Next, please!

Well I am still alive!

I had little studio time, but I did bootleg my own session to get a listen to what I did before the real tracks appear post mixing - and as a real backup, I am anal like this! I have only listened to the first few takes of Softly, As In a Morning's Sunrise, and the final take is decent, at least by my playing standards. My playing was more adventurous in the 2nd take, but I think more focused in the last.

Because of the way everything panned out (no pun), my sound engineer took a portable kit and we recorded in a local carpeted church hall - it has a nice reverb and had the space at the time we needed. I will admit to being rather stressed for about 2 weeks concerning everything that transpired today!

Being my first recording experience I was a bit nervous, and although some of what I have heard so far has been fine, for me, some hasn't worked as well as it did in practise. I find it hard to totally open up and really forget myself, when I do I play best. Anyway, for me, I am still reserved about my judgement, I am very much still a developing amateur, but I think for my first attempt it is ok (by my standards... compared to... well lets not go there!!!)

I was amazed at how insanely fast it all went by... this day although seemingly incredibly slow at first, shot by from about 2.20pm till bed, 12 hours later! Anyway, its done, an honest days work and what is will be (if that makes sense!!)

After recording I cooked a killer steak dinner and enjoyed a nice glass of South African Cabernet Sauvignon. Bit of a wind down! (I enjoy cooking you see). Peppered steaks, baked vine tomatos with brown sugar and pepper glaze (thanks to Dan MgEown's recipe!), Irish potatos, corns on the cob, caremalised red onion and too much garlic butter!

Mike

Clean valves, play MUSIC, phrase, develop!

I am recording tomorrow, and things have been hectic, but I think it is all in order and calming down. On the session we have:

Scott Flannigan (www.zcott.com) - Piano

Dan MgEown - Double Bass

James Anderson - Kit

Taking care of the audio is John King who is really keen to get this recording under way.

Ok, so the tracks, finally, are:

Footprints

Softly, As In a Morning's Sunrise

I Remember You

Killer Joe

Anyway, the title refers to my check list which has these reminders on the bottom; Clean valves! Play MUSIC! Phrase! Develop! These are things which are tantamount to success!

Clean valves:

My flugelhorn's 1st valve is somewhat unpredictable, even after 2 trips to the repair shop. It seems to be behaving itself right now. My trumpet is quite new and needs its valves cleaned regularly, hence that part of the title.

Play MUSIC:

Reminding myself not to forget what I am playing or trying to create; music, not a dirge of thoughtless notes. Lets hope this one pulls through! I have been practising and recording these tunes a'cappella if you will to try and improve my weaknesses, and while it is very humbling to hear your mistakes so clearly, it is a very useful tool! I realise an interesting thing; I was annoyed by an excess of air in my sound on a bunch of recordings and the answer was two-fold. 1) Microphone placement - right in front of the bell up close isn't ideal, I found placing the microphone at an angle beside the horn and in front gave the best results so far. 2) The more tired I got, the more air sound was present, and I was usually recording myself after 2 hours of hard work. That seems almost too common sense now that I write it!

Phrase:

Phrasing in the solo is one of the biggest things that I have been told to remember, and one of the best things that I appreciate in a solo; obviously a great solo will have it all going on, but this is elemental!

Develop:

Another thing of importance is development in solos. Again part of playing music, and phrasing! I'll leave that one there!

Not too much more to say. I only have 3 hours in the hall which is tight, but I reckon that will give us 2 hours of actual recording time which should be enough to get about 3 takes of each tune done if needs be, and maybe a little more; it depends on how long the solos end up being etc... I am just trying to be realistic. It will also look a little like a Nikon show room on account of 3 of us being keen photographers! Hopefully I will have a few shots of the process to include online at some stage!

Wish me luck!

Mike

Sleeping, testing, stressing.

Right, the title is a lie. I haven't really been sleeping, merely trying to! The testing and stressing go hand-in-hand, as does Music, Trumpet, practise and coffee. Coffee is usually in my hand, so it has a head-start!

I have made a microphone reflection filter, a little like this. (Cool, I still remember some html!) My deflector is not quite as glamorous, nor has it cost me a penny, so I think for now it will do. Pics to follow.

