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Bria Skonberg Trumpet Interview – The Other Side of the Bell #79

Bria Skonberg – Trumpet Interview

Welcome to the show notes for Episode #79 of The Other Side of the Bell – A Trumpet Podcast. This episode features trumpeter Bria Skonberg.

Listen to or download the episode below:

About Bria Skonberg

Photo by Krista Stucchio

To most of us, the adventures of trailblazing triple threat trumpeter, singer and songwriter Bria Skonberg are borderline unbelievable. Born in British Columbia, Canada and now residing in New York City, the Juno Award winner for Best Vocal Jazz Album has performed hundreds of festivals and stages the world over, including New Orleans Jazz & Heritage Festival, Monterey Jazz Festival, Newport Jazz Festival and Montreal Jazz Festival.

Called the “shining hope of hot jazz” by the NY Times, Bria has been at the forefront of a revival of classic American music as both a performer and educator, programming concerts and workshops for students of all ages; She is currently developing educational activities for the Louis Armstrong House Museum and co-directs the New York Hot Jazz Camp she co-founded in 2015.

“Nothing Never Happens” Album by Bria Skonberg

Described as “one of the most versatile and imposing musicians of her generation” (Wall Street Journal), she has performed the music of Aretha Franklin alongside Michelle Williams of Destiny’s Child, played with U2 at the Apollo, sat in with the Dave Matthews band, was a featured guest with Jon Batiste and sang the “Star Spangled Banner” at Madison Square Garden for a NY Rangers game.

Bria has been featured on over 25 recordings and recently released her sixth studio solo album “Nothing Never Happens”. Her music has garnered over 10 million streams online.  A 6x Downbeat Rising Star, she tours constantly bringing her own signature sounds of fiery trumpet playing, smoky vocals and story-telling together with adventurous concoctions of classic and new.  Bria is a Bach Conn-Selmer artist; she plays a Bach Stradivarius 37 with a 3C Bach mouthpiece.

Bria Skonberg Links

Podcast Credits

Gary Guthman Trumpet Interview – The Other Side of the Bell #76

Gary Guthman – Trumpet Interview

Welcome to the show notes for Episode #76 of The Other Side of the Bell – A Trumpet Podcast. This episode features trumpeter Gary Guthman.

Listen to or download the episode below:

About Gary Guthman

Originally from Portland Oregon, Gary Guthman started his career at the age of nine. As a young teen, Gary was a member of the nationally acclaimed “Seldom Six” Dixieland Band, comprised of 12 to 14 years old who traveled the United States performing stage shows and conventions, playing, singing and tap-dancing all the way. Throughout Gary’s high school and college years, he performed with jazz and rock and roll bands and at 17 years old, auditioned for the acclaimed Portland (Oregon) Youth Orchestra; the oldest of its kind in the United States.

Gary played principal trumpet and in his last year with the PYO, performed as soloist with the orchestra, the only trumpet player in its history (to date) to achieve that acclaim. Mr. Guthman was fortunate to study trumpet for the first 15 of his playing years. His teachers were Jack Dalby, Joyce Johnson, James Smith and the recently retired (after 38 years!) Principal trumpet of the Oregon Symphony – Fred Sautter. After attending Portland State University, Gary was pleased to do short stints with the Dorsey Brothers Orchestra (lead by Lee Castle), Stan Kenton Orchestra, Don Ellis Orchestra and the Louis Bellson Orchestra. In the early 1980’s, Gary Guthman moved to Canada. Within the next few years, he became known as one of Canada’s premier lead and commercial trumpeters, playing on over 100, televised “ITV IN Concert” performances as well as numerous radio shows, jingles, movie sound tracks and in concert. Gary performed on television with Tom Jones, Paul Anka, directed the jazz program at the University of British Columbia in Vancouver and formed his renowned “Tribute Orchestra”. 1995 saw the inception of Gary Guthman’s hit show “A Tribute to Harry James”, followed by the creation of his” Trumpet Greats” in 1998, “Swingmatism!” in 2004 and in 2007 for Internationally renowned harpist Małgorzata Zalewska, his critically acclaimed “Master and Margarita”. From 1998-2001, Gary was the Musical Director and starred in the North American Musical Theatre Revue “Forever Swing and won a distinguished Canadian “Jesse” Award.

