Dan Jacobs: Writings

USE OF THE TONGUE IN THE UPPER REGISTER by Roger Ingram

About the tongue...what works for ME is what I described in the book. I do many different types of playing to make a living. What I'm KNOWN for is mostly upper register work. However, I can (and do) play many ways.

Applying an open aperture in conjunction with using a small cupped mouthpiece is what I do when I play lead or upper register work. And yes, when using this set-up for that kind of playing: when I have ascended to notes ABOVE a double C (or thereabouts,) my tongue has already gone up to, into and a LITTLE bit THROUGH the aperture (with the tongue FLAT SURFACED in forward motion.)

Two things happen at this point: the tongue SUPPORTS the bottom lip by SLIGHTLY pushing it forward and out, and VIBRATES WITH the lip. The tongue and lip are both made of SKIN. Who is to say the skin of the lip should vibrate and not the skin of the tongue? The air is still passing over the top (flat) surface of the tongue. It's okay to let that surface of the tongue vibrate in conjunction with the lip at THAT point.

You must realize the further a player ascends, the aperture DOES get smaller. However, what I try to convey in my book is to keep the aperture in as open a setting AS POSSIBLE (or comfortable) when playing a small (small for YOU) mouthpiece.

This setting can best be conceptualized by saying the syllable "Ahh." Saying the syllable ahh also helps to keep your mouth cavity slightly more open. This allows the player to reap the benefits a high compression/shallow-cupped mouthpiece has to offer. Doing this frees-up the air-stream, and lets the mouthpiece DO THE WORK FOR YOU ;-)

When playing on a small-cupped/high compression mouthpiece in the attempt to play lead trumpet or upper register work in the COMMERCIAL ARENA, One way to think about the approach is to: 1. Set, 2. Lock-and-load (tightening embouchure muscles around an open aperture setting,) 3. Create an adequate degree of compression in the diaphragm area for your desired degree of ascension, and 4. Manipulate your aperture and tongue depending on how the music you wish to play ascends or descends as you blow out.

I suggest closing your eyes and visualizing this action as you practice the suggested glissandos in chapter 6 in my book.

Roger Ingram

Check out my new book Clinical Notes on Trumpet Playing
web: http://www.RogerIngram.com
email: Roger@RogerIngram.com

OVERBLOWING, UPPER REGISTER, MOUTHPIECES
by Roger Ingram

It’s amazing what backing off on volume can do for accessing the upper (or extreme upper) registers. However, getting a player to back off seems to be one of the hardest tasks for me to accomplish as a teacher.

Of course once done, (from what I've learned through my teaching experience) this seems to be when progress, and/or rapid progress with developing range extension occurs.
It is important in the initial stages of this development to practice the glissando exercises softly (or "not too loud", depending on how you like to think of it. ;-)

This allows the student to do many repetitions on the glissandos without becoming unnecessarily fatigued. Practicing this exercise in a repetitive manner allows the necessary "muscle memory" to be established.

This is NOT to say notes in the upper register need always be played at a soft volume. Eventually, after sufficient muscle memory has been established, I highly suggest the player experiment with ALL dynamic levels.

In addition to establishing muscle memory, practicing at all volumes helps a player find and/or establish their boundaries with regard to overblowing or underblowing the instrument.

This further helps the student find their "sweet spots" with respect to the optimal point of resonance for each note in their comfortable register.

As I said in my book, I find I project best when I play backed-off from my 100% blowing point. For ME, I find my optimal point to be approximately 70-80%. This optimizes sound projection and eliminates the possibility of becoming unnecessarily taxed on a physical level.

With regard to your mouthpiece question: I'm glad you have worked through mouthpiece sizes down to the 1.25 Shew. Playing the smallest mouthpiece (that a player can handle) for lead trumpet playing in the commercial arena optimizes efficiency.

To answer your specific question about the V-cup mouthpiece I showed you during our lesson: this is not available through the Marcinkiewicz company (or anyone else... yet.) and yes, this mouthpiece is loosely based on the "MF-1" originally machined by Bob Giardinelli for Maynard in 1962.
When I designed this mouthpiece I asked Joe to machine a prototype for me.

He sent the 1st prototype to me in the mail and it was PERFECT. Of course, because of the possibility of there needing to be corrections with this prototype, Joe did not take specs at this point.

As I have been using this mouthpiece on a consistent basis since its inception, I have not yet had the opportunity to send it back to Joe (or another manufacturer?) in order to take specs for mass production.

We hope to do this soon. When the mouthpiece is available for purchase, I will post information about it on my website.
Because of your desire to move to an even more efficient mouthpiece, since you've become accustomed to the Shew rim, I would suggest making the effort to move into the "Shew 1" available through the Marcinkiewicz company.

Another mouthpiece you could try is the Roger Ingram model E12.4, also available through Marcinkiewicz. The Roger Ingram model is basically a Bobby Shew #1 with a downsized inner and outer rim diameter. ;-)

You certainly are not intruding on my time. Education and my students are a high priority for me. ;-) Feel free to contact me anytime and when my schedule allows, I'll always reply to your inquiries.
Keep swinging, and all the best,

Roger

Check out my new book Clinical Notes on Trumpet Playing
web: http://www.RogerIngram.com
email: Roger@RogerIngram.com
wikipedia: http://en.wikipedia.org/wiki/Roger_Ingram

WHAT IS A GOOD EMBOUCHURE? by Carl Saunders

What is a good embouchure? Good question. Embouchures are like snow flakes, golf swings and finger prints. None are the same. I've seen many different approaches and positions that trumpet players use to place a trumpet on their face that work. Some have the horn pointed down or off to the side. These to me are unnatural positions, but have been made to work by a lot of very good players.

In my view, the reasons for these unnatural positions are:

1.Poor or no fundamental training when starting out
2. An unnatural bite
3. Uneven teeth.

I contend that people who fall in the categories of 2 and 3 should be discouraged from playing a brass instrument from the beginning.

So what is a natural embouchure?

To me a natural embouchure is placing your lower jaw out far enough so your lower teeth align evenly with your upper teeth to make a wall where the mouthpiece can comfortably rest without tilting up or down or to either side. 60% of the pressure should be on the lower jaw and 40 & on the upper. With this position achieved, the upper lip should be free to vibrate (of course your lower lip vibrates, too) and your horn should be pointing straight out (even with the ground.) More results with less effort should ensue.

On hard and long pounding gigs one should make sure that the pressure and abuse should be directed to the lower jaw and lip not the upper. The upper teeth can't move or do anything to help the positioning. The lower teeth (jaw) can move and must be set in a position to achieve proper alignment of the teeth and take responsibility to protect the upper lip.

With your lower teeth (jaw) dropped back and behind the line of your upper teeth, your horn will start pointing down, your upper lip will be taking most of the pressure, and proper vibration is stifled. Your lower jaw has got to take care of business and that is to take most of the stress off of the upper lip.

You'll know when you’re doing this properly when you develop a little callus on the inside of your lower lip and your upper lip isn't bashed and mangled from playing hard. Your range and endurance will improve.

A lot is said about blowing air. "Blow more air, more velocity, blow harder, louder". Most all trumpet players that I have observed in my career blow too much air or over blow. They're trying to overcome the physicality of the trumpet with force. I have found that when one blows too much air, their flexibility suffers. Light and tight swinging is near to impossible and your sound and ability to play clean and delicate is compromised.

If one uses the embouchure described above, the lips should be in a position to vibrate freely and effortlessly with less air. I'll leave you with an axiom from my personal approach to playing trumpet....

"Use the least amount of air to get the job done to its fullest"

Carl Saunders

PLAY IN THE MOMENT
By Wallace Roney.

"When you get on that bandstand . . . you're playing in the moment. All that (prior study) preps you for that so you'll be right, (so) you can articulate what you're hearing. If you're in the moment, while you're playing, you don't think: "Oh, here's a C7 chord," . . . you're creating your story."

EFFICIENCY THROUGH RESONATE INTONATION
By Mark Van Cleave
©1994 MVC
The Idea of playing efficiently is one of the most sought after skills that seems to elude brass players. The whole idea of not having to work hard to produce the results you want is pervasive in every part of our society. How can I get what I want without working for it! .....or at least working as little as possible. When it comes to playing a brass instrument, the idea of how to get the best sound per grunt ratio is very important, being able to play well without paying a high price physically.


So, back to the title: Efficiency through Resonant Intonation. What is Resonant Intonation?Intonation is the player's ability to match the pitch of his/her instrument to the pitch of the instruments around them. Resonance refers to the acoustical phenomenon that occurs when the resonant frequency of an object or space (in this case: the volume of air inside the instrument) is stimulated. Resonant Intonation refers to the act of playing in tune with your instruments resonant frequency. Matching the pitch you produce with the pitch that the instrument wants to produce (because of where you have it tuned.) I like to call this the Shower Effect.


The Shower Effect is what happens when you are singing in a shower stall. You happen to find one note that really jumps out at you. When this happens you have just matched your intonation (or pitch) to the resonant frequency of the shower stall (the resonant space.) The efficiency that I am talking about is the result of being in tune with the shower stall's resonant frequency or tuning. At this point, you are not only producing a sound as a result of singing, but you are also deriving benefits from the shower stall's enhancement or resonance.

DESCRIPTION OF BOBBY SHEW'S BREATHING METHOD
By Professor John Daniel, Penn State.

Generally speaking, the system Mr. Shew showed me involved breathing for those high compression situations that come up so often with trumpet playing. In other words, this system is designed to encourage easy access to a fast air stream. I know how weird this must sound to some of you already.

As we begin the inhalation, the belly button area expands a bit (not nearly as much as singers and most brass players encourage.) This step is only responsible for about 5% of the air intake according to Mr. Shew.

As we continue to inhale, the chest expands dramatically. This is step two. Also during step two, the chest might rise and the belly button area returns to its original position. This step is responsible for about 75-80% of the air intake. On a side note, I reread Rafael Mendez's "A Prelude To Brass Playing" the other day and his description of the proper inhalation was very similar to Mr. Shew's up to this point. The next step, however, is where this method is pretty unique.

Step three involves raising the shoulders!!! Apparently this allows the lungs to fill up more freely if we do it in a relaxed manner.

Step four is to bring the belly button area in as if driving a "wedge" into the gut. We do this as aggressively as necessary for the phrase at hand.

Step five is to return the shoulders to a lower position and the last step is to exhale.

That's a total of 6 steps. It is pretty mechanical and slow at first, but after a few days of practice, the steps flow together, the whole breath can be taken in an eighth rest, and the rhythm/momentum of the whole process starts to work.

Personally, the part that has helped me the most is the added leverage my abdominal muscles have in pushing the air out when this area is not expanded as far as most people teach. Also, I used a scaled down version of this method for most of the playing I do. I know how different this must seem from how many of us were taught. All I can say is that it has been useful to me and me students, and it pretty well describes the way Doc has always appeared to breathe. I would strongly encourage anyone interested to get in touch with Bobby Shew. My apologies to him if my description isn't exactly right, but this gives everyone the general idea.

Since many of you have asked, I don't believe anyone is truly qualified to teach Jacob's approach to breathing except Arnold Jacobs. So I won't even try to compare the two systems except to say if they both work, then at their essence there must be the same fundamental principles at work. Remember, the primary application of Mr. Shew's system is to play high and loud.

HOPE THIS HAS BEEN HELPFUL!!!!!!!!!!!!!!
John Daniel
Prof of Trpt Penn State Univ.

Note: this is an exerpt from a great book entitled, "TRUMPET TECHNIQUE" by Frank Gabriel Campos. It should be a part of every trumpet players library.

EFFICIENCY: THE PRIMARY GOAL

If there is a single quality of physical skill that ranks in importance above all others, it is efficiency. It is the very hear of high-level motor skill.

Accomplished performers spend most of their practice time refining their skill in order to perform more efficiently. To refine means to separate what is undesired from what is desired, producing a product that is pure and unadulterated.

In physical performance skill, we seek to eliminate excessive tension, for the presence of excess tension separates the amateur from the expert. It is not an easy or quick process, but it is the only path to mastery.
By Frank Gabriel Campos, professor of trumpet at Ithaca College's Whalen Center for Music and is an actice performer and clinician.

(note: this is a personal email I received from Roger Ingram, phenomenal lead trumpeter player, after playing at the Maynard Ferguson Tribute Concert in St. Louis, in September 2006. Be sure to check out his website at: www.rogeringram.com)

Hey Dan,
I would like to share a HUGE win I had last night. It goes with our work together of two and a half years ago. I was asked to be one of the featured soloists at the Maynard Ferguson Memorial Concert in St Louis last night. I stood up in front of an all-star band before a sold-out crowd of Maynard / Jazz lovers at the brand new theater (beautiful hall) at the University of Missouri St Louis and played my feature of the arrangement of "Watermelon Man" (from the "Come Blow Your Horn" LP of about 1962), blew 3 chourses of jazz and ended the chart on a double D, and brought the house down! For me, getting up in front of the band and wearing the soloist hat, becoming relaxed and nailing the musical work was a HUGE achievement.

Out of the 17 featured soloists, the buzz after the show was that Eric Miyashiro, Wayne Bergeron, and myself were the hits of the 3 hour memorial. There were other great moments as well, but that one for me being a defining moment in my life for sure. There were some things about the way the event was put together and the selections to be performed (almost nothing before 1975. No Birdland Dream Band / Roulette years material) that I thought was jive. Other than that, it was a fitting, tear jerking and wonderful way to say goodbye to one of the most amazing brass players of the 20th century.

I want to thank you Dan for all your help. When I went into the rehearsals for this event on the previous day, I knew I was going to have to confront this part of my playing (jazz) but after working with you, I got myself together and had a big win!! Thought you might like to know!

Now I've got the bug! Going to get some charts together and pursue the High School / College Band soloist market. By the time I had left the stage, I DIDN'T want to leave, you dig?

Stay in touch,
Roger

http://www.RogerIngram.com
Roger@RogerIngram.com
phone: 818.679.6940

(Note: I love this interview! She states exactly how I feel about jazz in particular and music generally. The whole interview is definitely worth reading)
- Dan Jacobs

You can read the whole interview online at: http://www.jazzreview.com/article/review-4631.html

An excerpt from a Maria Schneider interview by John Dworkin for jazzreview.com

Maria Schneider - I just can't stand when I'm listening to music and it just feels like you're just sitting in the same place. I like music that takes me on a trip. I want to grab people's attention and take them on a ride, you know? That's how I feel. Music should be like a ride, and really make it so people just completely get absorbed in that. That's what I want my pieces to be, to bring you into a little world. They either make you feel like you're flying, or make you just... Who knows what, but that they grab you.

I don't want people sitting and listening to my music and saying (mock voice), "Oh, that's interesting." (laughs). That's why I get so tired of jazz that's just so complex, measured, metric and - impressive. You know? I'm not looking to impress anybody. I'm looking to move people. What I like is when people say, "Wow, I was just taken away, " or "The concert went so fast because I got so involved." Or if there's a person who's just a very intellectual person and their favorite piece ends up being the prettiest piece, or the simplest piece on the program. That's nice for me to hear because it means you're bringing people out of their heads and into their hearts. That's what it is. I want my music to bring people out of their heads and into their hearts so that the most intellectual musician sitting there is no longer analyzing what I'm doing, but I've brought them out of that kind of head space.

I think that's where jazz has lost a lot of people and actually lost itself in a way. So many people think that going further and further is getting deeper into the head. It's not. That's not where this music came from. This music came from the heart. And that's not to say that music can't be complex. But when music is complex for complexity's sake, that's where it runs into problems.

JazzReview - I'd agree with that. There's a lot of that going around. Though there's a few guys that I can think of in particular who are able to write relatively complex harmony, or metric things...

Maria Schneider - ...and have it be something... you feel they're not doing it for that reason.

JazzReview - Yeah. It's still personal. There's people around who can do that, and I hear that.

Maria Schneider - But the bulk majority of what's coming out these days is not that. I think there is a trend - more and more people are realizing that maybe the next step in their music is simplicity. And that doesn't mean dumbing it down. Not at all. That's not what I'm saying at all. It's a hard thing to describe but anybody recognizes it when they hear it or see it. In art too.

JazzReview - Yeah. For me it has to feel like it's personal. If it gets complex but it's still personal, which I think some of your stuff is like, then it's... Well, using words like these is kind of weird sometimes, but it's honest, personal, and real. As opposed to just trying to go through an exercise. Whether you're a musician or not, you can usually feel whether that's going on. Whether it's really a personal statement or not. Sometimes that's in the composition, sometimes it's just in the blowing. Depends on the artist.

ON PRACTICE: BY PAPPY MITCHELL
"Practice slowly and carefully, speed will come unbidden."

Booker Little Metronome magazine interview with Robert Levin in Spring 1961

“I think the emotional aspect of music is the most important. A lot of guys, and I've been guilty of this too, put too much stress on the technical, and that's not hard to do when you've learned to play in school

I don't hear any notes as being wrong. It's a matter of knowing how to integrate the notes and, if you must, how to resolve them. Because if you insist that this note or that note is wrong I think you're thinking conventionally--technically, and forgetting about emotion.
You try and build your story and resolve it.”

It's taken me all my life to learn what not to play.
-Dizzy Gillespie-

QUOTES FROM MILES DAVIS:

"Sometimes you have to play a long time to be able to play like yourself"

"Without music, life would be a mistake."


"Don't fear mistakes, there are none"

"For me, music and life are all about style"

"Don't play what's there, play what's not there"

"Where words fail, music speaks"

"It's always been a gift with me, hearing music the way I do. I don't know where it comes from, it's there and I don't question it!"

"A LEGEND IS AN OLD MAN WITH A CANE KNOWN FOR WHAT HE USED TO DO. I'M STILL DOING IT"
- Miles Davis

CLAUDE GORDON: ON PEDAL TONES

He talks about pedals in his book, "Systematic Approach to Daily Practice" starting on page 8:

When done properly they will:

1. Correct your embochure, therefore, help high register.

2.Give you great command of your instrument.

3.Give you more power and fluency.

4. Aid your attack and sureness.
5. Develop better vibration.
6. Develop intervals and fluency.
7. Bigger sound in all registers.
8. Develop endurance.

MUSIC, ROUTINES, PRACTICE, IMPROVISING
By Roger Ingram

(NOTE: Following is an email received from Roger Ingram, legendary lead trumpeter. It is a email answering questions from a student trumpeter who wrote to Roger for help. The information he shares with us is invaluable. See www.rogeringram.com for more info)

To answer your many questions, first of all try to remember that you are a musician. A musician who just happens to play the trumpet, yes? Music should come first. Of course it's great to become technically proficient on the instrument, but try not to become "robot" like.

Get enough technique to be able to express the MUSIC that is inside of you. At the end of the day, no matter what style of music you play, even if you are just playing parts in a jazz ensemble or an orchestra, the main goal should be expressing music, and communicating to the listener through your instrument.

A "routine" is OK I suppose. The important thing to do though is PRACTICE. There is a big difference between doing a "routine" and "practicing". If you want to do a routine, don't get "hung-up" with it. It sounds to me (according to your description) that you are doing a very complete routine already. In my opinion you may want to branch out and "get your feet wet" in some other playing areas.

PRACTICE.............practice means going into a practice room and working on all your weak points. Work on the things you can't do. Work on the things you don't sound good on and perfect them. After you get those things under control, get a NEW list of things to work on until you get a handle on those things. Keep changing up the practice menu. This will make you a well rounded MUSICIAN. Getting hung-up on a routine has a tendency to make a player "stagnent".......meaning "staying at one level, and maintaining only that one single level of limited exercises". A player becomes a professional "practicer" at that point.

Do you improvise? Practicing jazz can be a great way of maintaining ones overall playing technique and improves ones musicality at the same time. Attempting to play jazz brings into play every aspect of technique necessary to play the trumpet at a spontaneous/musical level.

It sounds like you love playing the trumpet and and that you are doing very well. I'm happy you take such an interest! Just try to keep your musicality in perspective.

Roger
© 2007 Roger Ingram
website:http://www.RogerIngram.com
Email: Roger@RogerIngram.com
Phone: 818.679.6940

QUOTE: CHET BAKER ABOUT WYNTON

"If I could play like Wynton (Marsalis), I wouldn't play like Wynton."
- Chet Baker

IT'S ALL IN YOUR HEAD
by Roger Ingram

(NOTE: Following is an email received from Roger Ingram, legendary lead trumpeter. It is a email answering questions from a student trumpeter who wrote to Roger for help. The information he shares with us is invaluable. See www.rogeringram.com for more info)

I know what you mean about Bobby Bryant's sound. It was very distinguishable. Although most people like to chalk these things up to chops/equipment, as far as sound is concerned it's all in what you hear in your "head". Everyone has a unique sound. No two people sound alike.

There are as many sounds as there are personalities. This is what is so wonderful about "sound!" This is why music and art is such a great thing! It's very personable.

For example, if I were to switch to equipment totally opposite of the equipment I use now, EVENTUALLY over a period of time and adjustment, I would end up sounding almost exactly as I do now because I have a "set" idea of what the trumpet sounds like for ME that I've had in my head ever since I heard a trumpet for the first time.

That's why it's OK to use the equipment that is EASIEST for YOU to play. You're going to end up sounding the same anyway, so why kill yourself?

If you really want to change your sound or become a better player, change your personality!

Roger
© 2007 Roger Ingram
website:http://www.RogerIngram.com
Email: Roger@RogerIngram.com
Phone: 818.679.6940

OVERBLOWING – THE BIGGEST ENEMY
By Roger Ingram

(NOTE: Following is an email received from Roger Ingram, legendary lead trumpeter. It is a email answering questions from a student trumpeter who wrote to Roger for help. The information he shares with us is invaluable.)

There is the old saying among trumpet players; "you can't fill-up the world!" This is of course in reference to playing outdoors. What we're really talking about here I suppose is acoustics.

Webster's New World Dictionary defines the word acoustics as
1. "qualities of a room that affect sound", 2. "science of sound".

So, I suppose what we're REALLY talking about here in regards to your query is the LACK of acoustics there-of.

When I travel with various performing groups, we usually play a different venu everyday. We could literally go from a wonderful concert hall with fantastic acoustics to some type of outdoor festival the next day with either no acoustics at all, or sub-standard acoustics at best. This is all in a days work and we get used to it.

When I was a kid, I had no choice but to practice outside. I wouldn't chalk-up any benefits from having been forced to do this though. It probably was NOT good for me as I most likely got into the habit of overblowing the horn from the lack of ANY acoustics (sound bounce back) in order to "hear" myself.

Overblowing the horn is one of the BIGGEST ENEMIES for a trumpet player, and alot of players do not not know this. This is why so many players have trouble extending their register among other things.

You must remember, for your entire trumpet playing career you're behind your bell. You'll never REALLY hear just how loud your projection is. Besides the fact you are always behind your bell, you must also realize that one's sound doesn't "come into it's own" until approximately 4 to 5 feet out of the bell. These combined facts have a tendency to cause the unaware player to overblow in orer to "hear" themselves.

FAITH.......an interesting word applied to trumpet playing.......it has it's place in the trumpet world though. You must just have simple faith that your sound is getting "out there" and leave it t that. That's it! Also, try not to get "mental" so to speak about it all.

Experience in the recording studio usually teaches trumpet players how well their sound gets out there. Pre-mixed playbacks don't lie. That's why most great studio trumpet players don't play overly loud in the studio. Playing "backed-off" also helps pitch, blend, quality of sound, and flexibility just to name a few good playing qualities.

Believe me, when you play at about your 70% level, the horn responds better and actually sounds "louder". This also saves your endurance and helps you perform on a more musical level. That's why so many wonderful studio trumpet players still sound loud on tape. This is commonly referred to as "printing well on tape".

My best embouchure developement came from playing soft. Soft playing builds a different set of muscles. Loud playing generally tears down muscle tissue, along with "forcing". I'm able to consistently play at my 70% to 80% volume level only because I spend time playing everyday at my 10% to 30% volume level to restore my playing from the previous gig.

Roger
© 2007 Roger Ingram
website:http://www.RogerIngram.com
Email: Roger@RogerIngram.com
Phone: 818.679.6940

"In my early professional years, I had put music on a pedestal. To me music was the most important thing. I came to realize that I was wrong - the people are the most important thing." - Herb Pomeroy

A GOOD SOUND
by Robert Baca

Attaining a good sound has been the goal of brass players for generations. Although our ideas of how to produce this sound have shifted from the actual physical study of sound itself to selecting suitable equipment, most musicians would agree that when range, technique and flexibility arrive at an acceptable level, creating a good sound becomes the greatest challenge. By studying the concept of sound quality, you can increase range technique, flexibility and overall playing ease to a more optimal level — a fact overlooked by most trumpet players. Imitating a good trumpet sound involves hearing and listening, processes best achieved when we slow down our mind and focus our attention.

Full vs. Loud
A full sound generates a strong fundamental and a full compliment of overtones. When we direct warm, moist, relaxed air through the center of the trumpet, it enables the overtones to set up properly and the sound will have the clarity that was intended in the design of the instrument. At this point distortion of tone is nonexistent. This is the difference between full and loud. How can we tell how much air to use, what direction it should go, or at what speed it should travel? These questions are resolved automatically by listening to the sound coming out of your bell. Through much listening, we will notice our sound getting closer to the instrument we wish to imitate. We constantly listen and compare. A sound can be loud, but it may not be full. Compare a $199 boom box with a $5,000 audio system. The volume level of the inexpensive set has to be turned up to nine or ten to achieve a loud sound. As the dial reaches this mark, distortion occurs. The $5,000 system creates a full sound by maintaining clarity in a room when the volume level is at 2, 3 or at its maximum.

Concentration
Producing a good sound requires much concentration. With concentration, refined by our interest in studying musical sound, our mind senses, isolates and analyzes the entire sound spectrum being heard. Eventually, through repetitious practicing and listening, the trained mind will unconsciously react by instructing the proper muscle groups to respond in forming the embouchure and air support to just the right degree, thus achieving the desired full sound. The same process exists when we learn to hit a baseball, walk or run. If we are preparing to run a marathon, most of the training is spent learning to quiet our mind to let the body function in the most efficient manner.

Dynamics
Think of dynamics not as loud or soft but as sound color, ranging from dark to bright. Imagine bright as the lead trumpet voice in the shout chorus of a big band arrangement, and dark as the second movement of the Haydn Trumpet Concerto. The dynamic color must fit the ensemble medium. A forte in the Hummel Trumpet Concerto with piano accompaniment would be drastically different than a forte written in a Mahler symphony or the shout chorus of a big band chart. Dynamics are greatly affected by the sound color of the rest of the ensemble.

The Printed Page: A Blueprint
Music written on a printed page should act as a guide to what the music should sound like. The sound is the end result. Printed music is only an image of what the composer had in mind. Three years ago I had a house built. From the blueprint I could conceptually see the roof, room sizes, landscaping, etc., but not until the house was completed could I actually observe the beauty of the design from the blueprint. In much the same way, the audience receives the full emotion of the performance based on what they hear, not on what is on the printed page.

Playing in the Upper Register
From the first music lesson we are taught that one note on the printed page is higher or lower than another. This is simply not true. Higher notes are actually faster frequencies. On the beach when the wind blows through a crack in a rock we hear the pitch go up with the velocity of the wind. A clear sound is easily attained in all registers when the velocity of relaxed air rather than the stiffness of the embouchure creates the upper register. Most importantly, build all registers slowly and securely.

Reading, Rhythm and Accuracy
If we practice too fast our mind initially develops the bad habit of not picking out all the details, resulting in reading, rhythm and accuracy problems. Slow down when practicing and let your mind see all there is to see. Near my house in Wisconsin is the town of Cleghorn, consisting of a few buildings and a thirty-five mile per hour speed sign. Few passing through this town observe the speed limit. Those traveling fifty-five barely know they passed a town, those doing forty notice the big oak tree with the endless branches that cover the road and those driving thirty-five could catch a rare glimpse of the squirrel that inhabits the trees. As Tim Gallawey states in his book, The Inner Game of Tennis, "...the unconscious mind hears everything, never forgets anything and is anything but stupid." Practice slowly enough with a good rhythmic sense to notice detail, but not so as to "daydream" with your concentration. Listen to mentors perform slower lyrical pieces and instantly try to imitate that which constitutes good musicianship.

NOTES ON A LESSON WITH PATRICK HESSIONS (former lead trumpet with Maynard) by Mike Wittcom

Dan, below are my notes from my lesson with Patrick Hession.

I have been interested in studying with a professional lead trumpeter for some time. Had a one time lesson with Wayne Bergeron in 2005, and realized so much can be gained from a seasoned pro’s experiences. Discussed this desire with a local pro jazz player, Dan Jacobs. He knows and recommended either Roger Ingram or Patrick Hession. Like many of you, I am familiar with each of these two’s recorded work. After reviewing both player’s webpages, I found Patrick’s home is near where I travel for work occasionally. So, I contacted him regarding a lesson and made an appointment. The lesson took place in Patrick’s living room.

I explained to Patrick that my immediate goals were 1) playing exactly in time and 2) phrasing. I have enough range for the gigs I play, so that was not top on my list. Hope would be to work more on that after addressing the first two goals. Fortunately, Patrick’s book covers a lot about breathing and playing in time.

When I arrived, Patrick had not played yet that day, so he started his warm-up while I was there. He began with a mute in, which I thought was due to the close proximity of his neighbors. But, Patrick told me he liked the resistance during the first few notes of the day. Since I brought a copy of his book, we opened it to “Exercise #1 - Warm-Up / Breathing”. For those of you who have read or use his book, he describes how he has used the same warm-up for years. It is great to discuss with an author of a technique text what is meant by some of the content.

I have been trained to breath deeply toward the abdominal muscles, but keep the shoulders level and relaxed. Patrick raises his shoulders to allow the lungs to fill all the way to the top. Similar to Bobby Shew’s method, I was told. Believe Roger gives Bobby credit for the same. Before we began the initial breath, Patrick turned on the metronome and set it to 60 bpm. The inhale of “Exercise #1” is 7 beats (7 seconds). Always subdividing the beat into sixteenth notes. This has helped me already, since I never really planned out when to breath. Just took a big breath some time before I was required to play. Patrick knows exactly how many beats before he plays and where within that beat for each entrance he begins his breath. This technique should really aid in my desire to play exactly in time. Also, he explained air intake to be like “yawning”. I have used the syllable “ko” for years to keep my throat open. “Yawning” seems more open.

Patrick’s breath capacity is amazing! We would breath at a constant rate for 7 beats. Even though we were breathing at close to the same rate, I was completely full before 5 beats. Patrick went all the way through 7 beats. To give you some idea of the difference in our sizes, Patrick is about 5’7” medium-athletic. I am 6’6” large frame. So, I was shocked at how much more air he could intake.

Other items he stressed in the exercises were the breath attacks versus the tongue attacks. As we worked on the breath attack, Patrick demonstrated his mastery of “whisper tones”. I have heard of them, but have not witnessed a demonstration. Patrick can begin a note that is so faint it is barely audible. Hence their name. He begins these notes and crescendos to double forte and back to whisper. Tremendous control.

We covered the first half of the book; which contains: breathing, relaxation, isometrics / develop center, relaxing center, refocusing center, lip slurs, ride the air stream, and riding the center. After that, same type of exercises, but more advanced. After we got through “riding the center”, Patrick said now practice other stuff daily.

After we completed the formal lesson using the book I began asking other questions. One was regarding his students. He has some high school students who want to have range like him. He has them work on Arban’s and Clarke’s methods. After they have those books under their fingers, he will begin them on range. He plays so many different styles and gigs that he has many books, charts, and sheets out in the practice area. He played a difficult “legit” solo piece for me. He is quite comfortable in the big band and “legit” settings.

Before now, I had heard Patrick about once a year during his 5 years with Maynard. I had to ask questions about being on the band. As we talked, Patrick would play different parts from different charts. One thing I keep noticing was how my ear seemed to “jump” each time he played G or high C. Since he hits notes so much in the center now, his horn resonates more than when I play. He also explained his horn, Monette MF, “rings like heck”. My ear was catching all the overtones. His playing in the note center was really demonstrated during one of the exercises later in his book. Exercise #17 is for “glissandos”. One of the patterns is quarter notes starting at middle C - high C - middle C - high C - middle C - high C - low C - high C- low C - double high C - low C - triple high C - low C hold. Tempo is 60 bpm in cut time! After playing it, Patrick says, the triple C is really only with his chops; not supported like it would be in a performance. Each note was on the money!

Before I left, I told him my long term dream is to play Maynard’s solo on “Danny Boy”. Patrick has recently performed this, so he took out the music and played it beginning to end. No misses or cracked notes. What a treat for me.

By the way, my ears were ringing most of the 3 hour drive home. He has serious power to use when he chooses.

Patrick’s schedule is full for a few weeks. So, I will be working on the first half of the book. After ITG, his schedule will free up a little and we will set-up another lesson then.

Looking forward to it!

Mike

NOTES from BOBBY SHEW CLINIC:
From O.J.'s trumpet page, articles and reviews.

Background:
Bobby started the clinic by telling a bit about his background as a trumpet player:
• Learned by ear, by trying
• Self taught – "one of those people"
• In a way "I had a better system" – no one said "Bobby do that" – I had to think

Students:
Students I see today are afraid to think. A lot of teaching I see (at clinics, etc.) states that "This is the way" – I am amazed – there is no such thing as "one way" to play the trumpet.

The important things I try to communicate to my students are:
• Proper listening
• Think! – Do it!
• Copycats – NO!
• Confidence – find your own voice.

How Bobby developed his knowledge:

As I said I never studied in the normal way - Arban bored me. I just started out by playing. Things worked. I got jobs in better and better bands. When I was in the Buddy Rich band there was a lead player that Buddy did not like. A sax player said "Buddy why don’t you try Bobby?" Buddy then said: "Bobby, get over there" Now, I started to get nervous, I had never practiced high notes. The song was some simple shuffle stuff and only one high F at the end. I put my knee up to get it and managed to get through it – you know I could swing – and Buddy, being a drummer wanted that. Buddy then said: "You are now my new lead player". I said to him "I have no chops". "Go home and get it – have it for tomorrow", Buddy then said. Well this was the beginning with problems for me, like muscle problems, hernias – I’ve been through a lot of problems.
I now see that students do the same I did. Man, I have to help these kids. This is no fun memories.
To find out things I decided to buy books, Maggio, Gordon, Callet, etc. There are a lot of dangerous attitude among methods out there: "Do what I say". This is the egomania or "guru-syndromes".
Remember: "The best teacher is yourself"

You know earlier I though Maynard Ferguson was "inhuman", but because of Buddy Rich I had to learn how to do this. One day I had the courage to ask Maynard behind the stage: "How do you do this". He showed me a book called "The science of breath". This was a yoga book not a trumpet book.

