rjzeller

Jazz Man -- is that a Genesis in your Avatar? If so...do you play one? If so (again)...how do you like it. What sort of feedback can you offer? Is it worth the $$$$. It's cheaper than a Taylor or Monette, but has a similar look to the construction. I would expect the Taylor and Monette are probably still better, but given the price and the other horns out there...well....It's got me curious. Maybe a heavy large-bore horn I could actually afford (though not any time in the near future!).

Just curious. Any feedback from you (or anyone) who's played or owned these would be groovy...

Z

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There are 10 kinds of people in the world: Those who understand binary and those who do not.

wiseone2

Yeah, those guys never did get it.
Bobby Timmons, Tootie Heath, Ted Curson, Henry Grimes, Lee Morgan, Kenny Barron, McCoy Tyner...........and no Jamie Aebersold Those teens were doomed from the start.
Wilmer- (Retired semi-literate bebopper)

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Be sure Brain is engaged before putting Mouthpiece in gear.
S.Suark 1951

Billy B

Wilmer,

I don't think you got my point. Those guys and you were living it. Learning the language by speaking it is, was and always will be the best way to learn it. That opportunity is just not as prevalent as it was. I certainly don't view you as semi-literate! I was agreeing with you. All the book work in the world won't matter untill it is actually done in a session over and over.

wiseone2

Sorry I misread you. The secret was that we always had older players around to show the kiddies how it was supposed to be done. The music was passed on in the best manner. Sessions abounded in Philly in the 50s. The Lee/Chet thing happened at one of those sessions for kids things the local DJ, Tommy Roberts, put on.
We need more live music venues. The Lincoln Center facility showcases young talent at times, but it would be nice just to have a place to blow.
The Jazz Foundation has sessions on Mondays at Local 802. I will check it out.
Wilmer

__________________
Be sure Brain is engaged before putting Mouthpiece in gear.
S.Suark 1951

Billy B

Wilmer,

We have a jazz organization here in Des Moines that sponsors a once a month Sunday afternoon jam session for kids at a local coffee shop. We hire a pro rhythm section and let the kids go at it. Some kids have put together their own combos and they get to play also. It's a lot of fun and the kids love it.

Billy B

It is good to know your scales and chords but is certainly not a prerequisite. The myth of "the natural" is just that, a myth. The great players spend many hours every day working on their craft. Just remember that they too at one time had the same reservations about soloing that you have. They wouldn't be where they are if they hadn't just jumped in and done it. And yes, jazz is for everyone. Now just get out there and blow!

Jazz Man

Hi Billy,

I sure understand your earlier point, and agree with you... We need all the
theory we can get through method books, play-along CDs and the like, but
we also need all the live jamming we can possibly get as well. You are also
very correct when you say, "that opportunity is just not as prevelant" as it
once was.

While the early jazz players enjoyed, and profited from, the mystique that
surrounded their art, they also shared their craft with people who were in
their "inner circle" during jam sessions... There simply weren't any method
books or play-along albums back in those days.

Imagine being lucky enough to jam endlessly, every waking hour with the
highest level players on Earth. That must have been something. Back then
this was about the only way to get it. One had to get it live, or one did not
get it at all.

If you have the good fortune to be able to jam with world class players for
many hours every day.... then you are in an extremely rare and wonderful
position, and some other poster's advice will surely work well for you!

But, if you're not in this lucky position and you don't happen to have a live
rhythm section available all day every day, then you may want to consider
other alternatives. I'd advocate learning to read and write the language of
jazz, as well as becoming fluent by speaking it with others too. I'm not one
of those guys who says, "you just have to listen alot and that's it".... and I
sure don't imagine many people get to jam all day with world class players.
Most learn all they can using the instruction books, lessons, and play-along
sets, etc... and then they play live with others as much as possible too!

I also value live jamming above all else, but for most people trying to rely
on this exclusively is not very realistic. It might be best to learn all you can
about theory from the many sources currently available to modern players,
and use both play-along sets, AND live jamming too... Why not get all you
possibly can?! Practice and study on your own, as well as in jam sessions!

Guys that grow up in the inner circle may not perceive how lucky they are,
nor how rare their situation really is... I relied heavily on theory books and
play-along sets, as well as live jamming. I'm for using ALL these! I've never
met any modern jazz player who learned strictly by jamming all day... so I
feel it's probably best to learn by using every resourse at our disposal.

One last point. The reason Lee could blow Chet away on technical material,
was his mastery of the chords and scales, something Chet never had... We
really do need it all. Without the theory, we'll be limited in the end. Ballads
like Chet played so well are fine, but complex material will leave those who
only play by ear out in the cold. Lee was amazing; Chet was amazing too!!
The two had different strengths... I think Chet would usually win the ballad
competition, and Lee would win the bebop trophy. Apples and oranges...

Hi rjzeller! That Edwards Generation X is certainly a world class horn. It has
a very warm, yet "sparkling" tone to it, very similar to Monette's, but at half
the price, and only 2/3 of the weight!! I absolutely love mine. I would highly
recommend them. They are unusual, and not for everyone, but the sound is
very close to a Monette. You should give them a try! Just my thoughts...

Hope this stuff helps someone out there... Jazz Man

Jazz Man

Hi Everyone!

On the Aebersold thread, one gentleman wrote:

"Jimmy Owens gave me volume 34 for Christmas. It's time to begin a
new musical adventure... I have not approached the trumpet like a jazz
player in more than thirty years. This is fun!"

He certainly is right! The Aebersold sets really are a lot of fun, and they
truly are an adventure, especially for someone who has not approached
the trumpet like a jazz player in more than thirty years, or even for guys
who've never even played jazz before at all. It really is a fun adventure,
and I highly recommend those Aebersold improv sets. They're fantastic!
Jimmy Owens is fantastic! If he likes Aebersold, you know they're great!

Jazz Man

Jazz Man

We need to learn everything we possibly can about the theory,

then we need to build up a vocabulary of jazz material such as

licks and tunes!! Then we need to apply it all in real live playing

situation as much as possible. Fortunately Jamey Aebersold has

over 110 volumes now! Use every single source of study at your

disposal. Aebersold is an invaluable tool. One of the very best!!!

Jazz Man

cabin1

when i improv with a band, i try to come in with a crisp note that works, if i like the note, hold it and work off from it, if i don't like it ,i slurr up till i find one i like and go from there. I was a harmonica player for 20 yrs b4 getting into horn, so i came into it with a good ear. the EAR is more important than scales. On trumpet I pay no attention to scales. There is more to sound working or not working together than what music theory can chart.