psalt

I haven't seen any reference about the NY player Marky Marciewicz. Bernie Glow said Marky was his favourite 2nd trumpet player. He played the usual LT72 Bach and unusually for an established NY studio player, a George Bukir mouthpiece. He was to Glow what Nat Prager was to Vacchiano.
At 58 years of age, he was still an in demand player.
Can anyone tell me more.
Peter Salt

Larry Gianni

Peter,

You area absolutley correct about Irving "Marky " Marcowitz and his relationship to Bernie Glow and the impact Mr Marcowitz had on the " New York " scene. He probably deserves much more credit than he gets for his acomplishments and impact to the scene.

Here is a short quote for the 1979 National Trumpet Symposium in a lecture given by Bernie Glow were first brings the subject of Marky Marcowitz.

" I don't know how many of you know Irv Marcowitz, who is generally called Marky. He is the best section trumpet player I've ever played with in my whole life. He's also a good lead player, but in a section, I would rather have him next to me that anyone else in the world.

Enough said.

Larry

crazyhorns

Hey Larry.. and everyone.... I love this topic. You know what I find rather surprising? On the list of players and their equipment, not a single Schilke horn or mpc. I would've thought that a 13a4a or 14a4a would've snuck in there. I was also under the impression that the Getzen Eterna was a popular horn at that time... but I guess not. And all those Bach 7D pieces in use! If you have any more info on equipment usage, I'm sure alot of us will enjoy reading it.
~Steve Hyde~

Larry Gianni

Steve,

Here's a Bach 72 / 7D east coast transplant player that changed quick when he got to the " Beach " ( Los Angeles )

Lee Thronberg came to town about the same time I did in the late 70's He's from the New York area originally and when he " stepped off the boat " he was playing a Bach 72 with a Bach D mouthpiece. ( I think he was with some Rock Act that got him out West )Anyway, it didn't take him long to figure out his set-up was making him work way to hard - he was playing with a really popular horn-band out here called " Jack Mack and the Heart Attack " . they used a 5 piece horn section .( trivia: they were playing the Atlanta Summer Olympics , in the plaza, at the exact time the 2 bombs went off .)

Within a couple of months, he jumped on the Calicchio/ Reeves bandwagon with a Calicchio 3 bell / 7 pipe ML trumpet and a 41 s / 69 Reeves. ( 3 bell is a great " Rock and Roll " bell especially if your looking down the barrel of a 451 Sennhauser mike and a " hot ' monitor) and all of a sudden he was the main " Rock and Roll " trumpet player in town ( like Mac Goellehin ( Sp? ) is on the East Coast )eventually playing tours like Tower of Power,Rod Stewart, Pink Floyd, Bowie, etc. and finally , now, Band, taking the spot Chuck Findley left open upon his departure, still using the same Calicchio and Reeves set-up.

2 other friends of Lee came out here from Rochester, NY about the same time, ( within a couple of month's ) with the same Bach 72 / 7D set-up and changed within 6 months.

They told me all the younger players ( late 70's early 80's ) play the Bach 72 / 7d set up or they use a Bach 72 / Girad 7M set-up. It was pretty universal at the time on the east coast from what I'm hearing.

They have all switched to Calicchio / Reeves set-up now and are doing well in town.

Larry

Steve, I'll call Lee tomorrow and ask him what the name of the band he was on that got him to the West Coast. I want to say Joe Cocker, but I don't think that's right, but it was some " Blues/Rock " type recording band that was a name act at the time.

Larry

Larry Gianni

Hi all,

Here are some updates:

Lee Thornberg

Lee Thornberg came to LA with a band called " Little Feat " with Lowell George.

Some other road credits he has are : Aaron Neville ( he has a home in New Orleans ), Nicolette Larson, Huey Lewis ( with TOP horns )

plus he recorded with all those band also, and was on the 2003 " PINK " - " try this " DVD/CD.

