This is all I need! Good morning Espresso. :)
Saturday 31 October 2009
Friday 23 October 2009
Sound concept ideas with Mic Smith
I have had the privilege to be in fairly regular contact, via email, with trumpeter Mic Smith. Mic is a top US studio musician, and a snippet from his biog, for your information:
Mic Smith received his formal orchestral training while attending the Peabody Conservatory and the Julliard School. His teachers include Wayne Cameron, Ray Moore and William Vacchiano. His professional experience includes performances with the Baltimore Symphony and both the Broadway and road companies of “Cats”, “Phantom of the Opera” and many other touring shows. He has worked as lead trumpet backing up many performers such as: Frank Sinatra, Celene Dion, Pia Zadora as well as many others. In the studio, he has recorded many radio and TV jingles as well as film scores and CDs. Currently freelancing in the Tampa/Orlando areas, he enjoys a wide variety of work from recording studios, solo engagements, and various chamber ensembles to corporate and Latin bands. Mic maintains the position of principal trumpet and orchestra contractor for the Spanish Lyric Theater.
To add, he has been on the road with Brian Bromberg and played lead for Arturo Sandoval recently... he can REALLY play, and I have asked him many questions on many aspects of playing which he has graciously answered! I will include one here, it is interesting reading.
My much abridged question:
How do you think you should find your own sound, and how does this fit in being an adaptable musician?
Mic's answer:
Your question about the sound ideal is a good one. Sure, with every context you play in you'll have to change your sound to a degree. Using the right mouthpiece is what I prefer as it limits the amount of adjustments I have to make. I could use the Curry 3BC (deep and dark) to cover a lead book but I would have to work very hard to brighten my sound and this can get tiring. With the 3Z (shallow and bright), the sound is already brighter so my effort is saved for the demands of the book. In the studios, I have to cover all the parts on a session, meaning I will be playing trumpet 1, 2 and 3 etc. Usually, they like to double the parts as well so that means 6 tracks for one tune. I like to use a different mouthpiece for the doubling because it fattens up the recording...sounds like different players were involved. Since you're really asking about your personal jazz sound, you already have that. Of course, you've listened to Freddy, Clifford, Miles, Brecker, Botti, Dizzy, Wynton, etc., and have their sound in your head too but if you record your solos, you'll find that you do have your own sound. Each time you practice or play a gig, you're taking the sounds you've heard from these guys and mix it in with your own so a "sound evolution" of sorts is always taking place. In a jazz context, there is a lot of room for sound variety...everything from dark and diffused to bright and centered. In the classical style, there is a much smaller target for sound. Here, you need to play with a darker, fuller centered sound that more closely matches what an orchestral trumpet player would sound like, even in a solo setting. Its logical because everything in a classical setting is more strict. I have to change my sound all the time in the studios because I might be on a film session (orchestral) from 10~12 and then a commercial lead session (accuracy + high notes) later in the day.
The bottom line is that if I were you, I wouldn't worry so much about your sound. Let it develop and evolve. You sound like you know what you're doing so this shouldn't be a problem for you. Each player out there has their own sound, even in an orchestral setting. Listen to a bunch of recordings of the opening of Mahler 5 and you'll hear many different sounds. If you're worried about your sound getting lost in the mix of all of this, make sure you dedicate time in your practing to gaining control over your sound. Take one of the Charlier etudes and play it several different ways. Try it with a big, dark orchestral/soloist sound, then repeat it with a more relaxed maybe jazz-like sound. You can develop a lot of control over what is coming out of the bell this way. Of course, as you know, when we're playing with other trumpet players in a section, we need to keep a lot of the personal inflections out, such as vibrato and we need to blend. The principal/lead player will have more flexibility with this but not overly so...he still needs to sound like part of a section. So, you'll find yourself using a generic (wallpaper) sound for this only because the section as a whole is more important (in this case) than the individual player. When you are the soloist, you can make your sound what YOU want it to be as long as you're staying within the genre.
Great answer I thought, and it has helped me a lot - thanks Mic!
