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Stamp simplified.......


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bobby b
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PostPosted: Sat Nov 07, 2009 1:45 pm    Post subject: Stamp simplified....... Reply with quote

I took my first lesson with Jimmy Stamp, and I did not return until months later.....I had so much to work on....he sat down at a spinet piano...held the mouthpiece lightly about one inch from the end of the shank with his left hand , with his right hand he played the notes on the piano....his sound was so clear, so RESONANT is was unreal...he went up in the high register so effortlessly I could hardly believe it! His horn was an old Bach Strad..he played something on the horn..I really do not remember what...what mattered was the SOUND...the clarity, the resonance..wow, that is how I MUST SOUND! My whole life changed..I thanked him, and told him I would be back...I realized that I had to change what I was doing, and produce that sound.At that time I was earning a very good living as a horn player....as my sound on the mouthpiece got better and better, each note became CENTERED, the mouthpiece became my instrument..at that time , like most of the guuys in L>A> I played a Purviance mouthpiece...a trumpet has got be the greatest lie detector in the world! You cannot bull**** the horn! When I say "Stamp simplified " I mean you should focus , focus, focus on the SOUND you are getting on your mouthpiece..keep adjusting until you can produce a clear, resonant and centered sound..as your sound on the mouthpiece improves, the sound on the trumpet will improve exponentially.The name I never hear is Irving Bush....he was probably Jimmy Stamp's most accomplished student...he also taught the "Stamp Method"There were some real heavyweight brass teachers in L.A> at tha time...Maggio, Hy Lammers, etc...But most of the guys I worked with at that time that really played well and had a great sound were Jimmy's students....people like Tommy Payne,Clyde Reasinger. Marvin Brown, Don Cinquemani..there were others that I cannot recall...these guys were real Power players....the very best. Check out the You Tube video of Doc Mc Laughlin (trumpet college) where he is holding his mouthpiece, and he says "this is your instrument" and then proceeds to blow a Triple C on the mouthpiece!!!! Holy Sh##T!!!
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jhatpro
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PostPosted: Thu Nov 12, 2009 5:36 am    Post subject: Reply with quote

Welcome to TH! Great first post! You may be interested in Chris Tedesco's interview in the current ITG Journal in which he describes how Malcom McNab saved his career by introducing him to Stamp's routines.
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Jim Hatfield

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bobby b
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PostPosted: Thu Nov 12, 2009 8:42 am    Post subject: Jim....thanx for you reply Reply with quote

I do not belong to the ITG at this time...I would really like to read this article....Mc Nabb was one of Stamp's most prolific students...I know Jimmy Stamp probably helped Malcom more than the other people he studied with...I had a trombone player friend of mine call me one morning and tell me that he woke up and could not play a note out of his horn...this guy had been a lead player with Buddy Rich...also had played wirth me on the Terry Gibbs band...he came over my place..he was totally freaked out...I know he took some lessons with Rinehart....what did I do...I started him taking HUGE DEEP Breaths...he could not porduce a buzz....I had him take the slide off the horn....then put the mouthpiece to his lips...blow..no sound...as he was blowing on the mouthpiece, insert the mouthpiece in to the leadpipe....and he produced a sound...he spent the whole day doing this, and by the end of the day he had got his chops back, and he played a gig that night....completely physcological...after years of playing, he had a form of a type of nervous breakdown,,his subconscious mind had shut his chops down....I had used technique successfuly with other students....this technique is not Stamp....I used it myself as a great warmup....for more on this see" Mystery to Mastery" great, great stuff......bobby
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hien peter
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PostPosted: Thu Nov 12, 2009 9:54 am    Post subject: a Reply with quote

Hi Bob,

Stamp works with the MP - this is the truth, trumpet is cheating.
He works with the sound on/with the MP, o.k.
He has a super sound over the whole range,
because this is the focus of his method.

But:

What do you think how he is doing this ?
How looks his embouchure like for you ?
What kind of embouchure philosophy does he prefer ?

Thanks Bob,
your post was super

Peter
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playing trumpet is like meditation

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jhatpro
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PostPosted: Thu Nov 12, 2009 10:00 am    Post subject: Reply with quote

"Mystery to Mastery" is a great book. Too bad it's not as well known in the U.S. as it apparently is in Australia. That's one of at least two things the Australians know more about than we do.

