Jens Lindemann and The United States Army Band, Pershing's Own: Monday YouTube Fix

I'll never forget meeting Jens Lindemann.  Boston Brass had a few hour layover at LAX the summer of 2001 and Jens and his wife, Jennifer Snow, came to meet us at the LAX Marriott for a quick meal.  All seven of us basically laughed uncontrollably for two hours before we got back on the plane.  Instant friendships were born. Jens had recently retired from the Canadian Brass and taken as the trumpet professor at UCLA, a position he still holds today.  We traded road war stories and vowed to work together as soon as possible.  As chance would have it, both of our trumpet players' wives gave birth to kids within the next two years and Jens filled in each time.

I have also been fortunate to work with him on some other occasions as well, the most notable being in Mexico.  He called me and asked if I wanted to play in a brass sextet with him, Jim Thompson, Fred Mills, Marty Hackleman and Julio Briseno in Texcoco, just east of Mexico City.  I thought he was playing a joke on me! It was one of the highlights of my career.

As you can tell by this clip, Jens is one of the best players in the world.  I have also learned an invaluable amount from him about being a showman.  He is a master as you can see from the beginning of this clip.  Jens is a true inspiration as an entrepreneur and artist.  He is a beast on the trumpet and sounds amazing along with The US Army Band, Pershing's Own from the National Trumpet Competition in 2012.

Enjoy!

Charles Lazarus Master Class Quotes (Part 3 of 3)

Here is the final installment of the wonderful Charles Lazarus trumpet master class at the National Trumpet Competition at George Mason University this past March.  I always love going to the NTC master classes and this was one of the best I've ever seen.

In case you missed them, here are Part 1 and Part 2 of the quotes from his class.  So many nuggets of wisdom!

• Minnesota Timberwolves physical trainer: "It takes 10,000 repetitions for someone to learn how to swing a golf club or shoot a basketball. But if you are trying to relearn something the right way, double that."
   
• "Slow, methodical practice. You can slow things down. You can add a note at a time. You can play an entire phrase and slowly take one note away at a time. You can change the rhythm."
   
• "There are eight aspects of practicing: high, low, loud, soft, fast, slow, articulate, slur."
   
• "There are three ways to play them: through the range, interal studies, isolate the ranges."
  
   
•  "I’ve started writing a practice book 20 times but then realize that everyone’s needs are going to be different.  It’s just important that you touch all the bases every day."
   
• "I’m a big fan of short practice sessions, often."
   
• "Adolph Herseth told me he never practices more than 30 minutes at a time."
   
• "It is better to practice 15 minutes, 4 times a day than playing for one hour straight. Then you have to wait 23 hours until you play again and there is a lot of muscle memory."
   
• "Joey Tartell can play quadruple high Q’s but still get a great sound on the Haydn."
   
• "I recommend that you practice with straight tone.  Add vibrato later for musical reasons."
   
• "If you’re phrasing, you can’t really fail. You can miss a note but people won’t really care."
   
• "You can tell by how I’m playing that E that it’s going to go somewhere."
   
• "You don’t need to open up so much to play the low notes. I think of my embouchure as adjusting to stay the same."
   
• (After playing call and response with student on one lick in time) "That one was statement/statement. The first ones were statement/question statement/question."
   
• "For most of my range, I try to stay set. I don’t stay completely set but I don’t over adjust."
   
• "I like to sometimes think of the (previous) note as the beginning of the inhale."
   
• "You played the G like you were testing the note. There’s no testing."
   
• "(Instead of a metronome) I like to practice with the shakers on Garage Band."
   
• "Internalizing the rhythm is the hardest thing for playing orchestral excerpts by yourself."
   
• "In soft lyrical playing, people frequently don’t articulate enough."
   
• "Playing trumpet you want to be fluid and sometimes we can get position oriented."

Charles Lazarus Master Class Quotes (Part 1 of 3)

I had the privilege of attending a wonderful master class by trumpeter Charles Lazarus at this year's National Trumpet Competition at George Mason University.  Charles is one of the best musicians I've ever met.  He can play not just well in a frustrating number of diverse styles but amazingly well in said styles.

His diversity is legendary.  If you were to hear him play a baroque trumpet solo, you would assume he does it full-time for a living.  If you were to hear him play with a brass quintet, you would assume he did that for a living.  Same with him playing with the Minnesota Orchestra or playing as a solo jazz player.  Really, he'll either drive you mad or to the practice room.  One or the other!

I had heard he was a great teacher but had never had the opportunity to see him in action until this master class.  I came away with enough quotes to share in a one hour master class that they are being split into three separate posts.  Some of them resonated with me to the point of being shared in almost every lesson I taught the following week after spring break.  I hope you enjoy these great Lazarus quotes as much as I have.

• "No matter what you play, Body and Soul or Mahler 5, people only hear the sound that comes out of your bell."
   
• "If your focus is on your sound, you will get to your end result faster."
   
• "If you give a beginner a tone to try to match, they will sit up straight and their sound will get better."
   
• "Technique is the ability to control your sound on any given note. At any given dynamic, 100% of the time. It is very easy to forget that when you're working on a lick."
   
• Doc Severinsen: "I spent days and days and days trying to imagine the sound I’m trying to achieve.  I came up with my ideal sound and then I go for that."
   
• "Not to say there’s not a physical side (to playing), but you have to know what your goal is."
   
• "Rather than air support I like to think of tone support."
   
• "I like to think of breathing as phrasing.  If you keep the air moving, your lips will vibrate."
   
• "If you take in a full breath, there is some natural compression."
   
• "If I want to get a fuller sound, I actually back off."
   
• "When I talk to you, there are certain words that I emphasize. It is the same with phrasing."
   
• "When you phrase, the sound and style will make sense to people."
   
• "Our lips are like the string and our air is like the bow."
   
• "If you’re phrasing with your air, you are going to take in enough air and you are going to keep it moving."
   
• "If your chops are feeling stiff, keep the phrasing and the air moving."

Excellent Definition of Technique by a Master

"Technique is the ability to control your sound on any given note, at any given dynamic, 100% of the time." - Charles Lazarus

Considering the tone that comes out of the end of Charles Lazarus' bell, it is not surprising that he nails this directly on the head.

The most important thing to do when working on your high register: play with your most beautiful sound possible.  The most important thing to do when working on your multiple tonguing: play with your most beautiful sound possible.  The most important thing to do when working on extreme dynamics: play with your most beautiful sound possible.

I think you get the point.  If you want to play the trumpet like Charles does (or any other instrument), this is some of the best advice you will ever receive.

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This quote is from Charles Lazarus' master class at the National Trumpet Competition this past March.  I will be posting a full list of quotes from his excellent class later this week.  It was one of the best I've attended in a long time.