Check Mic's playing out:
Take care and God bless,
Mic Smith received his formal orchestral training while attending the Peabody Conservatory and the Julliard School. His teachers include Wayne Cameron, Ray Moore and William Vacchiano. His professional experience includes performances with the Baltimore Symphony and both the Broadway and road companies of “Cats”, “Phantom of the Opera” and many other touring shows. He has worked as lead trumpet backing up many performers such as: Frank Sinatra, Celene Dion, Pia Zadora as well as many others. In the studio, he has recorded many radio and TV jingles as well as film scores and CDs. Currently freelancing in the Tampa/Orlando areas, he enjoys a wide variety of work from recording studios, solo engagements, and various chamber ensembles to corporate and Latin bands. Mic maintains the position of principal trumpet and orchestra contractor for the Spanish Lyric Theater.
To add, he has been on the road with Brian Bromberg and played lead for Arturo Sandoval recently... he can REALLY play, and I have asked him many questions on many aspects of playing which he has graciously answered! I will include one here, it is interesting reading.
My much abridged question:
How do you think you should find your own sound, and how does this fit in being an adaptable musician?
Mic's answer:
Your question about the sound ideal is a good one. Sure, with every context you play in you'll have to change your sound to a degree. Using the right mouthpiece is what I prefer as it limits the amount of adjustments I have to make. I could use the Curry 3BC (deep and dark) to cover a lead book but I would have to work very hard to brighten my sound and this can get tiring. With the 3Z (shallow and bright), the sound is already brighter so my effort is saved for the demands of the book. In the studios, I have to cover all the parts on a session, meaning I will be playing trumpet 1, 2 and 3 etc. Usually, they like to double the parts as well so that means 6 tracks for one tune. I like to use a different mouthpiece for the doubling because it fattens up the recording...sounds like different players were involved. Since you're really asking about your personal jazz sound, you already have that. Of course, you've listened to Freddy, Clifford, Miles, Brecker, Botti, Dizzy, Wynton, etc., and have their sound in your head too but if you record your solos, you'll find that you do have your own sound. Each time you practice or play a gig, you're taking the sounds you've heard from these guys and mix it in with your own so a "sound evolution" of sorts is always taking place. In a jazz context, there is a lot of room for sound variety...everything from dark and diffused to bright and centered. In the classical style, there is a much smaller target for sound. Here, you need to play with a darker, fuller centered sound that more closely matches what an orchestral trumpet player would sound like, even in a solo setting. Its logical because everything in a classical setting is more strict. I have to change my sound all the time in the studios because I might be on a film session (orchestral) from 10~12 and then a commercial lead session (accuracy + high notes) later in the day.
The bottom line is that if I were you, I wouldn't worry so much about your sound. Let it develop and evolve. You sound like you know what you're doing so this shouldn't be a problem for you. Each player out there has their own sound, even in an orchestral setting. Listen to a bunch of recordings of the opening of Mahler 5 and you'll hear many different sounds. If you're worried about your sound getting lost in the mix of all of this, make sure you dedicate time in your practing to gaining control over your sound. Take one of the Charlier etudes and play it several different ways. Try it with a big, dark orchestral/soloist sound, then repeat it with a more relaxed maybe jazz-like sound. You can develop a lot of control over what is coming out of the bell this way. Of course, as you know, when we're playing with other trumpet players in a section, we need to keep a lot of the personal inflections out, such as vibrato and we need to blend. The principal/lead player will have more flexibility with this but not overly so...he still needs to sound like part of a section. So, you'll find yourself using a generic (wallpaper) sound for this only because the section as a whole is more important (in this case) than the individual player. When you are the soloist, you can make your sound what YOU want it to be as long as you're staying within the genre.
Great answer I thought, and it has helped me a lot - thanks Mic!
Check Mic's playing out:
http://mic.bandcage.com/
http://www.cdbaby.com/cd/micsmith
Ok, I have some more of his emails concerning playing which are very informative, I will add these at a later date!
http://www.cdbaby.com/cd/micsmith
Ok, I have some more of his emails concerning playing which are very informative, I will add these at a later date!
Take care and God bless,
Mike
Wednesday 21 October 2009
Friday 16 October 2009
Wednesday 14 October 2009
Tonights Italian meatballs
The before shot. Rosemary on the way - thieving that from mum's garden! I am hungry!
Sunday 11 October 2009
Dod's
More of a post for the owners of the house! Great night with great friends! Going to slumber land with Family Guy! More practise tomorrow, and maybe cooking. Sort of fancy more chicken soup. . .
