Rising Star – Jeremy Pelt

As I promised in the ‘About’ section of this site, I will discover and promote as many modern day and up and coming artists as possible. Well today, I came across one such artist. He is a relatively young cat named Jeremy Pelt. From the pieces I have heard, he is truly an artist, one who not only sounds good but one truly expresses musical ideas in an experimental and expressive manner. A short while after graduating from Berklee College of Music in 1998, Jeremy began to play with the Minus Big Band in New York. Since that time he has had much success, voted rising star for five years in a row by Downbeat and featured on the cover of both Downbeat and Jazz Colour. He has been fortunate to play with some of today’s and yesterday’s jazz luminaries, including Ravi Coltrane, Vincent Herring, Nancy Wilson, Bobby “Blue” Bland, The Skatalites and many more. He has also been featured in the Roy Hargrove Band and the Duke Ellington Big Band.
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Recordings from Art Farmer and Kenny Dorham

Art Farmer, ‘Brass Shout/Aztec Suite’

Check out these re-mastered albums originally created with Big Brass sections and full orchestras in 1959. On Brass Shout an outstanding version of APRIL IN PARIS is just one of the surprises presented. On Aztec Suite, along with some multi-faceted exoticism, you can dig the Latin rhythms in HEAT WAVE and DRUME NEGRITA. A great release for Art Farmer fans!

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Dizzy Gillespie Quintet – Tin Tin Deo

Ooooh, baby! A must see clip!

Relax, Open Up, and Sing

An important aspect of the art of trumpet playing, is mastering the physical components of the mind and body. Like all wind instruments, especially those in the brass family, trumpet players must be able to control the air stream. It is the energy, power source and life-blood of playing. This is somewhat akin to the art of golfing. While golfing is surely a physical sport, the fluidity and control of the player’s movements are far more important than brute strength. In trumpet playing it is critically important for players to produce the air stream and control it in a way that does not close the throat off. I myself unknowingly suffered from this throat issue for years. Some days I could play brilliantly; many other times horribly. I was very frustrated by this even after it was brought to my attention by a keen observer. While I have finally gained mental control of this negative impediment, I must vigilantly be on guard, because it is a natural physical occurrence within our bodies.

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Musical Colorist – Johnny Coles

As artists we must take in as many ideas, colors, textures, and sounds as possible, all of which become our own palette to draw from when we create. This is especially true in Jazz, as it is a collaborative art form where we learn from each other.

Well, last night, having worked too late into the evening, I wasn’t in the mood for high note antics or the like. You might say I was feeling a bit mellow. Thumbing through some CD’s I hadn’t listened to in a while, I came across ‘Little Johnny C,’ by Johnny Coles. I had forgotten what an experience it is to listen to this cat play. Oh man, I mean his sound lights a fire deep into my spine. Warm but cool, with shades of purple, green and yellow. While Johnny Coles is not a household name in the jazz world, as trumpeters he is one player that you should be familiar with. Johnny grew up in Philadelphia and started playing the trumpet at age ten. He was mostly self-taught, with the extent of his formal music training being received at a vocational high school. He played in army bands during the war years and thereafter began to play in various R&B groups, including Eddie “Cleanhead” Vinson’s group, which included John Coltrane. After this period, Johnny hooked up with James Moody and played with his group from 1956-1958. When he left Moody, he began an association with Gil Evans that lasted until 1964. During those years he played on several Evans productions, including several Evans-Davis collaborations, such as ‘Porgy and Bess’ and ‘Sketches of Spain’. Some have commented that his association with Evans deprived him his just dessert and caused him to be seen as merely a Miles Davis understudy. Regardless, Mr. Coles exploited the fullness of his trumpet’s qualities, as he was truly a capable musical colorist that understood how to use a color’s shades well. After separating with Evans, he toured with the Charles Mingus group for a period. There is a Charles Mingus DVD set entitled ‘Live in ’64,’ that contains live footage of the group’s performances in Europe. Johnny also played with Herbie Hancock during 1968-69. A great chart to hear his genius on is entitled, ‘The Prisoner’ on the Herbie Hancock album of the same name. During the remainder of his life, Johnny played with Ray Charles, Duke Ellington and Count Basie, among others. You can enjoy the warm sound of Johnny Coles on these fine productions.

Shake, Rattle and Roll

“Shake, rattle and roll”, yes there’s some good vibrations going on in Lala land once again. 5.4 on the Richter today! I lived in LA during the last big Northridge Quake, what a trip!   LA always reminds me of a concert I had the privilege to attend while out there. It was dedicated to Dizzy Gillespie and held at the Hollywood Bowl, “To Diz with Love-Celebrating the Dizzy Gillespie Diamond Jubilee,” with Slide Hampton as Musical Director-and of course playing his bone. Freddie Hubbard played the lead trumpet part, along with a fairly young Roy Hargrove. Clark Terry, Harry “Sweets” Edison and Claudio Roditi were also playing in the trumpet section. At one point Dizzy came on stage all decked out in a bright yellow leisure suit and, of course, received an immediate standing ovation.  Having been a fan of his since middle school, it was quite a treat.  James Moody, David Sanchez and Paquito D’Rivera held down the saxophone section.
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Wicked Connie

As Doc Severinsen has correctly pointed out, practice and how we practice is essential to how well we play. However, a quality instrument can make a world of difference in the finished playing produced. Some of the earliest types of trumpets dating to around 1500 BC, although quite inventive and interesting, were likely very difficult to play well. In comparison to the historic trumpets our predecessors played, the old ad proclaiming ‘you’ve come a long way baby’, should ring out. In fact, some of the horns on the market today are downright pieces of art and beauty!
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