The other is how playing football WITHOUT a helmet actually reduces head injuries. (Motivates players to stop using their heads as battering rams and, thereby, reduces concussions.) But that's a story for another Forum.
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Jim Hatfield

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hien peter
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PostPosted: Thu Nov 12, 2009 10:12 am    Post subject: a Reply with quote

o.k. - and what is the message of this book ???
I spent 2 years in australia, but this is 30 years ago
Peter
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playing trumpet is like meditation

Strad H37 & G 7s
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Weimann C, Strad C
Conn V1 FH & MB6
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jhatpro
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PostPosted: Thu Nov 12, 2009 10:21 am    Post subject: Reply with quote

Here you go, Mate.

http://www.mysterytomastery.com/page1.htm
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Jim Hatfield

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hien peter
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PostPosted: Thu Nov 12, 2009 10:30 am    Post subject: a Reply with quote

this page I found already.
I remember the book "trumpet by nature",
kinda disappointing, a lot of "I tell you my opinion" trumpet talking you can hear and read everywhere. And I must save a bit money for Fosters lager

So what do you think is the core message of this Mastery book,
and makes it worth buying & reading.

Thanks a lot, Mate.

Peter
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playing trumpet is like meditation

Strad H37 & G 7s
martin committee 1946
Weimann C, Strad C
Conn V1 FH & MB6
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jhatpro
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PostPosted: Thu Nov 12, 2009 11:16 am    Post subject: Reply with quote

As to the key message, I think the author of "Mystery to Mastery," Greg Spence, sums it up well. He says that "the most important approach to playing is to create a pure and resonant tone from the first note and then to develop your range and technique around this sound."

Spence concedes there's nothing in his book that can't be found elsewhere. Instead, as James Morrison notes in his endorsement of the book, Spence "has managed to take what can sometimes be a complicated process (playing the trumpet) and explain how it's done in a way that will definitely get results."

My own experience is that his approach has given me a better understanding of how to approach the rest of the practice materials I use, which include Arban, Bing, Irons, Schlossberg, Stamp, Vacchiano, and more.

As for Foster's, good choice, but the cans don't fit in my case as well as MGD.
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Jim Hatfield

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hien peter
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PostPosted: Thu Nov 12, 2009 11:37 am    Post subject: a Reply with quote

thanks Jim,

this evening it will be a german beer.

Peter
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bobby b
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PostPosted: Thu Nov 12, 2009 2:38 pm    Post subject: playing football without a helmet..... Reply with quote

Jim: that is beautiful, man......like "trying" to play a trumpet without a PLAN...a structure...I must tell a story about the "golden days" in L.A. in the 1950's when a good trumpet player could earn a good living doing what he loves to do...playing his horn...there was a legendary trumpet player named Conrad Gozzo.."Goz" was a monster (check out Frank Sinatra's " I've got the World on a String...Goz hits an E at the end that is UNBELIEVABLE...I heard they made 34 takes!!!!) I playing with a rehearsal (kicks) band one Sunday afternoon in a place called the Spotlight Club across the street form NBC studios in Burbank ,Calif....after playing back to back chop-busting charts for several HOURS...the trumpet section was pretty much wasted...then I was told to keep playing because Goz was coming to play with the band when he finished th DInah SHore Show across the street....when that story got out NO ONE went home...sure enough he shows...I sat down in a booth...he sat down the lead chair...the first chart was a hard chart ..I know it was hard...oh, God did he play...he read that chart down like he had been playing for the 100th time...I was so stunned...unreal...then they pulled out a beautiful ballad chart featuring a trumpet solo on "skylark"....I became so emontionally overwhelmed I had tears coming down my face..only another horn player could understand...I really cannot find any words good enough that would do justice to how well this man played...then he got up and came to where I was sitting 'cause his horn case was there, put his horn away, ordered a drink and told me he wanted to hang out and dig that band...we played a few more charts after that , and mercifullythis "rehearsal" ended...I sat down and was talking to great Goz about playing the horn..wow, have I been blessed in my life....he said alot of nice things to me about my playing....the one I could never forget was" most of these young guys are obsessed with playing high notes, and they have no sound...you got a real good sound, kid"...he said he had to get home to eat dinner...he asked me If Iwas in the "book" ( Hollywood local 47 musicians union book} I wrote my name down on a napkin, he stuck the napkin in his horn case....a few days later my phone started ringing with the kind of calls every horn players dreams he wiil get someday.........bobby
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jhatpro
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PostPosted: Thu Nov 12, 2009 3:01 pm    Post subject: Reply with quote

Wow, what a great story! I'm sure a lot of the guys here on TH are loving it!