I made this because I might be recording in a reverby room - there is a shortage of studio space, and there is a Steinway grand in the room that might be the venue for recording - anyway, I am just being prepared, I have heard recordings destroyed by room reverb! Anyway, I am testing this with my CAD Trion 6000 Ribbon mic. This is perhaps what we will record the Trumpet with, though the final test will be with the engineer's mics and our ears! Ribbons have a way of very naturally rounding off the higher frequencies and creating a nice warm body of sound; perfect for horns. Anyway, regarding stressing, this is it. Getting the venue sorted! Deep breaths...

I have done over 30 different recording tests where I change placement, using the baffle and not, and it does help to vastly reduce the 'crap room' sound of my dining room. I chose the worst room in the house deliberately; it really let me hear the affect the baffle had. My results; close micing seems to give me the best results on both trumpet and flugel-horn - it cuts down the bad room sound, and due to the proximity effect that the ribbons inherently have, it warms the sound a little when closer, this is pleasing to me!

Recording, especially solo, is brutal. I have always tried to record some practise sessions, rehearsals etc... but I will be doing it much more because it is really exposing my faults. There are things that I play, and strangely have worked despite thinking 'oh, that won't come across well' and sadly there are times when I have thought 'that was pretty safe' and it came across like a turd; it is now time to find a balance between working and turd... I am getting all philosophical again!

I have my work cut out for the next couple of weeks, and I need to learn how to sleep all over again. I think something involving a sharp blow to the head will fix me. In any case, tomorrow should hopefully pan out to include:

Finish the baffle (some glueing to do, a mount to make).

Practise (scales, lines, chords, time).

Fill out forms, job applications.

Arrangements.

Record to backing tracks the tunes I am going to do in a couple of weeks, record several versions of each. Critique.

Brass band rehearsal (now, where is my Cornet... haha!).

I want to test recordings of the Curry 3TF mouthpiece VS. the 3BC I usually play. The TF is a very deep "V" shaped Trumpet mouthpiece (TF: Trumpet-Flugel - the Flugel cup is deep) whereas the BC is classed as hybrid-deep, more of a "U" profile. The implications are simple; the deeper and less "C" shaped the cup is, the fewer high harmonics are present in the sound which sounds "darker" or "mellower", the problem is that it can sound dull and lifeless. To get an idea of dark VS bright sound, it is easy; the opening top C in the Trumpet section in the Star Wars score, and indeed most of the brass is a bright sound. Also The Incredibles has a bright brass section, along with most movies come to think of it. A dark sound is equally easy to think of; Chet Baker and Miles Davis had famously mellow tones, Wynton Marsalis will also have often what I would class a dark sound, I say often because he varies it on some recordings and is brighter. Use your ears! Finally, the Curry Mouthpieces make life really easy, this may not mean much to a non-Trumpet player, but the rim is exactly the same between depths of mouthpiece cup from extremely shallow to extremely deep. This means that as the player, you can switch very easily and not have to adapt so much to a new rim and feel. It was about time someone did this for brass players, some have tried and come up short, Mark Curry hit the nail on the head! Really worth a look here!

I currently use a 3M for Big Band Jazz or general playing, a 3BC for the solo Jazz and for a bigger Classical sound and a 3TF for combo work and working the chops out! I have a 3B in the post (its cool when you can trade stuff) and plan to try the 3STAR or Z for really bright sounds and the 3TC because it is the one most people seem to rave about! On Flugel I play a 600 series Curry 70FLD. This is like the 3 size, but a cushioned rim, and an exceptionally (0.875") deep cup. I actually prefer the regular 3 rim, so the 70FLD will be swapped for a 3FLD or FL, though there is no great rush.

My personal sound concept is that of a darker tone, though this is only for Jazz, and combo work, working in a Big Band or Orchestra requires you to blend. That is another topic. My tests tomorrow will help me identify how the sound comes across in the recording, something which is paramount for me. I can cope with splits and the odd naff note, but if the tone isn't worth listening to, I will be unhappy! Currently the 3BC mouthpiece is helping me produce a fairly dark sound which isn't dead or lifeless, the fact that my sound is 'ok' on the tests is good because as a player you don't get a true representation of your sound because you are behind the bell of the instrument and so I worried that what I was practising and working on would end up sounding horrifyingly different when recorded. It didn't sound too different, attacks were a little breathier than I can hear from behind the bell which isn't necessarily a bad thing in Jazz, but for Classical I will need to tighten this up. More on this later, I have some wise words from other fantastic players which are well worth reproducing on-line.

