Nick Mondello

So, does that mean you're practicing out of this new book and are getting results?

Rich:

I am.

Doing the book regularly during the week. Giving it a good "ride."

Seeing some very positive results (So is Oscar, who told me so today, FYI).

Nick
P.S. Please see my recent direct e-mails to you. Thanks!

Jerry Freedman

Well, I haven't got Rich's latest book, I thought I would plug an earlier book --Jazz Improv Materlals--. Jeanne Pocius told me about the book. She uses it as a regular method book for her students. I bought on her recommendation and it never leaves my music stand.

Tim McGinley

The great thing about this book (and others that Rich has shared with us) is that when followed properly, it covers so many facets of playing and maintanance. I can not speak for others but when I finish a set of drills (be it a long day or short day) I feel like I have covered all necessary aspects to yield a "good day" on the horn. The exercises do not tire you out but they do give you a good work out.

Being as concise as it is, we are also talking about a reference that will not break your music stand (or your wallet). The written comments are easy to understand and keep your mind focused on the process needed to acheive results.

I hope that other folks gain as much out of these exercises as I have. Rich has done a fantastic job at taking one of the best "systems" of brass teaching and presenting it in a neat, easy to follow series of routines

If I know that my practice time is limited this is one of the first books I grab.

Well....back to the woodshed.
Happy Trumpeting to all...

Thanks again Rich!!!

T-

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Someday I will think of something awe-inspiring to write here. Until that day comes, thank you for reading and, as always, enjoy your endeavors.

dbacon

I'd recommend this book to everyone, had it a couple of weeks and enjoy practicing from it a lot!
Great work out.

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Dave Bacon

tromj

Well, I know Rich as well, from hanging out at Dillons and have heard him play a few times. He is a fine player and a nice guy.

Rich, were you with Doc when Willie Olenick studied with him?

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Bach 37
Yamaha 8310Z
Yamaha 631 Flugel
Getzen 850 Cornet
Yamaha Picc
Yamaha Xeno C 8445
Monette B1-5M, B1-5F, B1-5D cornet, Stork 3P, Monette C1-5M

RichWilley

If I knew your name I might remember you better . . . but Willie Olenick got me on my first salsa gig when I moved to NY. I was a bass trumpet player at the time, and man did I ever get lost. I couldn't find count one! I did improve dramatically in the years that followed . . . it sure couldn't have gotten any worse than that first time!

Willie is the only person I know who ever video taped a lesson with Reinhardt. I have a copy of it, and it's great to see the old man, but the lesson itself is pretty Willie-specific and would probably not be a great help to others.

Anyway, thanks Jerry, Tim, Nick, Dave, et al for the nice comments. I write materials primarily for me -- to address my weaknesses. Some of these materials have evolved into printed books so that hopefully others will be able to use them to get better, too.

tromj

Oh, whoops sorry..Jordan Hirsch.

Willie and I played in Lynn Oliver's band together. Great guy!

__________________
Bach 37
Yamaha 8310Z
Yamaha 631 Flugel
Getzen 850 Cornet
Yamaha Picc
Yamaha Xeno C 8445
Monette B1-5M, B1-5F, B1-5D cornet, Stork 3P, Monette C1-5M

RichWilley

Oh, hey, Jordan! Your name I recognize, but not that picture in your avatar.

I played in Lynn Oliver's band when I first moved to NYC, some kind of rite of passage or something, I s'pose. I did the bare minimum 'cuz I realized how jive it was to pay to play. Wowee that was a long time ago!

Last time I saw Willie was at Club Broadway, the Latin club at 96th & Broadway. He was playing with a four trumpet salsa band (can't remember the band's name). They sounded fantastic! He asked to look in my case to see if I had the requisite "several dozen condoms" . . . long story (I didn't).

Nick Mondello

Rich:

Hi. A status for you ...

Had a midweek gig last night and just blew (unmiked) superbly all over the horn. Getting around with nice facility and sound - and confidence. Interesting that on the jazz stuff the "ideas" and the execution were almost identical. Playing what's "heard," no matter how complex is important to me.

I am convinced that the effort putting in time on FocalPoint is paying off very, very well.

As an aside, I need some recommendations for RR/RW exercise(s) to improve/ensure set is appropriately closed, set to play, and subsequent tongued attack is focused and precise. Thoughts?

Thanks for all your help.

RichWilley

Glad to hear that you, too, are noticing real improvement after practicing out of FocalPoint for some time, now.

If you re-read the point #5 about "Response" (page 2) and keep using FocalPoint as your first blowing of the day, I believe your other concerns (above) will melt away.

I wrote pretty much every exercise in this book to take you a full octave (in both directions) from your chosen focal point. I'm finding in my own practicing (time constraints requiring me to be as efficient as possible) that if I limit each drill to about a perfect fifth in each direction I avoid tiring myself out prematurely and still reap the benefits of starting my playing day on a focal point that's higher than the hub of my range.

Give that a try and let us know how it goes, alright? Thanks, Nick!