Later I asked Bud Brisbois to show me his system. It was very opposite of the normal stuff, like lift your shoulders, etc. I went home and tried it. I played from the back of the Clarke book, the glissando exercise, a gliss from E to high E. Suddenly I went above that high E and ended on a big fat high A. This was my first high A. With this new system I also got up to double C.
Facts versus opinions:

I have done more than 25 years of research in this field now. I have read a lot of medical books, etc. There are a lot of opinions about breathing and misconception like breathe from the diaphragm etc. I needed to know and a doctor showed me some facts. I have been talking to a lot of people. Several of my students are in medicine, physics etc. I always ask my students questions.
Some points:

• High notes = fast air, not lot of air
• Avoid over blowing
• Back off = access to upper register
• Relax – wrong word, efficiency – good word



Warm up:
Bobby Shew has an effective and quick warm-up method.

1. Flutter with completely relaxed lips, by blowing carefully with a closed mouth (sounding almost like when a horse blows through the nose). This stimulates the blood circulation and removes the milk acid, and should be done as often as possible, also in breaks during performance.

2. Do "lip buzzing", that is isometric lip vibration, as if you play without the mouthpiece. Not more than 15 - 20 seconds each time. This is also a good test on the lip condition. He said that the lip position when buzzing is not equal to the lip position when playing on the instrument.

3. Play on the mouthpiece with a clean sound.

He said that he would try to find the good feeling – "The Bobby Shew feeling" that he felt when he was playing good. This was what he was looking for and he would do 1 and 2 until the sound was good. Then he was ready.

He had discovered the flutter by watching people doing this when they where playing.

Breathing:
Bobby demonstrated his "6- step" breathing technique:

1. Intake (small), abdomen moves outward slightly, but relaxed.

2. Intake (large), abdomen moves inward (horizontally) to create wedge position.

3. Intake, abdomen holds position (not tense) shoulders lift straight up.

4. Grip (isometrically) abdomen muscles, maintaining innermost position (lock wedge tension)

5. Relax and lower shoulders to comfortable playing position.

6. Blow (as if spitting rice)

The important thing with step 1 is that it makes the diaphragm drop down.

Students with pinched sound:
Often students came to see Bobby and wanted to play difficult things right away. But he would first ask them to simply play a low C. By listening to the sound of that note, Bobby could tell right away if the student had potential for a double high C in his low note sound.
Very often students had a pinched sound that they had accepted as ok. Bobby now took up his trumpet and demonstrated how it sounded (playing with a pinched sound).
Now the first thing was to make the student aware of this by opening the sound. Bobby demonstrates, calling the pinched sound "NO-sound" and the open sound "YES sound".

He then played slowly: "YES – NO – YES – NO "

The next is to have the student play a simple ascending scale. Even if this first notes are open he often goes into a more pinched sound as he ascend.

A lot of people can hit a high note but it is pinched. Bobby demonstrates a pinched double high C – then an open one.
Do not become obsessed by high notes. The most important thing is good sound !

Tape yourself and listen closely.
Good practice habits:
Bobby did not get time to go into this subject deeply but he pointed out some important points to remember:
15 minutes 4 times a day is much better than 1 hour practice.
Why?
Because after 15 minutes you still feel good and the body remember that "peek feeling"

Try this for a couple of weeks and see for yourself.

O.J. 1999 O.J.'s Trumpet Page Articles and reviews
Clinic with Bobby Shew

IRON CHOPS by Roger Ingram

(note: this is written by legendary lead trumpeter, Roger Ingram. It is a response to a question from a student. It contains vital information for any trumpeter)

Irv,

Nobody has "iron chops". Such a thing does not exist. What some people DO have however (which is easily developed by anyone) is a sense of, and coordination of the usage of internal compression along with the absolute control of the aperture.

This combined with the development of muscle memory in regards to finding one's slots (partials), a sense of overall control of playing volume, and the right equipment, lends itself to what is referred to as "efficient playing". This is at times misconstrued as "iron chops".

Being "efficient" should always be the primary goal of any brass player in regards to the purely mechanical aspect of playing the instrument. Range and endurance are the by-products of efficiency.

You must also realize Irv, that as you said, this was the first time you had played "lead" on a big band job in quite awhile. What did you expect? Sometimes it takes awhile to get used to the saddle again. Try not to be too hard on yourself. Everyone's corners get tired at some point. I suppose a reasonable goal would be getting through a 4 hour gig without too much discomfort.

Roger Ingram
www.rogeringram.com

THE LEAD TRUMPETER: an interview with Bernie Glow for the New Yorker Magazine 1969

"First of all, the lead player has got to be able to play the instrument
with a good, big sound," Glow said. "He's got to have a good high register. He's got to have endurance. Above all, I think, he's got to understand what a melody line means when he plays it--whether it's supposed to mean some-thing syrupy and Guy
Lombardo-ish or supposed to be something gentle or something swinging. A first-trumpet player's job is to look at a piece of paper
and make it sound like music. It's a piece of paper with black dots on
it, and of itself it's not music, and if it's played by the wrong people it'll never be music. It's a matter of interpretation. There are dozens of trumpet players in New York who can play as high as I can, or higher. Or who can play as strong as I can--though, in all frankness, there are very few guys in town who can play as strong as I can or as long as I can. I never reach a point where my lip is so tired that I just can't play anymore. But what you have to do is play music. Some people play the trumpet instead of playing music. There are players who are technically marvelous but get so wrapped up in playing technically marvelously that they ignore the fact that the only purpose in playing that well is to play music.

The playing of the instrument is not the end. To me, that's the basic difference between a great musician and a good one. There are musicians in New York who do pretty well because they never hit clams-- you can't put anything in front of them they can't play. They have all the qualifications. But they just don't have any musical sense. They never sound as if they understand what they're playing. They play it perfectly, but somehow it just doesn't add up. All those perfect notes don't add up
to a song.

"Beyond this, there's a certain attitude that's necessary for the
lead player--toward the men he's working with and toward the leader. A man can't be a good lead player if the fellows he's working with don't respect him. If they don't respect him, they're not going to cooperate, and you can't browbeat people into playing music. Music is not that sort of animal. You shouldn't , ordinarily, have to say a word to the other guys if the music is fairly well written. They should listen to you and play with you. Your interpretation is definitive. Of course, sometimes the music is not plain enough. Or sometimes arrangers will mark phrasing on the music that turns out to be the opposite of what is required to make it fit with the rhythm section. When this happens, the lead player will ignore the markings, and nine times out of ten the arranger will look up and say, "Gee, thanks. Beautiful. It's just what I had in mind."

Worrying about such niceties as making one's perfect notes add up to a song is a luxury of a few. Most people who try to play the trumpet find that their problems with it are as much physical as musical, the instrument evidently having been designed for maximum discomfort, annoyance, and a pain to the player. With a sensible instrument such as a clarinet or a saxophone, the sound is produced in part by the vibration of a reed. But in the case of the trumpet, the player must vibrate his lips, which are tightly pursed and and then buzzed against a metal mouth-piece. During long performances, the muscles of the lips and face tire, and the lips may eventually give out and refuse to
buzz. Playing in the high register of many instruments is largely a mechanical matter--pressing a different key or combination of keys, for instance. To play in the trumpet's high register, the player must press his lips tighter and tighter as he ascends, and provide more and more air pressure, supported by his diaphragm and by muscles in his back and elsewhere. This pressure further tires the mouth, and can also bring on leg and back aches. If the pressure is incorrectly applied, from the abdomen instead of the diaphragm, it can apparently cause a hernia. Normally, though it will produce nothing worse than dizziness and blackouts--the phenomenon discussed in the March 14, 1959 issue of the British Medical Journal, in the article by the late
Dr. E. P. Sharpey-Schafer, who was professor of medicine at St. Thomas' Hospital, in London, and Maurice E. Faulkner, a professor of
music at the University of California in Santa Barbara. "The effects [of playing the trumpet] on the circulation," they wrote, "are those
of a formidable Valsalva maneuver [a hard nose-blow with the nostrils
and mouth blocked]: peripheral venus valves shut and blood accumulates distal to them. The effective cardiac-filling pressure, stroke output, and mean arterial pressure fall off rapidly. After about 7 seconds the slight rise of arterial pressure indicates onset of reflex constriction, which persists, after cessation of blowing, during the overshoot. Since the brain is not protected by venous valves the
supply pressure across it falls so that the cerebral blood flow may
become inadequate during the period of blowing. More usually dizziness or blackout is maximal immediately on release of intrathoracic pressure...."

Dr. Sharpey-Schafer, who made the observations while Faulkner played
the horn, reported that Faulkner reached a mouth pressure of a hundred and sixty millimeters of mercury (about three pounds per square inch) while playing a high D. It would have been interesting if he had made similar measurements during a performance by a "commercial"--that is, a jazz or dance-band player, such as Glow, to compare with those of a "legitimate," or symphonic, player, such as Professor Faulkner. In the past twenty or thirty years, the commercial players have extended the range of the trumpet far beyond it's textbook limits: today they play in a register that the legitimate player would never attempt, and with a brute force that he would never employ.

(Editor's note: The above is not entirely true. Whereas, the so-called "legit" players did not have to play in the upper register continuously (as a matter of course) as modern day demands, Herbert L. Clark finished a number of
solos on a high "F", and the old St. Jacome books have exercises up
to and including a high "F", albeit with disclaimers. The old Ernest
Williams book has exercises in the upper register among others of the
old school...now back to the Whitworth article) The range of the
standard B-flat trumpet was once considered to be roughly from the F sharp below the staff to the high C above the staff. Commercial
players are now expected to be able to play F's and G's above the high C all day, and some of them occasionally will play as high as the double C (an octave above high C), and even beyond.

(Editors note... I once had a record of Doc Severinsen's on which he finished a piece with a very nice double E, but have forgotten the name.. If anybody knows the record or piece, please let me know.. at morriek@halcyon.com) Trumpet

Glow is unrepentant for having strayed into jazz and studio work. "It's really been fun," he says, "I'm a guy who's making a good living doing something he'd rather be doing than anything else in the
world." He still remembers the sting of the blackboard point, though, and he rarely misses a note.

Reprinted from the Dec. 10, 1969 issue of The New Yorker Magazine

QUOTE: LOUIS ARMSTRONG

"“You blows who you is." -Louis Armstrong"

GOALS IN MUSIC
Tom Harrell

"That's one of my goals, for the music to communicate to people and for them to feel the emotions that I feel, in terms of the music. I'm blessed that I can play music that I love to play and people enjoy it. It really makes everything worthwhile."

"Music is a religion and it can structure your life and provide order in the universe. If my music makes people feel better and hopeful, then it gives me meaning and hope."

-Tom Harrell

WHAT MAKES A TRUMPET WORK?????
By Brad Goode

Many people believe that the trumpet is a megaphone which amplifies the sound of the mouthpiece or the buzzing of the lips. This can be disproved very easily. First try this; as you are playing a note, hold the horn with your right hand and hold the mouthpiece stem with your left hand. Now, while still playing the note, gently remove the mouthpiece from the horn. Is the mouthpiece buzzing? If it is perhaps you are playing very loudly.

Next, try this; put the mouthpiece back in the horn. While holding the horn with your right hand, tap the mouthpiece gently with your left palm, and try different fingerings. You should hear distinct tones.

These demonstrations should serve to illustrate that buzzing does not create the tone. Although mouthpiece buzzing CAN be an effective practice technique for developing the embouchure,(I do it daily) it usually requires more force than is used in playing the instrument. In fact, it has been proven that the sound is produced by vibrations of the air column within the instrument. Simply put, this means that the slower the air, the lower the note. (Or the faster the air, the higher the note!)

Armed with this knowledge, it would seem that a great part of our practicing should be devoted to controlling the speed of the air stream. (Hitting the right notes!)

(note: this is a short excerpt of a very long and informative article on every aspect of playing the trumpet by Brad Goode entitled "SCIENTIFIC TRUMPET PLAYING". For the complete article, scroll to the bottom of the page, click on "Trumpet Stuff" in the file below and you'll find the article)

ON PRACTICING TRUMPET – Q & A with ROGER INGRAM


QUESTION:
I'm finding my single largest obstacle now is just playing/practicing on a regular basis. What can I do?

ANSWER:
If that's your single largest obstacle - you're doing well and dealing with the same thing every professional deals with. Everyone (students and pros alike) is aware of the fact that making any significant progress as a trumpet player depends a great deal on how often one plays.

QUESTION:
When I practice now, I get better, but it's hard to keep the
desire to practice when I don't have anything in particular to play for...

ANSWER:
If there are any other musicians AT ALL in your area that you like and get along with, I would suggest starting your own band - whether it be a quartet/quintet, 10, or 15 piece big band. Believe me, this will keep you busy and bring your interest level up.

QUESTION:
However, I'm sure that will change eventually, and it is fun seeing the improvement in my playing. The other issue I seem to have is not getting too tense when playing in the upper register.

ANSWER:
Well, this is good. You don't WANT to be too tense when playing anywhere on the horn. ;-) Ahhhh,... just playing with you.... I think what you really meant to say is you feel you ARE too tense playing in the upper register. As I showed you in our lesson, where you create compression (the point at which "the wedge" is applied and one's facial corners) should be tense and firm spots.

Without watching you and seeing you, I'll go out on a limb and make an assumption: perhaps because of the lack of consistent playing, you may be using additional parts of your body to create the necessary compression needed to play easily and well in your extended register. This can all be corrected by bringing up your playing desire and getting involved in a group, as this will keep you playing more, and keep your mind off mechanics and more on music :-)

Sometimes we all get a bit "mental" about it and miss the forest for the trees. There is no "perfect" player or "perfect" playing/development situation. One's WILL-DESIRE however can and will conquor all :-)

QUESTION:
I keep working on letting that air get out, sort of like the diagram that Bobby Shew uses (think "AAAAAHHHHHHHHHHH"). Sometimes my chops and upper body tense up, causing breaks in the sound. Any tips for that? Letting old bad habits die?

ANSWER:
Plan a nice funeral and say good bye forever (bad playing habits, that is. ;-)

QUESTION:
I'm hoping our paths might cross at the end of the year at some point. I'll be in Nashville in June, Southern California in January.... Otherwise, I'm stuck in SW Missouri! :)

ANSWER:
Southwest Missouri isn't such a bad place. I happen to know there are quite a few good musicians in Columbia MO (Alan Beeson for example.) Sometimes a person needs to be creative and make do with what they have. As I said earlier, get involved with a band, and if there are no bands, create one. It's a fantastic learning experience to be a band leader, putting together music, rehearsing charts, and finding gigs. Try not to get down on yourself. You have a lot going for you. You are a sensitive musician, and through my correspondence with you, I've learned that you love playing the horn more than most professionals do. Enjoy the journey, enjoy life, and be kind to yourself.

It would be great to cross paths with you again! Keep an eye on my schedule, and hopefully we'll meet up for either a lesson, or just a hang.

Stay in touch,
Roger

email: Roger@RogerIngram.com

HERBERT L. CLARK: ON JAZZ

I have never heard of a real soloist playing before the public on a Trumpet. One cannot play a decent song even, properly, on it, and it has sprung up in the last few years like "jaz" music, which is the nearest Hell, or the Devil, in music.
Herbert L.Clarke in a letter to Elden Benge Jan. 13th 1921

HOW TO GET A GIG
By Stan Mark

As Stan always said it took four things to get the gig.
1. People have to know you.
2. You have to know people.
3. You have to have a great reputation.
4. You have to be a great player.

You have to have the first three in order to get the opportunity to demonstrate #4.

As told by Alan Wise

WHAT WE PLAY
by louis armstrong

"What we play, is life."

ON RETIRING:
by louis armstrong

Musicians don't retire; they stop when there's no more music in them.

TRUMPET IS LIKE A COBRA
Doc Severinsen

I saw Doc Severinsen back stage at Disneyland and he discussed with us the difficulty of playing a trumpet and likened it to a Cobra that can turn on you at anytime.
- Jack Kanstul

I AM HUMBLED by the trumpet

By Bobby Shew

"I am humbled by the trumpet every day."

MILES DAVIS: QUOTES

I'm always thinking about creating. My future starts when I wake up every morning... Every day I find something creative to do with my life.
Miles Davis

Don't play what's there, play what's not there. - Miles Davis

I'll play it first and tell you what it is later. - Miles Davis

If you understood everything I say, you'd be me! - Miles Davis

It's always been a gift with me, hearing music the way I do. I don't know where it comes from, it's just there and I don't question it.
- Miles Davis

Sometimes you have to play a long time to be able to play like yourself. - Miles Davis

The thing to judge in any jazz artist is, does the man project and does he have ideas. - Miles Davis

MUSIC IS NOT SIMPLY A PRODUCT
by Pat Harbison

Jazz is process oriented. Music is not simply product. It is life itself-or at least the footprint of one living that life. Our educational system is a product oriented one built on the industrial model. An educated person is "assembled" in a certain sequence according to a timetable that is imposed by "experts". I know of no jazz artist who developed in such an incremental and scheduled fashion.

In every improvisation class I have taught I have had to acknowledge the uniqueness of each student and accommodate differing backgrounds and learning styles. No one formula works for all and everyone must grow at their own pace. No one can teach someone to be an artist. That is a personal internal process. It is not a process that lends itself to absolute measurement. I think the only fair and practical thing we can do in jazz education is grade the measurable-the mastery of craft and the successful completion of assigned learning tasks and activities.

This material was originally presented by Pat Harbison at the 1997 IAJE Conference in Chicago

LUIS GASCA: CREATING YOUR OWN MUSICAL IDENTITY

In order for a musician to create his own musical identity Gasca believes he must always surround himself with musicians and he must open himself up to all forms of music, which involves the act of humbling oneself.

Any good musician who is inventive and creative has to search persistently before coming to their own musical identity.

YOUR SOUND IS YOU
Clark Terry

"I believe that regardless of how many people you’ve listened to or emulated over the years, your sound is you and what you really feel inside."

Clark Terry

Arturo Sandoval

I have to play every day in order to keep absolute control over my form

Blow your life through your horn.

To rise above the crowd, you must discipline yourself unceasingly to the strict demand and realities of your ambition.

I know that I haven't invented anything myself, that I am only a mixture of countless influences, and thanks to that I am able to find my own style of playing.

It's so important to listen to music, to listen again and again. Eat, sleep and drink music.

Allen Vizzutti: QUOTES ON PLAYING
TRUMPET

* There is no such thing as no pressure playing.

It is possible to improve your trumpet sound almost immediately by working on the mouthpiece.

Keep in mind that 99% the music and 90% of the money in the professional world is made below high C.

TOM HARRELL: QUOTE

The hardest part of playing the trumpet is the physical act of making the sound.

THOUGHTS ON MUSIC
by daniel w. jacobs

The secret glue of music lies in the welcome anticipation of the next note.

The love of music engenders the music of love.

Music should provide both familiarity and surprise . . . but not too much of either.

Melodies, harmonies and rhythms heard but not played provide the most sublime pleasures in music.

Good music has the power to awaken the soul, stimulate the mind, energize the body and remind us that we are still alive.

daniel w. jacobs
(c) 2008-2020, all rights reserved

COMMUNICATION
By Bobby Shew

Communication is the key ingredient in music of ANY type. It really doesn't seem sane to play to oneself of to the music stand or wall. So the person(s) at the receipt point is as important to the experience as you are. It's the emotional reaction to your creation that completes the action. The emotional communication takes precedence over style and technique. You need plenty of technique, but only enough to execute what you hear and feel. S0, study emotions ; it'll intensify your playing.

Another area of communication that's very important is in your ability to communicate with the other guys in the band. In fact, if you have trouble with this, it'll show up in your playing. You're in a sense "rapping" with people when you play. If the entire band maintains a high level of communication, the affinity will be high for each other, the "vibes" will be right, and the band will swing: It might be worth mentioning here that lots of people apparently misunderstand communication in thinking that they must just talk, talk, talk, when in reality, the art of listening is super important and can help to smooth out your relationships with other people. This then will increase your ability to listen in the section to your lead player of the rhythm section or Whatever. Do you see the point? It all fits in together and the picture starts to clear up end make sense.
- Bobby Shew

My Lesson w/Roger Ingram
By Tony Gambaro

Had a very cool hang w/Roger yesterday for a few hours in a room upstairs at Proctors Theater that must have been 100 degrees! We started out just shooting the breeze and name dropping! He dropped many more names than I did.

Then we got right to it. He asked me what I was looking to gain. He said you've worked steady for twenty years blah blah blah, what you want from me. I simply told him that I don't have it figured out and I want to figure it out!

He then started to play some octaves from low C to High C all The way to double C. Very cool and loud in a brick room that measured 10 x 10. Great sound by the way and he does use some pressure! He did that because while giving a lesson the day of a show he also has to do his thang!

He asked me how I warm up and I told him middle G soft, maybe some chromatics, about 10-15 minutes depending on stiffness. He said No No No No!

Here's what we did. He had me flapping my chops gently at what he described as 8 flaps per second. Stop, let the blood begin flowing. Flap some more… Stop; let the blood flow and so on for about 3 minutes on and off. Then a light free buzz on any note. Flap some more after then buzz again. Flap again then do some arpeggio buzzing. Flap some more the maybe some slow tonguing while buzzing.

Next, take just your mouthpiece and buzz on any note that's comfortable. Flap some more. Buzz the mouthpiece again doing some short gliss'es up and down! Flap some more… Insert mouthpiece and then a middle G softly lipping it up and down (Sharp and flat) until finding its center. Once you find the center add a nice hand vibrato… Flap some more. Then some light chromatics from middle C down to F. Flap some more then some more light chromatics up and down to middle G. Done! Warming up is simply getting blood flow to your face and the lactic acid out.

From this point we went into breathing… He had me stand up to watch my profile while playing just chromatics up to high C and down softly. He asked me why my shoulders were staying down. I told him that I am trying to keep them relaxed and that that has been pounded into me like a senseless beating for 30+ years! He replied, NO NO NO. First off, look at old pictures of Maynard while playing… His shoulders are so high they almost cover his ears. He mentioned some other high profile catz and when you really look at their bodies while they played, there shoulders were up. Basically, why keep your shoulders relaxed where they can be a burden to the top of your lungs! Utilize your entire lung then use your diaphragm up and in twice as much as your use to for compression. Do this for all volumes. Make's sense. Actually doing it was another thing, but I made some positive strides and yes there was difference in stability. My stomach did hurt in the beginning so I was using a different set of muscles…

Chop set, the most important aspect of playing the trumpet. We got out the visualizer. And he wanted to see what was going on in all registers. My aperture was for the most part pretty tight and I thought that that was the idea…. NO NO NO NO. First off he said I was not using enough pink! When he showed me with the visualizer his chops were rolled out and you could drive a bus through his aperture while he was blowing! Unbelievable to me… He said the more pink you can use the more cushion you create. More cushion = much much more endurance. That's how me and the rest of us, BergeronMy Lesson w/Roger Ingram
By Tony Gambaro

Had a very cool hang w/Roger yesterday for a few hours in a room upstairs at Proctors Theater that must have been 100 degrees! We started out just shooting the breeze and name dropping! He dropped many more names than I did. Then we got right to it. He asked me what I was looking to gain. He said you've worked steady for twenty years blah blah blah, what you want from me. I simply told him that I don't have it figured out and I want to figure it out!

He then started to play some octaves from low C to High C all The way to double C. Very cool and loud in a brick room that measured 10 x 10. Great sound by the way and he does use some pressure! He did that because while giving a lesson the day of a show he also has to do his thang!

He asked me how I warm up and I told him middle G soft, maybe some chromatics, about 10-15 minutes depending on stiffness. He said No No No No!

Here's what we did. He had me flapping my chops gently at what he described as 8 flaps per second. Stop, let the blood begin flowing. Flap some more… Stop; let the blood flow and so on for about 3 minutes on and off. Then a light free buzz on any note. Flap some more after then buzz again. Flap again then do some arpeggio buzzing. Flap some more the maybe some slow tonguing while buzzing.

Next, take just your mouthpiece and buzz on any note that's comfortable. Flap some more. Buzz the mouthpiece again doing some short gliss'es up and down! Flap some more… Insert mouthpiece and then a middle G softly lipping it up and down (Sharp and flat) until finding its center. Once you find the center add a nice hand vibrato… Flap some more. Then some light chromatics from middle C down to F. Flap some more then some more light chromatics up and down to middle G. Done! Warming up is simply getting blood flow to your face and the lactic acid out.

From this point we went into breathing… He had me stand up to watch my profile while playing just chromatics up to high C and down softly. He asked me why my shoulders were staying down. I told him that I am trying to keep them relaxed and that that has been pounded into me like a senseless beating for 30+ years! He replied, NO NO NO. First off, look at old pictures of Maynard while playing… His shoulders are so high they almost cover his ears. He mentioned some other high profile catz and when you really look at their bodies while they played, there shoulders were up. Basically, why keep your shoulders relaxed where they can be a burden to the top of your lungs! Utilize your entire lung then use your diaphragm up and in twice as much as your use to for compression. Do this for all volumes. Make's sense. Actually doing it was another thing, but I made some positive strides and yes there was difference in stability. My stomach did hurt in the beginning so I was using a different set of muscles…
Chop set, the most important aspect of playing the trumpet. We got out the visualizer. And he wanted to see what was going on in all registers. My aperture was for the most part pretty tight and I thought that that was the idea…. NO NO NO NO. First off he said I was not using enough pink! When he showed me with the visualizer his chops were rolled out and you could drive a bus through his aperture while he was blowing! Unbelievable to me… He said the more pink you can use the more cushion you create. More cushion = much much more endurance. That's how me and the rest of us, Bergeroyne, Arturo, Maynard, Cacia etc, can blow like this all night long… As awkward as this was I was able to play a middle G then a low C that just slammed. Then he had me go to middle C then E – G – C - E – G Dubba C… It worked, while the tone was suspect as well as being very uncomfortable for obvious reasons. I understand it. I will dedicate 15 minutes a day to this and the breathing and he said after awhile it should work it's away in to your everyday playing!

We got into gear. As you all know I play the Stage 1 California Light… He played it and critiqued it. First off it's a medium large and that's too big. He thought the build quality was excellent but would have liked some standard bracing… His as most of you know is a Schilke S-42… Not quite, not even freaking close… He's had the horn for 10 years, 50 modifications in the process mainly lead pipe and brace placement… He will be building his own horn not with Schilke but with a another gentlemen and I do not remember his name… Small and tight!

Here it is in the nut shell. Because you can drive a bus through his aperture, the smaller and tighter the gear the easier it is. He was really passionate about this subject! His mouthpiece throat is a 30…. He looked through mine and said what the hell are you doing???? His sound is pretty big and focused obviously! Tight Mouthpiece and horn with a big bell...

He also said that at times depending on the theater he's playing in the guys in the band say they can't hear him… He tells them, I'm not playing for you, I'm playing to the back of the room… This business with having sound around the front of your horn is for the dogs! A trumpet is built to project forward not around you… Leave it at that!

In closing: He said, look: I'm not trying to push my ways on you! Today I simply told you what works for me and went down the line with name dropping all the biggies of our sport and said he got it from them! He said quite comfortably, why do you think we work all the best gigs and have to turn down work! He told me he would only like to see me again if I chose to apply what he showed me…

End!!!

Oh Yeah, the show was great and the other guys could blow as well.

Thanks for reading,

Tony
√, Arturo, Maynard, Cacia etc, can blow like this all night long… As awkward as this was I was able to play a middle G then a low C that just slammed. Then he had me go to middle C then E – G – C - E – G Dubba C… It worked, while the tone was suspect as well as being very uncomfortable for obvious reasons. I understand it. I will dedicate 15 minutes a day to this and the breathing and he said after awhile it should work it's away in to your everyday playing!

We got into gear. As you all know I play the Stage 1 California Light… He played it and critiqued it. First off it's a medium large and that's too big. He thought the build quality was excellent but would have liked some standard bracing… His as most of you know is a Schilke S-42… Not quite, not even freaking close… He's had the horn for 10 years, 50 modifications in the process mainly lead pipe and brace placement… He will be building his own horn not with Schilke but with a another gentlemen and I do not remember his name… Small and tight!

Here it is in the nut shell. Because you can drive a bus through his aperture, the smaller and tighter the gear the easier it is. He was really passionate about this subject! His mouthpiece throat is a 30…. He looked through mine and said what the hell are you doing???? His sound is pretty big and focused obviously! Tight Mouthpiece and horn with a big bell...

He also said that at times depending on the theater he's playing in the guys in the band say they can't hear him… He tells them, I'm not playing for you, I'm playing to the back of the room… This business with having sound around the front of your horn is for the dogs! A trumpet is built to project forward not around you… Leave it at that!

In closing: He said, look: I'm not trying to push my ways on you! Today I simply told you what works for me and went down the line with name dropping all the biggies of our sport and said he got it from them! He said quite comfortably, why do you think we work all the best gigs and have to turn down work! He told me he would only like to see me again if I chose to apply what he showed me…

End!!!

Oh Yeah, the show was great and the other guys could blow as well.

Thanks for reading,

Tony Gambaro

It's the way you play that makes it . . . Play like you play. Play like you think, and then you got it, if you're going to get it. And whatever you get, that's you, so that's your story.
-- Count Basie

ON CREATING
by Miles Davis

I'm always thinking about creating. My future starts when I wake up every morning... Every day I find something creative to do with my life.
Miles Davis

ON GOING TO SCHOOL: Ornette Coleman

“Musicians tell me, if what I’m doing is right, they should never have gone to school."

BRAGGIN' IN BRASS
by David Berger

The relationship between the composer/arranger/orchestrator and the performer is very special. Each needs the other to sound good. The greatest example we have of this is Duke Ellington's relationship with the members of his band. One of the most popular clichÆs about Ellington is "His band is his instrument." Simplistic on the surface, but very true.

It has been said that every great composer has been in love with the music of one of his predecessors. Not the case with Ellington; his love was for the players who worked for him. He prided himself on his ability to create settings that brought the best out of each of these highly individualistic musicians. Each player brought the spark of creativity with him when he joined the band, but it was Ellington who recognized the depth of their potential contribution and taught each musician through having them play his music. Clark Terry, who in Ellington's words was "one of the greatest soloists to play in the band," has said that Ellington taught you who you are.

In most bands and orchestras, individuality is suppressed for the purpose of creating an homogenous sound. In the Ellington band, individuality was encouraged in order to create a wider palette. The proper combination of these disparate sounds was left up to the Maestro. Consider the trombone section from 1932-1944: Lawrence Brown, "Tricky Sam" Nanton and Juan Tizol.

Brown was smooth as silk (listen to Transblucency -- 1946), blistering (Mainstem --1942) and incredibly swinging (Rose of Rio Grande -- 1938). He modeled his sound after Louis Armstrong, he was the most technically proficient trombonist of his day, he could sight read anything, he played lead trombone with the same urgency he brought to his solos, he had a phenomenal ear and was frequently called on for requests as he knew every tune and could play them in any key.

Joe "Tricky Sam" Nanton combined raw energy, joie de vivre and a love of different colors. Nearly all of Nanton's solo work is played with a plunger and a Nonpareil trumpet straight mute. With this set-up he was able to create sounds that are almost indistinguishable from the human voice. He played simple diatonic and blues melodies entirely in the octave above middle "c." A great example is Harlem Speaks --1932. Two trombonists could not be more opposite than Brown and Nanton. Enter Juan Tizol.

Tizol was from Puerto Rico and brought with him the Latin American and concert band influences. He was not an improviser, but his playing had an unmistakable identity. He played a "c" valve trombone with a unique vibrato and legato phrasing well suited to cantabile melodies. Several great solos are Conga Brava -- 1940 and Flaming Sword -- 1940.

Lawrence Brown played most of the lead, but both Tizol and Nanton also take over the lead at specific moments. Cottontail -- 1940 starts with Brown on lead, switches to Tizol for the brass soli and again switches to Nanton for the shout chorus.

In the 50 year career of the band numerous personnel changes and temporary substitutions occurred. The most significant were as follows. Brown's role was taken over by Britt Woodman from 1951 to 1961. In the 60's Brown returned. Vince Prudente took over in the 70's. Nanton's role was relinquished to Wilbur DeParis, Tyree Glenn (vibes double), Quentin "Butter" Jackson, Booty Wood and Art Baron (recorder double). When Tizol left in 1944, he was replaced by slide trombonist Claude Jones. Tizol later rejoined from 1951-54, when he was replaced by slide trombonist John Sanders. Tizol had a "c" valve trombone made for him, and Sanders taught himself to play this unusual instrument. When Sanders left, Chuck Conners took over the role on bass trombone.

Each of these successors had their own personalities which Ellington exploited to the fullest. Their basic role in the band had been defined by their predecessors, but the interpretation was left up to them. When Britt Woodman joined, he knew all of Lawrence Brown's solos and proceeded to play them. After a night or two, Ellington summoned the new trombonist to his dressing room and explained to him that he was hired because he was Britt Woodman. Ellington looked forward to the challenge of incorporating Woodman's personality into the band's music.

The roles in the trumpet section are much more complicated. Precise and polite Arthur Whetsol was the trumpet player in the original Washintonians in the late teens through the early twenties. He dropped out to go to medical school and returned as lead trumpet from 1928-1937. He was not an improviser, but his paraphrase of Mood Indigo -- 1930 shows off his personality. Bubber Miley was the star of the band throughout the '20's. He was responsible for anything that was hot or blues oriented. He originated the plunger tradition in the Ellington band and taught it to Tricky Sam. His solos on The Mooche-- 1928, Hot And Bothered -- 1928 and East St. Louis Toodle-oo -- 1927 are some of the cornerstones of jazz. Third trumpet was played by Freddie "Posie" Jenkins from 1928 to 1935. His specialties were high notes, technical virtuosity and excitement always in a suave manner. His solos on High Life -- 1929 and Cotton Club Stomp -- 1929 are most representative. He left the band for health reasons, but returned briefly in 1937 where he can be heard in the four man trumpet section on Diminuendo And Crescendo In Blue and I've Got To Be A Rug Cutter. On Rug Cutter rather than playing trumpet, he is heard to humorous effect stomping his feet in the intro and coda.

Whetsol was replaced by Wallace Jones, Shelton Hemphill, Cat Anderson, Andrew "Fats" Ford (aka: Andres Meringuito) and Money Johnson. Although Cat Anderson is best remembered for his extreme high notes, he was probably the most versatile of the Ellington trumpet players. Aside from his strong and accurate lead playing, he contributed many solos in different styles both open and in plunger (Charpoy and All Day Long -- 1967 and The Eighth Veil -- 1962).

