Dr G

Just got an email promoting Callet's embochure lessons. First one over the phone for free. I am well aware that this guy has a great range and tone quality but I have not given his method a try.

I know what he says is in conflict with general run of teaching [espsecially as to tongue placement], but I have heard him play the five plus octaves [this guy is over 70]

Are there any here who have successfully used and would recommend his method?

Dave Payn

I'd be interested to read this, but I get the impression that whatever his method is, it works for him and maybe others out there, (though having a great range isn't everything - mind you, I'd think differently, I suppose if I had sort of range! )

MUSICandCHARACTER

He has basically closed his shop to concentrate on teaching. Many people have benefitted from the "superchops" program. He is quite successful as a teacher, much less a trumpet maker and mouthpiece maker.

M&C

Ed Gabriel

In his email, Callet says.....

"My technique is completely opposite to what has been taught

by the other professors of trumpet."


Indeed!

If Callets technique is in opposition to Adams, which one will you listen to.

If Callets technique is in opposition to Stamp, which one will you listen to.

If Callets technique is in opposition to Gordon, which one will you listen to.

If Callets technique is in opposition to Stevens, which one will you listen to.

If Callets technique is in opposition to Cichowicz, which one will you listen to.

If Callets technique is in opposition to Reinhardt, which one will you listen to.

If Callets technique is in opposition to Clarke, which one will you listen to.


If Callets technique is in opposition to the more traditional teachings of "the other professors of trumpet," who should follow Callets teachings? I suppose that would be players for whom a traditional approach has failed to produce results. The funny thing is, I have never seen such a person. I have seen plenty of players that are not happy with their progress. However, I have not known anyone that daily applied themselves to the staples of trumpet study (Clark, Arbans, Schlossberg, St. Jacom, Irons. etc.) without having their reasonable expectations for improvement met or surpassed.

Regardless of which path you take, there is this constant truth. In order to succeed, you will have to pay your dues. All areas of playing will need to be addressed deliberately and consistantly. Great players did not leave anything to chance, and neither should we.

So, study with who'm you wish. But be ready to pay those dues. If you do not, your lack of progress will be exactly the result you have chosen.

timcates

....you mean.........there's no magic pill to make me a better player?.........that means...............I have to practice.............oh nooooooooooooooooo!

[/sarcasm]

dbacon

If you want to sound like Jerry knock yourself out.....



I heard him play....


No thanks.

trickg

Jerry never claimed to be a great player, just that he had a great embouchure, and that he is a great embouchure teacher.

As I recall, one of the things that Jerry also has claimed is that some of the better players are horrible teachers an that they try to teach techniques based on how they think they are playing. Many of the great players use an embouchure that have "Superchops" characteristics. Jerry modeled Superchops off of Harry James, but take a gander at the chops of Doc, Maynard and Arturo, and you are going to see many common traits that are also common to Superchops.

Something else to consider is that I've heard that actually going for just one lesson face to face with Jerry is better than working for weeks out of his book, that he's much better at getting his chops concepts across when you are working directly with him.

I've spoken with him on the phone a couple of times, but I've never gotten his book and I have never taken the drive up to Staten Island to take a Saturday lesson from him. Maybe one day, but it's just not in the cards now.

I will offer up one testimonial. (And Gary Wilder can back me up on this one.) I knew and served with a guy named Brian Tomlinson when I was an Army Bandsman that was a proponent of Superchops. This guy NEVER chopped out (at least not that I heard) and could pick off the cleanest, most controled Dubba C that I have ever heard. It was effortless for him. He could play it pretty much as loud or soft as he could.

Take it for what it's worth.

dbacon

As someone else said, "What's the point?"

Is nailing a DHC the point?

It's really not that hard guys.

What's hard is being a fine muscian. A complete trumpet player.

High notes are just another tool, and not close to the most important.

If you get up everyday and the most important thing in the world to you is to "not chop out!".....than by all means, go for it.

But if you are more interested in music, how to connect with an audience and find your best sound...then you may want to go elsewhere.

Ego......scream out all the triple C's you want and call attention to yourself...

Or learn to make music and give the audience a present each time you play.

A fine high register is not hard to obtain, does not require some exotic approach. It's just another part of good trumpet playing.

Becoming obscessed with screaming is a dead end. Learning to play a fine high register so you have all the technique needed to make music is a different approach.

Serve the music and the rewards will be significant. Serve the ego and the rewards are temporary.

Mikey

I smell another rhubarb..........




Dave, personally I agree with you, but he does have a lot of disciples. I did hear him play many years ago at an ITG.
I prefer other approaches.

Mike

trptbenge

Many of the things that Jerome Callet teaches run contrary to accepted teaching methods but they have helped many players.

At the same time I agree with Dave on the music issue. This applies to a wide range of teachers and players. You need to give the audience great music to listen to and not screeching high notes. Most people (with the exception of some trumpet players) don't want to hear all that screeching. They want to hear high notes when it makes sense within the music.

I have heard Mr. Callet play and he is not a great player & he does not have a wonderful sound. However, he has been successful as both a teacher and a designer of Trumpets. The Callet Jazz is an excellent horn. He is good at what he does. Is he for everybody. No!

Mike