Mendez and jazz...

Ivantpt89 · Posted: Thu Apr 19, 2007 7:03 pm Post subject: Mendez and jazz...

Hello, i'm currently a senior in highschool and plan to move to mexico later this year to pursue my musical development out there and hopefully in cuba. I love jazz, and i study it endlessly, i also love the trumpet and all good music, with good trumpet players (of course

. I was just curious does anyone know what the deal with Raale and jazz was? was there any? did he play it? I bet if he did he must have been amazing. I've heard his version of "body and soul", and his version of "I know what you know", did he record more? cause i live his sound in any type of improv. style. For what he does in these sounds he truly demonstrates how huge his capacity was, if there is more jazz recordings out there, please let me know on which recordings or if you could help me and pass them on, i'd greatly appreciate it. It would really make and inspire my life just like rafael's existence has. Thank you.

trpt.hick · Posted: Thu Apr 19, 2007 9:13 pm Post subject:

Rafael never really played jazz as we know it today. He formed two "jazz" groups which were used to feature himself.

One was called the Juarez Combo. They cut a few 78 rpm discs, but it was basically a cross between Latin and mararchi styles. He never actually improvised.

The other group was called Mendez and the All-Stars. It was a big band. He cut several 78s with this group, too. The style was typical big band with trumpet features. Actually, I believe this was the group that may have recorded some pieces that were later reissued as a Mendez 33 rpm Decca LP: The Singing Trumpet. Again, the style is "a la Harry James" and is very nice, but he never really improvised jazz. . . just a few embellishments over the main tune.

When Mendez played first trumpet in the MGM studio orchestra, there were several times when the scores called for a true jazz trumpet solo. The music was not written out for him and had the chord symbols only. He had much trouble with this and was once quoted to say, "I would trade all of my technique for eight measures of real jazz."

DH

Ivantpt89 · Posted: Thu Apr 19, 2007 10:09 pm Post subject:

Wow, i had heard about the woute before... but i never made much of it, i mean... Someone as great as him, having difficulty with chord symbols, that just sounds like something taken out of the twilight zone. I mean the man knew his theory, and played various instruments, and his original works, and arrangements show how deep rooted he was in the study of music. Not to mention his ability on the horn, i mean he could've playd anything he wanted to, why would he have trouble with improv?

trpt.hick · Posted: Thu Apr 19, 2007 11:38 pm Post subject:

He had no problem figuring out what the chords were, he just didn't have much background in jazz.

allstarbugler · Posted: Thu Aug 09, 2007 8:13 pm Post subject:

LegallyTrumpeting · Regular Member Joined: 22 Jan 2008 Posts: 19

That could be true but narrow minded as well. That's why NYC and LA has some of the best freelancers that can do it all from studio to big band, symphony, jazz, and any type of commercial work. Mendez was good at a fast vibrato and multiple tounging, thats about it. His sound was ok and he did music from his region of the world and nationality, and thats fine for him. it doesn't fit in well with todays standards of what a trumpet player should be. Check out Wayne bergeron, Rick baptist, Malcolm Mc Nab, Dave Trigg, Tony Kadleck and cats like that.

leadtpt1955 · Posted: Sat Feb 23, 2008 6:46 am Post subject:

allstarbugler · Posted: Sat Feb 23, 2008 6:49 am Post subject:

allstarbugler · Posted: Sat Feb 23, 2008 6:56 am Post subject:

LegallyTrumpeting · Regular Member Joined: 22 Jan 2008 Posts: 19

There actully all great players. i just dont like the sound that Mendez had, too thin and too much vibrato. I think if you listened to the jazz and orchestral players of the time, from Louis Armstrong to Harry Glanz, you'll hear players that were developing sounds that defined an orchestra(ny phil) and a style of jazz playing that can't be matched today. Mendez just doesn't do it for me.

rockford · Posted: Sat Feb 23, 2008 5:30 pm Post subject:

Mendez had an enormous influence on the school music community of his day and still influences young people today. My students enjoy working on his solo collection. He's got style.
_________________
Bill Siegfried
NY/Mt. Vernon Bach trumpets. Yamaha flugelhorn and piccolo A/Bb, Monette and Hammond mouthpieces. Fender and Peavey Cirrus Bass Guitars. Ampeg and Genz-Benz amps. Embraer 170/175/190.

broro2 · New Member Joined: 07 Dec 2008 Posts: 5

Mendez was the absolute best at what he did, and should be included in any serious trumpet students education....

Bob

MikeyMike · Heavyweight Member Joined: 06 Nov 2007 Posts: 1680

TrentAustin · Posted: Tue Feb 10, 2009 10:38 am Post subject:

ChopsGone · Heavyweight Member Joined: 20 Dec 2008 Posts: 1793

O*******le! Consider his background, how he learned to play, it's not really accurate to say he couldn't improvise. And he certainly played jazz, of a type which was popular at the time and in a style all his own. Listen to what he does to standards like "Dark Eyes" and tell me he couldn't improvise - he may well have written out every note beforehand (not saying he did; it wouldn't matter), but the embellishments are uniquely his. He was enormously successful at the same time as some others who are revered today as jazz pioneers - think of Yank Lawson, Howard McGhee, Bunny Berigan, and, yes, even Harry James. Mendez was perhaps more a showman, in the vein of James, but he laid down some lines most of today's players would have trouble duplicating. He was just different, OK? That doesn't mean he wasn't among the greatest. Quit dissing my hero.
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cjl · Posted: Tue Feb 10, 2009 11:57 am Post subject:

Is there anyone today who does a good job imitating Mendez? Or perhaps the question could be, who today can play Mendez' music most like he could? (and don't say George Staerkel )

Is there anyone today who can replicate his lightning-fast, staccato double tongue?

Can you play with the vibrato that he and Harry James (and, to some extent, Doc) did and "turn it off" at will? Or is it more something that becomes an integral part of your playing?

Just curious ....

-- Joe