Second trumpet was inherited from Miley by Cootie Williams (1929-1940, 1962-1974). When he joined, Williams was a Louis Armstrong style trumpet player and singer. He figured that since Ellington hired him to replace Miley, he should also play plunger. Tricky Sam taught him the techniques and sounds and Williams developed into one of the most individual stylists in all of jazz. His two concertos: Echoes of Harlem -- 1936 and Concerto For Cootie -- 1940 are probably his greatest records, but pieces like Harlem Airshaft -- 1940 and Braggin' In Brass -- 1938 also show his fierce sense of swing.

When Williams left to join Benny Goodman in 1940, he was replaced by Ray Nance. Nance's nickname was "Floorshow"; not only did he play trumpet and violin, but he sang, danced and juggled his trumpet throwing it six feet in the air and catching it just in time for his next entrance. Nance's solo on Take The "A" Train -- 1941 was so integral to the composition that he repeated it nightly verbatim. When he left in 1965, Cootie Williams continued playing his successor's solo.

In 1942 Harold "Shorty" Baker joined the trumpet section making four. He became the second trumpet, moving Nance to fourth. These seatings are fairly general, as Ellington frequently reassigned certain passages or entire charts so as to take advantage of the individual sounds. Baker's gentle, nonchalant sound can best be heard on All Heart -- 1957. In and out of the band throughout the '40's and '50's, the second book was taken over in 1951 by Willie Cook. With Baker and Cook in the section together, Baker played fourth, moving Nance to fifth. Cook was a fine lead player (taking over that role on many occasions) and soloist in a swing style that embraces bebop. Listen to Blues Ala Willie Cook -- 1957.

Third trumpet, Freddie Jenkins' chair was taken over by Rex Stewart (1935-45). Known for his jocular half-valve technique and high note screaming, Stewart was immortalized in Boy Meets Horn -- 1938. Stewart was replaced by Taft Jordan. In 1951 Clark Terry took over this highly individualistic chair and added the mixture of bebop, plunger and flugelhorn. Not to be missed are Perdido -- 1959 and Up And Down, Up And Down -- 1957.

The Ellington band has been compared to Shakespeare's stock company; the same cast performing new productions. The new roles are created for the same actors/musicians. When these fine individuals leave the company and are replaced, the new man is chosen for his ability to express his personality through the roles of his predecessor not for his ability to imitate. In the words of the Maestro, "It doesn't have to be identical to be good; it only has to be good."

About David Berger

David Berger is a composer, arranger and conductor who has transcribed some 500 jazz scores including more than 300 by Duke Ellington. Mr. Berger first played trumpet with some of the best big bands, but he has worked most often as a composer and arranger with Chuck Israels, Gerry Mulligan, Clark Terry, Thad Jones and Mel Lewis, Buddy Rich, Quincy Jones, Lee Konitz and Mercer Ellington.

Mr. Berger was conductor of the Lincoln Center Jazz Orchestra since its inception in 1988 until 1994. This international orchestra of jazz greats, many of whom worked with Ellington, was assembled to showcase Ellington's work in the most authentic and genuine performance practice available.

Active in New York since the early Seventies, Mr. Berger has scored for numerous TV shows, commercials, industrial films, Broadway shows, motion pictures dance companies and recordings.

In addition to his many trascriptions of classic jazz recordings (available from Classic Editions c/o King Brand Products), Mr. Berger has dozens of compositions and arrangements available from Jenson/Hal Leonard and Advance Music. Charles Colin publishes Mr. Berger's Contemporary Jazz Play-Along series of books and cassette tapes. Mr. Berger is on the faculty of the Manhattan School of Music and also performs as guest conductor, lecturer and clinician with musicians of all ages.

Duke Ellington discography available upon request.

YOUR UNIQUE SOUND
by Roger Ingram

Although most people like to chalk these things up to chops or equipment - as far as sound is concerned it's all in what you hear in your "head".

Everyone has a unique sound. No two people sound alike.

There are as many sounds as there are personalities. This is what is so wonderful about "sound!" This is why music and art is such a great thing! It's very personable.”

Roger Ingram

THOUGHTS ON THE ARTS
by dan jacobs

1. Don't let you get in the way of your art - let it flow through you.

2. What makes you different and interesting is that you're not normal.

3. Unpredictable = interesting. Predictable = the same old soup warmed over.

4. You can't be "normal" and expect to stand out from the crowd.

5. Making people think won't sell art. Make them feel something.

6. If you're an entertainer . . . entertain; put on a show.

7. They'll want you because they think you're great. It doesn't matter what you think.

8. Perception is an attitude or understanding based on what they think. Reality is not perception, it's what they think they're seeing or hearing.

9. You're doing what they would like to be doing; share your love of art with them.

10. Create a perception that you are in demand by others and they'll want you more. Show up late occasionally and don't have a good excuse; unexpectedly leave early; be unserious; don't tell everything you know; be fabian.

11. Perception is more important than reality.

12. Think big! Now think BIGGER! Now put it into ACTION.

13. Be audacious, be bold, be big, and be daring. Don't go unnoticed.

14. If you believe in yourself, so will others. If you don't, neither will they.

15. Keep thinking and acting like a professional and you'll soon become one.

16. Keep thinking you're great, you're a master, and you're unique - because you are.

daniel w. jacobs
© 2006-2020, all rights reserved

ON CHARACTER AND SUCCESS
by Sonny Rollins

"Character, knowledge and virtue are superior to “music” as such. And that “success” is relative to the evolution of those qualities within us all."

Sonny Rollins
excerpt from a letter from Sonny Rollins to Coleman Hawkins in 1962

Lead Trumpet History
Written by Dan Miller

The most important aspects of playing lead trumpet are to swing hard, play with a big, fat sound and stylistically lead the trumpet section and the band. It is essential for the aspiring lead trumpeter to study the phrasing, articulation and the stylistic nuances of the masters.

Conrad Gozzo--Frank Sinatra, Woody Herman and LA Studio
His huge sound and swinging feel set the standard for modern lead trumpet. His phrasing was pure perfection. He led a section like the true artist. His articulations, smears, falls and releases were textbook (and he wrote the book). His work with Nelson Riddle and Billy May is a must. Listen: Sinatra's Swinging Session (Capitol) or any Frank Sinatra recording on Capitol Records in the 1950's.

Snooky Young--Count Basie, Thad Jones/Mel Lewis, Jimmie Lunceford, NY and LA Studio
Co-authored the "book" on modern first trumpet style with Gozzo. His intense, meticulous, swinging phrasing established the New Testament Basie sound. Young brilliantly interpreted the work of Thad Jones, Frank Foster, Quincy Jones and Neal Hefti during his Basie days and left no doubt of his genius. He is also a phenomenal soloist and master of the plunger mute. Listen: Basie's Breakfast Dance and Barbecue (Roulette) or any Basie recording on Roulette Records in 1950's or 1960's.

Maynard Ferguson--Stan Kenton, LA Studio, Own Band
Maynard's influence cannot be quantified. His tone and power are unparalleled. He is a tremendous soloist first and foremost (check out the Dinah Washington records with Clifford Brown). But, his contributions to evolution of lead trumpet are gigantic. Maynard swings. He plays with unbridled excitement and enthusiasm, as if every note could be his last. Total freedom. Listen: Message From Newport (Roulette) or any Maynard Ferguson Roulette Recordings 1958-1964 or Stan Kenton Capitol Recordings 1950-1953.

Note: The following list, essentially in chronological order, comprises many of the tremendous lead trumpet stylists and lists the bands and studios in which they honed their craft. They all have unique approaches to interpreting the music, and should be studied for their individual stylistic nuances (in the exact same fashion as one would study the styles of a great soloist like Dizzy Gillespie or Clifford Brown).

Doc Cheatham--Chick Webb, McKinney's Cotton Pickers, Cab Calloway and NY Studio
Wallace Jones--Duke Ellington
Ed Lewis--Count Basie
Shorty Baker--Duke Ellington
Mario Bauza--Cab Calloway and Machito
Ray Wetzel--Stan Kenton
Nick Buono--Harry James
Al Porcino--Count Basie, Woody Herman, Buddy Rich, Thad Jones/Mel Lewis, Frank Sinatra and Stan Kenton
Doc Severinson--NY and LA Studios
Don Jacoby--NY and Chicago Studios
Uan Rasey--LA Studio
Jimmy Maxwell--Benny Goodman and NY Studio
Charlie Margolis--LA Studio
Buddy Childers--Stan Kenton, Frank Sinatra and LA Studio
Bernie Glow--Herman, Gil Evans and NY Studio
Ernie Royal--Count Basie, Woody Herman, Gil Evans and NY Studio
Reunald Jones--Count Basie
Lamar Wright--Cab Calloway, Lionel Hampton and Dizzy Gillespie
Benny Bailey--Lionel Hampton, Kenny Clarke-Francy Boland and Quincy Jones
Johnny Audino--Woody Herman, Gerald Wilson, NBC Tonight Show and LA Studio
Bill Chase--Stan Kenton, Maynard Ferguson, Woody Herman and Las Vegas
Bud Brisbois--Stan Kenton and LA Studio
John Howell--Stan Kenton, Woody Herman and LA Studio
Dalton Smith--Stan Kenton and LA Studio
Ollie Mitchell--Buddy Rich and LA Studio
Lennie Johnson--Quincy Jones and Count Basie
Wallace Davenport--Count Basie, Frank Sinatra, Lionel Hampton and New Orleans
Chet Ferretti--Maynard Ferguson
Rick Keifer--Maynard Ferguson and WDR Radio Orchestra
Bobby Shew--Woody Herman, Buddy Rich, Toshiko Akiyoshi, Louis Bellson and LA Studio
Chuck Findley--Buddy Rich, Las Vegas and LA Studio
Marvin Stamm--Stan Kenton, Thad Jones/Mel Lewis and NY Studio
Burt Collins--Woody Herman and NY Studio
Joe Shepley--NY Studio
John Frosk--NY Studio
Bob McCoy--NY Studio
Mel Davis--NY Studio
Victor Paz--Chico O'Farrill, Tito Puente, Fania All Stars and NY Studio
Fip Ricard--Count Basie, Sammy Davis, Las Vegas and LA Studio
Charlie Turner--Sinatra and Las Vegas
Dave Stahl--Woody Herman, Count Basie, Buddy Rich, Frank Sinatra and NY Studio
Jon Faddis--Thad Jones/Mel Lewis, Charles Mingus and NY Studio
Derek Watkins--Maynard Ferguson and London Studio
Bobby Bryant--Oliver Nelson, Gerald Wilson and LA Studio
Malcolm McNab--LA Studio
Walt Johnson--Louis Bellson, Frank Sinatra, Las Vegas and LA Studio
Charlie Davis--Buddy Rich and LA Studio
Lynn Nicholson--Maynard Ferguson, Thad Jones/Mel Lewis, Toshiko Akiyoshi and Las Vegas
Lew Soloff--Blood Sweat and Tears, Lincoln Center Jazz Orchestra and NY Studio
Carl Saunders--Bill Holman, Las Vegas and LA Studio
Jeff Davis--Woody Herman, Thad Jones/Mel Lewis, Count Basie, Buddy Rich, Machito and Clark Terry
Earl Gardner--Thad Jones/Mel Lewis, Mingus, SNL and NY Studio
Chuck Schmidt--Buddy Rich, Stan Kenton and Dallas Studios
Don Thomas--Dallas Studios
George Graham--LA Studio
Gary Grant--LA Studio
Roger Ingram--Woody Herman, Maynard Ferguson, Harry Connick and the Lincoln Center Jazz Orchestra
Wayne Bergeron--Maynard Ferguson and LA Studio
Byron Stripling--Count Basie, Woody Herman and NY Studio
Mike Williams--Count Basie
Greg Gisbert--Buddy Rich, Woody Herman, Paul Anka and NY Studio
Eric Miyashiro--Buddy Rich, Woody Herman and Tokyo Studio
Walter White--Maynard Ferguson, Woody Herman, Mingus and NY Studio
Craig Johnson--Maynard Ferguson and NY Studio
Paul Stephens--Maynard Ferguson and the Jazz Ambassadors
Tony Kadleck--Maria Schneider and NY Studio
Bob Millikan--NY Studio
Lee Thornburg--Tower of Power and LA Studio
Piro Rodriguez--Tito Puente and NY Studio
Peter Olstad--Maynard Ferguson, Woody Herman, Tom Jones and NY Studio
Tom DeLibero--Las Vegas
Dave Trigg--Natalie Cole, Liza Minelli, LA and NY Studios
Scott Englebright--Maynard Ferguson
Seneca Black--Lincoln Center Jazz Orchestra
Elpidio Chapotin--Havana Studios and NG La Banda
Serafin Aguilar--Maynard Ferguson & Queen Latifah
Brian MacDonald--The Airmen of Note

QUOTE: SIMPLICITY
Leonardo Da Vinci

Simplicity is the ultimate sophistication.

Note: This is a MUST READ for any true jazz artist or fan. I have a copy of the original handwritten letter from Sonny Rollins to Coleman Hawkins written on 10.13.62. Following is the text of the letter.

10.13.62

My Dear Mr. Hawkins,

Your recent performance at the “Village Gate” was magnificent!!
Quite aside from the fact that you have maintained a position of dominance and leadership in the highly competitive field of “jazz” for the time that you have, there remains the more significant fact that such tested and tried musical achievement denotes and is subsidiary to personal character and integrity of being.

There have been many young men of high potential and demonstrated ability who have unfortunately not been “MEN” in their personal and offstage practices and who soon found themselves devoid of the ability to create music. Perhaps these chaps were unable to understand why their musical powers left them so suddenly. Or perhaps they knew what actions were constructive as opposed to destructive but were too weak and not men enough to command the course of their lives.

But certain it is that character, knowledge and virtue are superior to “music” as such. And that “success” is relative to the evolution of those qualities within us all. That it has been positive and lasting for you, Coleman, is to the honor and credit of us, your colleagues, as well as to your own credit.

For you have “lit the flame” of aspiration within so many of us and you have epitomized the superiority of “excellence of endeavor” and you stand today as a clear living picture and example for us to learn from.

It has always been a task to explain in words these things which in nature are the most profound and meaningful. Now you have shown me why I thought so much of you for so long.

Godspeed in your travels and may I be fortunate enough to hear you play the tenor saxophone again in person.

Yours truly,

Sonny Rollins

QUOTE BY Herbie Hancock

"A great teacher is one who realizes that he himself is also a student and whose goal is not to dictate the answers, but to stimulate his students creativity enough so that they go out and find the answers themselves."

PLAY MUSIC NOT THE INSTRUMENT
by Victor Wooton

If you’re thinking too much about what you can already do, you’ll do it worse. Don’t play the instrument, play the music. Techniques that don’t allow you to play great music are worthless. I believe people feel music before they listen to it.
– Victor Woten, in a bass master class

HOW AND WHAT TO PRACTICE
by Don Jacoby

Practice is a time put aside to work, work, work with dedication and commitment to becoming not only a better player but to realize (in time) what we all strive for, AND, that's to earn the right to someday be called A MUSICIAN. A most royal title, if you please!

The one thing that a lot of students do, is to try to practice for 2 or 3 hours at a time to (as they say), build up their endurance and range. This is not going to do anything of the kind. After a certain length of time (maybe the first half-hour or 45 minutes) you are not accomplishing anything but fighting your own tired lip. As some of the greatest trumpet players in the world advise --- DON'T PRACTICE LONG BUT PRACTICE OFTEN. Every time you have 20 minutes of your own, reach for the horn. It's amazing how much can be accomplished in that time especially if you are close to having a passage work out for you. It may well be the best 20 minutes you ever spent.

WHAT should I practice? There's only one answer to that. WHAT YOU DON'T KNOW OR CAN'T PLAY!!! Quit playing and practicing all the things you can play at an ungodly tempo to prove to yourself that you're a pretty good player. You can only "gas" yourself for so long. Review some of these things and then go on to the important part of your practice, the things you can't play. Work on them exactly the same way I told you to practice the passages in the etude. Remember? You see --- if you practice something 100 times you kinda get the sound in your ear --- if you practice it 200 times, you get a little familiar with it --- and, if you do it 300 times, you get kinda friendly with it. If you were my student, I wouldn't settle for anything less than being married to it!

From The Trumpet Method of Don "Jake" Jacoby

LESSON NOTES: by Don Jacoby

For more on Jake and his methods look at his book Jake's Method(RBC Publications, PO Box 29128, San Antonio, TX, 78229), or "Jake" by Keith Winking, ITG Journal, December 1992, pages 36-42. You should be able to get either of these by InterLibrary Loan.

* No negative thoughts allowed in my studio.
* The Speed of the air controls the pitch. The Mass of the air controls the volume.
* Blow thru the horn - not into it. Don't Let anything get in the way.
* "G" is 5 more further in front of "C" - not a 5th higher.
* Play to please yourself and others will be pleased.
* Playing is 5 percent physical, 95 percent mental.
* The surest way to make a problem worst is to draw attention to it.
* There are three parts to a note: Begining, Middle and End. None of these takes precedence over the others. (Don't worry about the attack, go for the entire note.)
* Spend more time in front of the horn listening and less time behind it working so hard.
* The motion of the tounge when playing is the same as when speaking. NO EXAGGERATION.

THE FOUR BASICS

1. The part of the lips inside the mouthpiece should remain completely relaxed at all times. They should be regarded as nothing more than vibrators.
2. The use of the tounge to determine the direction of the airstream.
3. Develop good, strong corners of the mouth with the amount of the firmness to be dictated by the register in which we are playing plus any volume desired. (To demonstrate the action of the corners Jake often used the following exercise. Hold your hands in front of your face, palms facing inwards. Next make and relax a fist several times. Next, "make a fist" with the lips.)
4. The correct, Unexaggeerated use of the "diaphragm" to control the "speed" and "mass" of the air. (Jake commented that to avoid a lot of "pedagogical junk" he intentionally misused the word diaphragm to mean what most students take it to mean.)

''Play it lovely, thoughtful, reverent... play it nicely,'' he said. ''It's easy to blow loud and harsh. Play it reverently with a nice sound. Even when you play loud, make it reverent. Make it sound like somebody saying something nice to you.'' Uan Racey

FREDDIE HUBBARD INTERVIEW
By Craig Jolley

This article was originally published in May 2001.

New Colors (Hip Bop Records), new CD

I met David Weiss a couple of years ago. He's from North Texas State. He had a rehearsal band [New Jazz Composers Octet] in New York, and he had been writing out a lot of my compositions and arranging them. He said he'd like to get together and have me play some of my material with the group. At first it was only supposed to be a one-time thing, but we're going to be working together the next couple of years until I get back strong again on my horn. They appreciate my music and give it a good feeling like when I was playing with Elvin Jones. They inspired me to start back playing again. This is an opportunity to let some of the more serious kids play this music and have it arranged for them. Craig Handy and I did a record with Betty Carter (Droppin' Things, Verve 1990) years ago. I always liked his playing. Same with Joe Chambers—he had played some of these songs with me before. I brought in Kenny Garrett and Javon Jackson as guest soloists. Those are some of the musicians I really enjoy playing with. They've played in my previous bands, they know me, and they know my style. They came in and helped me out quite a bit. I'm very happy to have made this CD.

New Jazz Composers Octet Tour

We start in New York at the Iridium May 8-13. Then we go to Annapolis, Maryland; Arlington, Virginia; Scullers in Boston; Philadelphia; a couple more things. We're gonna make the Berlin Festival this year, but I'm not going to play the West Coast yet. We'll be playing the songs on the CD and some of my other tunes David, Duane Burno and Xavier Davis have arranged. With all the horns you can hear more color. When I originally recorded some of these tunes the music went by so fast people didn't get a chance to hear them. I have a lot of songs people have never heard that will sound good with eight pieces.

Lip problems

I busted my chops. I had to go back to square one after 30-40 years of playing. I was out there trying to be Coltrane—take thirty choruses. I was working all the time, and I didn't warm up. If you don't start off getting the blood flowing later on you're chops get weaker. It wasn't from playing that commercial stuff—it was from hard-core improvising. What made my style different was a whole lot of jumps, strenuous ideas. That's what makes jazz chops different from classical chops—at any moment you may have to change your embouchure [the position of the lips when they touch the mouthpiece]. I gave it everything I had. You have to be ready for that style. It was really bad—I didn't know if I was gonna play again. I can still play, but I can't hold long tones—that's something I never had trouble with. I didn't realize there were so many muscles in the embouchure, about 120. When you're young you don't even think about it. You get a lot of bad habits—you think that's the hip way to do it, but it's tearing your chops down.

“I can't play what I used to play, but that's not the point. Let Jon Faddis and those guys hit those high notes--that's their thing. Now I play better in the middle register. I have more ideas, and it's better than half-hitting it.”

Comeback

I thank the Creator. He enabled me to attempt to come back. I have to practice, get the feeling, get the blood flowing again. If you don't do that you don't get back. I came back too soon before (in '94) when I had trouble with my chops. I'm playing the flugelhorn now because the trumpet would be too hard. Instead of playing all that hard stuff I'm gonna to play some ballads. Playing flugel is kind of messing up my chops in itself—I eventually want to get back to playing the trumpet. I can't play what I used to play, but that's not the point. Let Jon Faddis and those guys hit those high notes—that's their thing. Now I play better in the middle register. I have more ideas, and it's better than half-hitting it. It'll take another year to come back strong again. The trumpet is not like a piano or a saxophone. If you lay off it you're back to zero. I've still got a lot of stuff I want to play. I can play it on the piano—that's where I get a lot of my ideas—like [sings fast] dah-doo-dah-didli-ah-dit...bah-booo-dle-ootie...doo-deee-doo-dooodle-eedle-doodle-at...dee-dat...deee-dle-ootie. Those kinds of runs are very difficult to execute. It's the way you accent those things. I got that from playing with Sonny Rollins and Philly Joe Jones. I want to bring some that back.

Louis Armstrong

He had that funny sound. I didn't dig it when I first heard it, that Dixieland. But if you listen to him for a while he had that feeling. He didn't have that execution like Dizzy Gillespie.

Clifford Brown

When I was starting out I tried to sound like him. His execution thing and his phrasing were out of the book—Miles thought he sounded stiff. He gave me a lot of ideas. He could do it all—that style was the way I wanted to play. I was still in Indianapolis so I never got to hear him in person. When he died I cried like a baby. He was only 25 years old, and he never got his due. I've got my reward—now I've got to give some back.

Miles Davis

I used to try to play like him too—those ballads. One night he heard me at Birdland. He was sitting on the side of the stage. I had my eyes closed, and I was playing some of his licks. I looked down and saw him, and I almost passed out. When I got off he said, "Why don't you play some of your own stuff?" After that I stopped copying people. Miles and Dizzy used to tell me I played too hard and too long. I should warm up before I played. Miles might take an hour before he started. It would take him that long to get his embouchure set, but it came out pure and clean.

Lee Morgan

Yeah, I was close to that crazy ___. He and I were the Young Turks at that time. He was a cocky little young cat, and he was great, exciting, spirited. He was the only cat that could frighten me. He got messed up.

Maynard Ferguson

I used to go see that guy play at Birdland. He used to play those high C's every night. Remember when Maynard had lip trouble? He went over to England to get straightened out. He's still going strong.

Wynton Marsalis

I didn't know it at the time [late 70's], but he was going to school in New York. He came to my dressing room and played all of my licks back to me, some I'd forgotten. I said, "Where did you learn to play all that?" He said, "It's all your stuff." He's the only one I've heard who could play some of the stuff on my records. I dig that lip thing he can do—(sings) yaw-yaw-ya-yaw-yaw. He's a technician, but he's stiff—I guess he can play that way if he wants to. We did a big band thing at Carnegie Hall together.

Richard Davis

I love to play with Richard—he's fantastic. I think he's teaching now. He and I made a record [Out to Lunch, Blue Note, 1964] with Eric Dolphy that was kind of advanced. That free music is not the feeling right now.

Current favorites

I like Tom Harrell—he's a nice guy. He wakes me up—he and Roy Hargrove. You think Roy sounds like me? Maybe that's the reason I like him! I like this guy Christian McBride and Benny Green—they worked with me. I love Bobby Watson—I heard him last time I was in New York. They're keeping it going.

Favorite records

One of my first records, Ready for Freddie (Blue Note, 1961). I had full control over it. That and Red Clay (CTI, 1970) were my best playing straight up. When it comes to more commercial stuff, First Light (CTI, 1971). It has some nice arrangements, and I won a Grammy. I've met all kinds of people, old and young, that like that record. I played it with feeling. Melody Maker did a discography on me. Check this out—I've made 300 records. I started looking into it, and I found some money from these companies.

Rap

I'm entertaining ideas about doing it after I get better on my horn. Those rap cats have some crazy meters. I'll have to give it some serious thought before I do it.

Jazz education

I have students come over in the evenings. They want to play some of the fast stuff I used to play—they're in a hurry. These kids coming out of school now, they have the correct embouchure, but they don't have the strength or the time. It's hard to play the trumpet with feeling. Like Chuck Mangione—he doesn't play loud or hard, but he has that feeling. He's not trying to be hip. I used to go over to everybody's house and say, "Teach me this, teach me that." They'd show me (They'd play it on the horn.), but they didn't teach me how to execute it. They didn't take time to teach me to play it right. We used to go on the road and play with Art Blakey, Count Basie, Horace Silver in the 60's and 70's. I used to sit in with bands that were established. I learned the backgrounds, everything. It's not like that now—it's more like a vacuum.

Wrap up

I'm glad you're doing this for the Internet so people can find out about me. I have a computer now. My wife's using it to write a book. I'm 63. I don't feel like it, and I don't look like it. I still have a lot in me. Since I moved to California I haven't wanted to work much. I got discouraged for a while. I still don't want to work that hard, but if I can arrange to work about six months a year that's what I'll do. I hear all these kids playing my ideas on the radio. Sometimes I have to stop and say, "Is that me?" It feels good to hear it, but people think the kids started it. Tell the young boys to look out—Freddie Hubbard's coming back!

CONFIDENCE
by Peter Olstad

"Confidence in playing is a direct product of being prepared for whatever might come your way in any given playing situation. Learning as many different styles, sight reading many different styles, and being ready physically for whatever might come your way is crucial for a good performance."

BOBBY SHEW: ON PLAYING TRUMPET

"Let your inner self or feelings flow through the horn."

"You must be willing and able to play anything, no matter how absurd it may seem to you, at the moment of conception, with no consideration of whether it will be liked or disliked, good or bad, without fear of making mistakes."

"When the lip muscles are working well for you, stop! Feel them and memorize as best as you can, that feeling."

I made real progress once I finally started to realize that it was possible if I was willing to take responsibility for the amount of work to be done."

ROGER INGRAM: PROBLEMS AND SOLUTIONS

Statements like this from a student, really break my heart:

“I feel like I'm a few months away from selling my horns. Needless to say I am not in a good head space.”

Please don't give up.

There ARE solutions for every problem. However, judging by your description, I feel the best avenue for finding an answer for your specific problem would be a lesson or two (on a one-to-one basis) with someone very knowledgeable about the many types and variants of embouchure used by a variety of players, and one who is experienced in "troubleshooting." I would do this before seeking out advice from good intentioned players/people who have not had the opportunity to hear and watch you play.

I suggest working with a teacher/player/troubleshooter who is experienced in how to assess your embouchure and aperture setting/placement with the assistance of an "in-horn" visualizer.

In most cases a problem is not as formidable, nor the solution as unattainable as the player may think. However, at times it's difficult to "see the forest for the trees," especially when you're stuck in the trees. Many times the solution for a particular problem is staring a player in the face, but because of becoming upset and/or obsessing about the problem, a player may look way beyond the real solution and get stuck
in a variety of traps making the problem even worse.

For instance: during the few times I've had trouble "slotting" in the upper register, I realized (per Bobby Shew's suggestion,) that most likely something very BASIC went astray in my mid to lower registers. After doing a "service-check" so to speak in my mid to lower registers, I realized what the problem was, worked on it, and subsequently cleared up the condition in my upper register. In EVERY CASE, what had gone astray was something very basic, and fundamental in nature.

Of course prior to doing my service-check, I sometimes would create many types of insurmountable reasons in my head for my acute bad slotting. After correcting the condition, often I was almost embarrassed at the simplicity of the solution.

Obviously (because you made a post concerning it) this is important to you. I suggest doing online and in-person research with the goal of finding a person in whom you'll have confidence and feel comfortable with to help you iron out this problem. I also suggest NOT obsessing about this TEMPORARY issue.

My initial advice in the meantime would be to back off a little on over-all volume and try not to beat yourself up in the practice room trying to "self analyze" past the point of doing any good.

I hope this helps,
Roger
2.-7.09

Check out my new book Clinical Notes on Trumpet Playing
web: http://www.RogerIngram.com
email: Roger@RogerIngram.com
wikipedia: http://en.wikipedia.org/wiki/Roger_Ingram

ROGER INGRAM: OVERBLOWING - MORE ABOUT

Regarding over-blowing the horn: as a teacher, I have found that getting a handle on this aspect of trumpet playing seems to cure MANY ills. When a player becomes aware of their optimal point of resonance many benefits are gained. Specifically, acquiring this control increases a player's ability to project, play in tune, control dynamics per musical situation, achieve lasting endurance, AND provide easier access to the upper (and extreme upper) register of the horn (in the INITIAL stages of range development.)

I realize many of you may deem this as a somewhat simplistic perspective, in that having control of this ONE aspect of trumpet playing would correct problems in so many areas. Perhaps this is why this is somewhat overlooked. But in MY opinion (and keeping in mind I've been teaching and giving clinics for over 30 years) I have found this to be true. This is not to say that finding the optimal point of resonance in one's playing is the SOLE requisite for correcting so many areas of playing/performance, but, it IS an important one as it will open the door to bring all the other necessary components into play to achieve these goals.

As in the earlier post on this thread paraphrasing comments made by Wayne Bergeron at one of his clinics, Wayne and I are "on the same page" regarding this subject. Wayne and I grew up together in Los Angeles, and we've been friends since we were 16 years old. We were section mates on many All-State bands while in high school. We both had the good fortune to be privy to the teachings and guidance of some of Hollywood's finest studio musicians of the day. It's not just coincidence that these players (Boyd Hood, Uan Rasey, James Stamp, Bobby Shew, Bud Brisbois, etc., etc.) ALWAYS stressed the avoidance of playing "too loud" or "over-blowing the horn" during their lessons.

I realize this may seem a tad gratuitous, BUT, since the subject matter of this particular thread is discussed in detail in my new book, "Clinical Notes on Trumpet Playing" (http://rogeringram.com/clinicalnotes.php) I've decided to chime in here and paraphrase and quote a few key points in my book that are related to the subject.

Most students who come to study with me are interested in range extension and achieving greater endurance (...surprise, surprise. ) In their first lesson with me, I find a high percentage of these students are breathing and creating compression in a sub-optimal manner AND simultaneously over-blowing (or attempting to over-blow) the instrument.

As I say in one of the chapters in my book, "blowing overly loud is not a great feat, and NOT a wise thing to do. What IS important however, is gaining the ability to play with balanced PROJECTION. The trumpet responds optimally when played slightly backed off from your maximum blowing point. When wind players over-blow their instruments, they actually create unnecessary turbulence within the tubing of the instrument. This deadens resonance. The resulting sound is similar to a blat (the sound of a sheep or calf) and can become flat. This happens because the bore of the instrument becomes unable to accept the unnecessary air velocity being used. At extreme levels of over-blowing, the sound becomes so choked, it simply stops."

"Over-blowing is also an unnecessary expenditure of energy that will cause a player to tire much quicker than an efficient player: the one who knows, feels, and has the ability to evenly match the resistance of air velocity with the bore size of their instrument (and the one who works more often.)"

IMHO, this is quintessentially true for any kind of player (jazz, lead/commercial, symphonic, etc.) or for any style of music the player is attempting to perform.

Of the many exercises I suggest in my book, a great one that I recommend with regard to this specific subject is the following: "Take a single note in the middle register and play quarter notes on it in 4/4 time. At a slow to medium tempo, start softly, and increase your volume every couple of quarter notes. Play up to your loudest volume, and then decrease volume every couple of notes until you're back to your softest playing level. Do this drill on every note in your COMFORTABLE range. This will help you develop a feel for where the optimal resonance point is on every note." This exercise and much of what I discuss in my book pertaining to the subject of "optimal resonance" is, of course, derived from my studies with Bobby Shew.

"While you do this exercise, listen for sound quality, and get a feel for ease of playing. When you hear your tone getting brittle (or sounding like a sheep or calf) and/or feel physically over-worked on a given note, you most likely have reached your 100% blowing point. By applying this exercise, establish what your 70-80% blowing point is. This point will be where your sound projects the best, and where the least amount of relative physical effort is exerted for optimal projection. After a while, apply this exercise to anything you wish to play: written or improvised."

Gaining control of this one aspect of trumpet playing coupled with what I present in "Clinical Notes..." regarding an efficient way of creating compression (the Yoga Breath) works wonders for developing range and achieving command of the instrument in ALL registers.

I hope you find this information beneficial.

All the best,

Check out my new book Clinical Notes on Trumpet Playing
web: http://www.RogerIngram.com
email: Roger@RogerIngram.com
wikipedia: http://en.wikipedia.org/wiki/Roger_Ingram

ROGER INGRAM: ON PRACTICING

QUESTION: from a student

“I've found that when I sit I can focus on mechanics better and also noodle around with scale and chord patterns which I might not do while standing as much. Much of what we play is done while sitting so I don't see the harm. What do you think?”

ANSWER: from Roger

When I practice I make an effort to work on things I need to develop, that do not come naturally to me (mind you, when I use the word "practice" I'm not referring to doing a "routine," or a "warm up,"). I'm pretty hard on myself, so when I practice I almost always sound like s**t.

I'm sure we've all heard the old adage: "if you sound good in the practice room, you're practicing the wrong things." Just ask my family; I'm sure they would agree I'm most certainly practicing the "right things" ;-)

However, as I'm sure we all know, practice does pay off. When I find I've made reasonable progress in a particular practice related area, I usually move that bit of work into my "routine" and come up with more things I can't do. This is to ensure I'll always sound like s**t for my family ;-)

Much of what I play when I practice is solos I've transcribed, or Aebersolds, or playing along to records and other related areas I'm not particularly well known for. ;-) Believe me, I don't have any pipe-dreams of becoming the next Freddie Hubbard, or Miles Davis, but making the attempt to improvise jazz will help ANY musician develop a feel for jazz and a sense of swing. Of course having these qualities helps any musician whether you're a jazz soloist, or a jazz lead trumpet player.