In 2004, Gary debuted by personal invitation at Carnegie Hall with the New York Pops, conducted by Skitch Henderson.

Since moving to Central Europe, Gary has given hundreds of concerts with his “Gary Guthman Quartet” and “The New Swing Orchestra”, as well as Symphonic Pops concerts. In 2011, Gary released his next CD entitled “Solar Eclipse” on the Polski Radio Jazz Label, featuring his quartet of world-class Polish jazz artists Filip Wojciechowski/piano, Paweł Pańta/Bass, Cezary Konrad/Drums. Gary Guthman is the only non-Polish jazz artist to release his own CD in the 95-year history of Polish Radio. In 2014, along with his co-writer Doman Nowakowski, Gary composed the Libretto, Music and Lyrics for a new musical entitled “Letter from Warsaw”.

In 2015, Gary began an association as Producer and Composer for vocal star Sasha Strunin. Their first Cd project “Woman in Black” was completed in 2016 to critical acclaim in Poland. Her new Album – “Self-Portraits” features the compositions of Gary Guthman and the poetry of renowned Polish poet, Miron Białoszewski, was released in Warsaw on June 21, 2019.

Gary Guthman Links

Podcast Credits

9 TRUMPET TIPS TO TAKE YOUR PLAYING TO THE NEXT LEVEL IN 2020

We’re already a few weeks in to 2020 and, if you’re like me, you’ve already dropped some of your New Year’s resolutions. But that’s OK. There’s no reason to wait until next year to jump back on that horse and start going forward again. Here are some tips I’ve put together that will help your trumpet playing this year. The goal here is not to try to do the entire list, in fact, not every tip may pertain to you. Just pick a few to work on and you’ll soon be reaping the benefits in your playing, and having more fun as well. So, let’s get going:

1. Restarts are Okay!

Maybe it’s human nature, or maybe it’s just a trumpet player thing, but whenever I take a day or two off from playing I know the next day will be rough. And guess what? It usually was…until I discovered how strongly my thinking controlled the outcome of my practicing.  Over the holidays when I had a few days off from playing I decided I would only think positively about the break. It would be a fresh start. It would allow me to refocus my energy on what I do well and unlearn some bad habits. Trumpet playing would be easier and effortless this time, not foreign, forced, and strident. The results were astounding. I made breakthroughs in my playing that I had been working on for months and even years. What’s even more amazing is that this happened after a break from playing when I would have thought the exact opposite would have happened — I should have regressed in my playing. Whether you are just getting back to it again after the winter holidays or are laid up with the flu, remember that restarts are okay with a positive mental approach.

2. Back to Fundamentals.

Spend some time this year going back to fundamentals (especially if you are following tip #1). I’m not talking about daily maintenance. I’m talking about going back to page 1. Spend time working on your sound production, your attack, and your breathing. Imagine if you could become 10% more efficient (creating more sound for less work), or be 10% more relaxed while you play? These improvements can only be made by playing fundamentals.
Taking a beautiful Martin Committee apart to clean.
Taking a beautiful Martin Committee apart to clean.

3. Clean Your Trumpet & Mouthpiece.

This tip should be #1 and it will apply to probably 95% of you based on the horns we see here at the shop. Take 30 minutes of your week and give your horn a good bath. If you can’t do that, take it to a repair shop to have it acid washed or ultra-sounded. Trumpet is hard enough to play consistently day-to-day. When the gunk inside your horn is constantly building up you are spending at least part of your practice time adjusting to it. Get rid of this variable by getting your horn back to the way it should play and maintain it by flushing it out every week. You can also keep a lot of stuff from building up in your horn by using a leadpipe swab after every practice session.

4. Have Fun!

The trumpet is a demanding, unforgiving instrument. If you are a professional trumpet player, the music industry is the same. Whether you are an amateur or a professional, don’t lose sight of the fact that trumpet playing is fun. Don’t focus on the inept conductor or the drummer who adds an extra beat to the measure with every drum fill. When these or similar thoughts enter your mind, take a slow, deep breath and then smile. Focus instead on how the thrill of playing a musical instrument for others, and being able to share your talent, is something that just a small percentage of people in the world are privilege to do. And, you’re one of those lucky few!

