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lonelyangel · 01-15-2004, 09:02 PM

Hi Larry, first of all can I say what a fantastic post this is. It makes great reading, very educational, comprehensive and written with passion.for the subject. I think TM is proving to be an invaluable resource thanks to the thought provoking and knowledgeable contributions of people such as yourself - I hope it continues in the same vein. With your permission I would like to print off some copies to keep in my trumpet case and pass around to my colleagues in studios and on gigs. Maybe It will inspire some more of the London crowd to get on board and join in this forum.

I must say that I found myself sharing much of the ethos of the East Coast style as you described it. Maybe that's because London is closer to NY than to LA. In fact I am going to talk to some of my elders and betters to see if I can persuade them to write a similar article about the history and the development of the British school of commercial trumpet playing. It might make an interesting comparison with what you have written.

I know that in the 50s and 60s, many of the young turks of the British jazz scene tried to get gigs on the transatlantic liners just for the opportunity to hear bands and buy records on their stop-overs. The influences they brought back with them permeated the UK scene and led to a cross fertilisation with the old British traditions coming out of the brass band world creating a sound and style unique to these shores.

The influence of the current US players is just as strong here today but I think you will agree that there is something a little different in the writing and playing of such artists as Kenny Wheeler, Derek Watkins, Henry Lowther, Guy Barker et al which is essentially British or European in flavour.
As for myself, I am lucky enough to have played with many of the people you listed when they have been on tour in London and Europe and have made several trips to NY myself to listen to and study with some of the leading lights. I hope to visit LA again in the near future to continue working on my solo recording project. I’ll be sure to look you up when I get over there.

As far as the James Last question goes. It is true that Derek was recovering from an operation a couple of years back and missed some touring work. He was on crutches for months after rupturing a tendon in his ankle by tripping over in the dark back stage. I believe that at that time Chuck Findley covered for him, although h also did some touring with the band as a soloist more recently. Bob has been a member of the trumpet section for several years and I have had the pleasure of meeting him on several occasions - he is a great guy to hang out with - look him up if you are ever in Oz.

Thanks once again for the post. Keep them coming. All the best, Noel.

01-15-2004, 09:02 PM	#23 (permalink)
lonelyangel Pianissimo User Join Date: Nov 2003 Location: London Posts: 196	Hi Larry, first of all can I say what a fantastic post this is. It makes great reading, very educational, comprehensive and written with passion.for the subject. I think TM is proving to be an invaluable resource thanks to the thought provoking and knowledgeable contributions of people such as yourself - I hope it continues in the same vein. With your permission I would like to print off some copies to keep in my trumpet case and pass around to my colleagues in studios and on gigs. Maybe It will inspire some more of the London crowd to get on board and join in this forum. I must say that I found myself sharing much of the ethos of the East Coast style as you described it. Maybe that's because London is closer to NY than to LA. In fact I am going to talk to some of my elders and betters to see if I can persuade them to write a similar article about the history and the development of the British school of commercial trumpet playing. It might make an interesting comparison with what you have written. I know that in the 50s and 60s, many of the young turks of the British jazz scene tried to get gigs on the transatlantic liners just for the opportunity to hear bands and buy records on their stop-overs. The influences they brought back with them permeated the UK scene and led to a cross fertilisation with the old British traditions coming out of the brass band world creating a sound and style unique to these shores. The influence of the current US players is just as strong here today but I think you will agree that there is something a little different in the writing and playing of such artists as Kenny Wheeler, Derek Watkins, Henry Lowther, Guy Barker et al which is essentially British or European in flavour. As for myself, I am lucky enough to have played with many of the people you listed when they have been on tour in London and Europe and have made several trips to NY myself to listen to and study with some of the leading lights. I hope to visit LA again in the near future to continue working on my solo recording project. I’ll be sure to look you up when I get over there. As far as the James Last question goes. It is true that Derek was recovering from an operation a couple of years back and missed some touring work. He was on crutches for months after rupturing a tendon in his ankle by tripping over in the dark back stage. I believe that at that time Chuck Findley covered for him, although h also did some touring with the band as a soloist more recently. Bob has been a member of the trumpet section for several years and I have had the pleasure of meeting him on several occasions - he is a great guy to hang out with - look him up if you are ever in Oz. Thanks once again for the post. Keep them coming. All the best, Noel. __________________ Noel Langley - Eclipse Artist noel@eclipsetrumpets.com Eclipse Medium Yellow, scratch gold Eclipse Medium Heavy Red, custom 'Diamond Back' in 24ct gold Eclipse Red Brass Flugel Custom Scherzer piccolo with copper Wedgewood bell, finished in scratch gold Giardinelli 6S, 6M, 6FL Bach 3CW