Time to try and get a night's sleep!

Space, time, and arrangement.

Yes, another post. I am being artifically powered by Starbucks coffee, and taking advantage of the free refill on drip tap. Nice. So I am not really awake; most people know that is my style!

Space

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Right now I am trying to get some studio space and time with an engineer. Organising this is proving harder than waking in the mornings! That's a lie, but with time constraints and being sort-of quite busy all the time it is just being a little slow. Maybe I will get through soon! I always have a few back-up plans, but they are the backups for a reason! Anyway... best of luck me.

Time

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Sorting out time within arrangements is pretty crucial to the arrangement sounding musical. It is the same with a solo, this is something I am learning more and more and something which I think should be a huge focus for musicians. The importance of space and time within music. Hopefully I will have a lot of practise time to sort out my own head for the recordings, playing in the show is dominating, so I am feeling lazy for taking it easy during the days!

Arrangement

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I am becoming increasinly interested in more thoroughly composed Jazz music. The typical lead-sheet form to tunes (AABA or whatever) is fine, but there is soo much space for more. There are a bunch of great modern players who have obviously become aware of this and are producing some fantastic music; Tom Harrell, Terrell Stafford, Kurt Rosenwinkel etc etc... so this is something I will be studying over time.

Regarding harmony, I am becoming more and more fond of clusters and secundal chords. Obviously these, as with dissonance and consconance, must be used in appropriate harmonic context. In any case, I really enjoy the resonance from clusters and seconds.

That is all for now. I should start working again!

Shows... what can happen.

As much as part of me wants to be objectionable and make the title of the post redundant and meaningless, I must not. More on how I feel the urge to be contrary and myself later.

I have really enjoyed playing the Wizard of Oz so far, it has been a very much reduced orchestra (8 piece), but the cast are fantastic! They are mainly young, and really putting everything into the shows and it makes it such a joy to play for; there is rarely this much connection in more professional shows! I am going to really enjoy my remaining 7 shows! There are elements of the show that still make me laugh even though we have rehearsed it and played it seemingly endlessly now! The dog, Toto (Rosie) is for lack of a better, more masculine word, very cute! I have little more to say, other than... the Wizard of Oz crashed. On Friday night. I don't think that was expected, nor did it ever happen before! There was some funny ad-libbing, and everyone found it very funny, crisis averted!! Pretty funny I thought!

Anyway, shows. What can happen?

You can expect to show up to do an Elvis tribute set, just like last years gig (which was awesome) and just be amazed... At how much better it was this year! I am not the biggest Elvis fan - this is a gig, so I am happy to play it for experience, money and fun, but it really was enjoyable! Score! Our charts weren't too bad (accuracy wise). The sight-reading was sweet, and I was generally fairly pleased with my sound and range (even though I was using ear-plugs, and I don't have a great range, but the sound was right). Most of the tunes ended with a top B or D, which was nailed, and I was happy about that - last year I was more nervous and lacked the experience to stick with my notes. This year was much better, more relaxed, better sound and what always helps - better gear. Gear which is going to stick by me!

Basically - you can turn up to a gig which you expect to probably be dodgy, and it turn out to be a real winner! I am really pleased that this was a winner - I need to take away all the positive feeling as much as possible. It is very hard to grow as a player if you leave depressed by some aspect of the performance. Tomorrow; The Wizard, and hopefully all of his top D/Cs in tune :)

Finally, I have an intro/arrangement for Footprints done, I must run this by the band and see if they like it. I might use this on the demo, providing it all suits the tune and performers, as with everything, it doesn't have to be used!

Mike

Dorothy, Footprints and Skirting

Good title. Poor content. Story of my life! Actually I decided that a story of my life would be called "Operational but at risk!". That sums up my Trumpet playing, it really does!