5. Take a Lesson.

Our most precious commodity is time. A good teacher is worth their weight in gold because they can improve your playing in less time than you could on your own. Yes, there is a wealth of free information on the Internet on how to play the trumpet; however, you’ll spend more precious time searching, filtering out bad information, and grazing than if you had a guide to show you along the path. One of my trumpet teachers still takes lessons himself every month. He’ll call up other teachers in the area (many of whom are his colleagues) to take a lesson. He also gets together with out-of-town players who are in the area on tour for lessons. This allows him to always expand his knowledge, improve his playing, and expand his bag of tricks to use for his own students.

6. Get Together With Others

Get together and practice with someone else. This may be playing duets, or you can go through your daily routine and trade off. There are plenty of benefits to this. First, you’ll have more fun than just sitting alone in your practice room like you would be normally doing. Second, you benefit more because you can share experiences, learn from the other person, and you can teach them as well. And third, you tend to have a better practice pace when you work with someone else because you take breathers to talk, laugh, or listen to each other.

7. Set Goals

The start of a New Year is always a good time to set new goals or reevaluate your existing ones. If you don’t have goals for your trumpet playing, start setting them! They may be long-term or short-term. I recommend a combination of both. I set goals for every practice session, jotting them down before I start playing. It may be a tempo I want to hit on a fingering or tonguing exercise, or a difficult passage I want to make easier. Longer term goals should be written down as well. For some reason, writing them down tends to put them in motion better than just thinking about them. It may be a career goal, like playing in the Chicago Symphony. It may be tackling a challenging piece you’ve always wanted to play. It may be getting the nerves up to play in front of a group for the first time. Whatever your goal is, write it down and start heading towards it.
Listen!
Image courtesy of imagerymajestic / FreeDigitalPhotos.net

8. Listen, listen, listen!

I find myself overwhelmed with things in my day that take up my time – work, family, Facebook, sleep, driving. I realized that listening to music has become a much less significant part of my day than it used to. I don’t remember the last time I listened to a Mahler Symphony or Miles Davis’ Kind of Blue from beginning to end without distractions. If you are like me, take a concerted effort this year to make the time to listen. We gain so much from listening to great music that cannot be achieved in the practice room. Hearing great musicians and absorbing different styles of music through listening translates directly into improvements in your own musicianship. Besides, hearing a live concert can be so inspiring that you’ll be reminded of why we do what we do!
ID-10030130
Image courtesy of Apple’s Eyes Studio/freedigitalphotos.net

9. Perform!

Make it a point to get out and perform for people. No matter what your level of progress is, once you know 4-5 notes on the trumpet you can make music. You have the tools to connect emotionally with your audience. I’ve seen beginning band students who have been playing for less than a year make people smile and cry with the songs they play. You don’t have to perform at a symphony hall to move people. Play in church, search out a community band, or play at a local nursing home. When you start connecting with others through your playing, you’ll be inspired to do more, and have a sense of fulfillment that you don’t get from just practicing. The thrill of playing a musical instrument for others and being able to share your talent is something that just a small percentage of people in the world are privileged to do. What tips do you have? If you have your own tips I hope you’ll share them in the comments section below.

Dontae Winslow Trumpet Interview – The Other Side of the Bell #69

Dontae Winslow – Trumpet Interview

Welcome to the show notes for Episode #69 of The Other Side of the Bell – A Trumpet Podcast. This episode features trumpeter Dontae Winslow.