Anyway with regard to your specific question: I do find that practicing while sitting down DOES put me in a different "headspace" as opposed to standing. When I'm doing the kind of practicing which requires more of a cerebral effort (i.e. working through changes, figuring out scale/chord applications etc.,) I find myself wanting to sit down. ;-) I suppose it could almost be described as "studying while playing." However it's interesting to me that once I get a handle on a particular set of changes or tune, I find myself wanting to stand while "performing" the solo.

When I teach the Yoga Breath during the lessons I give, initially I make an effort to get the student to learn this manner of creating compression while standing. For whatever reason, it seems as though a wind player instinctually thinks on a more physical level while standing. After the student gets the basic "hang" of the breath, I will usually get them to do the breath while sitting. After all, this way of breathing happens only from the waist up. Also, depending on who they may be working for, or where a player may be performing, they will be required to do this type of breathing one way or the other.

I feel it's a good idea to occasionally force oneself to do the OPPOSITE of what comes naturally with regard to standing or sitting. For instance, from time to time, I'll force myself to work out on changes in the initial stages of learning a tune while standing. Conversely, at times I'll force myself to practice physically demanding types of playing while sitting. This helps a player become flexible, and free of self imposed ergonomic handicaps.

In a nutshell, I feel there is no harm in (and an actual benefit from) practicing both standing AND sitting. I do feel however, that a player should train themselves to practice and play ANY type of music or varying degrees of physical or mentally challenging material in both positions.

Roger
1.29.09

Check out my new book Clinical Notes on Trumpet Playing
web: http://www.RogerIngram.com
email: Roger@RogerIngram.com
wikipedia: http://en.wikipedia.org/wiki/Roger_Ingram

ROGER INGRAM: HOW TO STUDY

LETTER TO STUDENT:

With regard to "trade secrets," what I discuss in "Clinical Notes..." in the chapter "Achieving Endurance" encompasses the entirety of any so-called "trade secrets" I'm aware of and have to offer students regarding this subject.

In my humble opinion, the information and suggestions presented in this chapter is all that ANY brass player would need to assimilate and try toward the goal of "enduring" a four hour club date, or other performance schedules with varying time parameters.

What I suggest is CAREFULLY re-reading the chapter "Achieving Endurance" again, this time using a dictionary to look up any word definition you may not be sure of. This will help in eliminating any misunderstanding regarding the content of this chapter.

After a reader has "gone past" a misunderstood word, ANY ideas or suggestions a writer is attempting to convey thereafter will not be fully grasped. This of course creates confusion for readers, and causes them to lose interest. This is a common error in reading and should be avoided. ;-)

For ME, a good indicator of having gone past a word I haven't fully understood is when I find myself yawning, or perhaps falling asleep during the read. When I find myself doing either one of these two things, I GO BACK to the last point in the text where I was "awake" and interested, and 9 times out of 10, BINGO...that's where I find a word I may have THOUGHT I understood but DIDN'T. ;-)

After looking up the misunderstood word and gaining a FULL understanding of it, and AFTER re-reading all the subsequent text, I find my level of interest has gone back up, and I continue with reading. ;-) In doing this my ability to fully grasp ANYTHING I read increases tenfold.

I ALWAYS use a dictionary while reading. MOST people don't. In the "Author's Introduction" of "Clinical Notes..." I DO make the suggestion of using a dictionary while reading my book. Try this and let me know how it works out for you.
All the best,
Roger

RESPONSE FROM STUDENT:
Roger,
After my last PANIC call to you... you suggested re-reading a section in your book. Thank you!

There was a lot that I missed in my hurry to get through the book. It is now 5:47 A.M. I spent the entire night, slowly re-reading the book, with a highlighter in my left hand! ( Left hand people are in there "right" brain you know )

Everything is coming together well for me, thanks to you!

I've played trumpet professionally for over 30 years now, and even though I had a very light winter work wise,

My spring is booked solid!!! There are people wondering why I sound so much better than I ever did before.

I get comments all the time. Besides practicing my ASS off... I tell them it is because of YOU! My Friend.

Bob Cox



Check out Rogers' new book "Clinical Notes on Trumpet Playing"
web: http://www.RogerIngram.com
email: Roger@RogerIngram.com
wikipedia: http://en.wikipedia.org/wiki/Roger_Ingram

Care and Feeding Of Your Chops
By Paul Baron

(note: this is an excerpt from an excellent article on taking care of your chops. I highly recommend reading the rest of the article on his website at: www.pbaronmusic.com

In studying martial arts, particularly the study of the Japanese martial art of Aikido, I began to equate and assimilate some of the lessons into the treatment of my chops and
trumpet playing. The biggest realization came in the idea of efficient use of energy and
the flow of that energy to the task at hand, making music.

Many of us, me included, fall
into the trap of using more arm strength and force to play, especially for upper register
playing. I have also found myself blowing too hard at times to compensate for sound
issues in performance, loud bands or section mates, or orchestra pits that are very “dead”
and seem to absorb all the sound.

At times when I haven’t been in the best shape, I’ve
also mistakenly tried to force the notes out by using larger amounts of air, instead of a
more concentrated faster air flow. As I tried to compensate by over-blowing, I got the
results I was after, temporarily; I could hear myself more, but that was short lived as the
downward spiral began. Before long, my range had dropped, the amount of vibration I
got from my lips decreased and I was soon back to the same place I was before; not able
hear myself well, but then I had less upper register left. In this article I’ll share my
experiences and hope to offer insight into some ways to care for you chops.

As I said, some of what I learned was through Aikido, and what helped me most
was the idea of BALANCE. The idea that all energies have to be balanced is the same
idea as the Newton law of physics, for every force there is an equal and opposite force.
That is certainly true in the amount of pressure used in playing. The more arm pressure
you use, the more your teeth will push back, in a matter of speaking. Unfortunately,
there’s some tissue between that will take the brunt of that physics lesson. I can’t tell you
how many times I’ve fallen into that trap and had to re-learn the lesson, only to recover
and make the same mistake again. I found that by “holding back” on the volume of air to
about 85 percent, assuming zero is not blowing at all and 100 percent is over-blowing and
forcing everything I had to give through the horn, my endurance, range, center of pitch,
articulation, etc, greatly improved. Ironically, by playing more efficiently and focused,
the volume was actually louder as well. The horn is built to play centered and responds
much better with that approach than the “strong arm method” that so many of us try
using. Playing in this way also means that I won’t be too beat up for the next playing day.
Sometimes with a long playing schedule there’s just no way to avoid some serious
fatigue, but playing more efficiently will really help, and the recovery time will be much
faster.

Practicing in a BALANCED manner is very important. Playing such a physical
instrument as the trumpet means we are in a sense athletes. Some styles of music are
certainly more athletic than others, but if we use some common sense and approach the
trumpet with more knowledge as to the athletics involved, we will play more efficiently.
With regards to the tools we need to play music and to the care and preservation of those
tools we can think less about the athletics and more about playing the trumpet and
making music. I don’t think any of us would go to a gym and put on the heaviest weights
we can possibly lift, and attempt to push that weight continuously for two hours and
expect to be able to do much the next day. Nor would we one day decide to run a
marathon without first building up to the distance. Many younger, and not so young
players, do exactly that on the trumpet though. When things are going great we
sometimes feel like we’re unstoppable and don’t pay attention to the proper mechanics of
playing, only to pay the price later. Or we decide to try the new routine and push it to
shear exhaustion, and then when things don’t seem to work as well the next day, decide
that the routine is not the right one. Rest is often times a neglected part of the practice
routine. Remember that muscle is built by exercise AND REST. It’s the rest period that
allows the blood to return to the lips and flush the built up lactic acid, and return the
muscles to a more useful relaxed and flexible state. It’s essential to practice all aspects of
playing because in a professional situation you never know what might be thrown at you.
Balancing loud and soft playing, low and high register practice, long tones and
articulation studies, and flexibility exercises, will make you ready for almost anything.

© 1/17/2007 by Paul Baron
all rights reserved

paulbaron@aol.com
cell: 360-739-3130
http://pbaronmusic.com/index.html

EMBOUCHURE NOTES
Clint (Pops) McLaughlin

A final note on embouchure. Rember the key points are: teeth apart, head up, throat open, say the letter "M" to set the chops, breath and blow. A few people have problems going from low to high. They tend to reset on a breath. This is caused by placing the mouthpiece on flabby lips and not "ready to play" lips. Don Jacoby always had his students set for a "G" on the top of the staff before placing the mouthpiece. From there you can relax for the two lower octaves or firm up for the top octave. This technique also eliminates most of the lip rolling both in and out. H.L. Clarke and Rafael Mendez shared Jacoby's view.

This excerpt is from the book, "The No-nonsense Trumpet from A-Z" by Clint (Pops) McLaughlin

AUDITION ADVICE:
Correspondence between Roger Ingram and a student/far, Mark Metrinko:

QUESTION FROM MARK:
Hi Roger, I am a big fan of your playing - I think you command the band unlike anyone else, above and beyond the extreme range you have.

To me, the way you grab hold of the band with your playing is equally
as impressive.

Anyway... I'm writing because I have an audition in a few weeks for the Air Force Academy band, "The Falconaires" and the audition is pretty lengthy. I wanted to see if you had any tips to help with the
list?

The list is "Maria", "Begin the Beguine," "Song for Bilbao", "There is No Greater Love" and tons of sight reading. Also, after the lead stuff, I have to play typical classical military audition list of "Variations on America" and "Holst Sutie in Eb" etc.

With a number of lead, front-man playing outside of the ensemble, do you have any recommendations?
- Thanks, Mark

ANSWER FROM ROGER:
Do your homework. Then, on the day of the audition try not to over-do any type of "routine" you may be into. Just do a simple (but adequate) warm up...that's all. If you miss a day of doing your routine, you won't forget how to play the trumpet! Also, drink plenty of water and eat right between now and the day of your audition. If you have problems sleeping the night before the audition, don't worry about it...that's normal.

Also, approach the audition as if it were a performance for "friends." After all they NEED someone for the gig, and most likely WANT you to succeed. In a way, you're doing THEM the favor of going through the audition procedure! Try to "entertain" your audience too. After all, they're just people! Enjoy the event, and make an effort to communicate with your audience.


QUESTION FROM MARK:
I have read your book and really grabbed the concept of trusting that
the trumpet WILL be heard and not overblowing. I have also have noticed improvements with some experimentation with the Wedge
Breathe. Thanks for writing such an informative book!

ANSWER FROM ROGER:
Very good...and you're welcome! I wrote the book with the intention of HELPING players. I'm very pleased you've gotten something out of my book. - Roger Ingram

Check out my new book Clinical Notes on Trumpet Playing
web: http://www.RogerIngram.com
email: Roger@RogerIngram.com
wikipedia: http://en.wikipedia.org/wiki/Roger_Ingram

Criticism can often expose hidden harmful intent.

Sometimes it is only revealed by subtle signs embedded in the words or actions of the critic exposing the existence of something not apparent in the message.

Stay alert; listen with your eyes, see with your ears, trust your instincts and act or re-act accordingly. – daniel w. jacobs

"Jazz is the art of mastering your own life so that you can play your life's story."
-- Wayne Shorter

Rick Rangno
Remember..if you can't play the middle notes with the same pinched, forced tone you use in the upper register, you're not really hitting the notes..you're just playing music.

"Their ain't nothin' wrong with being a copy cat, as long as you copy the right Cat."
Clark Terry

Goals are vital. Daily goals, mid range goals and long range goals. We might not always reach them but without them we surely won't. - Pops McLauglin

(authors note: Following is a response to a letter from a friend in some distress who was seeking safe harbor to regain a sense of balance and stability. It was intended only as a literary trifle to buoy his spirits with help and empathy. May it do the same for yours. - d. w. jacobs)



THE LAND CALLED ACADEMIA

Once upon a time in a land far away, there was a place known as The Land Called Academia. This land was said to be inhabited by a people called academicians, or thinkers who, though largely incapable of honest work in fronting the real problems of ordinary men in day-to-day life, yet possessed a wide and far-reaching reputation of great altitude and special insight into the ways of the wise.

These peoples were called by various names – not always flattering - but in the main, they were known as scholars, intellectuals and philosophers who lived a life devoted to the systematic examination of such lofty basic concepts as truth, existence and reality toward a professed goal of reaching a more enlightened state of awareness and a greater understanding of life.

So the story is told, they walked extensively through the garden of wisdom, engaged in deep thought, pulling a long philosophical white beard . . . thinking and thinking and thinking . . . and then thinking and thinking and thinking again . . . in a scholarly, largely intellectual study of all things theoretical.

Many long months and years were spent following this method of attaining enlightenment and wisdom. As such was the way of the philosopher in The Land Called Academia.

Sadly, the sought-after results of their labors ended with them becoming mired in the thickets of significance, as the process of thinking about thought largely ending up with dubious insights of no practical relevance or value to the lives of ordinary men and women. And ultimately this effort became an endless, introverted, introspective, self abnegating, self-deprecating, and ultimately useless, ineffectual and futile search for the answers. There was no end in sight and no applicability to the real world of the living.

For by distancing themselves from life in an attempt to understand life, they were missing the primary ingredient necessary to become successful in their quest.

They were seeking to learn about life by looking at the manifestations of life and not looking at life itself.

This is equivalent to examining how a radio is constructed by only listening to the sound that emanates from it. The efficacy of their method is only superficially beneficial.

Mostly, it is a pointless waste of time with potentially disastrous consequences by stirring up things unnecessarily and discovering nothing that can be put into use in the real world that is born, lives, breathes, bleeds and dies.

* * *

As the centuries passed, ordinary people began to realize that these philosophers, scholars and intellectual in fact produced nothing of any real or lasting value and their influence has largely fallen away from the ken of man.

In their place was developed a scientific system of discovering the truths of life by observation and examination of and actual experience with the woof and warp of life itself. Honest, hardworking, normal people found that active involvement with the thing being examined and studied was of far greater value than the speculative meanderings and solutions only based upon theories developed without direct observation.

Thus we come to an address of your dilemma as put forth in your recent letter, entitled, “A Valid Thread,” in which you seek to come to a better understanding of some of the problems extant in your life.

Near the end of the letter your writing indicates a native and fundamental understanding of a route toward sanity and happiness that I wish to point out for emphasis:

” I essentially had a fight with a someone who wasn’t even there . . . it was like I was fighting with my past . . . not even thinking of who was in front of me”

” I should remain calm . . . let it happen . . . don’t doubt. “

“Trusting my heart and not letting the negative voices of skepticism in . . . is the key.”

In my opinion, your statements above resonate with more wisdom and truth than any ivory tower philosopher citizen in The Land Called Academia.

Finally, I humbly submit a few lines from my own writings - previously published – only to remind you of what I’m certain you already know but may have forgotten.

” The end result of doubt, worry and fear - is only more doubt, greater worry and increased fear.”

“The truth of simplicity is camouflaged by the complexity of lies - and the complexity of lies mask the simplicity of truth.”

“Sanity, happiness and power are a direct consequence of living a life of simplicity, truth and worthwhile purpose.”

It is my hope that you might find in this short note, a mental balm to help heal the emotional wounds of which you speak, to soothe the harsh edges of miscommunication in interpersonal relationships and open the door to calmness and spiritual comfort as a result of true wisdom, correctly applied.

daniel w. jacobs

© 2005-2015, all rights reserved

ON TEACHING: a letter to a friend
by Daniel Wright Jacobs
june 2, 2005

NOTE: This is part of a letter that I wrote to a friend, a musician and also a life-long teacher. I wanted to share some of my ideas on teaching and thought that others might find them interesting as well. Here is a portion of that letter. - Dan

Regarding the teaching profession in general, there are many things that motivate action in any direction. In my opinion, the primary ones could be summarized in the following four categories:

a) A sense of duty, often seen as moral, legal, financial, family, religious, or military obligations;

b) A feeling of strong personal conviction based upon deeply held belief or opinion of the rightness of an action;

c) The "what’s in it for me?" type of attitude where the person is mainly looking for a benefit for themselves personally;

d) And finally . . . the thing most people are after, the thing that wars are fought over that kingdoms are lost as a result of, the love of which has made men do unthinkable things, filthy lucre, wealth, assets coins, cash, currency . . . in short . . . money.

I’ve observed people who are motivated ONLY by money who are very weak/wobbly people, for they can be bought and sold by the highest bidder. Their personal convictions are shallow and bend like a willow in the first wind.

I’ve known businesses that had every luxury imaginable, fancy buildings, hot and cold running secretaries and vice-presidents, private jets, limos, apparently making money hand over fist. I have also seen these same businesses eventually fold-up, broke, in debt, corrupt and bankrupt because they lost the focus of what they were there for.

They began to fixate ONLY on money. Forgotten were the fundamental principles of fair dealing, customer satisfaction, being of service to the client and making sure they were delivered what was promised. These businesses began to focus only on themselves neglecting what was needed and wanted to the consumer. To be motivated only by money is risky indeed as the route to betrayal, manipulation, degradation and misery often begins with a fixated attention on money!

Others seem to engage in something only if there is a clear-cut personal benefit for them. Even if it is not something they can pocket, it must be a gain that is measurable such as fame, more exposure, a promotion, or their name in the press. If this is not apparent to them, they will often drift off and lose interest.

One step higher on the scale are those who live their lives in a certain way because of deeply-held beliefs and not because of money or personal gain to any significant extent. They normally gain influence, power and position because of the stability these beliefs give them. In the morally wishy-washy, alley-cat society we live in, they are seen as someone to be admired, someone to count on when all around them are falling apart. The result is that they are normally quite successful in whatever they decide to do.

Finally, the top of the scale is to do anything because it is your duty to do so and for no other reason. At this level the degree of responsibility expands beyond oneself to include all others as well. Like following your own internal moral compass, you don’t need others to tell you what is right or wrong. You know what needs to be done and you do it without thinking of how much you’ll be paid, what promotion or medal you might receive, or because you’ve been told to do so . . . you act because your character obligates you to do so for the good of all.

People who can manage a balance of the four points as above will see happiness attained without seeking it. People who short cut or ignore the four points above will discover unhappiness to be their constant companion.

To me, the teacher embodies the best of these four points. A teacher is as a teacher does. There are experts in their fields who are lousy teachers yet others seem natural at it. Teaching is a profession requires training, discipline and experience in and of itself.

The dictionary tells us that to teach is: “to impart knowledge or skill to somebody by instruction or example, to bring understanding to somebody, especially through an experience.”

What greater role can one strive for in life than to impart knowledge and understanding to another? To help another to open the door for expansion, certainty and growth has value beyond comprehension.

Teaching is a calling and a duty that does require a strong personal conviction about its value. A personal gain ensues from the satisfaction of a doing an important job well and competently and one is rewarded financially as well as a consequence.

Regarding teaching in general, I have always held teachers in the highest regard possible in my mind. I've always considered that the lucky people on the planet are those who can be of service to others and teachers definitely fall in into this category. My mother and many of my closest friends have dedicated their lives to this profession and I support them completely. I've always thought of myself as one of that group and though I've not done it to make a living in my life, I've always tried to do it to professional standards when offered the chance to be involved.

Anyone active in the teaching profession is to be very highly commended. The sanity, stability and inspiration they bring to your students, the community, the culture and the environment generally is immense.

Like dropping a pebble in a pond, it affects everyone it touches. They're on the top of my list that's for sure.

ON REFLECTION
By Dan Jacobs
May 20, 2005

The occasion of my birthday joined with a natural inclination toward reflection, has resulted in this somewhat spontaneous writing of my thoughts of the day.

I am instantly reminded of my birthday, two years past when I penned an essay entitled, “THE TRUE FRIENDS GROUP” and presented it as my gift of acknowledgment to my friends.

Little did I know or suspect the immense positive effect this would have on my life and the lives of others. For simply acknowledging that such a group existed and that I was part of it, precipitated changes never anticipated. It became evident that some powerful influence was at work, apparently acting to strengthen me and facilitate my continuing to help others - something I love to do - as that is what has occurred. Not that I became anything different but that I was able to do much more.

Without enumerating the details, suffice to say that the past twenty-four months have been a whirlwind of expansion and increasing “reach” effecting every aspect of my life, and happily so. Horizons I had earlier only dreamed of are now within my grasp; challenges and difficulties of life somehow have diminished into insignificance when compared to the joy of creating; but most importantly, my attention is more closely focused on doing everything in my power to help others become stronger and more able to expand in areas of their interest.

As I consider it of no small benefit to discover the source of this change - if only to acknowledge and strengthen what has been working - following is my realization of the year 2005 which in my humble opinion could be a benefit for everyone.

My true friends do better when they are connected to me . . . just as I do better when I am connected to them!

And further, it is the mutually created positive expectancy, which creates the coincidence of intention that is virtually unstoppable in achieving worthwhile goals individually and collectively.

So, as my birthday gift to you this year and as a nod to the truth contained herein, I am re-sending the essay, “THE TRUE FRIENDS GROUP,” with little change.

As I have read this little essay again and again and found that it moves me emotionally as much now as when it was written, it is my wish that you may experience the same.

What is described is a powerful concept; it has the potential to change your life in profound and magical ways . . . as it has in mine!

With respect and admiration,
Dan Jacobs, on this 20th day of May in the year 2005

THE TRUE FRIENDS GROUP
by Dan Jacobs
May 20, 2003

There is a group that exists which I had not before recognized or acknowledged; yet it has had an influence on me throughout my whole life. Lacking anything better, I have simply called it “the true friends group.”

Members of this group know who they are and simply carry on, often unnoticed without fanfare or flourish. They do not waiver in their allegiance, no matter the circumstance or “challenge de'jour” that life presents them. They have sufficient real-life experience to know that hard times are often more temporary than imagined. They also have enough good sense to cherish good times and good friends, as these can often be all too transient.

They are willing to share the burden of hard times as well as the enjoyment of the sweet glow of success in good ones. They possess a depth of compassion for their fellows built upon a firm foundation of understanding of human nature gained from living life as a participant and not simply a spectator.

Members of this group simply refuse to change their basic belief in the goodness of mankind in spite of all invitations to do otherwise. The bond of this true friendship is stronger than anything imaginable, nearly indestructible, founded upon honesty, integrity, loyalty and mutual action toward a better life for all.

It is also apparent to me that this bond of true friendship is strengthened as a result of being tested; and perhaps it even needs such a test from time to time, as it grows stronger as a result. It has also become evident to me that even if the situation is troublesome or stressful, members of this group want to be included; they want to help and would think it an insult were they not allowed to do so.

These are not just “fair weather” friends; for it is when the chips are down that you learn who you can really count on and who really deserves your support in return. I have also discovered that sharing my life experiences with members of this group lessens any burden I may have experienced and enhances any joy of accomplishment.

Finally, I have discovered that being of service to others is the greatest gift I can offer; as it also enhances my own life, thus making me even more able to help others.

This note, written on the occasion of my birthday May 20, 2003 is my recognition of the help and support I have received from so many throughout my life. For this, I acknowledge and thank you more than words can express. Suffice to say, you and I both know who you are!

With respect and admiration,
Dan Jacobs, on this 20th day of May in the year 2003

ON IMPROVISATION: PART ONE
by Daniel Wright Jacobs

The key to success in this area, is to take it in “doable doses” as the song lyrics sung by James Taylor so aptly state. If you skip a step in the development process and try to run before you can walk, you’ll find frustration to be your constant companion. Start practicing slowly at first, singing the lines (jazz syncopation) that you hear and then play the lines with right hand only on the piano. Time spent practicing the connection between singing and playing (slowly) is more valuable than anything you can do in accomplishing your objective.

I practice piano far less than I do trumpet, but when I do, I may play only 10 minutes at a time, two or three times a day, for a week. And, I may only play five notes, one at a time, during the entire practice, placing the thumb and four fingers of the right hand over the keyboard and playing each note VERY slowly, over and over and doing nothing else for 5 or 10 minutes, focusing entirely on what I am doing in the moment. When finished, I get up from the piano and go about my business with other activities.

The first time I did this, to my surprise, the next time I sit down to play (without other practice) my facility to perform what I wanted was significantly higher than I expected. To me, this proved my theory that playing an instrument is 90% mental and 10% physical.

Now then, as to jazz improvisation . . . here are a few general basics, some of which will be very familiar to you, some you already do very capably already, but all are still worthy of a fresh look.

The first item is worthy of it’s own position above the rest and I’ll take it up first to acknowledge that importance.

Sound is the most important element in soloing on any instrument. Technical expertise is a distant second. The music is always more important than the technique in my mind. As long as you keep that order of importance in mind, you can push your technique up as far as you want and you music will simply come out easier. But above all, a disciplined and professional sound will separate you from the crowd faster than any flashy display of technique.

Following are some of my ideas on the subject generally, perhaps an entertaining, even enlightening story or two as illustrations.
Some of this may be somewhat controversial but these are my opinions and experience and they are most certainly true for me.

I once was told the story of the incomparable jazz pianist Bill Evans being at a party where there was an old, out of tune piano. Other good, competent players in attendance occasionally sat down to play and invariably complained that the piano was out of tune. However, when Bill sat down and played, magically, no one noticed the tuning of the piano. His musical intention and the aesthetics of his music was so powerful that it seemed to transcend the mechanical limitations of the instrument almost transforming it to an “in-tune” instrument instantaneously with his unique touch. I witnessed the same phenomena when I attended a “rent party” in Detroit in 1963. The legendary ragtime pianist and composer, Eubie Blake was there and I was lucky enough to see and hear him play piano. There was so much music that came out of that piano that no one noticed or cared about the mechanical tuning! His extraordinarily long fingers caressed the keys like he was in love with every note. Which I’m sure he was!

Not to compare myself to the genius of Bill Evans or Eubie Blake, but when I play a note, I am always aware of the sound I want to create before I play it. The sound I make on trumpet, piano or flute is my inner voice and a reflection of the language I am speaking at that time, further, it changes from time to time depending on my emotional state (witness the difference between my first two albums). I consider my sound the most valuable asset in my music. I really don’t consider that there is a “bad” note. Just notes that sound good to the ear at a specific moment in time.

A case in point: In 1928 when famed trumpeter, Louis Armstrong first wrote and recorded the hit song, “STRUTTIN’ WITH SOME BARBEQUE,” and played that Major 7th note on the 8th note of the melody, everyone listening exclaimed in horror that he had made a mistake! For it sounded “wrong” (really meaning unfamiliar) to the ear at that time when listeners were used to concert band trumpets playing tonic and diatonic notes that fit within a set of familiar patterns and sounds. Yet, the Major 7th of the chord was evidently exactly what he wanted to write and play and was the sound (and likely the effect) he wanted to create. He was a musical genius and innovator to be sure, but it was his integrity to the sound he wanted to play that made “wrong” notes sound “right.”

Again, not to compare myself with a player of Louie’s caliber (whom I had the distinction of meeting personally twice), but only to provide an example of my own - of the many different brands of trumpet I own, no matter which one I choose to play at any given time, I always end up sounding like myself. I even have an old Shepard’s Crook cornet made in 1867 that is very much like what Louie played in the 1920’s, yet when I play it, I only always sound like me and never like Louie. I also have a 1942 Martin Committee trumpet like Chet Baker and Miles Davis both played in the ‘40’s, but it doesn’t make me sound like them. The horn is a mechanical device like a piece of plumbing which does nothing without my input. This is the case with any other trumpet I play, as the sound is formed internally before it comes out the horn, which I feel certain, is exactly what Louie and the others did as well.

Another quick example with a different instrument: I started playing flute in the 1960’s with an old $20 student flute that someone gave me in exchange for a debt. I loved it instantly and could play it the first time I ever put it to my lips. To me it was the most beautiful sound I had ever heard. Held together with rubber bands and love, it still sounded as good to me as an expensive, hand-made, solid-silver, 1917 Haynes closed-hole flute that I dreamed of (and which I currently own). And from the feedback of others, they shared my feelings about the sound produced on that old first flute (which I still own with fond memories attached).

Finally, and please forgive my philosophical ramblings, but my old Yamaha G1 Baby Grand, manufactured in the 1960’s, a veteran of many a smoke filled bar gig with the cigarette burns to prove it, holds its tuning because I intend it to do so. I love the way it sounds even if it is “technically” out of tune (which is always someone else’s consideration and not a technical fact anyway). Further, as what is beautiful or ugly is fundamentally a factor of one’s considerations, perhaps the piano is responding to my admiration for it and for no other significant reason in sounding in tune when I play it. At least that is my story . . . and I’m sticking to it!

Now, to address some other elements of jazz syncopation as applied to improvisation. Following are some fairly well accepted tenets of becoming an accomplished soloist on any instrument, given that there is at least some basic expertise on the instrument of choice to begin with.

1. Know where you are in the song at all times. Listen and pay attention to what the rest of the section is doing. If you hit a note that sounds wrong or inappropriate for the moment, move it up or down a half step and you’ll usually be correct. This is where making the connection between singing a solo and playing what you hear is crucial. If you’re singing a line, it will come out like you, not some memorized technical exercise.

2. Don’t be afraid to be obvious and repeat yourself. Repetition is natural in all music and of course in all rhythm. If you can’t think of anything interesting to play, play the melody. Every tune or song has a melody that the composer spent many careful attentive moments designing. Melodic interpretation is a totally valid form of improvisation.

3. The listener needs repetition and sequences in a solo to hang on to what you’re saying musically. It can be as complex as you want it to be, but when you repeat it, it begins to make sense to the listener. Dizzy is said to have stated that when he plays a wrong note or phrase, he just repeats it and it then sounds good! Another aspect of this is that if you are interested in playing the note or phrase, it will sound good to the ear no matter how dissonant you may think it is.

4. Beginning or ending a solo phrase on a chord tone (1,3,5,7 of a scale) give the listener some stability and predictability in what you’re playing. It will make sense to them. Now, having said that, I very often do exactly the opposite of my own advice and intentionally play a note that is not a chord tone and the beginning or end of a solo. But the key factor is “intention.” I’m doing it knowingly, purposely departing from musical convention as a something that I hear in my head and only because I’m interested in playing it, not just because I want to sound hip or cool or anything else. Also, if I want to be right in the pocket, I can do that as well and there are times when nothing else is called for. But, even in those circumstances, if I hear something else, I’ll play it regardless of the circumstance, if only to maintain my own interest and musical integrity.

5. Listen to others that you would like to sound like. Find someone that touches you with his or her music, even if it is a different instrument than what you play. Listen to the musicians that have come before. Imitate them if you like what you hear them play. Your own sound and style will come soon enough. The greatest artists in history were could also write, paint, and perform in the style of nearly any other great artist in their field.

6. Finally, to me the end result of musical performance is to connect with and impact the audience and let them share in the creative process with you. Practice alone. Rehearse with a group. But perform for and with the audience. I never think about what I practiced when I’m performing. My attention is on the audience, the band and my playing . . . in that order. I always seek to keep my attention totally in the present, not in the past or in the future, when I’m playing. In that way, I can respond to the inevitable surprises that are part of any musical experience.

7. Of course, this brief write-up is only a small part of the whole story but hopefully you will find something of use in your quest. May you never be the same!

- Dan Jacobs, May 15, 2005

ON THE CREATIVE PROCESS
by Dan Jacobs

As I get questions on this topic all the time in my clinics, here are some of my thoughts on the creative process in improvisation in general.

To begin, I must say, I have never improvised or played a note I haven't played many times before. While there are no notes per se on the horn that have not been played in practice millions of times, no note is "exactly" the same, no matter how many times you practice it.

There are literally an infinity of other mechanical, mental, emotional and spiritual factors that enter into how a note is played or how any sound is produced from a musical instrument.

Sometimes I think of the process of producing any musical tone as a thrilling, though inexplicable, supernatural kind of exquisite mystery that anything vaguely musical comes out the end of what is basically an artfully crafted, somewhat aesthetic piece of plumbing . . . called a trumpet.

Still, through countless hours of diligent practice I have mastered some degree of proficiency in tone production and musical performance such that I can play what is called for to a professional level at the desired moment in a musical production.

I am constantly and pleasantly surprised by the countless magical musical surprises that occur in any live performance. This is because the other musicians contribute to the overall creation AND the addition of the audience can be as important as another band member as they add to the creative process as it is occurring in a very significant way. In fact, it's been said that the contribution from the audience is THE most important part of any creative process.

Therein lies the rub. How do you capture the essence of a live performance while performing and recording in the studio without the audience present? To do that is partly a "slight of hand" by the producer and the engineer, partly the vast prior experience of the musicians and the artist, mostly because the group as a whole loves what they are doing so much that this enthusiasm and exhilaration shows up and becomes an integral part of the recording.

Of course, you could just record it live with an enthusiastic audience, but then there are other variables to contend with, as with any movie that is made . . . to shoot on location with the freedom that affords, or in a sound stage where everything is controllable. There is always a tradeoff.

You want a somewhat "controlled burn" to occur so that the spontaneous creative process can take place so that the "magic" is allowed to take place. Overcontrol it, (really meaning "force") and you'll stifle or kill the process completely. Undercontrol it, (really meaning "no control") and you seriously compromise the quality of the technical and creative aspects of the production. Neither of these two options is workable as should be apparent. The key to success lies somewhere in the middle. To me, perfect control in a musical setting could be defined as "somewhat predictable change." Just enough control to hold the edges and allow the creative process to occur within generally defined guidelines but not too much micromanagement to clamp down hard on individual creative artistic contribution.

For example, recently I overdubbed a cellist for a project I'm producing. I had a cello part all written out and as the professional he was, he could have played it perfectly, as in fact he did in the rehearsal. But, the idea came up to record a take with him improvising the part behind the vocalist instead of just playing the notes that were written. As you might suspect, it became one of those magical moments in the performance and added enormously to the overall feeling we were looking for.

Overcontrol would have made this impossible. Undercontrol, ending up with a "freeform improvisation" would have also been unacceptable for the song.

The perfect combination of “overcontrol vs undercontrol, was to allow for a “somewhat predictable change." I knew that the cellist was a pro with years of professional experience and
competence, I also knew the general guidelines of what we were trying to do with the piece generally.

As long as his improvisation added contributed to and supported the vocalist, I was willing to allow for his individual artistic contribution, the result being a greatly improved final product that will be a high point of the album.

Another example is an with an interview I did with the April 2--5 issue of JAZZ IMPROV magazine. it was somewhat more controlled than a pure spontaneous interview in that I was given the general questions beforehand. Who knows what would have come up with the give and take of a true "Q and A" process? I was looking forward to doing that, as sometimes I come up with things in a live setting that I might never have thought of otherwise. It is those magical surprises that make up the creative process in my opinion, I thrive on them as they represent to me, the pure joy of creating!

