Chet Baker sound
Dave Thompson
his sound? I know that a players sound is largely due to the player
himself, but wonder to what extent the trumpet might contribute. Any
thoughts on this?
D.T.
Paul Ayick
Constellation.
Paul Ayick
Dave Thompson wrote:
--
Visit me at:http://home.earthlink.net/~bulos/index.html
David Miller
notably, the Martin Committee, a Conn Connstellation, and even a Bach
Strad near the end.
Those really into Chet can hear a distinct difference between the sound
he got on each horn. The Bach was darker, the Martin more vocal-like,
and to me, the Conn a bit more reserved (not as resonant).
A good deal of "his sound" is his attack (or "release" for a better
term- how he tongues, or doesn't), his embouchure, and they way he lets
a certain looseness of sound (fuzz, pitch, etc.) take over.
Thank goodness alot of his work has been reissued. Verve has been
releasing some GREAT older stuff. Things I have waited _years_ to have
on cd. The Verve JAZZ MASTERS 32 is a very good disc. I recommend it!
Years back, Mosiac released the complete Pacific Jazz recordings on LP
(which I got) and that was very good too!
Dave M
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DizzysBluz
achieve
his sound? I know that a players sound is largely due to the player
himself, but wonder to what extent the trumpet might contribute. Any
thoughts on this?>>>>>
True to form, the major musical instrument manufacturer's would have you
believe it was his horn that made all the difference (if they were the company
that made it, anyway)
Chet played variously on different trumpets, including Conn and
Blessing....oftentimes Chet didn't have a horn of his own and would borrow one
to play gigs. If you want to understand the sound Chet gets, you need to check
out his recordings --- it's a concept of sound, not a function of equipment or
setup. The concept is the key...
dennis
>Chet played variously on different trumpets, including Conn and
>Blessing....oftentimes Chet didn't have a horn of his own and would borrow one
>to play gigs. If you want to understand the sound Chet gets, you need to check
>out his recordings --- it's a concept of sound, not a function of equipment or
>setup. The concept is the key...
here is an interesting post from donovan, from when i had asked a similar question
i haven't got around to trying it yet:
> Bobby Shew mentions how to get the airy "Chet Baker" kind of sound. It
> doesn't involve an equipment change or a new horn, but rather it is all done
> with the aperture and air speed.
>
> He has some exercises where you basically do lip bends, but you lower your
> bottom jaw and pull the aperture open. This will cause the aperture to open
> up, and the sound will get fuzzier and the pitch will drop. You then speed
> up the air to get the pitch to raise. It's really pretty fascinating to
> listen to him do it.
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Bob DeSavage
dennis wrote in message <8wWf2.24$J%3....@news.rdc1.sdca.home.com>...
>DizzysBluz
>>Chet played variously on different trumpets, including Conn and
>>Blessing....oftentimes Chet didn't have a horn of his own and would borrow
one
>>to play gigs. If you want to understand the sound Chet gets, you need to
check
>>out his recordings --- it's a concept of sound, not a function of
equipment or
>>setup. The concept is the key...
>
>here is an interesting post from donovan, from when i had asked a similar
question
>i haven't got around to trying it yet:
>
>> Bobby Shew mentions how to get the airy "Chet Baker" kind of sound. It
>> doesn't involve an equipment change or a new horn, but rather it is all
done
>> with the aperture and air speed.
>>
>> He has some exercises where you basically do lip bends, but you lower
your
>> bottom jaw and pull the aperture open. This will cause the aperture to
open
>> up, and the sound will get fuzzier and the pitch will drop. You then
speed
>> up the air to get the pitch to raise. It's really pretty fascinating to
>> listen to him do it.
>
wonderful), it's as big as a house.
Bob
Pops
I'm posting to 1 who wants it. I must be bored today.
--------------
The size of the lip aperture chances in 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.
'Pops'
A collection of some past posts & information about my book.
http://www.Bbtrumpet.com
dke...@thelenreid.com
to read about it). there was an interview of Chet Baker by Leonard Malone
(its on a videotape called Jazzmasters. The interview took place in
Copenhagen probably in January 1988. In it Chet says he is currently playing
the biggest bore Bach and that he tuned his trumpet flat and then played in
tune because he wanted to be somewhat on the dark side.
In article <160-3680...@newsd-242.iap.bryant.webtv.net>,
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Paul Ayick
Mustafa (was with the Basie Band when Frank Foster had it).Melton can change
his sound from Chet Bakerish to Rafael Mendez and everything in between at
the drop of a hat .He also can play consistent double "A's" and higher and
his jazz playing is wonderful.This is one of the most under rated guys in
the country.He plays on a Bach 37 and uses big Bach pieces 1B I think is
what he's using now.Pops is 100% correct however about the airy tone
becoming a bad habit and Melton is the exception not the rule.
Paul Ayick
'Pops' wrote:
--
Howard Peirce
> There is a guy down here in South Florida who has mastered this .Melton
> Mustafa (was with the Basie Band when Frank Foster had it).Melton can change
> his sound from Chet Bakerish to Rafael Mendez and everything in between at
> the drop of a hat .
An often-overlooked trumpeter I can heartily recommend for the amazing sounds
he could get is Henry "Red" Allen. I have a recording he made in 1956 with
Coleman Hawkins and others, (I believe it's released as "I've Got the World on
a String"), where he is able to take a single phrase from fluffy and airy and
below C to bright, focussed, and singing above the staff, without apparently
breathing or resetting in any way. Not bad for a contemporary of Armstrong's
who was already an "old man" when this record was made.
Allen's best known for always being one step behind Armstrong--he replaced
Armstrong in Oliver's band, and then he replaced Armstrong in Henderson's band,
and when Armstrong got really famous, he would always seem to wind up booked in
the same clubs as Armstrong just after Armstrong closed.
In the late 60s, someone asked Don Ellis who the best avant-garde trumpeter
was, and he said, "Henry 'Red' Allen."
I just recently discovered this guy's playing, and he's truly amazing. It's
like Dave Douglas playing Dixieland.
HP
David Miller
"there was an interview of Chet Baker by Leonard Malone (its on a
videotape called Jazzmasters. The interview took place in Copenhagen
probably in January 1988. In it Chet says he is currently playing the
biggest bore Bach and that he tuned his trumpet flat and then played in
tune because he wanted to be somewhat on the dark side."
Wow, that's interesting to hear that. I was just going by what my ear
was hearing. His sound is/was darker on the Bach. Interesting about
the tuning thing. I find myself having to push in somewhat, then play
below the center of pitch to get the darkest sound.
I'll have to look into that video. Thanks!
brainz
Hi Pops,
The way i practice what you were describing, is to use my mute
(wahwah-du all by humes and berg, or a simple harmon) for say half an
hour or more, and then try to keep my lips in place and play without the
mute. This way you might start out playing too light for your lips but
too loud for your ears, and so try to maintain the volume you had using
the mute. It works for me, makes the tone really gorgeous. Sometimes its
richness amazes me!
One other thing though (apart from this excercise): recently, i must
have changed something in the way i use my tongue or in the way i
breathe. I have started to develop a soar upper throat after playing
(the ache concentrates above/around the adam's apple, possibly it's a
lower muscle around the jaws that has started to develop, but it might
also be due to misuse of a vocal muscle, which is more serious. The
doctor can't find any indication that something might be wrong, but it
is unpleasant, especially affecting swallowing. I feel like a beginner
though i've playing for 17 years. Have been playing more in recent
months though, and i know i should contact a teacher again...
Sound familiar? Any ideas?
Thanx,
Bob
(oncein...@usa.net)