How to get that great dark, airy, jazzy, fuzzy tumpet sound !!
Rosenquist
I need that dark, airy, jazzy, fuzzy tumpet sound like Wynton
Marsalis, Louis Armstrong, etc., etc.
Anyone know how to master this technique ?
Help would be appreciated!
Thanks in advance!
Danny
BlastMaster
dark, airy, and fuzzy. And I'm not a fan of Wynton, but I can't
even bring myself to call his sound airy or fuzzy.
Can you be more specific about what type of music you're trying
to play? And are you talking about tone, or articulation, or
both, or something else entirely?
-- jeff
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Christopher Barry
SONY. ; )
Seriously, open your throat... use lots of air, and try playing along
to the music you like & imitate it, right?
>Uh, excuse me? Louis Armstrong's sound was, IMHO, anything BUT
>dark, airy, and fuzzy. And I'm not a fan of Wynton, but I can't
>even bring myself to call his sound airy or fuzzy.
>-- jeff (Blastmaster)
I also personally think Louis' sound was a little bright and
"strident" - maybe I've only got older recordings and the original
technology limitations/medium isn't doing him justice. But it seems
not similar to Wynton's "Thick In The South" or "The Midnight Blues".
Now Wynton's jazz sound I think one *could* refer to as dark, airy,
fuzzy and warm. Even his latest "Mr. Jelly Lord" (a Jelly Roll Morton
tribute) which emulates an early jazz style is modern-sounding
(tonally) "Wynton-Monette".
>Can you be more specific about what type of music you're trying
>to play? And are you talking about tone, or articulation, or
>both, or something else entirely?
Yes, really... and, can you recommend a Louis Armstrong CD where his
sound is "dark and airy"?
(I can't wait to see what this thread turns into). : )
~Christopher Barry
Remove "NoSpam." from my e-mail address to reply.
David Griffin
and airy. Nonetheless the way I've gotten that "smoky" sound is to move
the mouthpiece over toward one corner of my mouth and play until I get
that sound. Don't know how long I could last on it, but it sounds cool.
David
Cy
Baker tone had somewhat of what you describe.. To play such, you gotta
set your embochure as if you're going to play very very loud, but instead,
you play a lot softer than that (maybe why Baker never really
"screamed" -although not sure if he even could). Remember, both his style
and Miles Davis didn't have a raw or sharp edge to their tone.. a term
"tristesse" describes it i think.
'Cy'
Rosenquist wrote in message <38d8a5a2...@news.bart.nl>...
>Hey guys,
>
>I need that dark, airy, jazzy, fuzzy tumpet sound like Wynton
>Marsalis, Louis Armstrong, etc., etc.
>
>Anyone know how to master this technique ?
>
>Help would be appreciated!
>
>Thanks in advance!
>Danny
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Jim Marquess
some of Freddie Hubbard's ballads (Here's That Rainy Day comes to mind)
demonstrated that warm fuzzy tone best, but also with underlying
strength and centered sound. I have tried for years to get that
sound--It's not the equipment (at least I don't think so, after spending
tons of money on mps and even differnt trumpets) as much as its just an
imitated sound. The throat goes very open, it obviously only really
works well in the lower register and with soft tones. I think
technically you end up doing some things that probably aren't all that
great for your embochure. It's similar to the airy sound saxes can do so
well . I liked Chet Baker's earlier recordings for this and in fact, if
you listen to a lot of the guys in the early fifties, they all seemed to
be going for that sound--Chet, Art Farmer, Donald Byrd. But, I
particularly liked Freddie's sound since he could go both ways--soft and
fuzzy in a low register to a crackling sizzle.In fact, now that I really
think about it, I feel that Freddie really was (is?) one of the best for
dyhamics and sound. (as a youngster, all I heard when listening to him
was his technique--as I get older, I seem to be appreciating his sound
more --and the way his solos were compositionally darn near perfect).
Much as I like Wynton's playing, I never thought that the warm, airy
sound was his strong point.
I would pick out a song you really love--a ballad, and just work for the
sound. A day doesn't go by for me without playing the first four
measures of Body and Soul just for that purpose.
Jim in Dallas
DHoff56012
1. A forum for Wynton lovers, saying he's the best dark airy trumpet player to
ever pick up a horn.