With music, I know all the elements of breath control, tone production, scales, chords, melody, rhythm and songs and tunes necessary to do a competent, professional job under almost any conditions.

But, it is important to note that when I am involved in a performance of any type, the mechanical elements of producing music are far from my mind.

During any performance, I only put my attention on the audience, the other musicians and my own playing . . . in that order.

I never plan out my improvised solo or performance to such a degree that it ends up sounding canned. For that process ends up being boring in very quick order, for the audience, the other musicians and for me! I do my preparation in the practice room, my rehearsal with others going over the material, but the performance is totally for the enjoyment of the audience. When I am improvising, I play completely "in the moment" never thinking of what i have practiced or rehearsed. I respond to the stimuli at the exact moment that I receive them. With sometimes some very interesting and exciting results.

I feel that it is my duty and responsibility to give them more than they expected in term of a satifying musical experience resulting from my performance.

Rather than gauging my success on myself and my performance, I focus entirely on how well I have accomplished my purpose of engaging the audience with my music and inviting them to share the supreme joy of the creative process with me. - Dan Jacobs

CHANGE IS LIFE - LIFE IS CHANGE
By daniel w. jacobs

That class altered my life forever. “Change is the only constant!” he said.

“Huh?” I thought.

“There is only one predictable element in nature and that is CHANGE!” he said again.

“How could change be a constant?” I puzzled.

“Nothing stays the same . . . except this fact. Change is inevitable!”

I suspected he wouldn’t repeat it again; but thankfully I got the needed, “whack on the side of the head,” and the dim bulb of enlightenment began to glow through the thickets of significance in my freshman brain . . . it was finally starting to sink in.

What he meant was, "change IS the only constant!" Ah, ha. I got it!!! He smiled with knowing and obvious delight at my discovery of this basic truth.

As he was the most highly respected Professor of Economics at the University I was attending, I was happy to have grasped the concept, if only to please him. Faculty and students alike admired Mr. Mandelstam as he had a way to drawing upon his love and knowledge of economics to make the subject come alive. It wasn’t all just about dry graphs and dusty and ivory tower, untested economic theories.

When he lectured, he was talking about life and living . . . and change is one of the vital ingredients of existence itself.

CHANGE IS INEVITABLE

This one basic law stayed with me - as simple as it is profound. Things do change. And what’s more, if they aren’t changing for the better then they are getting worse. Things just do not stay the same, even for a minute. Things are going on all the time around you. New inventions, developments, conflicts, disasters, unpredictable elements of various types. All these can change your life in a minute . . . for better or for worse. Stuff does (and often does) happen!

Just having the fact that “change is inevitable,” as a stable concept to hang onto was valuable when things did get out of control. I realized I could do something to change the downward slide, as change was not only possible but also inevitable. I just had to use this bit of wisdom to my advantage and turn things around.

And when everything seemed to be going my way, I used this knowledge to be alert to the rapidly shifting winds of fortune and to prepare for this contingency before disaster struck so as not to be left shipwrecked on the shoals with no hope of rescue.

In fact, this insight has done more to strengthen my outlook in life than anything else I have studied or experienced. Failure never affects me for long as I know that change is just around the corner and it's all part of the process of living. I just have to ensure it is a change for the better.

RESISTANCE TO CHANGE

The real difficulty comes from a resistance to change. For this can stop your chances for future success dead cold and past achievements can easily become as meaningless as a canceled check.

The old saying, “don’t look back, they might be gaining on you,” has some merit in this circumstance. Unless you’re using your experience and accomplishments to find new markets and ways of presenting your products or services, you’re losing ground. If, rather than embracing change and using it to advantage, you resent and reject any change out of hand, you’re doomed to hold on to the past, mentally, emotionally, physically and perhaps just as importantly, financially. But, fortunately, you hold the keys to adjust your future to the way you want it.

CHANGE YOUR ATTITUDE

When your attitude changes from dwelling on the past (whether successes or failures) to being constantly on the outlook for future opportunities, you’re back in the drivers seat. And from this positive state of mind, you inevitably find what you’re looking for. “Failure is not an option” becomes the byword along with, “the future is what you make it.”

Deciding on some worthwhile objective begins with you. If it’s something you really want to accomplish, the small setbacks and obstacles won’t bother you. They simply become incorporated into the overall process of winning.

Even the handling of success is easier once you have recognized that change is inevitable. No one can be “king of the hill” forever and just rest on the laurels of past triumphs. You must accurately discover what exact elements led to your present success so you can strengthen them, set new goals to shoot for, get back in the game and play to win.

Things are going to change and if you don’t get into action to change them in your favor, the inevitable fact of change could work against you. The worst thing you can do is to do nothing. Only then would change inexorably erode away at what you now have.

Your attention has to be in the “here and now” while being alert to the possibility of changes on the horizon and finding ways of using them to improve your condition and your future.

Now . . . say it with me, “Change is the only constant!”

Got it?

ONE SENTENCE
By Daniel Wright Jacobs

FIRST:

DO NOT READ THIS SENTENCE!
(Unless you are willing to experience potentially irreversible changes as a result of acquiring knowledge by the use of reasoning, intuition, or perception . . . and also possess a sense of humor).

Now for those brave souls who have decided to give no heed to the above announcement, I have this added advice: READ NO FURTHER!

And to those radical free-thinkers who refuse to conform to the dictates, orders and demands of so-called authorities and who instead are willing to go where angels fear to tread, I offer this guidance: ABANDON HOPE ALL YE WHO ENTER HERE!

For you will find the words of the following writing entitled, “ONE SENTENCE,” to be without ruth for the uninitiated, without pity for the uninformed and without compassion for the undisciplined in the use of the English language. And, to those of you who have made it this far in perusal of this writing, if any doubt still exists that words do have meaning, that actions do have consequences . . . I urge you to put this page down and STOP READING NOW! For once you begin to put your feet on the route toward knowledge, wisdom and truth through the written word, there is no turning back.

SECOND:

DO NOT CONTINUE – AS YE MAY NEVER BE THE SAME AGAIN!

Be forewarned by this notice given hereby and herein that the aforementioned writing to follow may precipitate a high degree of epiphaneous intellectual stimulation, cognitive arousal, cerebral aspiration, and/or amusement requiring and/or inspiring a increased ability to think, reason and understand; as the above referenced work designated, “ONE SENTENCE,” is a discourse requiring something more than a passing interest in the written word as a requisite for enjoyment thereof. Further, in rare cases, the resultant comprehension and understanding created thereby may cause a state of cognitive dissonance or anxiety to surface as a direct consequence of the conflict between two or more simultaneously held, though possibly inaccurate or false, beliefs or attitudes previously clutched to ones’ bosom as sooth.

Symptoms associated with such afflictions may include uncomfortable sensations of enlightenment, mental and/or spiritual expansion and growth resulting from the direct involvement and application of the mental processes of abstract thought - - - as this faculty may well have been neglected, ignored or abused for decades and the unanticipated calling it into use could result in great, though temporary, discomfort and instability.

THIRD:

GO BACK - CLEAR THINKING AHEAD!

In particular, do not attempt to read or comprehend the writing to follow while operating heavy machinery or flipping lightweight hamburgers . . . as an epiphany could occur; resulting in a sudden intuitive leap of understanding and enlightenment, which may serve to whet or awaken a voracious, insatiable appetite for further knowledge, awareness and freedom, which can only be quenched by an even greater exposure to the written word and the concomitant pleasures contained therein . . . and in this way, threaten an otherwise dull and doomed existence dictated by the domination of prejudice over observation, the nullification of reason by ignorance, the subjugation of individual will by force and at last the suppression of freedom by making the chains of slavery seem inevitable and yes . . . even desirable.

And finally, for those hardy few who have taken no heed of the previous warnings, and who are still with me, ready and willing to examine the pith of this discussion . . . a final proviso.

PROVISO:
Do not begin reading "ONE SENTENCE" in the middle of your favorite TV program, if you're rushing out to pick up your cat from the veterinarian or if you’re excitedly immersed in planning your next trip to Disneyland or Las Vegas. Rid yourself of all distractions, dispersals and diversions so that your attention is under your control and directed to the matter at hand. In so doing, you may discover, possibly for the first time, a degree of control over your thoughts, emotions and body never before imagined. But please don’t take only my word to experience efficacy of this concept.

Take a moment and try this for yourself:
Observe that whatever your attention is on will tend to dictate what you are thinking about - which eventually tends to simulate various emotions and reactions associated with such thoughts, invariably bringing about subtle or dramatic changes in the body itself. The changes thusly created can be desirable or not as they are controlled largely by what your attention is on. Now then, if the application of this concept leaves you feeling somewhat more able to control yourself and your life, don’t blame me for simply reminding you of who is really running the show.

Further, as the writing soon to follow (“ONE SENTENCE”) will do nothing for you and will indeed fall on “deaf eyes and blind ears” unless you have your attention thoroughly under your control before you begin, please quit now and proceed no further until this proviso above has been satisfied.

DISCLAIMER:
The author disavows any responsibility for the unexpected awakening of any personal mental, cognitive abilities or other such natural occurrences producing desirable changes or developments resulting from reading and understanding this writing. For any awareness that may have become stimulated, any new ability to reason, think, cogitate or form complete sentences of rational thought as a consequence of this writing is due solely to becoming reminded of ones native awareness and abilities - which is in fact the true source of any benefit obtained thereby and has nothing whatsoever to do with the author himself.

PREFACE:
No, this is not an "April Fools Day" joke. This missive was written in one sitting early on the morning of April 1, 2005 in response to an email that I received from a friend in a distant state, (and not just a state of anxiety), which email started out as follows:

" . . . this week has not been one of great accord, harmony and enchantment. But I have attempted to reconcile it as best I could . . . "

The email when on to describe a plight of some considerable distress. As I knew this friend had a propensity toward understatement and a great appreciation of interesting writing and compound thought, I felt compelled to do something to help lessen his stress.

Contemplating further that others might derive some slight benefit from this exercise as well, my response to his email, in the form of "ONE SENTENCE," is hereby tendered for your scrutiny, edification, enlightenment and/or possible amusement.

So, here it is. Certainly the longest sentence I've ever written and even if it does contain commas etc, it hangs together pretty well. Basically, it is a mental exercise designed to stretch the mind and enhance the spirit with an embedded message thrown in for good measure.

- Dan Jacobs April 1, 2005


ONE SENTENCE
Daniel Jacobs, Ph.D.
April 1,2005

Noting the lateness of the hour of your writing and the troublesome nature of the first sentence as indicators, I suspect that your "dis+stress" level has been rising to a degree inconsistent with any healthy mental, physical or more importantly, spiritual condition . . . but unfortunately, all I can offer is sympathy and the words of this correspondence to provide a temporary respite and mental diversion from the stress . . . hopefully to provide an opportunity for creating something more interesting and engaging than the "noise" of the "real world" in a manner which you might find worthy of your time and attention . . . so it is with this writing, which is offered to you as an exchange for your contribution of same to my well-being in your current and previous emails, as I have found that I look forward to each correspondence as I know they will be at least, a meaningful combination of printed symbols, representing in text a particular sound or combinations of sounds, forming a single word or a group of words that express a complete thought resulting in an accompanying feeling or idea in a language that I can comprehend, understand and derive insight from as a result of absorbing the concepts contained therein; and yes, I know . . . the preceding passage is an obvious exercise in sophomoric verbosity and rhetorical pretentiousness - not exactly a subtle point really - but I find that I also enjoy such exercises from time to time, as I'm sure you do, if only to engage sometimes underutilized interests and abilities, to provide some vital mental exercise to keep on top of my game so to speak and also simply for my own personal satisfaction - to see if I am still able to hold together the coherent development of an abstract concept that can often only be appreciated intellectually, but at the same time still deliver the intended message in an engaging and compelling manner . . . all in the face of what is now rapidly becoming a protracted, copious and convoluted thought process . . . (I'm reminded of something my youngest son Evan says about how, on the rare occasion when he begins to get noticeably light-headed when talking, that even HE is aware that he's been going on too long) . . . however, I trust you will forgive my effusive excesses of voluble loquaciousness, and further that you will not find it too tediously long-winded, complicated or professorial . . . for this was intended only as a humorous trifle to capture your attention for a moment, give you pause for thought of something more interesting and enjoyable than the troublesome, hidden attention-grabbers of the unfortunately and inaccurately named, "real world," and finally . . . I would hope that this sentence, which I am excruciatingly aware is composed of well over 550 words (and that IS excessive) . . . will be received in the manner in which it was intended . . . to bring a smile to your face and put a spring in your step that might not otherwise have been anticipated . . . so at last, this exhaustive communication can be concluded and finally reach a happy ending and a satisfying conclusion.

SO THIS IS YOUR LIFE?
daniel w. jacobs

Once upon a time there was this little, happy, able guy, going through life without too much trouble, finding his way the best he can and mostly ending up on top.

But for some strange reason, he appeared to delight in creating a more interesting "game" for himself in life . . . one with more obstacles and challenges than one usually runs into in the normal course of living.

No matter that he was trying to win a game that has routinely killed off anyone else who threw their hat in that ring; the incautious thrill of doing something that others fail at excited him. This game didn't sound all that interesting to others . . . but it did to this him . . . and so he continued playing in the face of numerous cautions given to him by others with more experience and maturity.

This "game" might be generally described as something like this:

Trying to become a success as a professional musician at the highest levels in the world, in a fiercely competitive, cut-throat environment, with both hands tied behind ones back because he was living the life of a "first-rate addict," at the same time . . . all without killing oneself (at least not quickly) in the process.

And just to make it more interesting, one of the penalties of losing in the game was that if the "players" in this "game" didn't actually wake up dead in the gutter some morning, they usually ended up with their lives ruined, a shadow of their former selves, wounded and weakened to a point where they can't even now sit on the curb of the sidewalk of life.

And if that weren’t enough, they are relegated to the ever-growing pile of degraded "has-beens" and “throwaways,” living in the gutter, on the sidelines, not suitable to participate in the REAL game of life. They're used up . . . losers! Left with the dim and fading memories of “how it used to be.” Or at least it would appear so to some bystanders.

Now THIS is a contest that has some real challenge right? Something that would truly test ones abilities in a stimulating way right?

Well, at least our guy thought so . . . and, what’s more, he "appeared" to be winning the game, at least for a time. But was he?

For it was a strange and unusual game that he had created. One with a very unpleasant, even malevolent twist in it.

The nefarious secret of this game was this: the deeper you got into this game, the more it "appeared" you were winning . . . the more you were actually LOSING!

How's that for some genuine sport, right? Something with some teeth in it.

Sure, some can eventually become able to perform music on the world stage . . . but try doing it while at the same time being strung out on drugs . . . now that’s an obstacle that presents some challenges!

Of course, this lifestyle has a downside. The rest of his life is in ruins. He has wasted his friends, family, health and career . . . but he’s winning right?

Fortunately, this story has a happy ending. The creative, able guy in our story finally figures out that the only way to win this "game" was not to play it in the first place and he goes happily on about with his life without the serious consequence that have killed off so many other "players." He "won" by no longer playing the "game” and went on to create more expansive and interesting games.

But, unfortunately, the fact that he created the game in the first place and on the surface, had the apparency of winning and influenced others to follow in his footsteps. And they, not being as creative or as able, weren't able to figure out the secret of winning this game; they became stuck in the sticky, black tar of a life of drugs, degradation and loss.

But, that really had nothing to do with our guy right . . . . or did it?

Eventually, the subject of our story began to realize that his actions did have consequences, his words did have meaning and what he did for good or evil did influence others. A sobering but undeniable thought.

His luck held out once again. He realized that what he was doing was not just hurting himself, but it was hurting others . . . compounding the harm. It was indeed a painful awareness to come to but it did open the door for a positive change.

For this is the first step to change: awareness that things are getting worse and they NEED to change. Without that awareness, any change is all wrapped up in the niceties of politeness of social veneer.

When he began to take the wrappings off, he discovered that he didn’t like himself when he was hurting others and then solved that problem by numbing himself even more.

A vicious circle of self-destruction ensued that began to unwind only when he faced it head on. It was, after all, his life, for good or evil. Only when he came to grips with that was he able to start on the long road back to sanity, health and stability.

Our story has not ended; it only has taken a turn, hopefully for the better at this point. But there are many pitfalls that lie ahead for our guy. Stay tuned for the rest of the story as it develops.

For now, at least he has a fighting chance of survival when before he had nothing.

Dan Jacobs
March 2005

HAPPINESS & SUCCESS

"Only after I quit looking elsewhere for it and simply started being myself did happiness and success finally find me."
- Dan Jacobs

WHAT SCARES YOU? - an essay
by daniel w. jacobs

"Don't hide your music inside you . . . share it with others.” He continued, “Do what you fear most and you will fear nothing,” this said as a command meant to be obeyed. And I'm glad I did. An older, more experienced friend gave this advice to me long ago and it's a concept I highly recommend, adding only . . . do it now!

Don't wait until your music or art is perfect to get it out there. Perfection is a trap designed by someone trying to reduce the competition. Some of the best musical albums and performances have imperfections and no one cares as long as the art has some personal meaning to them.

From decades of being involved in performing and recording music, I have found that listeners want something they can connect with and something that connects with them; something that touches, excites, moves, enthuses, reminds, inspires, arouses, affects, transports them on a journey to a new and different time and place, lets them hear old things in a new way and new things in an old way or simply something that allows them to share in the joy of creation with the artist.

And mostly, they want to connect with the world of the artist, to see what they see, hear what they hear and experience what they experience. From the viewpoint of the artist, this requires that you expose yourself to them through your art. And this can be very scary indeed, for revealing yourself through your music or your art is far more important and often a lot more challenging than just striving for technical perfection. Most artists find that letting people in on what you're really about while performing live in front of an audience takes far more courage than practicing in a room with only a metronome for companionship.

Sure, always try to push your technique as high as reasonably possible but the audience is still always more interested in your message. And it is certain that hiding behind the “veil of technique” because you're afraid to reveal who you really are will not help get your point across.

Stop chasing technique for its own sake - - - slow down and let people hear and see what you've got to say artistically. Open those emotional doors and let them in on where you're at, what you're really about, who you really are, what you feel, what you've experienced and how it's affected you. They'll feel it with you and you'll both be better off for it.

Put yourself out there and let people connect with you and you'll connect with them.

Truly revealing yourself may be the scariest thing you'll ever do . . . but that's what being an artist is all about anyway, isn't it?

DREAMS INTO ACTION
by daniel w.jacobs

Note: this was written in response to a letter from a friend who was pretty convinced that music and the arts were largely unappreciated and that it was pretty much a hopeless uphill battle.

My letter follows. – dan jacobs


Dear J.

I agree that when the culture sinks to a level where there is no appreciation of the fine arts (only the crude arts, hastily presented) with little thought to the subtlety of the art form - - - when there is little or no real support of the artist as a valuable, contributing member of and to the society - - - where the entire collective societal goal is to get more “buck” to buy more “stuff” - - - and where we are sold on this idea by a constantly incessant, unremitting onslaught of advertising reminding us of our inadequacies at not making “enough” money to buy this stuff - - - when you are "somebody” only when you have a new, shiny car, a big house and hot and cold running secretaries at your disposal - - - when the higher institutions of music consider “learning to play jazz” as being accomplished by a focus on mimicry and memorization of notes without meaning, style without substance, sound without aesthetics, technique without message rather than innovative, creative individual thought, then that culture is degrading rapidly and is on its way out. Thus went the Greeks, Rome, England and the U.S. . . . but don’t get me started on this subject . . . I also have a cute essay I wrote some time ago that covers this subject called, “Economic Seduction” (or “How To Boil A Frog”). I can send it if you’re ever interested.

We live in a world of instant gratification where all that is seemingly important is the sizzle, not the steak; where the focus is only on “being” a rock star or whatever. Little or no attention is paid to what goes into bringing ones skills up to a professional level sufficient to accomplish the final result. Then once one is “rock star” it is discovered that the road down is often very rocky indeed.

Success and happiness come from having and following a dream that you desire. Pleasure comes from moving through the inevitable barriers and challenges along the way. This process also provides the knowledge and experience of how you can do anything and bring it up to very high standards.

Yes, the situation can appear grim on occasion with little financial reward and even less stardom. But, I’m not particularly pessimistic about all this. Of course, even my wife thinks of me as the “glass ½ full” type guy with an irrepressible, sometimes irritatingly annoying sense of good will and optimism for the future.

But my viewpoint is based upon one observable, axiomatic fact:

As long as life is in you, it is possible for you to have something to do with the nature of your future.

I think you’ll agree that the artist is the dreamer of dreams and the creator of new future possibilities. So what if new artistic ideas or creative, imaginative solutions or approaches are resisted resented or fought? If you’re not up to it, maybe you should think about looking into a profession that requires little or no original thought, so that you can be “accepted” and fit in to society’s “norm.”

But wait a minute . . . you’re already an artist! How about just facing it and move on. All the things you complain about go with the territory. On the other hand, you get to experience a level of intense aesthetic sensation that others only dream about.

Just keep putting it out there. Keep creating YOUR idea of what you would like the future to be. If you don’t put it out there, it won’t exist. It’s your dream; why not just keep putting it there in spite of every invitation to do otherwise?

The way I figure it, I am going to just keep creating a future the way I would like it to be and putting my dreams into action.

Because, before you can say, “wha’wazdat?” the past becomes the future; and that future has a tendency to look suspiciously like what you were creating all along.

Why not make it something desirable and worth moving into? You’ve got nothing to lose . . . except your dreams.

Anyway, that’s my story and I’m sticking to it! ☺

"Truly revealing yourself may be the scariest thing you'll ever do . . . but that's what it's is all about anyway, isn't it?" - Dan Jacobs

THE JAZZ ARTIST
By Daniel Wright Jacobs
 
A jazz artist has many talents
Of  this there is certainly no doubt

Composing, performing, arranging
All those people who know him will shout.

Perhaps genius, he'll sure not admit it

But he'll give you his best, that is true

He'll play what he means, he'll mean what he says

As all true artists must do.  

A  treasure, we're lucky they’re with us

Like a beacon of light they impart
In our brief lives their magnum opus 

Is their sharing what's there in their heart.        

Knowing one is an inspiration
In this real world of sadness and trial

The jazz artist is close there among us

With his music his art and his smile. 

J"BLUE AFTER HOURS" - the back story
by Daniel Wright Jacobs

The CD, "BLUE AFTER HOURS," began with the idea of trying to capture the unique essence of a live jazz performance in a club like Caveau de la Huchette in Paris or Bakers Keyboard Lounge in Detroit.

It's the feeling you get while experiencing an exhilarating night of listening to jazz, where you're transformed by a club full of strangers united for one common aesthetic purpose; the smells and sounds of people, smoke, booze and jazz; the feeling of being crowded around a small, well-used table in front of the bandstand at any one of a thousand small jazz clubs around the world being pleasantly seduced by the sounds of live jazz being played in the environment in which it was born.

Perhaps this CD might jog memories of some of those times in the past . . . or let you imagine what it might be like to experience it in the future.

So, sit back, take it down a couple of notches, relax and enjoy . . . "Blue After Hours."

- Dan Jacobs

CO-MOTION an essay
By Daniel Wright Jacobs

I've learned a couple of important lessons with this recent adventure of organizing a large benefit concert for those affected by the hurricane Katrina disaster that I thought might be universally useful.

The first is: DON’T TRY TO DO EVERYTHING YOURSELF.

This whole project started out with one purpose: to help those people who had suffered as a result of the hurricane, doing what I could with what I had available . . . music and musicians willing to help.

My confidence in myself initially propelled me forward. As a professional musician, I knew that I could perform and touch people with music and if I had to do it alone, that I could and would. And importantly, as I often come up with wild and often unworkable ideas, my wife, Myrna (my sanity touch-stone) agreed that this benefit concert could actually happen!

My confidence and certainty seemed to resonate with others and the idea began to gain traction with each passing minute. Within twenty-four hours of my original proposal, it was clear that a juggernaught was developing. By that time, we not only had three additional bands confirmed to perform but also a great venue and a workable plan.

I further realized that it would be bigger than I could handle alone. Interestingly, the exact people that I needed to fill the missing gaps in the team appeared in my universe also by the end of the first day. What started with my wife, soon became a team of six people that volunteered without hesitation and decided to play this game I envisioned.

It was in fact, this co-motion that set the stage for the concert to become a reality in less than two weeks. There were of course, many others who contributed greatly, but the fact remains that without this team of six individuals, each willingly taking responsibility for the outcome in their areas, this event could have easily have become derailed at any one of a dozen points. As it was, I trusted that each of the people I had helping me, could and would do their jobs once they knew what was needed and wanted. And all of them came through, each one contributing even more than I initially expected. While I acknowledge that I played a part in getting this off the ground, in the end, it was the self-confidence and competence of the individuals making up the team that carried the day.

Everyone who helped now shares in the glow of success at having accomplished a major musical event for this area to the benefit of people who desperately needed it. I'm very proud of all of everyone who, without complaint, simply saw what needed to be done and found a way to do it.

The second lesson learned was this: LET OTHERS IN ON THE GAME.

While is commendable to have a vision of accomplishment and purpose, in fact, vital to have such dreams, trying to grab all the glory for yourself will in the end disappoint you and leave others with bruised feelings of resentment, less willing to help in the future.

Bringing dreams into reality requires involvement and active contribution of others. You must let them help and let them in on the game. For it is the co-motion and mutual action of the group, pressing forward toward a worthwhile goal that creates the momentum necessary to overcome obstacles encountered on the way. Often, the only "pay" considered really important comes from this element more than any other.

After all, working together, overcoming obstacles, accomplishing a worthwhile purpose with others that you can trust and count on is really what life is all about isn't it?

EACH NOTE CHANGES SOMEONE

“I play every note as if it has the capability of changing a person’s life . . . because it does.”
- Dan Jacobs

PLAY WHAT YOU LOVE AND LOVE WHAT YOU PLAY

If you don’t believe in and love what you’re playing, no one else will either.
- Dan Jacobs

WRONG NOTES?

There are no wrong notes. Only notes you don't believe in.
- Dan Jacobs

MUSIC IS ALIVE

Listen! Create live music in the "hear" and now.

Play to live.
Live to love.
Love to play.

- Dan Jacobs

"POSITIONAL POWER" AND THE PRICE OF FREEDOM
By daniel w. jacobs

Following is a letter written to my friend responding to a mail wherein he relates his experiences with the government vs. the individual. In this mail, he states:

“I have been exposed to the inertia, implacability, indifference and incompetence of the federal bureaucracy; the four "I’s” of anarcho-tyranny as described by the late conservative journalist Samuel Francis. They occur wherever overgrown power collides with disarmed individuals.”
. . .
Your advice would be welcomed.

Best,
R.S.

And here is my response to his letter which I thought might be of some general nterest to others.

Dear R.S.

Your letter describing distasteful interactions with governmental agencies reveal a visceral repulsion for and a reasoned understanding of something of which I am not unfamiliar.

To coin a phrase, I have termed this concept, “positional power.”

Intuitively, it means simply the power that comes with the title of a specific job, used exclusively at the whim of the position-holder, however unreasoned. Bureaucrats often fall under this heading, as outside of their defined area of control, they are virtually powerless to influence others except to infuriate, incense, irritate and inflame with their “inertia, implacability, indifference and incompetence,” again to quote the four “I’s” by Samuel Francis.

When some odious clerk at the DMV arbitrarily applies positional power it is annoying though perhaps ultimately forgettable. Conversely, when used by someone who has the ability to cost you untold amounts of wasted time and money, not to mention years of your life because of their nearly criminal negligence, or worse, nefarious intent combined with a taste for cruelty, such oppressive domination becomes intolerable.

Yet, what to do?

Under the circumstances described, I suppose one could say glibly suggest you simply need to persist and eventually prevail. But, this is no guarantee either, as getting oneself across the lines of what is laughingly called the “justice system” is a crapshoot at best.

Perhaps you should fight back as directed by the “I'm mad as hell and I'm not going to take it anymore” tradition. While that solution might provide an adrenalin rush and some momentary satisfaction, history has shown that raised fists, rakes and pitchforks when matched against tanks and disciplined, well-armed troops don't go very far to further one's cause. And despite the brief public spotlight focused on the injustice, such violence often does little to right the wrong.

Now then, to address the subject of becoming hardened and a bit cynical by the mis-adventures of which you speak; I’m sure you’ll recall that familiar phrase, “Everyone should live in New York, but not long enough to make you hard and in California, but not long enough to make you soft.” Perhaps there might be some applicability to the immediate situation.


As I suspect is true of you, hardness is not really part of my innate personality. We were both raised in a part of the country where trusting people was seemingly inborn; distrust only coming after getting stung a few times too many. For myself, my inclination still leans toward trusting the basic goodness of people as the first assumption. I subscribe to this belief - sometimes to the exasperation of my wife who thinks I am far too disposed to see the glass half full instead of half empty.

My time, attention and life are important to me as yours are to you. Therefore, I think you would agree that to not act in such a way to safeguard others and oneself is an act of stupidity, lacking intelligence, perception and simple common sense.

My advice then, is to follow a path I have found successful. When confronted with circumstances you’ve discussed, I have adopted the idea of doing whatever I must to handle unpleasant situations - while at the same time, pouring the coals on personal production, promotion and into creating a life worth moving into when the “emergency du jour” fades into the past. In the main, this strategy has worked to keep me stable and in motion with the result being that any covert or overt attack coming my way ends up strengthening me in the end.

I offer the following counsel with some increased awareness, certainty and good judgement born of bad experience in the trenches.

My attitude and personal conviction is that one must become alert to the slightest hint of anything improper in self or others and be willing to face the situation directly. Further, I have found that dismissing, explaining, justifying or defending wrongnesses in self or others actually worsens the situation and creates nothing but unmitigated disaster in the end.


And finally, it is my considered opinion and experience, the price of freedom is never to great when the cost of indifference is so dear.

Such is the state of mind that your letter finds me. I hope that some of my remarks might find fertile ground and use in your situation.

RE-COGNITION
by Daniel Wright Jacobs

Something had changed. I could sense it; I could observe it; and I knew I liked it . . but what was it?

In starting to figure it out, I realized that at this stage of the game in building a musical career, the "pay" I was getting for doing all this work (in front of and behind the spotlight) is mostly the "recognition" factor; and translating this into something that the local McDonalds will accept in exchange for a burger or that the IRS will accept as payment for taxes is something else indeed.

Now, I’ve often seen far too many musicians and artists of various types (myself included at times) feel that the only valuable thing was cash. And that if you’re not getting paid for what you’re doing, you’re a loser. For some reason, I’ve never totally subscribed to that point of view. I’ve always had the idea in the back of my mind that I'm simply trying to create something that I find desirable and If I find it interesting, that others might as well. That process takes whatever time and energy necessary to make that happen. It’s like creating a brand name product, instantaneous gratification is not part of the equation. You just have to keep putting it there anyway.

It is true that in our current culture, one has to have enough money to pay your debts or one soon becomes the target of bill collectors and other unsavory characters. Yet living ones life only chasing the “buck” in an attempt to avoid that ubiquitous economic whip makes for a very dull fellow and an equally dull life! Therein lies the rub.

It is almost axiomatic that money is almost magnetically drawn to oneself when you attract attention and interest from a desiring public and deliver a valuable product in exchange. Examples from the sports field, celebrities in the movie business or entertainment field are all around us. We pay to see these people when they perform because they have attracted our attention by their charm, talent, beauty or skill and competence, and we’re willing to pay to see them do their thing. And when they cease to attract our attention or our interest, their income and visibility drops off rapidly off our radar screen.

So then, how does anyone, let alone an artist, begin the process of attracting attention in the first place? So that one can end up with enough money to continue working on your art?

My realization (re-cognition if you will) was that recognition was the first important step of this process. In becoming aware of this point, I began to look at the many ways that I was being more widely recognized as my primary “income or asset” in the beginning stages.

It kept my spirits up and my energy sufficiently high to continue the often thankless work required to get to the point where I was getting sufficient money to continue doing what I loved.

This also led to my attention being extroverted, ever on the lookout for new way that I could get my music or myself recognized. When someone noticed me on the street or heard my music on the radio or from a CD and it came to my attention, I mentally kept a tally of these incidents as part of my “recognition account.”

And as this account grew, I found another door opened on my path.
I discovered that my communication to and from others suddenly freed up as though a huge boulder had been removed from a river. The resultant flow was as effortless as it was enormous. I almost couldn’t stop it.

It appeared that the more I was willing to be recognized, the more I was willing to communicate. Further, the more I found myself willing to communicate, the more others were willing to communicate to me.

This “willingness” element somehow seemed to be the key that unlocked the lock.

Once I digested this bit of newfound wisdom a new and interesting phenomena occurred. I began to just “be” more of the person and musician I always knew I was. And, strangely, I began to be perceived by others as a success - in spite of the fact that I still wasn’t making a lot of money. And it was then that the penny dropped!

It occurred to me that I may have stumbled upon the key that unlocked the lock . . . and it was as subtle as it was powerful.

My willingness to just be there as myself and be recognized plus a willingness to communicate and be communicated to led to a change in how I perceived myself and more importantly, how others perceived me! I really hadn’t changed all that much, but others perception of me changed and I became something more in their eyes. Further, when this perception of me by others became widely agreed upon, it began to take on a life of its own.

I became a larger source of life and energy for myself and for others just by being myself. And the more I was myself the more powerful I became for myself . . . and for others!

Now this sounded like a game I was interested in playing! As the potential for expansion seemed limitless and any success included others as well . . . it was a game where everybody wins!

Sounds easy doesn’t it? Well it is . . . once you know the right steps to follow.

Boost up your willingness to experience anything. You’ve got nothing to lose except your inhibitions that are holding you back anyway.

You’ll soon be recognized; be communicated to; and you’ll be perceived as the successful artist you already know you are!

ESSAY: A FIRST FOR ME!
by Daniel Wright Jacobs

I had an interesting gig yesterday and a first for me in a way. I was asked to conduct a clinic and perform at a concert at Oakland University (near Detroit, MI), that ended up being a surprising success.

I was asked to introduce the idea of jazz as an art form to kids attending a music/art camp. During the clinic the initial feedback was very enthusiastic and open to the idea of jazz which should have given me a clue of what was to come.