As a long-time hobby player I haven't had an opportunity to play with the greats (although I did a wedding gig with, believe it or not, Kurt Elling) but I recall one great story I heard from Lynn Seaton, the bass player. He said he was playing a studio session with Sweets who got to talking about how much he appreciated Sinatra. According to Lynn, Sweets said: "I didn't play much. Just a little here, a little there, but Frank bought my house!"
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Jim Hatfield

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jhatpro
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PostPosted: Thu Nov 12, 2009 3:20 pm    Post subject: Reply with quote

Hey Bobby, are you Bobby Burgess, who played on Dream Band Vol. 3 and other killer Terry Gibbs sessions?

If you are, keep the stories coming! Even if you aren't, great having you on TH!
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Jim Hatfield

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hien peter
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PostPosted: Thu Nov 12, 2009 10:07 pm    Post subject: to bobby b Reply with quote

hi bobby,

please an answer

Stamp works with the MP - this is the truth, trumpet is cheating.
He works with the sound on/with the MP, o.k.
He has a super sound over the whole range,
because this is the focus of his method.

But:

What do you think how he is doing this ?
How looks his embouchure like for you ?
What kind of embouchure philosophy does he prefer ?

thanks

peter
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playing trumpet is like meditation

Strad H37 & G 7s
martin committee 1946
Weimann C, Strad C
Conn V1 FH & MB6
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bg
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PostPosted: Thu Nov 12, 2009 11:02 pm    Post subject: Reply with quote

Thanks Bobby,

I enjoyed those stories very much. Keep them coming!

bg
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jhatpro
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PostPosted: Fri Nov 13, 2009 6:43 am    Post subject: Reply with quote

Hey Bobby, was the Spolight Club near Pepe's? I used to hang out there with the rest of the writers from Tom Snyder's NBC News show. We'd go over for margaritas and come back and write updates on the Manson trial. My fingers would get stuck between my typewriter keys and I'd have to call one of the other guys over to pry 'em out.

One day we had a bomb threat and Snyder moved his chair into the parking lot. The rest of us just kept writing. Margaritas will do that to you.

When I wasn't writing TV programs I'd get over to the Manne Hole or the Lighthouse to hear people who could really play. I remember being convinced one night at the Lighthouse that June Christy was hot for me. Or maybe it was the margaritas again.
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hien peter
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PostPosted: Sun Nov 15, 2009 2:19 pm    Post subject: one more try Reply with quote

one more try

Hi Bob,

Stamp works with the MP - this is the truth, trumpet is cheating.
He works with the sound on/with the MP, o.k.
He has a super sound over the whole range,
because this is the focus of his method.

But:

What do you think how he is doing this ?
How looks his embouchure like for you ?
What kind of embouchure philosophy does he prefer ?

Thanks Bob,
your post was super

Peter
_________________
playing trumpet is like meditation

Strad H37 & G 7s
martin committee 1946
Weimann C, Strad C
Conn V1 FH & MB6
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bobby b
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PostPosted: Tue Nov 17, 2009 6:55 am    Post subject: to Peter...... Reply with quote

Peter.....check out "mystery to mastery" trumpet on the internet...the are 5 FREE video sound lessons....lesson 5 should help you..but do lessons 1 -4 first!....no shortcuts........bobby
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oxleyk
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PostPosted: Tue Nov 17, 2009 7:01 am    Post subject: Re: to Peter...... Reply with quote

bobby b wrote:
Peter.....check out "mystery to mastery" trumpet on the internet...the are 5 FREE video sound lessons....lesson 5 should help you..but do lessons 1 -4 first!....no shortcuts........bobby


I've seen the Mystery to Mastery videos but didn't think it was the Stamp approach. Is it?

Kent
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hien peter
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PostPosted: Tue Nov 17, 2009 7:28 am    Post subject: a Reply with quote

its a pitty,

so much talking what he (Stamp) did,
but no clear cut concept how he did it.

peter
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playing trumpet is like meditation

Strad H37 & G 7s
martin committee 1946
Weimann C, Strad C
Conn V1 FH & MB6
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