Listen to or download the episode below:

About Dontae Winslow

Dontae Winslow is one of the most versatile in-demand trumpeter/arranger/composers on the Hollywood music scene. His trumpet/arranging/songwriting can be heard on classics such as Kanye West’s grammy winning “We Major” from the multi-platinum Late Registration, Jayz’s “I Made it”, Dr. Dre’s Compton Movie Soundtrack (where Dontae composed the iconic fanfare intro and played solos throughout the album). The Final track “Talking to My Diary” uses a 2minute jazz trumpet solo after Dre’s verse over a hiphop song which was Dontae’s 1st take. He also plays on Kendrick Lamar’s “County Building Blues”, Snoop Dog’s Ego Trippin, Aloe Blacc’s smash song “I’m the Man”, and Beyonce’s Huge Ego among countless other hits. He has toured in the band of Justin Timberlake since 2013 where he performs in the Netflix Movie “JT & The Tennessee Kids. Dontae has performed in front of millions in the 2020 Experience World tour, Legends of Summer World Tour, and Man of The Woods World Tour. He has alo been on the bands of Lady Antebellum (You Look Good), D’angelo (Vodoo), Kamasi Washington, Raphael Saadiq, Lauryn Hill, Jill Scott, and most recently has been the arranger, orchestrator, and Music director for Queen Latifah.

Dontae has played trumpet on countless TV shows such as the Soul Train Awards, BET Awards, HipHop Awards, MTV Awards, BET HONORS, the NAACP Image Awards, Jimmy Kimmel, Jimmy Fallon, SNL, Trumpet Awards, McDonalds 365 Awards, American Idol, The Voice, The Masked Singer, and The Four. His first scoring stage session was for “Mall of America” by composer Jacob Yoffee for the largest inside mall ride in America with Trumpeters Jon Lewis and Tom Hooten. His jazz trumpet playing can be heard on the new release by Kamasi Washington called “Heaven and Earth”.

Dontae has over 10 artist albums on his indy label Winslowdynasty among them are: Dontae Winslow “Ballads” feat Roy Hargrove, Dontae Winslow “EnterThe Dynasty” feat Questlove, Dennis Chambers, Brian Frasier-Moore, Adam Blackstone, and Chick Corea, Winslowdynasty “The Life Album” feat his wife Mashica, and Change a Life Change The World his award winning kids album.

After touring with JT Dontae released a summer party anthem sure to get you moving entitled “Shit Yeah” with him producing the TNkids live band along with analog synths and sing rapping the verse/choruses.

His new work “Trumpet And A Mic”, available everywhere, is a short film he directed, orchestrated, and composed music for about his life and overcoming obstacles while turning pain into redemptive power through faith.

Dontae started trumpet at age 10 but due to bad public school teachers had many embouchure changes in middle and high school and a hard start at getting the trumpet to work Good physically for him. He formed his interest in the middle band of a sax player Richard Burns and learned to play by ear. In high school

His first private lessons were with Jari Villanueva, then continued trumpet and learned to read music from Carolyn Foulkes in high school. At The New School Dontae studied with Roy Hargrove who would become a life musical mentor until his passing. In college at the Peabody Conservatory of the Johns Hopkins University Dontae studied with Wayne Cameron for undergrad, and Langston Fitzgerald III for graduate in classical trumpet performance. He has always had great jazz lessons from Maryland based jazz giant trumpeter Tom Williams and has been mentored by Jon Faddis and Wallace Roney. As a recipient of the Thelonious Monk Institute of Jazz Fellowship at USC Dontae studied jazz trumpet, composition, and film scoring with jazz legend trumpeter/composer Terence Blanchard. Also at USC he studied with jazz legend Bobby Shew, string arranger Jeremy Lubbock, Studio trumpet legend Gary Grant, and Gospel Composer Margaret Douroux.

Dontae has composed music for the feature films : “In The Hive” by director Robert Townsend starring Oscar Award winner Michael Clarke Duncan, and Loretta Divine, The New Edition Story for BET by director Chris Robinson. In 2019 Esquire magazine recently voted “Baltimore Rising “ HBO’s documentary about the riots in Baltimore, directed by Sonja Sohn, one of the Top Documentaries of All-Time. “Baltimore Rising” explored the tragic death of Freddie Gray by Police and a broken justice system. The film used Dontae’s talent as film composer, Trailer composer, and End Song title songwriter and Music Producer which is rare for this industry.