The evening concert at a beautiful venue at the university was filled with music students excited to experience the end of the first day of the music/art camp with a live concert. I was supposed to be a featured soloist to perform with the big band but also got drafted into doing an "instructors feature" number at the very last minute. So, practically while walking on stage, I wrote out the chord changes to a song for the pianist to accompany me on a trumpet feature number with an extended solo intro, melody interpretation for a chorus, a jazz improv chorus and finished with a cadenza ending on the obligatory high"F" as the finale.

I knew something was different; as, while I was playing the tune, the audience spontaneously began clapping in time and obviously enjoying the music . . . but I wasn't prepared for the spontaneous and extreme reaction after I finished.

Apparently my performance really resonated with the audience as it brought the house down! I thought, "so this is what a rock star feels like eh?" . . . with screaming girls, whistles, strong applause, standing ovation, it was quite an experience and perhaps a first for me as a jazz trumpet artist. Although no one was throwing intimate articles of apparel on the stage or offering me other demonstrations of admiration and affection, I had the definite feeling that they were willing to!

An excellent classical violinist who performed just before I went on came up to me after my performance and said, "I've never heard that much emotion come out of an instrument before" and she was quite visibly impressed. The other performers shared similar sentiments with me as well. I don't think these kids at the camp had any previous exposure to the jazz idiom and if my experience was any indication, the future may look brighter for jazz artists than otherwise expected.

Anyway, it was a first for me and made the long day worth it in the end!

ADVICE TO AN ARTIST, an email exchange with a friend
by Daniel Wright Jacobs

(this is his email to me)

Hey Dan,

When I moved to LA, I thought I could just walk in here and make it. On many levels it's been a reality check down here and
I just started to lose my will to really go for it in life.

So lately I've been feeling untalented and about as sexy as a dead moosehead. It's easy to understand why. When you are alone you fill the vacuum with your negative perceptions, your demons come out.

So, I broke down, got a regular job and bought a $99 suit awhile ago. But I wore it to a black tie event
and got called out. Someone was like, "Damn where'd you get that
cheap thing!" So I ditched it for another cheap thing $200 one,
more convincing and very lightweight to accommodate the sweating that will occur in my new job.

So the idea is "one day at a time" and stay the course. Any tips?

J = soleman

(and my response to him)
2.12.05

Dear J,

I'm sure you know that old story about one of the richest men in America; about how he shows up at this big event dressed in this somewhat average looking black suit and tie, then when he got up to speak, starts by saying, “It's really an expensive suit . . . it just looks cheap on me”

In my mind, the man makes the clothes my friend, not the reverse. It has to do with a sense of certainty, confidence and competence that emanates from you. You can wear anything or nothing and people will think it's the latest fad if you can carry it off.

Most people are living in a semi-hypnotic anyway most of the time. They'll copy nearly anything and call it fashion or whatever the newest word is to describe such. They're desperate for someone to come along and tell them what to think, feel or look like to be “hip” whatever that means. It's an affliction that affects many artists.

A weakness is that they are afraid to be obvious or sound simple and let others feel or experience the artists' true emotions through their playing. They would rather dazzle with flash, amaze with showy technique, blind with the glare of brilliant execution thereby depriving others of the supreme joy of experiencing the depth of real emotion that is going on inside the artist. They are most likely afraid to reveal themselves in what they consider to be a dangerous environment.

Yet, the real secret of success in any field is to do the opposite.

One of the most valuable commodities in the universe is real, live, personal connection or contact with another human being. Absent that, life deteriorates into a sort of mechanical, robotic, “put a nickel in the slot” type of existence.

But, an artist is a "different reality creator."

They are in fact the visionaries, the dreamers who delight in the fantasy of seeing how things could be - - - and finding a way to bring their brand of reality into focus with their individual artistic expression.

The words of Miles Davis resonate through the corners of my memories like the bell ringing in a centuries old cathedral . . . “it takes a long time to learn to play like yourself.” While I may disagree with the addition of the arbitrary time factor, the basic truth is sound. (pun intended)

To play like oneself is the key. It is, after all, the only truly unique thing anyone has to offer. Being willing to be duplicated takes courage as being willing to be recognized makes you a bigger target and often just being there and communicating is sometimes seen as undesirable. So, it can seem that the safer route would be to “not be there” and “not communicate.”

Just don’t go that route. Instead, become willing to “be there” and communicate with your own unique voice, your own vision of reality. And let others agree with you for a change.

You are going to have to give up on trying to be “normal.” It is a level of existence and awareness that is far below where you are. Yes, you may have to play the game of “sole-man” for a bit to regain a sense of your “soul-man” in earning a living in this anti-aesthetic world we live in. Wisdom, beauty, arts, spirituality are rarely rewarded and often fought. Still, just keep putting it there anyway. Someday, they'll catch on.

But, I didn't mean to get off on a rant . . . back to your email . . .

You know, when you moved to L.A. it is possible you may have been unconsciously seeking a greater “environmental challenge” from where you were before. I know that too much “challenge” can overwhelm; too little can drive you up a wall, but you've survived and are now in a better mental state than when you started. In my humble opinion, it is exactly what the Dr. would have prescribed had he been consulted.

To extricate yourself from the sticky tar-like experiences in your recent past, like driving your four-wheeler through the car wash after an afternoon of splashing through the mud, it is refreshing to realize that you have bested what the environment has thrown at you . . . and you survived! And now, armed with the knowledge of the experience, are far better equipped to handled future challenges . . . which will inevitably occur.

HOW TO BOIL A FROG - PART ONE (an expose' on economic seduction)
by daniel w. jacobs

I’ve been mulling over a theory that I have called, “Economic Seduction.” I liked writing about the concept, but the title sounded all too professorial, which I am not. So, I ended up with “How To Boil A Frog” which gives the subject of the essay a well-deserved intention of irreverence.

In any case, I thought it might be of some slight interest, so here it is.

The concept is this. We’re going along . . . self-sufficient, self-reliant, helping our neighbors and ourselves as best we can. We were happy enough, productive and surviving fairly well with our individual rights and liberties safely guaranteed . . . thank you just the same! The government was there to “help” us if we really needed it but stayed out of our way if we didn’t and mostly we got along fine.

Then, when we weren’t looking a very strange thing happened. It’s akin to the story of how to boil a frog, and in case you don’t remember, the story goes like this.

If you throw a frog into hot, boiling water, he will jump out immediately! But, if you put him into cold or lukewarm water, he will stay there. Then as you gradually raise the temperature, he becomes comfortably accustomed to the heat and will not jump out, even when it is boiling. In fact he will stay there until he becomes a boiled frog . . . willingly! And without resisting. And unless something changes, we could easily share the same fate.

We all got sold this bill of goods, (willingly, or at least unknowingly) that if we went along with the higher taxes solution to everything, then the government could and would do more to help us. If this had happened all of a sudden, like being thrust into boiling water, none of us would have gone along with the taxation rates we’ve now grown accustomed to. But like our friend, the frog, we have become accustomed to it and do little except complain. The way this was accomplished is interesting.

EMERGENCIES

Usually it was precipitated by some real or fancied “emergency” situation that no one could really argue with . . . like a war or something equally bad like a natural disaster. Then, while we weren’t looking, somebody was turning up the heat by increasing taxes to pay for all this. And as if that weren't bad enough, the idea of giving up some of our “inalienable rights” now seemed somehow understandable and acceptable under the circumstances, right? Well, okay, maybe just until the “emergency” was over. Seemed innocent enough, so we went along with it. Now the first step of the seduction had been accomplished, with our tacit agreement. The water did seem a little hotter, but we got used to it . . . and now the plot thickens.

Eventually, the war, disaster, or “emergencie du jour” comes to an end with a whimper or a bang and life goes on. But somehow, those pesky taxes seem stay the same as now some new emergency appears that also can’t be ignored. We dismiss the thought (as too incredible to be believed) that someone could be actually creating emergencies to distract us from what they were really up to. Further, everyone seems to have grown used to getting along without all those individual rights, so they don’t ever get restored either.

The attention gets shifted to helping out the poor or less fortunate for who would argue with that? And of course the government, being the only entity big enough and strong enough to accomplish this, ends up running the show. Soon, we have floods of entitlement programs, welfare programs and hand-outs galore and it seems everyone was on some kind of government payroll or entitlement program or at least wanted to be and hardly anyone notices that the heat just went up a couple of more notches.

To cut to the chase, we end up with generations of welfare addicts who have become hooked on, “the government will do it for me.” An addiction as dangerous as any drug, fixating attention, commanding thought and directing actions only toward the goal of obtaining the next hit.

At the higher income strata, we have individuals and companies feeding at the government trough growing fat and lazy with their newfound wealth, gradually eroding any individual thought and ingenuity. It seemed so innocent and helpful at the beginning but now at the end of the day, this economic deception and manipulation is nearly complete. We’ve been had!

Those hardy individuals, self-reliant and self-sufficient with character built from honest, hard work will soon be an endangered species if we continue to be seduced in this way. We’re giving away our rights, our privacies and our freedoms in exchange for what? An easy life? Money for nothing? A free lunch? No . . . sadly we’re trading our most valuable freedoms in exchange for a life of slavery! We are now owned, lock stock and barrel by the powers that be, in charge of handing out the dough . . . the water is now boiling and we stand by indifferently, thinking we can do nothing about it.

Just when you thought it couldn’t get any worse . . .

THE KEYS TO THE KINGDOM

A well-known fact in international banking circles is that you can let anyone run the politics of the country. As long as you have control of the economics, the money of the country, you hold the keys to the kingdom as you have all the power.

This is the game being played and we’ve damn near lost before we even knew there was one going on. (We were too comfortable soaking in the economic hot tub of easy money to even notice) Now, once we’ve given up our rights and they’ve got us all hooked on entitlements, what do you think is going to happen?

Inevitably, they are going to pull the plug or somehow shake up the “feeder-line” thus threatening your survival and you grimly realize they could take you off your life-support on a whim. Again, some created emergency will precede this and “explain” why this is all happening now. (The spin-meisters will have a field day with this)

Suddenly, you start to feel just a bit “spinny” like someone just pulled the chair out from under you. Frantically you search for something that will restore your life of ease. You’re willing to do almost anything to get back to that safe, secure, worry-free life you thought you had. After all, when you’re in the cage, depending upon the breast of “momma-government” for your sustenance, you’ll give up almost anything for your next “fix.” And you become even more susceptible to the next bit of entrapment slowly sliding into place.

THE FINAL STEP

The final step is accomplished by the implementation of a program designed to “expose” those few still believing in the value of individual freedoms, liberties, and rights as “enemies or traitors” to the common good. Now, anyone who starts beating the drum for less government, more individual rights, privacy or liberty is seen as your “enemy,” as they seem to further threaten your supply and your apparent life-line.

For example, the person who doesn’t want to live on credit and be owned by the bank is looked upon as “odd” and out of touch with society. The individual who likes the “cash and carry” method of handling purchases is viewed as “money hoarder,” probably with terrorist connections and therefore dangerous.

In short, anyone still believing in individual freedom tends to threaten your dull and doomed existence and is regarded with disdain at best, hatred at worst. (The sound and heat of water boiling ever more vigorously becomes harder and harder to ignore)

We have now become the “boiled frog” . . . willingly, if not knowingly. And the economic seduction is now complete.

We now vigorously demand that we have the RIGHT to be fed and cared for by the government. In fact, we rebel if the government for some reason decides NOT to care for us and feed us. We will even revolt for the privilege of being ruled and enslaved by the government. And all we had to do was give up our personal sense of worth, our dignity, our individual rights, our liberties and our freedoms. Not all that bad . . . or is it? Where does this all lead anyway? Lets take a gander and see what our future might hold.

Well, unless there exists some individual intention and effort to retain or regain our freedoms, we will have lost what we always considered most dear . . . our own sense of worth.

It is now obvious that rewarding people for doing nothing ultimately reduces individual initiative and resourcefulness creating a welfarism of dependency upon something other than oneself. The result is that the torch of “freedom” will have been nearly extinguished and replaced by the domination and dictates of the state.

Freedom was once the battle cry that established our country, a cry that echoed around the world. America was held up as beacon in the darkness as proof that the spark of freedom did still exist. It still does, but it is rapidly growing more and more faint. In two hundred years or so, American culture has just about taken over the world. Peoples around the globe love our Coke and Pepsi, our Levis and McDonalds hamburgers. But like a company that has long since run out of cash, the concept of freedom is “running on fumes” or even worse . . . the memory of what fumes used to smell like!

However, there is still hope . . . however slight. For the true source of freedom, the individual and his or her sense of worth and individual identity never really gives up. The spark of life resides in free will and power of choice. Though fought and overcome by the slave masters, it yet lives on to fight again. It never really dies.

Free will, if acknowledged, nourished and held in high esteem will grow stronger. Almost magically it comes to life when fed even the smallest bit of hope. And happily, it is infectious and is easily passed on to others.

It remains that it is the individual, not the group, who can accomplish this resurrection of the will. There are many that have not accepted the slave-chains of government subsidies and are doing what they can in their own areas to regain the freedoms that have been lost or retain what little is left. Others know they should do something but never seem to get started. They are stuck with this vague anxiety that things are not right but don’t know what to do about it. In the end, there is really only one person we can turn to for help.

This person has a face that looks back at you from the mirror every morning. This is the one of whom you have to demand action. There must be a demand for improvement before any meaningful positive change can begin. It is up to you. Speak up! Communicate in whatever form, by whatever media, as it is the one freedom we still tenuously hold on to. Do what you can in your own area. Use it or it will be surely lost forever!

Only by constant vigilance against tyranny, raising an outcry against oppression, exhibiting a willingness to speak out against attempts to further erode our liberties, rights and freedoms . . . will we find a way to avoid the outcome of sharing a warm bath with our friend . . . the boiled frog.

The choice is still yours . . . at least for now.

WILLINGNESS TO BE RECOGNIZED
by Daniel Wright Jacobs

Note: The following letter was written in response to a request for me to review and critique a singer/songwriter under consideration.

Here is my letter:

Dear E.M.,

Well okay then!!! I think you’re on to something here.

With the proviso that I’m an expert or experienced listener for this musical style, I'll give you my overall opinion as a musician/producer/reviewer.

Her voice caught my attention from the first note, peaking my interest and desire to hear what was coming next (always a good sign). Then when she actually did deliver something of substance and vocal depth within a very short period of time, I began to relax and gradually was seduced by her sound and enormous talent. More importantly, the message of the song (a factor of the songwriters’ words and the vocalist as the carrier wave of that message) came through, was received and did create an emotional impact on the listener in my case.

To take this a step further . . . as I have stated in other writings, the most valuable commodity any artist can have is the willingness to be recognized.

To be willing to stand emotionally naked in front of an audience and expose your innermost feelings and emotions and still be and sound like yourself takes great courage. Only the strongest possess the ability present their message openly by not hiding behind a veil of technique as a substitute for substance.

Further, it is an elusive and somewhat counterintuitive element in that you can’t fake it. It’s either present as a natural consequence or it’s not. The more attention you put on trying to “be sincere” the more it sounds artificial and shallow. Artistic fads, fashions, gimmicks in current vogue will not provide any access to this ability.

The willingness to be recognized is a factor of having lived through whatever life throws your way yet maintaining a sense of your own personal identity and character, personally, musically and artistically in spite of everything. It’s simply having the strength to be there and communicate from the heart, letting others hear what you have to say . . . no matter what.

This song, “After Coming All This Way” (I assume penned by you, a great song by the way) contains a universal message, yet it deeply personal (a winning combination in my mind).

Perhaps it is as the title suggests, but for me personally, that was not the emotional hook that grabbed me. The message of the song for me was
" . . . Maybe you're not strong enough to let yourself be loved."

This then, relates directly to my statement above, as to “let yourself be loved” requires a willingness to be recognized, doesn’t it? To me, this message is without borders and something that will resonate with a broad listening public.

I think people need to hear this message of this song and this artist. Your role is to provide a musical means of conveying this message that allows it to penetrate, contact and impact the individual in this culture saturated with sounds without meaning substituting for music.

Best,

Dan J.

WRITING: ON GROUPS
by Daniel Wright Jacobs

NOTE: this is an email I wrote in 2005, to a friend (and one of the best jazz trumpet players in the world, Greg Gisbert). It contains some remarks on groups that might be of broader interest so is included here. - Dan Jacobs

Dear Greg,

Sure, lets get together again sometime and do some playing and hanging. Glad to hear that you're enjoying some happy times . . . guard them jealously as they are the treasures you work for! And to unashamedly mix a metaphor, it just may be possible that some old, familiar thorn in your side has finally bitten the dust.

Regarding your comments on groups, it is my experience that setting out to handle the political elements of any group activity is adventurous indeed and fraught with peril fo' shizzle!

Carefully tread these grounds that are strewn with hidden land mines and traps. Constant alertness is the key.

All groups are aberrated . . . some just less than others. This is especially true of any groups involved in the arts or aesthetics, quadrupled in intensity when the group has achieved some kind of fame.

Here is a somewhat pithy quote I wrote some time ago that might apply to the immediate situation if you can get your wits around it:

"The individual and the group entertain a symbiotic relationship; the power of each is strengthened or weakened thereby.

The group expands and is strengthened by individual cooperation, coordination and contribution in alignment with the goals and objectives of the group.

The individual expands and becomes more powerful as a result of active contribution, coordination and cooperation with the purposes of group." - daniel w. jacobs

Think about it a bit.

Give me a call and we’ll talk when you get back from “across the pond.”

Dan Jacobs

QUOTE: POWER & the GROUP

The power of the group is the individual.
The power of the individual is the group.

– Dan Jacobs

JAZZ IMPROV INTERVIEW WITH TRUMPETER DAN JACOBS
January 2005

JI: What is your most important discovery as a working musician in Los Angeles?

DJ: My close friend Bobby Shew, definitely one of the “A-list” trumpet players internationally, gave me this tip when I first came to Los Angeles. He said, in the music business, people would rather work with musicians they like to be around and can get along with. He went on to say, of course it is vital to be able to perform competently and professionally, but given a choicewith all other things being equal...people would still rather work with their friends!

On reflection, the simple and now obvious truth of this statement made all the difference in my career. Further, it put things in perspective for me in a way that nothing else had done up to that time. Yes, I had been trained and experienced as a trumpet player for years before, performing with all types of musical organizations from small groups, big bands, rock opera, road shows, etc., and getting gigs had always come easy for me. But, I never really examined why I got hired, thinking it was only because of the way I played. I now realize that actual performance is only part of the picture. Being able to get along with people you're working with is the other side of that coin. After all, the people you're playing with or hanging around with during the breaks are able to make the gig a pleasurable experience or something quite the opposite.

A recent experience might help to illustrate this point. I was hired to produce an album for an artist in another city. Though I had performed there before, when I needed players to work in the studio, I called upon my old friend and top studio player to get names of other guys to work on the project. He told me, “Lots of guys could cut this gig, but get this guy because he can play anything and he's fun to have around.” He was right! I did hire the guys he recommended and was happy I did. Now, they are also my friends and they would be my first choice for any future project.

JI: How has working in the music business affected your life?

DJ: To begin, I read something by a famous producer that clarified this area for me. He said, there are two words in “music business,” music and business! You can't completely separate them and remain viable. Unless you know something about the business side of music, in addition to the fact of creating music, you'll run into difficulties unnecessarily. There are lots of books on the subject, seminars you can attend and other sources for information on the subject so that you can easily get a working knowledge of the area. These days, there is really no excuse for not having at least some working knowledge of the business side of things.

I've got musician friends that simply don't want anything to do with the business side of music. They have dedicated themselves to being a player and that's all they want to be. Admirable though this may be, it also is a limiting factor in my opinion. I was lucky enough to enjoy not only the creation of music but the production, marketing and promotion of it as well. Having produced over 30 albums, I've found that it requires 100% of your time, attention and dedication to create a professional musical product suitable to offer for sale-and another 100% of your time, attention and dedication to market and promote it successfully. This is where the “music business” operates. And you need to know something about it even if you can't stand doing it yourself, so you can hire competent people to do it for you.

For myself, I consider that I've got the best job around; to be able to do what I love every day, whether in creating a musical product or in creating a way of reaching the public through marketing and promotion. None of this is work to me. It's fun! Perhaps it's because I enjoy every step of the creative process from conception to finally completing a project and getting it demanded and sold to the public. Whatever it might be, when I'm able to make use of my musical skills and combine that with my experience in the business side of things, I find that things go easier and life is much more enjoyable.

JI: What kinds of encouragement did you receive growing up, and what was the environment like that led you and your two brothers to pursue this creative path?

DJ: With my two brothers, Chuck and Rod, I grew up in a very musical family and received ongoing encouragement in any musical pursuits from parents, friends and relatives as a normal part of my life. Everyone expected that we would follow some sort of creative musical career path, as it was so much a part of our lives from a very early age. Our family band, including me on trumpet, Chuck on bass and Rod on drums, our mother on piano, our sister on clarinet, and our “other brother,” Rick Culver, on trombone, won local and regional contests from the start, resulting in performances around the Midwest at any number of shows, concerts, misc. gigs etc. These experiences lead to all of us becoming seasoned performers in addition to being competent instrumentalists. To some degree we became involved in the “entertainment business” in addition to the “music business” as a result of these experiences. From this, I figured out that: a) all practicing was done alone and was for my benefit; b) rehearsing was done for the benefit of the group; c) that the performance was for the audience! And that concept stays with me to this day.

JI: Tell us about the concepts you had for creating the music on your two albums Jazz Standard Time and your recent release, “Blue After Hours”

DJ: The question is best answered with this short story that my wife, Myrna, wrote around the time that “Jazz Standard Time,” was recorded in late 2001: “One day on a rainy Paris afternoon, over a cup of espresso, Dan, the oldest of the three brothers, decided it had been long enough without a 'Jacobs Brothers' CD. The idea was then born to just set a studio date, have everyone show up, then figure out where to go from there! So, that is what happened. Chuck showed up with his bass, Rod set up his drums Randy Dorman, was there to play guitar on the project and Dan on trumpet. It was early in the morning and they set up and began to play. They played, improvised, and tried new things, each adding their own special influences. It was loose yet disciplined by experience and professionalism. Music is best played that way and it turned just how Dan envisioned. Everyone had fun, had something to contribute and left wanting to do it again.” And, it turned out to be a very popular CD.

The second project, Blue After Hours was conceived one evening when my wife and I were listening to some jazz during dinner. We got the idea of producing a project that was deeply personal and yet universally acceptable. We decided to try to capture the unique essence of a live jazz performance in a club like Caveau de la Huchette in Paris, Bakers Keyboard Lounge in Detroit, or the Blue Note Jazz Club in New York. It's that feeling you get while experiencing an exhilarating night of listening to jazz, where you're transformed by a club full of strangers united for one common aesthetic purpose; the smells and sounds of people, smoke, booze and jazz; the feeling of being crowded around a small, well-used table in front of the bandstand at any one of a thousand small jazz clubs around the world being pleasantly seduced by the sounds of live jazz being played in the environment in which it was born.

We wanted the CD to stir old memories of some of those times in the past...or let the listener imagine what it might be like to experience it sometime in the future. That was the birth of the concept for, Blue After Hours now released and available worldwide. From initial feedback and media reviews, we accomplished our objective with this project.

JI: How has your playing and overall perspective grown as a result of the two jazz albums you've recorded, “Jazz Standard Time” and “Blue After Hours?”

DJ: My appreciation for all the “invisible” steps that have to occur for any project to be released has grown tremendously. What you see and hear at the end is the finished product, but what you don't see is all the other things that have to be done expertly for the final CD to reach the listener with the level of quality that was envisioned. I've also learned that seeking only perfection is a trap. This is because as you get closer to perfection, your skill and awareness inevitably get better and you now see how it could be improved even further. You have to learn when to call it done. And when is that? In my mind, any work of art is done when the technique involved is sufficient to touch the listener with the intended message.

I feel that works of art are experienced by people; they are heard by people and felt by people...not just for a small clique of insiders. I've always thought that the message of the music was more important than the technique used to accomplish it. If what I'm playing doesn't touch people, to me it doesn't matter how much technique I display. I'm convinced the reason for technique is to help facilitate the delivery of my message, which is always more important to me. The focus of my playing is to do whatever is necessary to reach people, to touch them with my music. Everything else is secondary in my opinion.

JI: What were the jazz recordings or performances that you first heard that inspired you to develop your improvisational skills, and what kind of feeling did you get from those?

DJ: I first heard Louis Armstrong shortly after I began playing trumpet. I got to meet him twice after the concerts and two things stuck with me. First of all, he was a consummate entertainer and was also a phenomenal musician. He was really the first one of his stature that I'd seen who was competent and comfortable in both areas. As a player, his tone, phrasing, dynamics, sense of time, note placement and ability to always swing made him the ideal performer. And as an entertainer, he always seemed to thoroughly enjoy playing for the audience. Like all the really top performers I've played with over the years, from Woody Herman and Mel Tome to Linda Ronstadt and Kenny Rogers, they all made you feel that this performance was just for you!

The next jazz recordings that really turned my head around were the Stan Getz/Chet Baker Quartet records of the '50s. I had never heard anything like it before and it definitely touched me emotionally! The tone of the Chet's trumpet and his sense of harmony and phrasing were and are pure aesthetics to me. I practically wore the grooves of that LP down to nothing from listening to it over and over. Miles and Kind of Blue and subsequent albums also opened more musical doors for me. Both of those records inspired me to further develop my improvisational skills to be able to get out of the horn what I was feeling inside. Since then, I've listened to and studied not just trumpet players, but all types of music. I've found that any great music will reach me, sometimes in profound ways.

JI: Who have been some of the most influential musicians in your development, and what specific ways have they impacted your music and artistry?

DJ: From my viewpoint all current trumpet players owe a debt to the great players who paved the way; Louis Armstrong, Bix Beiderbeck, Dizzy, Clifford, Kenny Dorham, Chet, Miles, Blue Mitchell, Freddie, Woody Shaw, Tom Harrell, Wynton, Enrico Rava, Randy Brecker, Bobby Shew, Nick Payton and too many others to mention. Each contributed in their own way and they all have and are continuing to contribute to the development of jazz trumpet specifically and the art form generally.

JI: Could you share some of your perspectives about learning how to improvise and the process of improvisation?

DJ: At twelve years old, when I started playing trumpet, I was able to improvise before I could read music; it just came “natural” to me so then I had to backtrack and fill in the technical gaps from my early training. Primarily, I concentrated on learning the melody to the songs I was playing, as I was the lead instrument in the band. Consequently, my soloing was mainly melodic interpretation in the beginning, but, as my solos made sense in that context, it gave me the confidence to continue developing my skills and competence. At that time, I was playing mostly standards so I began to learn the words to the songs, too.
This exercise helped me tremendously as it gave me a “connection” to the songs that showed up in my solos. Later, as I learned more scales and alternate chord changes I would think of my own melodies, write them out to practice over the chord changes to the song. This too, was a “rapid-launch” method to gain confidence and certainty in my improvising that I would recommend to anyone. When I was coming up, there were always jam sessions and places to play jazz live. So, I took advantage of this and sat in wherever and whenever I could. This gave me some great exposure to better players resulting in lots of growth for me personally.

My perspective on the process of improvisation in general is basically simple. Improvisation means to create spontaneously and play what you hear naturally. In the beginning stages of learning about improvisation, I feel it is important not to edit yourself too much. Just get used to hearing a note or phrase in your mind then try to play that same note or phrase with your instrument.

The old saying, “strive for tone” is still the most important part of improvising in my opinion. Never compromise speed or range for sound. Your tone or sound is the most personal and identifying characteristic of your playing. It is your musical identity and it's who you are on your instrument. Listen to players you like. Emulate those that inspire you. Don't worry about being perfect before you start. Be willing to face up to and work on your weak areas when they show up. Practice them until you don't have to think about them anymore. Listen to players that have come before you. There is nothing wrong with imitation especially in the earlier stages. Your own voice will develop

“I believe that artists are arguably the most valuable people on this earth. For they seek to inject the culture with all the art, beauty or aesthetics you find on this planet. Without the working artist, the world would not be as livable, and, I'm proud to be counted as one of them.”

naturally if you are playing what you hear. Persistence, perseverance and patience are the keys to competence in mastering the art of improvising.

JI: I've observed that two diverse approaches often influence or tug at the direction that trumpeters focus on-the amazing technique of Maynard Ferguson, and or the depth of content and unique sound approaches of Miles Davis, Clifford Brown, and Freddie Hubbard, among others. Could you comment, and discuss the temptation to focus on or be drawn to technique over the music itself that some artists experience.

DJ: Back in 1971, I was given a wonderful article discussing the relationship between art and communication. At that time, I began to really take a look at what was going on with technique, content, sound and the musical experience itself. I relied on my old, dusty dictionary to find that technique is simply the procedure, skill or expertise in handling something, like an instrument or a voice. Art, on the other hand, is usually defined as the creation of some beautiful or thought provoking work, as in music, painting or writing etc. So, I puzzled, how much technique do I need to get my musical message, (which can be any feeling, sensation, desire or anything else) across to the listener and make it a desirable artistic experience at the time? It was clear to me that technique was just a tool to help me reach people with my music and to touch them emotionally. It is there to push the idea forward and give it the power and punch to impact the listener and the audience. Seemed simple enough, I just had to keep my priorities straight.

“The old saying, 'strive for tone' is still the most important part of improvising in my opinion... your tone or sound is the most personal and identifying characteristic of your playing. It is your musical identity and it's who you are on your instrument.”

The message, the idea...was dominant! As long as I remembered that the purpose of practicing technique was to get my message across more effectively, I was okay. And if I started working on technique only for its own sake, I knew I had fallen off the rails. And, significantly, I began to make rapid progress in finding my own musical voice at that moment. I knew I wasn't going to be the new Maynard, Miles or Chet because even at my best I would only be a copy of them. I discovered that the more I trusted my own instincts about how and what to play, the more I began to sound like myself...and the more I liked what I heard! For a more complete discussion on this topic, go to www.bobbyshew.com, from whom I learned nearly everything I know about playing the trumpet.

JI: Most of us are baffled or frightened by mere smokescreens. Once we understand these events simply as the illusions they are, we can often transcend these “walls” and experience the fulfillment and success that lies just beyond our current awareness. If you've experienced this kind of evolution at one point or another in your life, could you share that with us?

DJ: I have found that many of the difficulties and problems of life appear so only because we have not really faced them. At one point in my life I found that the complexities of life increased only to the degree I was unwilling to meet them head on. And, when I did willingly face whatever life presented me with, things became simpler. I have found that the first barrier to learning anything new or gaining any new ability, is thinking that you already know all you need to know, without any further study. With this idea, you've made it impossible to improve further. To apply this concept to any instrument, if you are unwilling to face, for instance, the fact that you never really learned your basics, you'll find many aspects of music quite baffling.

It is humbling to have to face your weakness and admit that you have something to learn, but it is the only way you are going to really improve and reach levels of effortless mastery in your playing. Life is a constant, ongoing study. And the more I know, the more I find out there is to know. In the words of Bobby Shew, “I'm humbled every day by the trumpet. But, I still know that it's just $35.00 worth of brass and without me doing something to it, nothing happens! I'm the one controlling it, not the reverse.” This makes total sense to me and clarified the proper relationship between the horn and me.

JI: To be truly universal, one must be particular moment by moment, detail by detail. How does this perspective or approach manifest itself in your life and music?

DJ: In my opinion, if all my attention is hung up on something in the past then I have less attention to devote to succeeding right now, let alone planning for something better in the future. I know I tend to get what I keep my attention on. So, if my attention is on my past, my future will be much the same.
I heard this concept stated by Chick Corea once when he said something to the effect that when he performs at his best, he is totally in the moment, completely in the present, creating each moment right now. He's not thinking of what he did a day ago or a second ago. He's not even thinking about the future. He's just in the present moment totally, and he creates most effectively from that state. I agree with him completely and strive for this state every time I pick up my instrument.

JI: How do you stay balanced-as an artist, as an individual given the many distractions that surround us and the stress?

DJ: I have learned to trust my instincts completely about people and situations in my life. If I have a bad feeling about someone or something going on around me, I don't ignore my instincts or make excuses to “explain” away some odd behavior or situation. I call it for what it is and act accordingly. I either handle them in some effective manner to get them straightened out, or get them out of my life. I get rid of “toxic connections” fast and never look back! Conversely, if I see that I routinely do better around certain people, I'll do everything in my power to help them any way I can.

I'm very loyal to my friends and I know who they are. I never compromise with my own sense of personal integrity in my music or my life. I figure if I don't believe in myself, why should anyone else? I have an unshakeable belief in the basic goodness in people. Personally, I've never found a person who “tried” to do the wrong thing. In my experience, most people try to do the right thing and are willing to correct themselves...eventually.

Finally, I believe that artists are arguably the most valuable people on this earth. For they seek to inject the culture with all the art, beauty or aesthetics you find on this planet. Without the working artist, the world would not be as livable, and, I'm proud to be counted as one of them.

E-mail: danjacobsmusic@aol.com

DAN JACOBS TRUMPET INFO

I'm using a Yamaha 8310Z trumpet exclusively that I got from Bobby Shew, who also "tweaked" it in some magical fashion so that it plays exactly as I want it to play. Don't ask me how he does it, but it involves some secret handshake and something to do with the supernatural! (joke)

Bobby can do this for you, so don't ask anything further from me about it. I just get it done and don't ask how!

I played the earlier version of this model, the Yahama 6310B for years and loved it but this current model is in a league of it's own. It is the best horn I've played hands down.

Prior to this one I was playing a Schilke X3 which I thought was a magnificent horn. The minute I picked up the 8310Z I never played the Schilke again.

Prior to that I played a Kanstul, raw brass, Wayne Bergeron model trumpet (that I got from Wayne personally). It is also a great horn with it's own sound. But, I've tried it occasionally since working with the Yahama and there is no comparison.

I'm sticking with the Yahama 8310Z until Bobby decides to design another one! - Dan

I also use the AMT (Applied Music Technology) for my wireless mic that attaches to the end of the horn. It is the best I've ever used and I've tried several. I also have the wire model as a back-up but I prefer the wireless if given a choice.

MORE TRUMPETS: I also own many other trumpets, cornets, pocket trumpet, flutes, pianos etc.

I've also got a 1942 Martin Constellation, a Yahama Zeno model, which I like only somewhat less than the 8310Z, a Kanstul and some others. I used to own a beaufiful Chicago Benge but it was stolen off a gig many years ago.

