 14, 2017 5:20 pm    Post subject: Reply with quote

Thank you Grits.
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Grits Burgh
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PostPosted: Thu Sep 14, 2017 5:55 pm    Post subject: Reply with quote

Tom,

The Bell Auditorium is clear across the state from you. However, if you decide to attend, let me know. Perhaps we can meet and shake hands. I'll be the old, bald guy with a big grin.

By the way, the best place to eat in Augusta is the French Market Grill - two locations. Rae's Coastal Cafe isn't bad either as long as you order the Jamaican jerk chicken.

Warm regards,
Grits
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Bach Stradivarius 37 (1971)
Schilke HC 1
King Master Cornet (1945)
B&S 3145 Challenger I Series Flugelhorn
A bunch of mouthpieces, none of which are the right feel, size, depth or sound - except for my Curry 3FLD.


Last edited by Grits Burgh on Sat Sep 16, 2017 8:44 am; edited 1 time in total
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tomba51
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PostPosted: Fri Sep 15, 2017 5:54 pm    Post subject: Reply with quote

Grits, I got my tickets and I got a hotel room. Really looking forward to this concert. I saw Byron Stripling about 15 years ago at a jazz festival that also featured Warren Vache and Conte Candoli. Even in that heavy company, he stood out. I"m looking forward to seeing him again.
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Last edited by tomba51 on Sat Sep 16, 2017 2:47 pm; edited 1 time in total
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Grits Burgh
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PostPosted: Sat Sep 16, 2017 8:58 am    Post subject: Reply with quote

Tom,

Warren Vache, Conte Candoli and Byron Stripling on the same stage? It doesn't get much better than that.

I've got a late start on jazz. Although I have a very broad taste in music, the classical genre occupied my attention for most of my life. Other than seeing Stan Kenton's band back in '73, I haven't been to many jazz concerts. I am trying to catch up.

I'll see you in March.

Warm regards,
Grits
_________________
Bach Stradivarius 37 (1971)
Schilke HC 1
King Master Cornet (1945)
B&S 3145 Challenger I Series Flugelhorn
A bunch of mouthpieces, none of which are the right feel, size, depth or sound - except for my Curry 3FLD.
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jaysonr
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PostPosted: Sun Sep 24, 2017 7:35 pm    Post subject: Reply with quote

Wynton and his Monette are what made me fall in love with trumpet. I like his sound on anything from his old Bach recordings, all the Monettes he's had from the original light horns to the big Raja to the stuff he's playing now. I like his sound on the clip of him playing Louis's Selmer, and the clip of him grabbing Marcus Printup's horn at a show and playing. I like his sound on the Bach cornet, on the Schilke E and Eb, and Picc.

To me, Wynton sounds like Wynton. I don't think horns have sounds, I think people do. The horn is like a microphone that's going through a sound board and an equalizer. There are tweaks here and there, but ultimately your sound is your sound. Wynton's sound is his sound, and I love it.

One day, if I'm ever financially able, I will own a Monette trumpet, whether I can do it justice, or not.


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weezintrumpeteer
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PostPosted: Sun Sep 23, 2018 6:52 pm    Post subject: Reply with quote

Sorry to bump an old thread...

Wynton posted this clip on his facebook a couple days ago in honor of the anniversary of the first airing of Mr. Rogers show.

https://vimeo.com/63181126

I can't get over how this sounds. I must have replayed that clip (the music part) 15 times over the last few days. He sounds incredible (not that he doesn't other times).

What trumpet is he playing on here? The clip says 1986.
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Tpt_Guy
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PostPosted: Sun Sep 23, 2018 9:40 pm    Post subject: Reply with quote

An early Monette. Not sure what model it is, but definitely a Monette.

I agree. He sounds amazing. One of my favorite Wynton albums is Standard Time Volume 3, The Resolution of Romance (1990). Very similar velvety, lush sound.
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weezintrumpeteer
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PostPosted: Sun Sep 23, 2018 10:04 pm    Post subject: Reply with quote

Tpt_Guy wrote:
An early Monette. Not sure what model it is, but definitely a Monette.

I agree. He sounds amazing. One of my favorite Wynton albums is Standard Time Volume 3, The Resolution of Romance (1990). Very similar velvety, lush sound.


Thanks! Yes, very nice sound. Standard Time Volume 3 is right at the top of my favorite albums, it's so great sounding.
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CJceltics33
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PostPosted: Mon Sep 24, 2018 11:05 am    Post subject: Reply with quote

Wow!!!! And that is why Wynton is my favorite trumpet player. Every sound he makes touches the soul
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cgaiii
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PostPosted: Mon Sep 24, 2018 11:16 am    Post subject: Reply with quote

Someone mentioned it, but here is the cover of the 1983 album with the Haydn and Hummel and other concertos. The horns are Schilke horns as far as I can tell. "Wynton’s 1983 Grammys for this recording and THINK OF ONE…made him the first and only artist to win classical and jazz Grammy Awards in the same year."


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vwag
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PostPosted: Wed Oct 10, 2018 9:18 am    Post subject: Reply with quote

Seeing I just picked up an older Vindabona, I was looking for some clips of Wynton playing his older Bach... definitely a sound concept that I consider something to aspire to. Lots of folks seem to appreciate his older sound vs. the Monette sound, something that does seem to divide many people.

A great clip starts at about 3:15
https://www.youtube.com/watch?v=GLSsbZFukiE

Great with headphones...
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Tpt_Guy
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PostPosted: Wed Oct 10, 2018 12:12 pm    Post subject: Reply with quote

That last video demonstrates conclusively to me that his sound concept is HIS SOUND CONCEPT and does not come from the horn. He sounded like that on his Bach. He sounds like that on his Monette. Seems pretty clear that Monette horns just make it easier for him to achieve that.
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Sharkbaitboi
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PostPosted: Wed Oct 10, 2018 12:22 pm    Post subject: Reply with quote

Tpt_Guy wrote:
That last video demonstrates conclusively to me that his sound concept is HIS SOUND CONCEPT and does not come from the horn. He sounded like that on his Bach. He sounds like that on his Monette. Seems pretty clear that Monette horns just make it easier for him to achieve that.


Sound concept maybe doesn't change but the instrument sure has a say in how it sounds. That's partly the reason why Monette isn't really seen in orchestras that are already based on Bach and Yamaha
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Tpt_Guy
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PostPosted: Wed Oct 10, 2018 12:42 pm    Post subject: Reply with quote

Sharkbaitboi wrote:
Sound concept maybe doesn't change but the instrument sure has a say in how it sounds. That's partly the reason why Monette isn't really seen in orchestras that are already based on Bach and Yamaha


Players typically choose equipment that helps them to achieve their own sound concepts. I would argue that not a lot of players in symphonies grew up listening to other players playing Monettes. After all, symphonic music is a rather conservative field in that change happens rather slowly. This helps to shape the sound concepts of players: listening to other players in one's chosen field.

Conversely, I would argue that a lot of players who choose Monettes do so because they have a sound in mind and Monettes help them achieve it. If the sound they are trying for is different than what orchestras "based on Bach and Yamaha" produce, they probably wouldn't fit into said sections even if they played Bach and Yamaha. Wynton's sound on the MLV Bach demonstrates that.
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