Friday 9 October 2009
Tuesday 6 October 2009
Cooking with Chris
Jambalaya with Chris. New recipe, super! Look forward to eating this bad boy! Next. . . . Jazz.
Monday 5 October 2009
Studies, wine, office
Monday night. . . Charles Colin advanced studies, cheap wine, the office. Nice.
My special diet!
This is how i keep my body is such sweet olympic swimmer state :) fried eggs and moka made espresso. Serve with soda bread and garnish with bacon! I don't often get breakfast but dan left this morning having fried some bacon which really put me in the mood for a mini health break! Not even remotely related to music, sorry! Though I am currently writing music. I like mobile blogging!
Sunday 4 October 2009
Merville House Début
I did my official first gig on the 30th of September, and I will briefly summarise - I have practise to do, a computer to re-format and install Windows 7 onto, music to write and stuff to tidy. All on top of my hefty 7 hours a day of procrastination! How will I do it? Easy... go to bed at 7am again.
I was playing with my go-to musicians, Scott, Dan and Matt. These guys are awesome, and make my life easier by keeping me right when needs be and just playing the hell out of their instruments! The first 2 tracks were a bit nerve racking, but I soon relaxed into the gig and besides the odd clam, I think overall it was a great wee concert. It was very well attended which always makes you feel like playing better and doing your best to play music. I shan't say much more. I was very pleased with my tune "Dawn" which I wrote for the concert, it was played very nicely buy the guys and by my own estimation, is probably the start of me writing more modern music.
http://projectormonkey.com/2009/10/the-michael-barkley-jazz-quartet/
Band Members:
Michael Barkley: Trumpet, Flugelhorn
Scott Flanigan: Keyboard
Dan MgGeown: Double Bass
Matt Weir: Drums
On a typical evening where local acts provide the entertainment, usually it entails watching a haze of check shirts and floppy fringes bouncing up and down like the stage is their mother’s mattress, and the music sometimes falls on deaf ears, or causes deafened ears. However, this is a particularly different concert to which I normally attend. In Newtownabbey, The Michael Barkley Jazz Quartet are about to embark on their first gig.
Recently appearing on late night BBC radio show with Linley Hamilton, local music virtuoso Michael Barkley has been performing in the background of many high profile musical events around the country for many years, and this evening, the spotlight is finally all on him, armed with his extraordinarily talented backing band.
Playing to a rather small audience in an even smaller room, the quartet ran the jazz gamut, playing impressive renditions of Miles Davis, a thoroughly enjoyable Bossanova number, and a gorgeous original piece, entitled “Dawn,” which Mike informed the audience that it was only penned 48 hours previously. That is something quite spectacular, especially considering that the piece sounds like a 40-year old jazz aficionado painstakingly wrote it over a period of months; never mind a young man of 22 years of age writing it within an evening. No doubt about it; this is perhaps one of the most talented young men performing in Northern Ireland today.
Though jazz is certainly not the cup of tea of most modern music fans, The Michael Barkley Jazz Quartet deserve more praise than most local acts out their, on the merit of their acute musical sensibility, their enormous respective talents, and their humility. So pour yourself a glass of brandy, get comfortable in your burgundy robe, open your Nuts magazine (if you like that sort of thing…), and have The Michael Barkley Jazz Quartet provide the soundtrack to a sophisticated and enjoyable evening.
These guys are available for bookings and private functions. Check them out on http://www.myspace.com/michaelbarkleyjazz
In other news I have started keeping a practise diary, just noting how much I play each day to keep me focussed and to help me level it out to an even 4 to 6 hours if at all possible. I will maybe spreadsheet this and share in December. Friday was a LAZY day for me! 1 hour. For shame!
Time to organise the photos from the gig and get some long tones going!
Mike
Friday 2 October 2009
Trumpet in low g
I was messing around with my trumpet and was able to get a well tuned low g by swapping the pipes and connecting them as pictured. This is probably bad for the instrument! Still it was cool to hear such a sonorous low g! Time to email will spencer!
Some roses, test 2.
A 'grand lincoln' and a 'peace' rose. These are all from my front garden and they smell fantastic!
Thursday 1 October 2009
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