TrumpetMaster - View Single Post

lonelyangel · 01-16-2004, 07:47 AM

Hi Larry, posting on this forum is a pleasure - I know I’m getting more out of it than I’m putting in, but thanks all the same.

As far as your question about Derek - I know how you feel. He makes most of us feel as exited as a little kid especially when you have the opportunity to play next to him. I’ve been working with Derek for many years now and keenly observing how he plays. I must say that if I knew exactly what he was doing I’d be trying to do it too. It is certainly true that he has the ability to use two if not three embouchure settings depending what he is playing. These different set ups all overlap of course but when he prepares to play a real high phrase there is a noticeable realignment as he raises the angle of the horn, lowers the mouthpiece and tucks his chin in. The result is always deadly accurate, graceful and exhilarating. I think the techniques he employs are his own discoveries and may not work for everybody and you have to bear in mind that he has immense natural talent. I often think that the trumpet is like a toy to him, he can do anything with it and conveys such joy through his music that is inspirational and infectious.

Yes I know Simon Gardner and Paul Spong very well. They are amongst a group of players who broke into the scene 5 to 10 years before I did. I would include players like Guy Barker, Steve Sidwell, Stuart Brooks and John Barclay amongst their number. All these players emerged from the National Youth Jazz Orchestra - a kind of hothouse training ground for players in the UK. I also paid my dues in that band along with most of my contemporaries and the up and coming guys in town. Along with younger players like Mike Lovatt and Pat White and the vastly experienced Tony Fisher and Henry Lowther these are the people that I usually expect to see on studio dates and live shows.

Simon and Paul, together with Steve Sidwell, have been on a world tour with Robbie Williams lately. Maybe you have seen the video of the live show from the Royal Albert Hall where they were joined by Derek and Mike Lovatt in the trumpet section of an 80 piece orchestra - recreating the tribute to Sinatra album called Swing When You’re Winning (that title is a play on words from a common football chant used to taunt the opposing teams fans after their team falls behind in a game, “you only SING when you’re winning” ). I think the original album was mainly recorded in LA at the old Capitol studios.

I fear that this is all getting a bit off topic so I’ll try to be brief and maybe post elsewhere on some of the broader subjects you raise. One thing though, Alan Downey is considered by many to be the most exiting lead player this country produced. You may know that he is also a wonderful writer and arranger - many people cite his ‘Give it One’ as being their favourite Maynard track.
Sadly Alan has suffered from ill health for several years now and is no longer active as a player - which is pretty much a tragedy.

If I might be so bold I’d like to recommend another more contemporary British Big Band album for you. One is the sublime ‘Music for Large and Small Ensembles’ by the Ken Wheeler band. This was recorded on the ECM label in 1990 to mark the occasion of Kens 60th birthday. It is an all star band featuring Pete Erskine and Dave Holland amongst others and has the wonderful trumpet section of Derek Watkins, Alan Downey, Henry Lowther and George Hamer. Perhaps there is the makings of another post here as well.

Yes, B flat trumpet is still the weapon of choice amongst most orchestral players and most definitely on film sessions. Many British players have never owned a C trumpet. More common is the kind of hybrid four valve E flat instrument, usually fitted with a B flat bell and a pitch finder - although that is strictly used by the orchestral players and not by the commercial guys like myself.

I’ll put up a post regarding the BBC somewhere else once I’ve done a little research.

Sorry for the length of the post, it’s dificult to stop once you get going.

Cheers, Noel.

01-16-2004, 07:47 AM	#26 (permalink)
lonelyangel Pianissimo User Join Date: Nov 2003 Location: London Posts: 196	Hi Larry, posting on this forum is a pleasure - I know I’m getting more out of it than I’m putting in, but thanks all the same. As far as your question about Derek - I know how you feel. He makes most of us feel as exited as a little kid especially when you have the opportunity to play next to him. I’ve been working with Derek for many years now and keenly observing how he plays. I must say that if I knew exactly what he was doing I’d be trying to do it too. It is certainly true that he has the ability to use two if not three embouchure settings depending what he is playing. These different set ups all overlap of course but when he prepares to play a real high phrase there is a noticeable realignment as he raises the angle of the horn, lowers the mouthpiece and tucks his chin in. The result is always deadly accurate, graceful and exhilarating. I think the techniques he employs are his own discoveries and may not work for everybody and you have to bear in mind that he has immense natural talent. I often think that the trumpet is like a toy to him, he can do anything with it and conveys such joy through his music that is inspirational and infectious. Yes I know Simon Gardner and Paul Spong very well. They are amongst a group of players who broke into the scene 5 to 10 years before I did. I would include players like Guy Barker, Steve Sidwell, Stuart Brooks and John Barclay amongst their number. All these players emerged from the National Youth Jazz Orchestra - a kind of hothouse training ground for players in the UK. I also paid my dues in that band along with most of my contemporaries and the up and coming guys in town. Along with younger players like Mike Lovatt and Pat White and the vastly experienced Tony Fisher and Henry Lowther these are the people that I usually expect to see on studio dates and live shows. Simon and Paul, together with Steve Sidwell, have been on a world tour with Robbie Williams lately. Maybe you have seen the video of the live show from the Royal Albert Hall where they were joined by Derek and Mike Lovatt in the trumpet section of an 80 piece orchestra - recreating the tribute to Sinatra album called Swing When You’re Winning (that title is a play on words from a common football chant used to taunt the opposing teams fans after their team falls behind in a game, “you only SING when you’re winning” ). I think the original album was mainly recorded in LA at the old Capitol studios. I fear that this is all getting a bit off topic so I’ll try to be brief and maybe post elsewhere on some of the broader subjects you raise. One thing though, Alan Downey is considered by many to be the most exiting lead player this country produced. You may know that he is also a wonderful writer and arranger - many people cite his ‘Give it One’ as being their favourite Maynard track. Sadly Alan has suffered from ill health for several years now and is no longer active as a player - which is pretty much a tragedy. If I might be so bold I’d like to recommend another more contemporary British Big Band album for you. One is the sublime ‘Music for Large and Small Ensembles’ by the Ken Wheeler band. This was recorded on the ECM label in 1990 to mark the occasion of Kens 60th birthday. It is an all star band featuring Pete Erskine and Dave Holland amongst others and has the wonderful trumpet section of Derek Watkins, Alan Downey, Henry Lowther and George Hamer. Perhaps there is the makings of another post here as well. Yes, B flat trumpet is still the weapon of choice amongst most orchestral players and most definitely on film sessions. Many British players have never owned a C trumpet. More common is the kind of hybrid four valve E flat instrument, usually fitted with a B flat bell and a pitch finder - although that is strictly used by the orchestral players and not by the commercial guys like myself. I’ll put up a post regarding the BBC somewhere else once I’ve done a little research. Sorry for the length of the post, it’s dificult to stop once you get going. Cheers, 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