ON IMPROVISATION: PART ONE by Dan Jacobs

Note: This is the text of a letter I wrote to a pianist friend who wanted to improve his jazz improvisation skills. He wanted me to write out some basics for him to think about and work on while he was away during the summer. - Dan

The key to success in this area, is to take it in “doable doses” as the song lyrics sung by James Taylor so aptly state. If you skip a step in the development process and try to run before you can walk, you’ll find frustration to be your constant companion. Start practicing slowly at first, singing the lines (jazz syncopation) that you hear and then play the lines with right hand only on the piano. Time spent practicing the connection between singing and playing (slowly) is more valuable than anything you can to in accomplishing your objective.

I practice piano far less than I do trumpet, but when I do, I may play only 10 minutes at a time, two or three times a day, for a week. And, I may only play five notes, one at a time, during the entire practice, placing the thumb and four fingers of the right hand over the keyboard and playing each note VERY slowly, over and over and doing nothing else for 5 or 10 minutes, focusing entirely on what I am doing in the moment. When finished, I get up from the piano and go about my business with other activities.

The first time I did this, to my surprise, the next time I sit down to play (without other practice) my facility to perform what I wanted was significantly higher than I expected. To me, this proved my theory that playing an instrument is 90% mental and 10% physical.

Now then, as to jazz improvisation . . . here are a few general basics, some of which will be very familiar to you, some you already do very capably already, but all are still worthy of a fresh look.

The first item is worthy of it’s own position above the rest and I’ll take it up first to acknowledge that importance.

Sound is the most important element in soloing on any instrument. Technical expertise is a distant second. The music is always more important than the technique in my mind. As long as you keep that order of importance in mind, you can push your technique up as far as you want and your music will simply come out easier. But above all, a disciplined and professional sound will separate you from the crowd faster than any flashy display of technique.

Following are some of my ideas on the subject generally, perhaps an entertaining, even enlightening story or two as illustrations. Some of this may be somewhat controversial but these are my opinions and experience and they are most certainly true for me.

I once was told the story of the incomparable jazz pianist Bill Evans being at a party where there was an old, out of tune piano. Other good, competent players in attendance occasionally sat down to play and invariably complained that the piano was out of tune. However, when Bill sat down and played, magically, no one noticed the tuning of the piano. His musical intention and the aesthetics of his music was so powerful that it seemed to transcend the mechanical limitations of the instrument almost transforming it to an “in-tune” instrument instantaneously with his unique touch. I witnessed the same phenomena when I attended a “rent party” in Detroit in 1963. The legendary ragtime pianist and composer, Eubie Blake was there and I was lucky enough to see and hear him play piano. There was so much music that came out of that piano that no one noticed or cared about the mechanical tuning! His extraordinarily long fingers caressed the keys like he was in love with every note. Which I’m sure he was!

Not to compare myself to the genius of Bill Evans or Eubie Blake, but when I play a note, I am always aware of the sound I want to create before I play it. The sound I make on trumpet, piano or flute is my inner voice and a reflection of the language I am speaking at that time, further, it changes from time to time depending on my emotional state (witness the difference between my first two albums). I consider my sound the most valuable asset in my music. I really don’t consider that there is a “bad” note. Just notes that sound good to the ear at a specific moment in time. I strongly believe that the sound, emotion and spirit of one note that I play has the power to change an individual and the world for the better. I further believe that music has the power to transcend political, geographic, economic and other barriers to unite people and remind them of their native spirituality for the good of the planet and all the peoples on it.

In 1928 when famed trumpeter, Louis Armstrong first wrote and recorded the hit song, “STRUTTIN’ WITH SOME BARBEQUE,” he wrote a Major 7th note on the 8th note of the melody, many people listening at the time exclaimed in horror that he had made a mistake! For it sounded “wrong” (really meaning unfamiliar) to the ear at that time when listeners were used to concert band cornets/trumpets playing tonic and diatonic notes that fit within a set of familiar patterns and sounds. Yet, the Major 7th of the chord was evidently exactly what Louis wanted to write and play and was the sound (and likely the effect) he wanted to create. He was a musical genius and innovator to be sure as he changed the entire role of the trumpet player from side-man to soloist, but it was his integrity to the sound he wanted to play that made “wrong” notes sound “right.”

Again, not to compare myself with a player of Louis’s stature (whom I had the distinction of meeting personally twice), but only to provide an example of my own - of the many different brands of trumpet I own, no matter which one I choose to play at any given time, I always end up sounding like myself. I even have an old Shepard’s Crook cornet made in 1867 that is very much like what Louie played in the 1920’s, yet when I play it, I only always sound like me and never like Louie. I also have a 1942 Martin Committee trumpet like Chet Baker and Miles Davis both played in the ‘40’s, but it doesn’t make me sound like them. The horn is a mechanical device like a piece of plumbing which does nothing without my input. This is the case with any other trumpet I play, as the sound is formed internally before it comes out the horn, which I feel certain, is exactly what Louie and the others did as well.

Another quick example with a different instrument: I started playing flute in the 1960’s with an old $20 student flute that someone gave me in exchange for a debt. I loved it instantly and could play it the first time I ever put it to my lips. To me it was the most beautiful sound I had ever heard. Held together with rubber bands and love, it still sounded as good to me as a hand-made, solid-silver, 1917 Haynes closed-hole flute that I have dreamed of owning. And from the feedback of others, they shared my feelings about the sound produced on that old first flute (which I still own with fond memories attached).

Finally, and please forgive my philosophical ramblings, but I am certain that my old Yamaha G1 Baby Grand piano, manufactured in the 1960’s, a veteran of many a smoke filled bar gig with the cigarette burns to prove it, holds its tuning because I intend it to do so. I love the way it sounds even if it is “technically” out of tune (which is always someone else’s consideration and not a technical fact anyway). Further, as what is beautiful or ugly is fundamentally a factor of one’s considerations, perhaps the piano is responding to my admiration for it and for no other significant reason in sounding in tune when I play it. At least that is my story . . . and I’m sticking to it!

Now, to address some other elements of jazz syncopation as applied to improvisation. Following are some fairly well accepted tenets borrowed liberally from Jamie Aebersold’s material, of becoming an accomplished soloist on any instrument, given that there is at least some basic expertise on the instrument of choice to begin with.

1. Know where you are in the song at all times. Listen and pay attention to what the rest of the section is doing. If you hit a note that sounds wrong or inappropriate for the moment, move it up or down a half step and you’ll usually be correct. This is where making the connection between singing a solo and playing what you hear is crucial. If you’re singing a line, it will come out like you, not some memorized technical exercise.

2. Don’t be afraid to be obvious and repeat yourself. Repetition is natural in all music and of course in all rhythm. If you can’t think of anything interesting to play, play the melody. Every tune or song has a melody that the composer spent many careful attentive moments designing. Melodic interpretation is a totally valid form of improvisation.

3. The listener needs repetition and sequences in a solo to hang on to what you’re saying musically. It can be as complex as you want it to be, but when you repeat it, it begins to make sense to the listener. Dizzy is said to have stated that when he plays a wrong note or phrase, he just repeats it and it then sounds good! Another aspect of this is that if you are interested in playing the note or phrase, it will sound good to the ear no matter how dissonant you may think it is.

4. Beginning or ending a solo phrase on a chord tone (1,3,5,7 of a scale) give the listener some stability and predictability in what you’re playing. It will make sense to them. Now, having said that, I very often do exactly the opposite of my own advice and intentionally play a note that is not a chord tone and the beginning or end of a solo. But the key factor is “intention.” I’m doing it knowingly, purposely departing from musical convention as a something that I hear in my head and only because I’m interested in playing it, not just because I want to sound hip or cool or anything else. Also, if I want to be right in the pocket, I can do that as well and there are times when nothing else is called for. But, even in those circumstances, if I hear something else, I’ll play it regardless of the circumstance, if only to maintain my own interest and musical integrity.

5. Listen to others that you would like to sound like. Find someone that touches you with his or her music, even if it is a different instrument than what you play. Listen to the musicians that have come before. Imitate them if you like what you hear them play. Your own sound and style will come soon enough. The greatest artists in history were could also write, paint, and perform in the style of nearly any other great artist in their field.

6. Finally, to me the end result of musical performance is to connect with and impact the audience and let them share in the creative process with you. Practice alone. Rehearse with a group. But perform for and with the audience. I never think about what I practiced when I’m performing. My attention is on the audience, the band and my playing . . . in that order. I always seek to keep my attention totally in the present, not in the past or in the future, when I’m playing. In that way, I can respond to the inevitable surprises that are part of any musical experience.

7. Of course, this brief write-up is only a small part of the whole story but hopefully you will find something of use in your quest. May you never be the same!
- Dan Jacobs, May 15, 2005

TEN POINTS ON NEGOTIATING ANYTHING
by Daniel Wright Jacobss

1. Anything can be negotiated.
2. Value is determined by wantedness.
3. Prepration, planning and foresight are the keywords to success.
4. Let them call the deal anything they want as long as they don't change the economics.
5. When/if an impasse is reached in negotiations, clarify the purpose and simplify the form.
6. Give away elements you don't want.
7. Never bend on the important ones.
8. Be ready to take advantage of the shift in your direction or to skillfully defend your territory when necessary.
9. Remain in sufficient communication to keep the deal alive when things change.
10. Things will change.

TEN TRUMPET TIPS by Dan Jacobs

1. Focus on the sound you want and all else will follow.
2. It’s best to do one thing really, really well than be average at everything.
3. At first, slow is better than fast, speed will come naturally.
4. There is always more to learn.
5. Music crosses all borders.
6. A “wrong note” is a relative concept.
7. The message is always more important than the technique.
8. Push your technique as far as you can but keep the message & music first in importance; technique serves the music.
9. Be yourself; play the music not the trumpet.
10. Your sound is your musical identity.

"As I've always said, critiques and compliments are both okay for inhaling, just don't swallow either one."

ABOUT WRITING: A letter to a friend.
by daniel wright jacobs, ph.d.

You are a gifted storyteller, that point is well established and unquestioned. In my opinion, the goal of your current endeavor should be to translate that natural ability into print in a manner that it retains the uniqueness of “you.”

To be able to write so that you sound like yourself is worth achieving in my opinion, as it is with music and finding your own musical voice on any given instrument. It is, after all, the one single thing that distinguishes you from anyone else, as there is not one else exactly like you. As you already have a “story-teller” voice, play to that strength in your fiction writing and it will be enhanced many-fold thereby. (At least that's my opinion)


At this stage of your project, rather than do any editing or proofreading etc., I prefer to offer you a part of my writing hat as a published author (Entrepreneur Magazine, Sales and Marketing Magazine, Sales Doctor Magazine) and others around the world. This may be of value as you begin your writing journey and you can use or ignore it as you choose. It may not align to your writing style, as my work has been mostly business related non-fiction. Whatever works for you is the route to take following the guidelines as above.

There are two (at least) ways of approaching writing, at least in my experience. Though I have no skill in writing fiction, save one short piece as an introduction to my other works, I'll tell you the way I work; I may include the "toe in the water" little piece of fiction that I did, for your amusement and possible edification (a word I have grown to love and use far too often, at least according to my wife!).

My writings all begin with an idea, which spurs a concept that I consider would be personally applicable and yet have universal appeal. But, I'm not so firmly wedded to that idea that it can't develop into something else as the process moves forward. In fact, I consider this as part of the overall creative process. It happens all the time in my composing in producing my albums, so I figured, why should it not apply here as well? 


Consequently, I rarely do a complete outline before I begin and if I do happen to have one, it is flexible. I also don't re-write or edit to heavily at the beginning. It is my experience that the "creative muse" is fickle. I use it while it is available and re-write later. It is not something that can be forced or made to appear with effort. It is either there or it's not. At least that is my experience. I do know that it has something to do with the amount of "noise" in ones life at any given moment. Incomplete cycles also play a part as "hidden attention grabbers," which seem to present barriers to the appearance of any semblance of a muse. But, when I feel like writing, I'm extremely efficient and productive. When I don't feel like writing, I either work on practicing my trumpet or composing on piano and it balances things out.


For various reasons, since I have been in CA on this trip, I have written over ten new pieces of varying length from a few hundred words to five thousand words and I'm currently working on a new expanded piece as I write this. At this time, I write every day to take advantage of the momentum when it appears . . . and now's the time evidently.


On the other hand, some very successful writers will fiddle with the first paragraph endlessly until it is just right, and only then proceed with the rest of the work. I have seen musicians in the studio also spend two weeks or more on the first thirty seconds (or less) of a tune before working on the remainder. Again, whatever works for you is the key. 


Another thing I have found useful is that if I think of a phrase or a title of a work that interests me, I save it in a file. Then on occasion, I pull these out and see if anything further develops from it, is so, I begin a piece and see where it goes. At times, it goes no further than a paragraph or two, so I leave it at that and work on something else, just as I do when composing music where I find an interesting phrase or chord or pattern and like it for no other reason than it's interesting to me. I'll save it and develop it when it's ready to appear.


For example, "reason d'etre" was one of these titles/phrases that caught my imagination and I ended up writing a great article on that concept. "Toxic connections" was another that developed into a very worthy piece. "Academia" ended up being a very interesting story with a moral. "Storm petrel," has captured my imagination for a piece yet to be written. A turn of phrase with come to my mind such as, "It has about as much aesthetic flavor as a public urinal." And it might spur a further essay, though so far it hasn't. Another is "coup d'état" which for some reason (I never second-guess why) it caught my attention so I simply save it until the rest of the piece "develops," or not.

I might (as I have done) decide to write the longest sentence I've ever done and make it all hang together with a universal message, just for the challenge of seeing if I could do it. (But then, again according to my wife, I'm sort of obsessive about these things, so it may not be recommended for everyone).


I save all my half-finished pieces and revisions of re-writes that I do (I literally have thousands of these!), as they are my resources to rely on when I'm dry to any new idea at some moment.

Also, when the font of creative production strikes me, I grab one of these old under-developed ideas and wrap it up. 

Of course, these are just a small part of my ideas, thoughts, ramblings and experiences in this area. Much more can be written about it, but I'd rather spend the time writing rather than writing about writing . . . at least for now!


If you find any slight value in anything I've mentioned, I'll be happy. If not, you can always use the “delete” button on the computer for its intended purpose!




LETTER TO A FRIEND: ON MUSICAL HONESTY
by Daniel Wright Jacobs

Harry,

I have studied classical, but not long enough to let it restrict me, I always preferred a freer style of music. I could improvise before I could read and have always followed that route. In the Navy school of music though, I was required to be competent at all styles from bugle calls, marching band, jazz/standards combos, concert and light symphonic bands, big bands, theory, some piano, etc. You could not graduate from that school unless you were completely able to function professionally in any setting required of a journeyman trumpeter. So I learned the discipline of the basics in all areas and I'm happy I did!

I am now comfortable playing any style of music, though I have my preferences. If the music is well done, sincerely rendered for the benefit of the audience and the performers as well, I'm happy playing any style. For example, that last gig we did together, (the benefit gig in TC), I loved doing that one because it was honest. No one was trying to play out of style for what was called for, no matter what was called for. Plus, no one was complaining and the crowd loved it. I get sick of guys who say "I'm only doing this gig for the money." In my opinion, you either have the integrity to do a thoroughly professional job or you don't take the gig.

I found this to be true when my brother and I had an independent record company in the early '90's. We loved the music we recorded (two albums) which did very well. But, when we expanded to include other artists, we signed this pianist who is fabulous and LOVED what he played. We ended up with a monster hit piano album in that market, selling in the six figures and the album was in the top ten for two years.

We tried to duplicate that success by having a studio pianist play similarly and failed. They played perfectly but lacked the passion and love for what they were playing and the consumer picks this up somehow and you end up not selling CD’s.

The key was the depth of passion, honesty and love that this first pianist brought to the table in addition to his technique. His message was palpable and undeniable from the first note.

ESSAY: A CONCEPT OF MUSIC
by daniel w. jacobs

Why bother with attaining a high level of musical competence?

Why not just bang on some pots and pans scattered around the floor and call it a day? In any case, it could be argued by some, that certain types of "music" could be classified as nothing more than random noise, right? What then is it that distinguishes "noise" from "musical sound" and how does this join with the requirements of a listening audience to be able to share in this creation? Yes, there are complexities in the production of sound pleasing to the ear but what's that all about anyway?

Now then, while drawing a long, grey, philosophical beard while strolling down the proverbial garden path of wisdom, I propose an answer to the myriad of questions posed above.

In my humble (unscientific) opinion, the difference between "noise" and "musical sound" is a matter of the shape of the wavelength of each. "Noise" will mostly show up as a gross, jagged, ragged line on any device intended to capture such images. "Musical sound" will, conversely, appear as a smooth, flowing line on the screen, inviting the viewer to float pleasantly along with the line. And, if the mechanical device is equipped to do so, a pure aesthetic sound will appear as nearly a straight line, without harsh edges or jarring surprises, manifesting a wave-length of something like .0000000000000000000000002. (very nearly a perfectly straight line, and according ot some researchers, very close to the "wave-length" of a spirit)

So, the closer a musical sound comes to a pure aesthetic, the more it approximates a pure spirituality which resonates with the listener.

Take a world-class musician from any area and listen to how one single note comes out and you'll see what I mean. Or, listen to the first six notes played on the album, "Blue After Hours." That tune was written as a tribute to memorialize the life of Blue Mitchell, a great trumpeter, and I suspect as a bit of therapy for the composer, Bobby Shew. If you listen carefully to the whole tune, "Blue" you'll see that the trumpet solo perfectly duplicates the emotion of loss and grief manifested in musical sound. Also, I happen to know on very good authority that the composer's tears nearly obscured the keyboard during the process of creating the tune.

In the solo section of the same piece, the long, draw-out notes cry out the loss and pain felt by the composer. The hauntingly simple solo is exactly how one would feel in the middle of any similar emotional situation. Though the composition and the performance resonate exactly at the level of grief and sadness, it still retains a strong aesthetic quality, pleasing to the ear in my opinion and evidently to many others as well.

As an aside, the solo played on that song was recorded in one take. It was perfect as it came out and I couldn't change it if I wanted to. It touched me as much in listening to it as it did in playing it. And, significantly, it sounded like me and how I felt at that time. Worthy of note perhaps, is that none of this analysis occurred at the time of the recording. It just came out that way and the evaluation of why it came out so well occurred long after the fact. After all, the listener only cares that it impacts him or her emotionally and nothing about the analytical dissection of the piece.

So, lets look at it from the point of view of the listener. It is my experience and opinion that in addition to "reaching," that music also must "withdraw." When I produce a musical sound on the horn, I am reaching. When I stop playing or "play the silence," I am withdrawing and thereby inviting a "reach" on the part of the listener. Whether this "reach" from the listener is a swaying of the body in rhythm to the music, clapping hands in appreciation, singing along, humming or just thinking and admiring the beauty of the music, all of these could be summarized as participation by the audience. As an example of this concept I draw from an experience shared by award-winning pianist, Ron Oates and myself.

In 1965 and 1966, I performed with the Navy Band, marching in the longest parade I had ever been in - the carnival period climaxing on Shrove Tuesday in New Orleans and The Mardi Gras. Now imagine a parade of this magnitude, absent the cheering, enthusiastic crowds along the route, offering drinks to any outstretched hand along the way, urging you to play more and louder! To say the least, the overall impact would be dramatically even terminally reduced. Suffice to say that the band that we played in on those days rose to the occasion desired by the crowd as our little Navy band of twenty-seven or so members outshined all the enormously large school band and took the 'BEST IN THE PARADE" trophy's for both years!

Any performing group will tell you that the audience is the "other member of the band” and that they can make or break a performance. The audience IS part of the show after all, isn't it? Otherwise the performance is only for the benefit of the participants or the producer only. Now, a performance or production could be for practice or rehearsal to create pleasure or therapy for the creator and the participants and therefore be valuable as itself. But that aside, any performance intended for public viewing and enjoyment must perforce include the audience in the equation.

As in my example, the Navy Band was formed, rehearsed and presented for the benefit of the audience specifically; it is no surprise that it achieved that purpose. This then, brings in one other factor that I will touch upon.

The “intention” of the performer must be taken into account. I have heard some soloists and performers use their instruments like a weapon. In spite of the competence demonstrated, it seemed clear that the intention was to intimidate, overwhelm or dominate others, whether other musicians or the audience. This concept is at odds with my musical purpose, which is: to engage, contact, impact or touch people emotionally, involving the listener in the creation so that they are enhanced by the experience in ways they consider desirable.

To summarize this now lengthy discourse, and to support my first statement on my concept of music, I offer this:

Music is simply a form of communication. The quality of that communication determines its being categorized as art or not. The technical expertise is important but secondary to the message intended to be delivered. Finally, music must allow some space for the audience to contribute to the creation.


daniel w. jacobs
© March 2005, all rights reserved

RESPONSE TO A TEACHER AND PIANIST REGARDING ABILITY & INABILITY
by daniel wright jacobs

Cary,

Regarding your essay on the current state of student ability, etc.:

The philosophical concept underlying the first 1/2 of your point #1 is Social Darwinism at its finest as I'm sure you are aware. I will address this in my following comments.

The second 1/2 of your first point regarding students being "less able..." This is not basic enough for me. It seems more of a symptom of something else. It doesn't open any door toward a handle. There also may be a supplementary eval necessary here as well.

To go back a bit further historically, the groundwork philosophically behind Darwin's theory was begun with British economist and social philosopher Thomas Malthus.

In his "population theory," his view was that populations grow so rapidly that they outdistance the food supply making poverty natural and virtually inevitable.

Thus, he would consider epidemics, famines and conflict as useful to the "thinning out" of the population. Therefore, we should not "tamper" with this normal and "beneficial" course of events.

The British aristocracy aligned with this idea and welcomed it. This idea offered them an outline of self-preservation at the expense of the underclasses.

Malthusian population theory is based on the assumption that food supply increases arithmetically while population grows exponentially. This imbalance produces an ever-widening gulf between food production and population.

Therefore, he proposed that the poor and lower members of the social scale be discouraged from having children and wages of the working population not be raised, as the worker would feel encouraged to produce offspring if he had more money.

Malthus viewed unchecked disease, starvation and war as having a socially beneficial purpose. He believed that a nation should subject itself to the reduction of the population surplus through famine, pestilence and war.

He was, in my estimation, the source of the idea of the pursuit of the "expendable inferiors" though this idea has appeared many times thoughout history. Fear, bias and irrationality were actually responsible for this "population theory." It is not hard to expose it for what it is.

This "control the population" idea is all too familiar, and very "old hat" as I'm sure you are aware from study of the history of this sector of the universe.

Standing alone, Malthus' theory might seem harmless enough. However, Darwin picked up the gauntlet and postulated that under the conditions proposed by Malthus, that the favourable variations in people would then to be preserved and the unfavourable ones would be destroyed...sound familiar?

This was in fact, the basis on which Darwin began his "theory."

Now, Darwin's work initially related to the animal world as you know, dealing with natural selection and survival of the strongest or best equipped to survive.

Darwin didn't confine his theories only to the animal kingdom however, he bridged it over to include mankind. Herein, the theories of Malthus and Darwin became entanged. This turned into "Social Darwinism."

Man came to be regarded as just another animal, higher on the evolutionary scale, but an animal nonetheless. As Darwin's "Orgin of Species" was hugely influential in the 19th century, in my estimation this set the stage for the introduction of and promotion of the "man is mud" theory so prevalent today.

As this is based upon a lie, it is clearly unscientific not to mention untrue and unsupportable, yet is still used extensively to support other theories.

Man is not an animal, he is a spiritual being. When one tries to apply the observations and theories of the animal kingdom to man one will inevitably fail. Then more and more force is necessary to make the theory work and we end up with what you lay out in point #2 of your essay....brutality, racism, ignorance, stupidity, lies and aberration.

There are many theories about the human body and about it being not more than an "animated vegetable." However when you include a live being in the equation, you have more than an animal, you have "homo sapiens" which is different than only an animal.

I do know that once the true source of the degradation, oppression and suppression of this planet is revealed, we will have a much easier job of it. After all, it is not a natural state for man to be in a constant state of turmoil, unrest and constant threat or danger from some "unknown" source.

This universe is in remarkably bad shape, it didn't just "happen." It was put there one way or the other. As you know, a suppressive being or action can be found at the root of any bad condition, it follows that there must in fact be some suppressive source for the condition of this planet as well.

Perhaps this would be a fruitful string to pull on discovery of really what is going on “behind the curtain” that seems designed to keep civilizations in a state a constant anxiety. Maybe someone just wants to sell more drugs!

Anyway, this is just my opinion, I welcome your comments.

DAN Jacobs
1997

FIVE POINTS FOR LONGEVITY
IN THE ARTS

A solid foundation of core human values.

A compelling desire to communicate your art broadly.

A willingness to take responsibility for the effects you create with your art.

A recognition of the joy of creating and a desire to share this with others.

The willingness to allow others to contribute to your well-being and to contribute to theirs through your art.

TEN POINTS FOR SURVIVAL IN LIVE
PERFORMANCE GROUPS

Appreciate the contribution of other group members.

Remain in communication with others in the group.

Establish and maintain an agreement on the goals of the group.

Recognize and respect the leader of the group.

Do everything possible to support the overall survival of the group.

Take responsibility for your part in rehearsals and performances.

Recognize that you are in the entertainment business!

Practice for yourself.

Rehearse for the group.

Perform for the audience.

LETTER: A RESPONSE TO AN ARTICLE ON POLITICAL CORRUPTION
by daniel w. jacobs

Thank you for sending this along to me. I read every word, finding the article sobering, enlightening and frightening at the same time. As you suggest, her writing reminded me of what I already knew but had not articulated. Jane Smiley is a compelling writer and a passionate voice against the corruption of power, a worthy goal in my opinion, though her targets are only the latest in a long chain of similar entities obsessed with power at any price.

Happily, rather than driving me into a position, stuck between apathy and indecision, her piece rekindled the spark of an old, smoldering purpose of mine. That is, to use whatever writing skill I may possess or acquire to expose the nature of what is occurring; the insidious and relentless rape of the integrity of our country, leaving it a hollow shell, stripped of its basic, fundamental purposes; devoid of any appreciation of basic human rights and the individual freedoms on which this country was founded.

It is my opinion that America was instrumental in igniting the torch of freedom for the world in 1776. The battle cry for individual freedoms for the common man has risen it's head at various times in history, but this time America seemed to have gotten it right, and the world was never the same. American industry, technology and ingenuity have all but conquered the world with, Coke-Cola, McDonalds, Disneyland, Starbucks, Levi's, and more. I was in China, Japan, and the Philippines over forty years ago and you could look for days and not find a McDonalds hamburger, (or any hamburger for that matter); theme parks didn’t exist, coffee was industrial strength and cheap, and although rare, you might stumble upon a pair of Levi's if you looked long enough.

The people of earth seemed to want what America stood for and what she could offer in terms of cultural advances and standards of living. However, they decidedly did not want American politics and policies. Perhaps they recognized, as we can no longer ignore, the truth in that old saying about absolute power and corruption . . . I only wish I were as adept in she in expressing my rage in writing.

Now that I think of it, I’m reminded of a piece of writing I did on this subject generally. It was disseminated amongst a few insiders at some universities around the country. It was not as strong, nor as well written, but the message was clear and seemed to resonate with a fair number of people. You may remember it. The title was “How To Boil A Frog.” - an essay on economic seduction. I'll send you a copy if I failed to get one to you. Just let me know.

Again, thanks for the article. If for no other reason, the intellectual stimulation was worth the time reading it.

ON BEING AN ARTIST: To Myrna Y. Jacobs

(note: I wrote this piece as an original piece for my wife, Myrna Jacobs, on Christmas 2005. I thought others might enjoy it, so I include it here)
- Dan Jacobs_

DEFINITION AN ARTIST: someone who produces beautiful or thought-provoking works in music, painting or writing or other forms of art as a method of individual expression involving great skill and creativity.

You definitely qualify as a member of this select group of individuals, each separately known as . . . an artist.

I have observed over our decades together this lifetime, that it matters not in what you are involved or interested, for in every instance, you seem to bring it eventually to a level of professional artistic application or performance.

Whether this be as a mother, wife, photographer, writer, in education, any job or positions you have held, in your marriage, home, family, friends, associates, possessions, beliefs, and more, you seem to have a unique ability of imbuing each one with life, through your artistic quality and aesthetic sensibilities. This, I greatly admire.

For, in my opinion, it is the artist, who. through their art, is capable of reaching out to touch another in a manner intended to influence them positively.

It is the artist who brings life to the world and inspires others to do the same.

It is the artist who can remind others of the fact that they too, are immortal.

All this and more, is accomplished though the quality of communication of truth in their own art, whatever form that may take.

For the artist is one who deals in truth.

Whether through music, writing, photography, painting, speaking, dancing, acting, singing, teaching, or any other form of creative personal expression, the simple fact that you are communicating truth with the gift of your art makes it rare . . . to be treasured as priceless.

I see and admire these qualities in you and your life. I wish to acknowledge all of them on this Christmas day, 2005, if only to direct your attention to these facts, to strengthen the source, and to see them continue. I am happy you are here.

For you are yourself, in truth, a work of art

With love, From my hand and heart, this Christmas day, 2005
- Dan Jacobs

Check out her website at: www.myrnajacobsphotography.com

TIPS ON LEARNING TO IMPROVISE
by Daniel Wright Jacobs

The most important advice I can give about learning to improvise is pretty simple. It is just to be yourself! Unfortunately, this is far easier said then done. As jazz trumpeter Miles Davis once said, "It takes a long time to play like yourself."

But, fortunately, there is a way to get started on the right track. All the usual things that are suggested in learning to improvise, such as, listen, transcribe solos, practice scales, chords, patterns in all keys, listen, emulate the sound of players that you love to listen to, play along with CD's, and did I mention you should listen! All these things are very true and very important. But there is one factor that I believe deserves equal billing but is rarely mentioned.

That is: always strive to play what you feel and what you love.

Personally, I never play a note I don't truly believe in. And if I do play a specific note, it is because I love that exact note at that time for that tune, that performance and that audience. I also believe that each note I play carries with it a message of truth . . . the truth of what I feel at that exact moment.

I don't play notes just for the sake of making a technical impact. If I'm not interested in playing an improvised solo on a specific song, then I’ll just play the melody, as maybe that's the best solo possible anyway. I always strive to communicate my true feelings through my music as the highest form of artistic expression.

Spend some time every day learning to love what you play. See each note you play as perfect just as it is at that moment. Caress that note until it says what you want it to say. Savor it. Take your time. Don't rush it. Playing one note that you love is more important than playing a thousand that you don't believe in. If you believe in what you're playing, others will too. If you're faking it, it shows.

Miles used to talk about "getting the juice" out of each note. To me, that means that he was a seeker of truth in his music – his music was deeply personal and at the same time universally meaningful. I too believe in sharing with others the beauty and truth of what I feel and believe musically.

Practice your technique and push it as high as you can, but always keep your message as this first goal in playing!

Play the music not just the notes. Technique supports the music.

Dan Jacobs, Ph.D.
trumpet & flute instructor
Faculty - SUMMER JAZZ 2006
Website: www.danjacobsmusic.com

THE KEY THAT UNLOCKS THE LOCK
by Daniel w. jacobs

When you get right down to it, it’s not that complicated. You can breathe life and action into any individual or group in one of three ways.

1. What purposes did they once have that you can help them achieve?

2. What purposes do they have now that you can help them achieve?

3. What purposes can they set up that you can help them achieve?

This will get their interest and attention. It is after all, their motivation, their hope and desire and their “raison d'être”.

Show them a way to bring their dreams into reality and they’ll follow you anywhere and overcome any obstacle to get what you’re selling. Because you’re telling them they really can have what they’ve always wanted.

No matter how impressive your good looks or compelling your presentation, if you don’t spark their imagination you’ve failed. Once they see you as the solution in accomplishing their purposes, they’re sold! Now just work out a budget and a start date and you’re on your way.

Don’t fret about figuring out what people buy, the route to real wealth and success is in discovering WHY people buy.

It is in fact, the key that unlocks the lock!

daniel wright jacobs
November 27, 2006

Never forget that you're basically in the people business. You're making music for people. Leave them out of the equation and they'll leave you out of the business. Dan Jacobs

FRIENDS

It Is better to be alone than In the wrong company.

Tell me who your best friends are and I will tell you who you are.

If you run with wolves, you will learn how to howl.

But if you associate with eagles, you will learn how to soar to great heights.

A mirror reflects a mans face, but what he is really like is shown by the kind of friends he chooses.

The simple but true fact of life is that you become like those with whom you closely associate for the good and the bad.

The less you associate with some people, the more your life will improve.

Any time you tolerate mediocrity in others, it increases your mediocrity.

An important attribute in successful people is their impatience with negative thinking and negative acting people.

As you grow, your associates will change.

Some of your friends will not want you to go on. They will want you to stay where they are.

Friends that don't help you climb will want you to crawl.

Your friends will stretch your vision not choke your dream.

Those that don't increase you will eventually decrease you.

Consider This:

Never receive counsel from unproductive people.

Never discuss your problems with someone incapable of contributing to the solution, because those who never succeed themselves are always first to tell you how.

Not everyone has a right to speak into your life.

You are certain to get the worst of the bargain when you exchange ideas with the wrong person.

Don't follow anyone who's not going anywhere.

With some people you spend an evening: with others you invest it.

Be careful where you stop to inquire for directions along the road of life. Also be doubly careful who you ask!

Wise is the person who fortifies his life with the right friendships.

Choose to rise...

Don't settle ... and go for your dreams!!!

Posted by Dan Jacobs Jan 1, 2007
author unknown

Never make excuses, justifications or explanations about why you can't do something.

Music is in you today and you create your own future.

The old saying, "explanations never justify and justifications don't explain" says it best.

Look for reasons why you CAN do your music instead of searching for reasons why it can't be done.

Live to play; play to live. No one is stopping you but yourself.

- Dan Jacobs

The pain of contraction is always worse than the pain of expansion.

Every expansion exposes the weakest link in your abilities. Find it and work on that point until it is no longer the weakest link.

Then be prepared for the next weak point after you expand the next time.

daniel w. jacobs

Like the difference between eating and dining, just the fact that you’re earning a living doesn’t always make life satisfying.

Even if you do it part time, do something you love. Decide to do it, set a start date and do it. You’ll find that everything else in your life goes along easier.

MUSIC MAXIMS FOR LIFE
by daniel w. jacobs

The minute you start worrying about whether or not you are going to succeed, you’ve already cut your chances in half.

The end result of worry and doubt is more doubt and more worry.

Be careful what you wish for. Ordinarily will end up with what you expect . . . and will accept.

If you don’t believe in yourself or your music . . . why should anyone else?

Don’t let the economic whip become your only motivation for your art.