Dontae arranged string orchestra for Eminem’s Coachella performance with Dr.Dre in 2017. He also arranged live string arrangements for Eminem’s MTV EURO’s premiere of “Walk On Water” as well as his SNL performance of Walk on Water, Stan, and Love The Way You Lie.

Dontae arranged “Suit N Tie” with full 300 piece marching band for Justin Timberlake in his Superbowl 52 performance. In an epic performance in 2019 Dontae arranged strings for Mary J. Blige’s lifetime achievement award on BET. He has been awarded the John Lennon International songwriting contest for winner Children’s music. Recently Dontae composed the music for Michelle Obama’s “Note To Self” on CBS by Gayle King.

Dontae has produced songs for platinum artists Snoop, Dr. Dre, Avant, Mary Mary, and Keyshia Cole. As an arranger he has orchestrated/arranged and played trumpet in the show for Queen Latifah’s debut concert with the Boston Pops, and recently their 2019 Fourth of July Summer Holiday Concert series. Dontae is influenced by all styles of music especially European classical composers Shostakovich, Mahler, Stravinsky, Rachmaninoff and Chopin. In his playing you can hear his love for the soul and swag of Lee Morgan, the harmony of Woody Shaw, the pathos of Roy Hargrove, and the elegance of Miles Davis.

He designed his own custom trumpet the “Winslowdynasty Model” DWA6 model by Adams Instruments with Miel Adams and was featured on their international magazine cover.

In addition Dontae is a jazz improvisation, music production, film composing and performance clinician for such esteemed institutions as The Berklee School of Music, The Herbie Hancock Institute of Jazz, The Los Angeles Unified School District, and The Peabody Conservatory of The Johns Hopkins University.

Dontae is family man who has been married to his wife, artist/songwriter/singer Mashica Winslow for 20 blissful Years and they have two amazing kids.

Dontae Winslow Links

Podcast Credits

Hub van Laar Trumpet Interview – The Other Side of the Bell #66

Hub van Laar- Trumpet Interview

Welcome to the show notes for Episode #66 of The Other Side of the Bell – A Trumpet Podcast. This episode features trumpet and flugelhorn maker Hub van Laar.

Listen to or download the episode below:

About Hub van Laar

Hub van Laar founded his company in 1990 in Margraten, near Maastricht, on the border triangle to the Netherlands, Germany and Belgium. Beginning as a workshop for brass wind instruments, the company expanded rapidly under the direction of Hub van Laar and Heidrun Jöchner to become an enterprise of world repute.

Due to the increasing demand for their instruments Van Laar launched a new branch in Markneukirchen in 2010, in the heart of the so-called “Music Corner” (“Musikwinkel”) in Vogtland, Germany, which has a rich historical tradition in the making of musical instruments. In autumn 2016 Van Laar Trumpets GmbH relocated from Markneukirchen to larger premises in Klingenthal

Van Laar takes great pride in the fact that all the components necessary for their instruments are made completely in their own factories in the Netherlands and Germany.

Van Laar’s team of experts build brass wind instruments in a traditional way, using the most modern technologies. Hub van Laar is bound by tradition and is committed to achieving the highest standards, and every instrument undergoes rigorous testing before it leaves the workshop. As a result, musicians from the most renowned orchestras, big bands and ensembles all over the world use Van Laar instruments.

A new trumpet or flugelhorn is certainly not something one buys every day, and musicians develop a special relationship with their instrument. This is why Hub van Laar attaches great importance to individual and intensive contact with his customers. Over the years Van Laar has built up a wide range of trumpets and flugelhorns with all the technical requirements needed for all kinds of musicians and for every kind of music. These instruments were created in close cooperation with a number of musicians and have been continually improved, ensuring that the majority of customers will find “their” perfect trumpet or flugelhorn among them.

Van Laar will adapt an instrument to a customer’s individual requirements. In addition, Hub van Laar welcomes feedback and suggestions from his valued customers, since this provides inspiration for the further development of Van Laar instruments. Thanks to this, Hub van Laar Trumpets & Flugelhorns have become renowned all over the globe instruments are treasured by international artists and beginners alike.