Dorothy

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My music arrived this morning (The Wizard of Oz) at about 10am or so, and after going to bed at 6.30am I thought it was wise to get up and learn the show. The first thing that hit me was "there is an awful lot of music here", and there is, about 60 tunes or so. The parts are really nice, from the Royal Shakespeare Company, but it has a bit of a demand on endurance. It should be o.k. I hope! My schedule is quite busy for this now;

Wed - Rehearsal, Sound check - 5.30 - 9pm

Thurs - Rehearsal - 12pm, Show 7.30pm

Friday - Show - 3.30pm, Show - 7.30pm (I think)

Sat - Show - 7.30pm, Elvis Show, Empire @ 9pm (TBC) - can maybe do both, in any case, I have permission to miss this production if needs be.

Sunday - Show - 5.30pm

Monday to Saturday - Shows at 7.30pm, perhaps with a matinée performance on the Friday as well.

Saturday 15th also has me out with my brass band (3rd Carrickfergus Silver) - I hope that my times don't clash, and secondly that my lips hold out!

Footprints

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I have chosen the set for the demo recording:

Stella By Starlight

Footprints

I Remember You

Killer Joe

I spent last night, from 10pm to 5am agonising over the tracks, specifically the ballad; each ballad I chose, I liked initially then I decided that it was a bit cliché and started to dislike it. I liked 'Infant Eyes' - lovely harmony, but the form is odd - three 9 bar phrases, that is fine, and the melody is a little boring. I also liked 'Naima', lovely harmony, quite dissonant, but it seemed a bit too much for the demo, probably wouldn't have sat nicely. I am going to play 'I Remember You' as a ballad, probably on the Flugelhorn, and hopefully sans fromage!

There is a nice arrangement of Stella on an Aebersold volume "Tunes You Thought You Knew" - it has been re-arranged and re-harmonised. I wouldn't mind doing this, it is cool, and is a bit different. It is such a classic tune though, I would hate to ruin it.

Skirting

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Touch-up gloss painting on the skirting boards in the front room is all that remains in there - I got the emulsion painting done yesterday, floor cleaned, tables asembled, life pondered etc... My highlight was lifting the washer/dryer in from the rain (under a tarpaulin), up a step and fitting it. It was very heavy. I did not enjoy that.

That is all for now, paint to do, lips to mourn... practising till 6am will leave you with a fairly un-fresh start as I just found. I have band to do in 2 hours, and I have put in a serious bit of practise today... here goes nothing. Maybe I will play more quietly tonight, maybe take it easy!

Mike

Wizard and House

Is the title exciting? No? Okay...

A project which has been underway since February has been the restoration of a fairly dishevelled house, and it is really near completion! Very cool for me because I will be residing dans this house. Two tables were purchased at very little expense from IKEA yesterday (sale) and I constructed these this morning. One of their diagrams was wrong, so that slowed progress on number 1. Time was made up by using a drill instead of a screwdriver which is exactly what they said not to do... I know what I am doing... cheating! And it felt good :)

Aim: front room completed today. Likeliness: 4/10, maybe 6/10 if I lay off the Trumpet (and interwebstubes)!

I will be playing in a production of "The Wizard of Oz" running from the 6th to the 15th. This is good - I need money to fund my demo recording. Things are slowly falling into place (and some falling over. That is to be expected!). I should get my parts by the 5th at the latest, this will let me know whether I need to go to anything more than the dress rehearsal... hopefully not! One of the arrangers did say that he re-organised parts and Sibelius told him that he had gone out of the range of the Trumpet and that I should modify my parts to suit... place bets now; Violin writing? Bagpipe writing?? Oh, lawds!

Some projects, some nonesense!

How to start a post to an anonymous cloud of internet users? I might just fling myself at it much like a large mountain lion might fling itself at a snowy owl were said owl giving away the keys to a Ferarri 360... or something.

I planning to record a short demo at the end of this month (all being well) where I will be playing Trumpet on a couple of standards with the intentions of using this as promotional material. I have not yet chosen my tracks, though I have several ideas and will be putting in some serious practise time!

When the tracks are done I will be able to use this on Linley Hamilton's radio show, which will be really neat. Hopefully they don't scare people away from my gig on the 30th September (Merville House, Time and Price TBA.). The set for Merville is chosen, you can expect a bunch of standards and hopefully some good jazz!

Recently I have been really liking the tune "Footprints" by Wayne Shorter. I would like to arrange this at some stage.

I have no more to say really, time to go much like a large mountain lion would... oh... I did that one. Gotta think up some more funnies... Nevermind!

Mike