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Originally Posted by wilcox96  A quick note on who to aspire to play with... if you are in "regular America"..(or choose your country/area), you have to end up finding your own way with musicians and opportunities. Create your own opportunities. There are still touring shows/artists - along with various orchestras (other than symphonies, I'm talking about), recording opportunities, local productions of shows, etc, etc. Still, that's all about getting out there and making the connections. You need to be able to play...no question... but, no one will know who you are from your practice room. Get out there.
As for the horns, etc of today... it is kind of a ying yang. Sure, you could play/feel/sound terrific on a horn that looks like it came off the wall of a restaurant (my favorite analogy..ha). However, the innovations and attention to detail (not to mention the available technology) that is available to today's designer is really remarkable. The other factor involved is the personal attention these designers are able (and willing) to provide really plays a huge part in their growing popularity. As you said... going into a store - rummaging through a dozen or so horns on your own or with a store staff member.. eh. If you have a good employee...that's fine. Still, your choices are limited to what's on hand. With custom designers, you are a bit more in control - with more choices. Some of it, I feel, can be a bit mind numbing.
The costs of some of the newer designers is not as extravagant as you might think. Sure...some are seemingly outlandish...but even those charge those fees for their expertise, time, craftsmanship - as they see fit and the market they want to be in will bear. These horns can and do sound terrific on the right players. It's like the difference between a Jeep Grand Cherokee (a fine SUV) and a Lexus version of the basically the same thing...for exponentially more money. Both get the job done...and are nice vehicles. Each reaches the market they want to reach. Those who enjoy the Jeep, can't figure out the reason someone who buys the Lexus version vs the cost. |
You know, I've heard it all before--your argument is familiar--but in order to play with Max, or Horace, et al--you had to prove yourself--in today's world anyone with a multi track has "opertunities."
I'm not sure i go for the technological advances in horns idea. Remeber back in 91 Herseth played a Monette and then went back to the bach. As I understood it, he didn't feel the horn represented him well.
How about all of the old masters---many of them had terrible horns, and i don't think there is anyone out there today who plays any better then Woody Shaw or Clifford Brown and they had terrible horn or horns in terrible condition or both.
Lexus? They aren't even available in Japan--because they are for the export market made by Toyota.
Its all a big game.
I've played many of the new horns, so I'm not ignorant.
But to get back to the Lexas idea, it's really about status IMO
(although I am looking hard at some of the options from Eclipse!!)
Thanks for responding!!