2. A forum for Wynton haters, saying he isn't really that good, and even
though he's technically very accomplished, that he lacks "soul"
3. A forum for discussing how much we all love/hate Monette trumpets. This
will lead back to the topic, "Why Wynton sounded better on a Bach"
4. Monette lovers extolling the virtues of their favorite horn, commenting on
how "dark and airy" it can sound
4. Monette haters commenting on why a Monette sounds like it's made out of
concrete.
5. People commenting on any comment Wynton has made to the press within the
last 12 years
6. 128 people commenting that it's all in the trumpet you use
7. 2,873,376.93837 people commenting that it's all in the mouthpiece you use
8. 33,837,903.0378171 people asking "What mouthpiece should I use?
9. 458,983,038.8373763737 people commenting on what mouthpiece you should use
to get a "dark airy sound"
10. 1 voice in the wilderness saying it really doesn't matter much what
mouthpiece you use.
11. Comments about how great Wynton is.
12. Comments about how lousy Wynton is..
*continuing circular movement*
David Hoffman
ps.. I hope people find this amusing. It's all in fun...
Grant Golding
Force and he said he used a drawing pin (thumb tack) in the mouthpiece cup
with the pin sharp end down the whole.
Grant
M Magers
distinctive sound regardless of what horn he was playing on.
BlastMaster wrote:
>
> I think it all has to do with how leaky their horns are.
>
> -- jeff
>
>
Pops
The size of the lip aperture changes with regard to the amount of air
that you blow through it.
So there are as many aperture settings for middle c as there are dynamic
levels.
The airy sound can be had with ANY embouchure.
Work on playing a note at ff then keeping the lip aperture the same
(this takes some thought) back off the amount of air that you are using.
If you can keep the same aperture size then using less air will make the
air less densely packed and the result will affect your tone.
Be careful not to fall below pitch (or too far below). And be aware that
this slows down the note spin and lessens the carrying power of your
playing.
----WARNING----WARNING----WARNING----
I know several people who played around with this and lost the big full
round sound that they had. It took months of long hard work to get back
to where they started. Sometimes WANTING is better than having.
A collection of Net Trumpet Lessons.
http://www.geocities.com/BourbonStreet/Delta/2429/Lessons.html
Information about my 3 books. "The No Nonsense Trumpet From A-Z" ,
"Trumpet FAQ's" & "The Next Level" http://www.BbTrumpet.com
Best wishes
Clint 'Pops' McLaughlin
Jeff Wildman
mass...@my-deja.com
13D1FD54480A72A6.B163AF91...@lp.airnews.net>,
sound. And the good new is that if trumpeters want to duplicate Chet's
technique it's not really all that difficult. First, have someone knock
all your front teeth out. Second, spend the next two years recovering
from the experience and not playing trumpet. Third, relearn how to play
the horn using dentures and experimenting with all sorts of adheasives
that ultimately requires the player to play with nearly no presure what
so ever. The airy quality you seek will happen. Good luck :-)
> >
>
Sent via Deja.com http://www.deja.com/
Before you buy.
Horace Gordon
2) Spend big bucks on a horn like Wynton's.
Frank Vermast
I remember my trumpet teacher asking every few months what I tought of his
sound using a new mouthpiece he'd found. After 2 minutes of playing he
always sounded the way he had always sounded.
Sound is in your body and soul.
matsup
If you have music in your being, your own sound will emerge. If the foo foo
sound is what you love, chances are in time you will develop it.
jazz...@my-deja.com
matsup <mat...@pinn.net> wrote:
If the foo foo
> sound is what you love, chances are in time you will develop it.
>
They way I've been playing lately, I think I've developed a "doo doo
sound." I hope that's not all I have to offer from within.
Mark
http://jazztrpt.freeservers.com
DHoff56012
>sound using a new mouthpiece he'd found. After 2 minutes of playing he
>always sounded the way he had always sounded.
>
>Sound is in your body and soul.
>
quickly. I am on the road about 5 months a year, and my roommate is also a
trumpet player. When we go to a store to check out horns, he ends up sounding
like him and I end up sounding like me, even if we are playing on the same horn
and mouthpiece.
David Hoffman
AiryPotter
I have also heard about it, but only trough rumors, and im trying to find out about it.
AiryPotter