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