Hub van Laar Links

Podcast Credits

Trumpet Mouthpiece Gap & the Player-Mouthpiece-Trumpet System

On a regular basis, we receive a call or email at the shop that takes on the same basic form:
“Hi, I play on a ABC mouthpiece on a XYZ model trumpet. What sleeve would give me the best gap.”
Usually, our customers are shocked when our answer is a resounding, “I don’t know!” After all, Bob Reeves invented and patented the adjustable gap receiver and sleeve system 40 years ago. How the heck couldn’t we know? The answer is simple – we only know two of the three variables needed to determine the best gap and really, we don’t know any of the three variables unless we have your mouthpiece and trumpet here in the shop for analysis.

The Player-Trumpet-Mouthpiece System

It is critical to realize that there are three elements that must be analyzed in assessing your equipment – the trumpet, the mouthpiece, and you, the player. It seems silly, but most players forget the most important element – you!

How The Gap Relates to the Player-Trumpet-Mouthpiece System

Think of the gap as a fine tuning device. It is a way to dial in your trumpet, with your mouthpiece, to the way you like to play. Let’s say we know the exact size of your trumpet mouthpiece shank and the receiver on your trumpet. There is still no way we (or anyone else in the world, for that matter) can know what you like to feel in your trumpet equipment.

The Shoe Analogy

Think of it like shoes. Imagine you wear a size 9 shoe. Let’s go one step further and say you wear a 9 Wide shoe. I could send you 10 pairs of size 9W shoes and I would bet that some would feel more comfortable than others. In fact, I’d be willing to bet that there would be some shoes, despite being your measured size, will feel downright uncomfortable to walk around in. The best shoe salesman in the world cannot blindly tell you which brand will feel comfortable to you until you try them on.

Put Yourself First!

Just like the shoe analogy above, only you know what feels comfortable to you. Put another way, no one can tell you what will work for you (if they do quickly run the other way!). So how do you find what works for you? Experiment. Our paper trick is a great way to discover what role the gap plays in your unique Player-Trumpet-Mouthpiece System. Experiment with the gap using the Bob Reeves Paper Trick!

Mouthpiece Threading for Trumpet, Trombone, French Horn, & Tuba

We get quite a few calls about threading rims, cups, backbores and underparts. We’d like to take the time to answer some of the many questions we get.

Why Use Screw-Rim Mouthpieces?

The trumpet mouthpiece is the connecting point between the instrument and player. Due to the unique qualities of each player’s lips, teeth, and jaw structure, choosing a rim is as personal a decision as finding a soul mate…which is why we often tell customers to “marry” a rim if it feels comfortable. Once you find a rim that connects with you, put it on every mouthpiece you own: trumpet, cornet, flugelhorn, piccolo, lead mouthpiece. When you switch from horn to horn, the adjustments necessary to switch are minimized since the mouthpiece feels the same to you. Threading mouthpieces is a handy solution when you find a rim that feels good, but you are not satisfied with the sound or playability of the mouthpiece. This may be because the rim comes off of a piece that wasn’t designed to do what you want. For example, you like the feel of a rim off of a lead mouthpiece but you mostly play orchestral music. Instead of going on a mouthpiece safari trying rims with similar dimensions, cut it off and thread it and put it on a orchestral mouthpiece.

What We Can Do

We can thread any type of mouthpiece using any thread you would like (Reeves threads, Schilke threads, Bach threads, etc.). Most mouthpieces are threaded at the rim so that the rim can be used on different underparts – the underparts consisting of the cup, bore, backbore and shank. While not as popular, we can also thread cups and backbores similar to the Warburton style mouthpieces. It is important to note that when we thread parts and put them together, we are able to maintain the cup depth and other important dimensions of the mouthpiece so that are results are consistent.

Customer Story

An orchestral player was in the shop last week looking to improve his setup. All of his horns have been aligned and he was going back and forth between mouthpieces because he liked the feel of one (a Monette mouthpiece) and the sound of the other (an old Bach mouthpiece). This was the perfect case where putting the parts together would solve his problem.  He ended up with a Monette rim on an old Bach underpart and left sounding even better than when he arrived. If you have any questions about our threading or any other alterations that we do, feel free to send us an email or give us a call!