Lee is still one of the nicest people in the business. He is mostly self-taught mainly taking lesson back in his NY days and can really play great dixieland because of his stay in New Orleans.

New York Schilke Players:

Pre 70's, early 80's Schilke players in New York were few and far between. I've already talked about Jon Faddis and his contribution to the scene ( Schilke B6l-b 1970 to 1984 , S-42l-b 1985 to present , Schilke mouthpieces )

Lew Soloff , as mentioned before used a 14a4a early in his New York days for extreme lead playing.

Here are some players that are mainly post 1980 NY scene guys:

Mike Lawrence , out of NTSU ( pass away in early 80's ) used a Schilke X3 and a Schilke mouthpiece. Played lead for the Joe Henderson-Kenny Dorham Big Band in NY. also with Gil Evans . He was 35 years old in 1980.

Tom Barreca also played in the NY scene. Sometimes using a 43 bell / 43 lp Bach , but also a Schilke X3.
He studied with legends such as Ray Crisara, Jimmy Maxwell and Carmine Caruso. Tom would have been 32 years old in 1980

Cecil Bridgewater used a 14a4c mouthpiece on his Bach ML trumpet. Cecil is 37 years old in 1980

Joe Mosello came to New York using a Schilke B1, B3and a Schilke mouthpiece

Lyn Biviano used a B1l-b and a Schilke 6a4a plus a reeves suxtom mouthpiece also when he came to NY after his Maynard/ Basie days.

AS REFERENCE: Established player by age in 1980

Jimmy Maxwell - 63
Bernie Previn - 61
Snooky Young - 60 ( in Los Angeles by 1980 )
Clark Terry - 60
Ray Crisara - 60
Joe Newman - 58
Ernie Royal 57
Joe Moralle - 57
Dick Perry - 54
Doc Severinson - 53 ( in Los Angeles by 1980 )
Bob McCoy - 52
John Glassel - 50
Johnny Frosk - 49
Joe Shepley - 45

and our own TM member , Mr. Wilmer Wise who''l be - STOP - I'll let Wilmer fill in that blank if he wants to. To me, Mr Wise is one of the all time " New York Scene " greats and a gentleman to bout. this one is up to him.

The legendary Mr. Bernie Glow was born in 1926 and was 54 years old in 1980

by contrast:

Jon Faddis - 27 years old in 1980
Lew Soloff - 36 years old in 1980

both players had been on the " New York " scene for 6-8 years by 1980.

While researching Birth dates came up with a few more interesting ones

Arturo Sandoval - born 1949 - he'll be 55 years old in 2004
Maynard - born 1928 - he'll be 76 years old in 2004
Clifford Brown - born 1930 - he would have been 74 years young in 2004
Dizzy - born 1917 - he would have been 87 years young in 2004

Larry

PS - I picked 1980 as a cut-off date for the origianl post because it was apparant in the sound of the "New York " scene that the established sound of the trumpet was changing and it was a date that can be also compared to the " West Coast ' sound and it differences. Remember , all facts are based on 1980 research, thanks

PSS: All these birth dates were reasearched on the net, in books and by phone calls If you find any in error, please send me a PM on it , with the source , and I'll correct/edit the post and credit you with fixing the error.

thanks again and the " West Coast " half of what turned out to be a very imformative and fun thread will on your " TM net-shelves " soon.
got to make sure I cross all the "t's" and dot all the "i's " in this one, it's in my " neck of the woods "

Larry

Hey TM, some of your members wern't even born in 1980 - WOW!!! - what a mind blower.

PH

FWIW,

Tom Barreca is a frequent poster over on TH.

Tootsall

Then somebody better send him a gilt-edged invitation to come "over here"!

Larry Gianni

Hi Pat,

Sorry to get off topic, but Pat,

How was the IAJE (International Assoc. of Jazz Educators) in New York? Being one of the primer Jazz Educators in the country, I'm only presuming you were there. I was asked to go (not as an educator, but by a couple of vendors), but because of prior commitments had to decline. So I’d like to hear about it and I’m sure my fellow TMer’s would also.

Maybe you can post something about the event and the artists that performed their if you have time to. I’m sure we’d all be interested.

My friends from Reeves and Stomvi were there (they said they sold all 4 reg weight V-Raptors at the show, no lightweights, which is the big seller out west. I guess their is still an east/west coast sound difference ) and also the Calicchio guys. Dave Johnson and well-known trumpet player Jay Daversa were there holding down the fort for Calicchio.
Zig told me Dillon Music represented Kanstul at the event

I was just thinking of discussing your first book a little “Technical Studies for the Modern Trumpet “ because I use it so often , but a little different way than most player would. And as you probably intended. Like I said, I use it a little differently then a real jazz player or a player learning jazz might. I first do the exercises and etudes on my Bb trumpet, then I do the same exercises on my C, then I do the same exercises on my Eb/D and finally on my A picc. ( as far as my range with allow me ). I find the patterns help my ear adjust to the different pitched trumpets and get use to the intervals played instead of the valve I'm pushing. I feel much more comfortable on all of them after I finish a routine like this.

Malcolm McNabb told me playing different pitched trumpets ( C, Eb\D,. F/G , A/Bb picc. ) is not about the pushing the right valve down, but about hearing the intervals you need to play that lets you feel comfortable playing the different pitched trumpets in a legit or quasi-legit (film music, pops orchestras) setting. He can use any pitched trumpet, with any keyed piece of music, and make it sound like that pitched trumpet is all he plays. He actually uses his Eb/D for a majority of his film work (with the big bell), even thou the parts are written for Bb trumpet (and a little C) the majority of the time. He likes the way the Eb/D responds quicker and that, even when it’s been sitting on the stand for hours, it center much more quickly and warms up faster than a Bb will. He can transpose parts at will, even with the “red light “on, he’s that comfortable at it. No hesitation what so ever.

For all you gear heads out there, Malcolm plays a New York Bach med. Bore Bb and a Mt V ml, tunable bell, C with a 1 ¼ C NY Bach mouthpiece for both. A Schilke Eb/D (3 bells) and a Schilke P4-5 picc. , all using the 1 ¼ c Bach rim with Reeves underpants for the last 2.

I've use your book for more years than I want to admit. I got it in 1984 from Jamey Aebersold Company out of New Albany, Ind. Anyway, if you don't have Pat's (Prof. Harbison of the prestigious Indiana University in Bloomington, Indiana) pick it up. You don’t have to be Clifford Brown to get a lot of very useful exercises and etudes out of this book and you can use it for ear training on different pitched trumpets also, like I do.
It’s a lot funner than the Clarke’s, Schlossberg, Arbans, et all, over and over and over.


I find my application of Pat’s book really helps me get comfortable with the other trumpets especially if I have to play a couple at the same event.

Sorry Pat, but I had to plug the book after using it for so many years.

Larry Gianni

PH

Thanks, Larry! I'm glad you've found the book useful. I still use it (& can't play some of it). The check's in the mail

I'll give you a report on my IAJE adventures soon. Were any of the rest of you there? Maybe that would be another thread?

Enrico

Hi Larry; I noticed you mentioned my good friend Tom Poole in a post above. Tom's a great friend and one of my mentors. So here's a little trivia for you:
Tom plays lead on the 2003 Etta James live cd, "Burnin' Down The House" and Lee Thornburg did all the charts and plays Bone! Ronnie Butacovoli is also on trumpet. The bari player (forgot his name) was the sax player for "Dr. Strut", one of my favorite funk\fusion bands back in da day. They were an LA band, so maybe you know of them. They did two cd's for Motown as the only fully instrumental act in Motown history. Not available on CD!!!

Great stuff you've been posting. Keep it up!!