Play to your strengths and get the most out of the cards you’re dealt.

Be who you is and not who you ain't, or you'll be who you ain't and not who you is.

Emotion is the “secret weapon” all successful artists understand and use.

Formula for avoiding criticism: Say nothing; Do nothing; Be nothing.

Don’t take your reviews too seriously, good or bad.

Success may be possible when preparation meets opportunity . . . but only when you have the guts to jump in and take advantage of it.

Make any live performance come alive visually. If they only wanted to listen, they could have just bought a CD and stayed home.

You’re not in the music business playing for people, you're in the people business playing music as a business.

Never give up! Even an airplane expends the greatest energy at the beginning of the flight to provide sufficient thrust to get it off the ground.

NOTE: This is a letter from a friend about his frustrations in practicing trumpet, and my response to him.

Excerpt from his letter to me:

"In some ways I"m playing a lot worse than I ever have and in others I think there is cause for hope. I'm changing the way I play...something I'm going to have to do if I'm going to keep playing. I THINK there is some progress in general. You've already made that progress, launched yourself to a high level and sustained there. It's lovely to hear and to know that you are there."

And my response to him:

Regarding practicing, if you never change, eventually you stagnate, get stale and your playing suffers. On the other hand, anytime you reshuffle the deck, it’s a challenge. Yet, that is the cost of admission to the new game of accomplishing what you want isn't it? As an artist, you know that absolutes are unobtainable. Just when you think you've got something perfect, you become aware of new ways to improve it that you didn't see before.

Just be yourself. Play like yourself. If you're changing, your playing changes. It's a natural consequence. Don't worry about it, Bobby Shew once told me that he is humbled by the trumpet every day.

I'm always striving to play and sound like myself. I'm always conscious of this. I intend that every note that I play reach somebody, touch them and move them in some meaningful way. I fully expect that every note will do this. Some I reach quickly . . . others take longer. Nevertheless, my intention doesn’t change.

In my opinion, you're always growing, changing and striving to improve. That's living and life to me. I'm always trying to expand my abilities, my interests and my awareness and I know you are too.

One final thought: the pain of expansion is always less than the pain of contraction.

You're doing fine. Just continue and all will be well.

Dan Jacobs

I'm using a Yamaha 8310Z trumpet exclusively that I got from Bobby Shew, who also "tweaked" it in some magical fashion so that it plays exactly as I want it to play. Don't ask me how he does it, but it involves some secret handshake and something to do with the supernatural! (joke)

Bobby can do this for you, so don't ask anything further from me about it. I just get it done and don't ask how!

I played the earlier version of this model, the Yahama 6310B for years and loved it but this current model is in a league of it's own. It is the best horn I've played hands down.

Prior to this one I was playing a Schilke X3 which I thought was a magnificent horn. The minute I picked up the 8310Z I never played the Schilke again.

Prior to that I played a Kanstul, raw brass, Wayne Bergeron model trumpet (that I got from Wayne personally). It is also a great horn with it's own sound. But, I've tried it occasionally since working with the Yahama and there is no comparison.

I'm sticking with the Yahama 8310Z until Bobby decides to design another one! - Dan

I also use the AMT (Applied Music Technology) for my wireless mic that attaches to the end of the horn. It is the best I've ever used and I've tried several. I also have the wire model as a back-up but I prefer the wireless if given a choice.

I've also have a 1942 Martin Constellation, a Yahama Zeno model, which I like only somewhat less than the 8310Z, another Kanstul and some others. I used to own a beaufiful Chicago Benge but it was stolen off a gig many years ago.

EMAIL ON PRACTICING TRUMPET
(Note: this is an letter I sent to another trumpet player asking about what to practice to gain flexibility and spontaneity in jazz performance.) - Dan

Listening is the tried and true way to find your own voice. Emulating other players that you like is completely valid and then you should assimilate your own message in the mix as you develop your style.

Listen to your own sound. This is the most important element. Never sacrifice your sound for range or technique. Your sound is your musical identity and it is uniquely you.

Do you ever practice with Aebersold CD? I've got all of them; in fact, I've got all of them on LP's before they went to CD's, now I have all of them on CD's as well. They are invaluable for getting up to speed on session songs, gig standards, experimental (free jazz that few will pay you for), Latin, ballads etc.

You should balance your practice with some daily work on these CD's if only for ear training (just play without looking at the chart or the changes).

I took some improv classes about 25 years ago in CA that helped me enormously. It was mostly playing and little theory.

The instructor's name was "Doc" Charles Rutherford, head of Jazz Studies at the college and he was the best I've ever had. Many first-rate players came through the school under his guidance.
His method was that you would start a standard in the usual key, and then the leader would call off a different key at the end of each chorus (you never knew which key he was going to call either).

Though it was humbling at first, eventually you got over the reliance on reading the chart or the changes and just relied on your ear. Now, I'm pretty comfortable playing any tune in any key as a result.

Practicing in every key as you said, is good if only for the discipline. But be sure to balance it out with some fun stuff that is creative and keeps you interested.

I still practice scales daily but not as a set routine to the point where it becomes boring. Rather, I incorporate the scale practice into a jazz type setting, even if I'm working with a metronome. I may work on pentatonics for a whole day for instance, or maybe wholetones, modes, or fourths, thirds, tri-tones or a combination of all them. For example, I'll set the metronome at say, 120, then start with a pentatonic scale I like, working with in various inversions, trying to make it interesting and creative.

Then I'll continue working with that scale but intersperse it with another pentatonic in another key and go back and forth at random. Then when that is comfortable, I'll add a third and go back and forth between the three as it suits my fancy. I continue this until I'm facile with doing it spontaneously in all keys.

This might occur in one day or a week, whatever it takes, I just take my time and have fun at it until I'm able to improvise freely using only this scale, with different articulations, different inversions, etc. and all the time trying to make it very musical.

Above all, I always imagine in my mind that I'm actually performing while I'm doing this to maintain a professional outlook at all times.

Give it a go and let me know how it works for you. If you can record something, I'll be happy to listen.

- Dan Jacobs

As I get questions on this topic all the time with my students in my clinics, here are some of my thoughts on the creative process in improvisation in general.

To begin, I must say, I have never improvised or played a note I haven't played many times before. While there are no notes per se on the horn that have not been played in practice millions of times, no note is "exactly" the same, no matter how many times you practice it. There are literally an infinity of other mechanical, mental, emotional and spiritual factors that enter into how a note is played or how any sound is produced from a musical instrument.

Sometimes I think of the process of producing any musical tone as a thrilling, though inexplicable, supernatural kind of exquisite mystery that anything vaguely musical comes out the end of what is basically an artfully crafted, somewhat aesthetic piece of plumbing . . . called a trumpet.

Still, through countless hours of diligent practice I have mastered some degree of proficiency in tone production and musical performance such that I can play what is called for to a professional level at the desired moment in most musical settings.

I am constantly and pleasantly surprised by the countless magical musical surprises that occur in any live performance. This is because the other musicians contribute to the overall creation AND the addition of the audience can be as important as another band member as they add to the creative process as it is occurring in a very significant way. In fact, it's been said by many that the contribution from the audience is THE most important part of any creative process.

Therein lies the rub. How do you capture the essence of a live performance while performing and recording in the studio without the audience present? To do that is partly a "slight of hand" by the producer and the engineer, partly the vast prior experience of the musicians and the artist, mostly because the group as a whole loves what they are doing so much that this enthusiasm and exhilaration shows up and becomes an integral part of the recording.

Of course, you could just record it live with an enthusiastic audience, but then there are other variables to contend with, as with any movie that is made . . . to shoot on location with the freedom that affords, or in a sound stage where everything is controllable. There is always a tradeoff.

You want a somewhat "controlled burn" to occur so that the spontaneous creative process can take place so that the "magic" is allowed to take place. Overcontrol it, (really meaning "force") and you'll stifle or kill the process completely. Undercontrol it, (really meaning "no control") and you seriously compromise the quality of the technical and creative aspects of the production.

Neither of these two options is workable as should be apparent. The key to success lies somewhere in the middle.

To me, perfect control in a musical setting could be defined as "somewhat predictable change." Just enough control to hold the edges and allow the creative process to occur within generally defined guidelines but not too much micromanagement to clamp down hard on individual creative artistic contribution.

For example, recently I overdubbed a cellist for a project I'm producing. I had a cello part all written out and as the professional he was, he could have played it perfectly, as in fact he did in the rehearsal. But, the idea came up to record a take with him improvising the part behind the vocalist instead of just playing the notes that were written. As you might suspect, it became one of those magical moments in the performance and added enormously to the overall feeling we were looking for.

Overcontrol would have made this impossible. Undercontrol, ending up with a "freeform improvisation" would have also been unacceptable for the song.

The perfect combination of “overcontrol vs undercontrol, was to allow for a “somewhat predictable change." I knew that the cellist was a pro with years of professional experience and
competence, I also knew the general guidelines of what we were trying to do with the piece generally.

As long as his improvisation added contributed to and supported the vocalist, I was willing to allow for his individual artistic contribution, the result being a greatly improved final product that will be a high point of the album.

Another example is an with an interview I did with the April 2005 issue of JAZZ IMPROV magazine. it was somewhat more controlled than a pure spontaneous interview in that I was given the general questions beforehand. Who knows what would have come up with the give and take of a true "Q and A" process? I was looking forward to doing that, as sometimes I come up with things in a live setting that I might never have thought of otherwise. It is those magical surprises that make up the creative process in my opinion, I thrive on them as they represent to me, the pure joy of creating!

With music, I know all the elements of breath control, tone production, scales, chords, melody, rhythm and songs and tunes necessary to do a competent, professional job under almost any conditions.

But, it is important to note that when I am involved in a performance of any type, the mechanical elements of producing music are far from my mind.

During any live performance, I only put my attention on producing the best musical experience I can for the audience and the other players.

I never plan out my improvised solo or performance to such a degree that it ends up sounding canned. For that process ends up being boring in very quick order, for the audience, the other musicians and for me! I do my preparation in the practice room, my rehearsal with others going over the material, but the performance is totally for the enjoyment of the audience. When I am improvising, I play completely "in the moment" never thinking of what i have practiced or rehearsed. I respond to the stimuli at the exact moment that I receive them. With sometimes some very interesting and exciting results.

I feel that it is my duty and responsibility to give the audience more than they expected in terms of a satifying musical experience resulting from my performance.

I try to focus on how well I have accomplished my purpose of engaging the audience with my music and inviting them to share the supreme joy of the creative process with me.
- Daniel Wright Jacobs

© 2002-2006, All Rights Reserved.

LISTEN CLOSELY

Take care to listen closely.

It could be greatness quietly calling your name.

Opportunity might be knocking softly at the door.

That distant applause might be meant for you.

The world could be patiently awaiting your arrival with the open arms of a welcoming spirit.

Take care to listen closely, you will see that you are admired, you are appreciated, you are loved.

I am happy you are here.

TOXIC CONNECTIONS: THE SOURCE
by daniel wright jacobs

Some people, like poison ivy, are easier to avoid than to get rid of.

I wish I had trusted my instincts. Unwittingly, my involvement with certain individuals caused me more trouble than I could ever have imagined, underscoring the fact that truth is indeed stranger than fiction.

“To suffer the slings and arrows of outrageous fortune,” from the pen of Shakespeare, requiring a cleansing of your psyche of the stain from a toxic connection is something I would wish on no other person. And the process of extricating yourself is far, far more difficult than learning to avoid them in the first place.

In any case, be very certain of one thing: when your life is failing, has become stressful, full of worry, self-doubt, trouble, or impending disaster - you have unwittingly been infected with the venom of a toxic connection. Like a rattlesnakes’ bite, failure to take effective action immediately can be fatal to your dreams, your goals and your life.

The fact that there are bad people in the world doesn’t change just because it’s hard to face. In hindsight the symptoms seem obvious. It’s easy to say, “But they seemed so friendly and helpful,” because your natural forgiving nature tends to justify the oddities and aberrations in others while at the same time thinking there must be something wrong with you!

People with toxic tendencies are constantly seeking out your weak points, any slight flaw in your character where you might be compromised. When found, the seduction is complete with one basic technique: they tell you what you want to hear.

Perhaps because of their aliveness, their élan vital, artists and other creative, productive people in any field become magnets for such individuals. For example, to a budding actor, “I’ve got the ear of the producer, I’ll get you in there,” or to the musician, “I know the producer of that festival, I’ll make sure you get top billing” or in the business world, “I’ve got it on good authority that a stock split is going to happen soon, invest now and you’ll be set for life;” saying exactly what you have dreamed of hearing to fulfill your lifelong goals.

The “religious affection trust,” is a scam used by a particularly insidious version of this personality: the financial predator. The affection and trust of the group are used and betrayed by someone representing himself as “a true believer.” The label effectively blinds you from really looking into the true nature of what they are really doing. Strip away their social veneer and you won’t like what you see; under that pleasant manner and glib conversation you’ll find a vicious and diabolical plan to manipulate and control you, all the while masquerading as a force for good. You end up hearing what you want to hear, seeing what you want to see and ignoring the facts and your natural instincts to your detriment.

Various other schemes and con games could easily fill a large text and are the stock in trade for the toxic personality - but they always operate basically the same way. They tell you want you want to hear to can get past your “BS detector” so they can get you in a position where you can be used. To them, you’re a disposable asset, to be used and discarded.

Losing anything is painful. Losing your dreams, your goals, your soul, is another thing entirely. Facing the fact that some people just want to see you weak and failing is a bitter pill to swallow. But, through some convoluted logic, some people just don’t want you to win. They are totally self-interested, self-absorbed, dangerous and weak, as they can’t stand the spotlight of truth being shown in their direction.

The longer such individuals go undetected, the more deadly they become. Ignore the symptoms at your peril, as things will only get worse with them around; they are a menace to your life and your livingness . . . anything is better than staying connected with people like this.

By the way, if you noticed some toxic characteristics of your own in this writing, you most surely are not one. Self-examination and correction is not a luxury these types can entertain or grasp, as in their minds, they are always right anyway so what is there to change?

Now that we’ve figured out what is going on I'll will provide the antidote in the next article.

PART TWO - TOXIC CONNECTIONS: THE ANTIDOTE
by daniel wright jacobs

An antidote is something that counteracts or nullifies the effect of a poison or toxin and takes away the bad effect experienced earlier.

For example, if you know you’ve been infected with some known poison and take immediate action to get the antidote, you’ll survive the experience and perhaps even learn from it.

If you don’t recognize that you’ve been bitten and instead just try to ignore or cover up the symptoms, you put your life in peril. Pretending that you didn’t get bitten will not help you. Ignoring the symptoms of the bite will allow it to worsen. Being unwilling to avail yourself of a cure when you have the opportunity to do so is suicide.

The antidote process breaks down to four fundamental steps:

1. WHAT is really going on?

Just being willing to call it for what it is will often diminish and even nullify the poison emanating from such persons.

2. WHO is causing the trouble?

Discovering exactly who is causing all the turmoil and trouble in your life will diminish the stress instantly but you still need to do something.

3. HANDLE by whatever means possible.

The only mistake you can make is to do nothing. Avoid them if feasible; move; get a transfer; even change jobs: get some effective counseling or a divorce if nothing else works; sometimes only threatened legal action will help; join a new group; make new friends; build up the positive connections and thereby diminish the negative, it sometimes works. Do whatever you have to do.

4. CREATE or produce more than were doing before.

This keeps morale high and your attention on the future instead of having it stuck in the past. You’ll come out stronger than you were when you started.

But if nothing you can do will handle the situation you must sever the connection regardless of the consequences. Your future and your life depend upon taking action now. It is vital that once you have observed the situation correctly and come to a reasoned decision, you must act. Either take effective action to handle them, or get rid of them. Now!

Here is a quote I’ve always loved that supports this concept:

“The moment one definitely commits oneself, then providence moves too. All sorts of things occur to help one that would never otherwise have occurred. A whole stream of events issues from the decision, raising in one's favor all manner of unforeseen incidents, meetings, and material assistance which no man could have dreamed would have come his way. Whatever you can do or dream you can, begin it. Boldness has genius, power, and magic in it. Begin it now!” - Johann Wolfgang von Goethe

And remember, the wrong thing to do is nothing!

Okay. Got it? Now, what are you waiting for?

TAKE SOME TIME TO BREATHE
by daniel wright jacobs

My wife says I need to take time to breathe. She thinks that just because it’s natural and easy that I take it for granted . . . I think she’s right.

A recent experience illustrates the concept. A close friend of mine was recently in a bad accident involving her car and a tractor-trailer. She was still alive after the Jaws of Life extricated her from the wreckage, so it could have been worse. Among other serious injuries, nearly all her ribs were fractured. Breathing had become an ongoing painful experience where every inhalation was a considered action as to the level of pain she could withstand. As she is a tough survivor at heart, I’m sure she will emerge stronger at the other end, but seeing her in this condition drove home a point for me.

I realized that I needed to take time to breathe . . . while I could.

Unfortunately, you can associate with some people who seem to suck all the air out of a room. You end up feeling worn-out, drained and exhausted, like you need to catch a deep breath - but can’t. There is no air left to inhale when they’re around. You need to get out of that area, temporarily at least, to regain your balance, physically, emotionally and spiritually.

Just as you can’t expect to drive across country in first gear without something eventually wearing out, you can’t obsessively fixate your attention on one thing, to the exclusion of everything else, without some adverse consequence. You have to take the time to breathe.

But what do I mean by “breathing” anyway? It’s as powerful as it is obvious and not anything exotic or expensive either. It’s simply getting away from whatever is absorbing or fixating all your attention, taking a break and looking around at the environment to see what’s going on outside your head; reminding you that you exist and are alive in the world you live in.

Do whatever it is that allows you to inhale and exhale the air of life slowly and deliberately – do it without agitation, worry or effort, or rushing to do something else. Take your time and get in touch with your senses, see the room around you, the colors, listen to the environment, feel the air and find out where you really are, right now.

It all starts with a willingness to be here, now. Not necessarily doing anything in particular, just allowing yourself to catch your breath and regain your internal balance and focus.

It could be some physical activity that so captures your energies and attention that you end up feeling exhilarated and extroverted; a calm walk on the beach noticing the sand or rocks; watching the birds overhead; taking photos of anything that captures your interest; running with your black lab chasing a ball in the lake or working out at the gym.

Step out of the frenetic rush of life for a minute and allow yourself to reorient your priorities and recharge your commitment toward the accomplishment of your own personal goals.

Whatever it is that leaves you refreshed, focused, energized and ready to get back in the game, put it on your calendar right now and do it, now. You’re worth it.

Try it and see.

LIFE IS LIVED

Some of us live our lives running away from the past, only to discover it has followed us anyway. Or we are so anxiously worried about the future that we neglect the present.

Regrets about the past misdeeds bring them into the present. Worries about the future make them seem to be happening now.

The present is the only time that truly exists anyway, so why not use this to your advantage. All the time there is - is now.

Look around you right now. You may notice that there is nothing pressing that old problem at you right now is there? Notice that the present time environment is not so dangerous as it seems.

If something from the past bothers you so much that you feel you have to do something about it - decide what specific action you can take and do it.

If some upcoming event is fixating your attention unnecessarily - decide exactly what you can do about it and do it.

Your present time will be back under your control - allowing you to create the future you want.

daniel w. jacobs
(c) 2007-2015, all rights reserved

IT’S ABOUT TIME

So what's up with this concept of time anyway? To me, it all seems sort of arbitrary - based on opinions and considerations rather than objective facts.

Where does the past go anyway? Is it just a memory or an experience with another date on it; if so, why can't I just change the date and make it happen now, or in the future?

And what is all this baloney about the future? It seems to me that it's just "now" with another date on it. And why does it sometimes take so long to get here and other times it arrives way too soon? Who decides when the future is going to become the present? And how come I can't just decide for myself?

But what really freaks me out is this thing about present time. Evidently, present time can be one split-second long, a few seconds, a minute, or an hour, a day, a year, a decade, a lifetime or theoretically even longer. What kind of science is that founded on anyway?

Who decides how long present time is anyway? Evidently I didn't get that memo . . . if it was ever sent. And if somebody does know how long it is, I definitely want to talk to them.

And why does it have to be this big mystery anyway? What's wrong with all of us understanding the basic concept of what time really is? Would it really spoil the game if you knew the rules?

You don't suppose somebody wants to keep this all a secret for some nefarious purpose do you? As if they have this vested interest in keeping us ignorant of what's really going on.

That couldn't be . . . or could it?

What if the truth were hidden behind this shroud of mystery about time. And that if we discovered the truth, that we might see that the game was rigged to keep us ignorant; trapped into thinking we're all weak and powerless. As if someone didn't want us to remember that we are powerful beyond belief?

And what if figured all this out? Opened our eyes to see what is really going on, dispeled the shadows of doubt and fear and replaced them with our native abilities to observe, decide and act. What would that be like?

Hmmmm . . . now that sounds interesting to me.

And I'd say it's about time

QUOTE ON CLARITY
by daniel w. jacobs

Do you know that people listening to your performance tend to hear with their eyes?

Most people make up their minds within the first 10 seconds whether you are worth listening to or not.

Clarity, brevity, humanity - make these part of every performance.

THE ADDICTIVE PERSONALITY
An Outline
by daniel w. jacobs

The person afflicted with the addictive personality is very well aware that there is a dichotomy going on inside him, the "good vs. bad," so to speak.

Personally I don’t believe this is a symptom of a mental disorder or disease in and of itself. It is more likely evidence of the internal struggle to overcome what he knows is killing him, yet he is apparently powerless to stop it.

When the bad side, which can be cruel, arrogant, insensitive and distant, rears it's ugly head and demands to be satisfied, it is apparent that the person is largely powerless to control it. He is out of control because there is no one in the drivers seat. The plane is on autopilot, following a path that is certain disaster.

Following are some miscellaneous thoughts on the area, in no particular order and with no specific analysis of the present situation intended.

To me, any addiction, whether mental, emotional, physical, psychological or even spiritual can be grouped into the same category as that of aberration generally.

It is simply the state of being or becoming dependent upon some damaging “drug” whether chemical, mental or emotional to the end result of losing ones own power of choice and becoming unaware of the consequence of ones actions.

Now, in my mind, this is bears a very close relationship to the general area of control.

The concept of control is not hard to understand. As you’ll recall the mechanics of control break down simply to “start, change and stop.” And if only one of these three is missing, control is absent.

It becomes obvious that any individual who cannot change or completely stop using drugs solely on his own or even with competent help has a dependency. It is also clear that even if one is able to “start” a path toward sanity and becoming clean and sober, but unable to continue it for long is unaware of consequences of his actions.

Labels do nothing to open the door to any solution of his situation. This is not just some "addictive personality disorder" or anything like that. Also, prescribing more drugs to camouflage or mask the real problem and only worsen the situation.

It is not just a "mental" thing, and it will not submit to analytical or logical control no matter how many "good thoughts" one thinks. It is not just an "emotional" thing either though one can obviously become emotionally affected by this addiction and therefore become unable to control it. Nor is it just a "physical" thing either, though there are biological elements at play from long standing abuse creating an obsessive compulsion for a damaging and dangerous substance.

So, it might be of some value to know exactly what is the primary controlling element, which monitors his "thoughts, emotions and body."

It has been said that "attention" is the primary factor controlling his thoughts, emotions and body, and I agree.

Applying these few bits of information to the situation at hand begins to put things into perspective and better understanding.

Though this is a hypothetical series of steps, there may be some benefit from the analysis:

• A stimulus from whatever source triggers an automatic response of some kind.

• The person is, by definition, no longer completely in present time and is not in control of his actions.

• Their “attention” at that instant slips from being under their control to some degree.

• Attempts at substituting some new stimulus/response mechanism (like behavior modification etc.) to counter the symptoms of the initial one and bring attention back under control only add complexity to the problem and offer no long-term solution.

• But what causes “attention” to go into “action,” or the body into motion? Shouldn’t one be able to simply change their mind and stop the downward spiral at this point?

• Yes, they should be able to simply change their minds and have the situation resolve. But, at this point, they have fallen below the point of controlling any logical mental thought processes. In fact, they are very much effect by them and very little at cause over them. They don’t, at this point, possess enough “horsepower” to bring about the necessary change.

• The situation begins to deteriorate rapidly after this point and accelerates into a single, fixated, all-consuming purpose, dominating the individual, commanding their thoughts, emotions and actions and effectively supplanting the individual himself. “He” is not really there anymore.

• Once the person begins the process of beginning to “think” about copping drugs, the control factor goes out even further as the irrational demand increases.

• A plan begins to formulate and the emotional anticipation of accomplishing this goal effectively cements the emotions in place to accomplish it. The bridge between “attention” and “action” is now firmly in place.

• This “bridge” between thought and action is emotion, both how he feels without the drug and how the drug makes him feel when he does have it.

At this point, options become limited severely. The attention, thoughts and emotions, no matter how irrational, now dictate the actions that the body will robotically follows. The screaming sirens and flashing red lights are now on in full force - though neglected and ignored . . . and a recipe for disaster is well in motion!


• The person has had to actively and intentionally ignore four major danger signals;

a. the attention not under control;
b. the thoughts are fixated on one single dominating purpose;
c. the emotions are now running the show
d. the “action” is now dictated by emotions without logic or awareness of consequence.

• Once the emotions kick in hard, there is nothing that will stop him from accomplishing his purpose of getting drugs.

• The person is now being controlled by the physical, mental and emotional addiction as they will stop at nothing to satisfy this insatiable appetite.

• Logical consequence of one’s actions has no significance. Words have no meaning and they will do or say anything to find and use more drugs.

• It should be apparent that the control factor went out long before the “body” demanded satisfaction from using drugs and went into action to accomplish this.

• The person gave up control much earlier. When it reaches a point of the emotions and the body only running the show, disaster is not far behind.

• Survival at this point is dependent upon his patterns (like the boxer out on his feet yet still vainly fighting) or the good will of others stepping up to lend a hand.

• In one steep and spectacular nosedive the person goes from rational, sane, responsible to irrational, insane and irresponsible.

Their survival depends in no small part upon the sympathy and willingness of others to help and without them, the future becomes pretty grim.

The solution to any problem posed by the outline of the addictive personality as above is simple to state but hard to accomplish.

The reason for this is that you have a person who is basically trying to succumb while you are trying to help them survive. They are trying to remove themselves from others because they feel that they are hurting people that shouldn’t be harmed. Drugs, violence, abuse, and other actions or inactions occur because they have lost their ability to trust themselves. When they can no longer trust themselves, they lose their conscience and thus also lose any ethical compass with which to determine right from wrong. All they know is that they want the drug and will do anything to satisfy the desire. Further, getting the person addicted to another drug as a “solution” only extends and intensifies the problem.

Therefore, any overly simplistic solution of the problem of the addictive personality will not be proven effective. What is required is a full overhaul not a minor tune-up. Some of the factors necessary are as follows:

1. Isolate them from people with mutual agreement on using drugs.
2. Get them on a regimen of good food, sufficient regular rest and exercise.
3. Place them on a regular routine of Vitamins (B1, B complex, C, E, and Calcium/magnesium)
4. Take no savage actions with the person.
5. Very light communication about things that they are willing to talk about is best.
6. Never force them, as they are basically overwhelmed anyway at this point.
7. Gradually get them up to a point where they have recovered physically, their attention is somewhat under their control and they are more aware of their present time surroundings.
8. Get them active doing a job of some kind, preferably one that involves actual physical activity.
9. Over a period of time, they will begin to come out of it, though the habits are still in place.
10. Now, you can begin a process of examination of some of the habits that have led them into this dangerous lifestyle. Let them tell you what is right about their brand of addiction. Sometimes they’ll come off it enough to get a foothold on the ladder upward at that point. It has happened.

This is just a start obviously, My experience is that it takes a minimum of three years of help and monitoring of a persons life to sustain a life without the addictive personality manifesting itself, sometime more, rarely less.

These are just my opinions from personal experience of what has worked in dealing with such individuals. No further claims are made as to the effectiveness of any such “treatment.” In fact, this is not a recipe or guideline for any such treatment, merely a write-up of my personal experiences with such individuals.

Maybe it will help.

LIFE: a work in progress
by daniel w. jacobs

If something feels wrong, it is wrong - - - don’t do it.

People can, and often will let you down - get over it – it's is not that serious.

Listen with your eyes to see what they are not saying.

People often hear what they want to see and see what they want to hear.

Something that could “never happen,” can, and most likely will.

Stress causes worry and worry causes stress, both are a waste of time.

Not everyone is a liar, but anyone can be.

If it sounds too good to be true - it's probably illegal.

Develop walk away power - be willing to use it.

Trust your instincts or they won't be there when you need 'em.

If they say, “don’t worry about the money” – start worrying about the money.

Look for what is not there when it should be.

Be who you is and not who you ain't or you'll be who you ain't, not who you is.

Look for opportunities - they're all around you.

Your power is infinite - so is your ability to limit yourself.

Never assume anything . . . good or bad.

Keep your powder dry - but don’t be afraid to fire.

Pick your time and place, then act decisively.

All people lie some of the time - some people lie all of the time. Learn to tell the difference.

Expect miracles - they sometimes do happen.

You tend to create the life what you focus on most.

Don’t worry – it makes you and your life boring.

Explanations don't justify any more than justifications explain.

Play your cards close to the chest – don’t be afraid to play.

You can become very creative in placing limits on yourself.

Stop arguing when others express a willingness to listen and cooperate.

In any negotiating, you always have more power than you think you do . . . so do they.

Information and time are power - to be used for you or against you.

If something seems “in-credible,” it is not credible.

When they think their position is strong, they’ll stand on facts. If their facts are weak, they’ll stand on principle. If they’ve got neither, they’ll stand on the table.

The perceived value of a favor or service quickly diminishes once it’s completed.

Develop a reputation for never bluffing . . . never be afraid to bluff.

Observe how others treat waitresses – that's how they’ll treat you.

Look around the table: if you can’t spot the sucker – you’re it.

Never believe all your reviews - good or bad

Always have a plan B - never have to use it.

Never underestimate a human being’s ability to rationalize or explain a mistake.

Practice using your bullshit detector until it’s infallible.

Things will change.

If they lie about small things, they’ll lie about big things.

Conventional wisdom is a waste of imagination and sound judgment.

An accident happens once. A coincidence is happens twice. Three times means something is very wrong - take action, now!

If you talk too long – everyone will know what you don’t know - and forget what you do.

Any opportunity can be lost . . . there is always another opportunity.

Speak and write with clarity, brevity and humanity.

Be kind to your elders – you’ll soon be one yourself

Become expert at one thing that you truely love.

All life is a work in progress.

These are some of my current opinions and observations on life - no more valid than your own. Don't believe anything you've read here unless you can see it to be true for you, and then question it anyway.

Daniel Wright Jacobs
2007

QUOTE: "Appreciate your audience and they'll give it back.
Love your audience, and they'll love you in return.
Admire others and you'll attract admiration to yourself."

LIVE TO PLAY - PLAY TO LIVE
dan jacobs

Never make excuses, justifications or explanations about why you can't do something.

Music is in you today and you create your own future.

The old saying, "explanations never justify and justifications don't explain" says it best.

Look for reasons why you CAN do your music instead of searching for reasons why it can't be done.

Live to play; play to live. No one is stopping you but yourself.

FACE THE MUSIC

"Learn to face the music even if you don't like the tune."

RULES OF PLAYING
daniel wright jacobs

Learn the rules well. Use them until they get in your way - then forget them and trust your instincts.

SUCCESS IS SIMPLE, if only . . .
by daniel wright jacobs

There are three vital abilities that you need to be aware of and use if you expect to succeed in any aspect of your career or your life.

1. The ability to accurately observe any weakness in your professional performance, without bias, preconception or false information.

2. The ability to decide without doubt or indecision exactly what needs to be done.

3. The ability to take action with decisive certainty and relaxed confidence in your abilities to accomplish the task.

Now, here’s the catch . . . it’s the “if only” factor – the single most important factor underlying any continued success.

The “if only” factor” is most often the weakest link in your artistic skill and professionalism taken as a whole. It is a factor so deeply personal and intimately connected with you that it often isn't even noticed. You need a trusted teacher or other person to help you expose this weakness and eliminate it. Otherwise, you will live your life only within your own self-imposed limits.

Years ago, I worked with an individual of enormous potential. His “if only” factor was this; although he knew all his technical skill perfectly, but he was just not connecting with his audience. His playing, though technically perfect lacked a quality of humanity, of honest emotion and they audience felt it’s absence. He just didn’t connect.

I felt that if he could face this and become more alive, more animated in his performances he would achieve phenomenal success.

During one of our teaching sessions, I told him bluntly that he was boring me to death and that this factor was costing him and chance at real success in the future.

After the initial shock he took it very well. He knew my intention was to help him and he also intuitively knew I was right. He faced it, worked through it, and eventually became one of the top in his field and connecting with his audience to his and their delight.

Years later he wrote me a letter saying that facing his “if only” factor was that one single thing that saved his career and changed his life.

As you expand, your own areas of “if only” will show up to be handled. Ignore them and you cease your personal growth at that point forever. Face these areas and take effective steps to eliminate them and you will begin to effortlessly move through the three steps above on your road to success.

It’s simple really . . . it just takes some guts to face what needs to change in yourself, decide to do something about it and then take effective action to make it happen.

You should also be aware that as you expand, you will expose more areas of “if only” that need to be faced and handled, it’s a never-ending process. Never flinch from them; instead, anticipate and face up to them fast. You’ll soon find yourself at dizzying heights of success never before imagined.

HOW TO DEVELOP YOUR STYLE
by daniel wright jacobs

First of all, everyone has the potential of an individual style. It is something you can’t force or fake. It will simply be yourself. If you approach your practicing and playing in a dilettante or careless manner, your style will be the same. If you’re too serious about your practice, your playing will be heavy and at times lifeless. If you make the process of practicing fun, you’re performances will also be fun. Take your time. Your style will come out when it’s ready to appear.

The simplest way to bring it out is as follows:

0. Listen to as many great players as you can in the style you like.
1. Practice playing a note one at a time and connect it with the next one.
2. Play the spaces as you would a note.
3. Before you play each note or a space, decide what you want to play.
1. Connect that note or space to the next one you’ve decided to play.
2. Play a couple of million notes in a two-octave range, following the same procedure.
3. Listen intently to what you’re playing.
4. Vary the speed, time signature, articulation and emotional tone to keep it interesting.
5. Keep what sounds good to you and determine what doesn’t.
6. Toss out what doesn’t appeal to you and keep working on what does.
7. Your style will automatically develop without even noticing it.

(note: this is a beginning program for an artist who wanted some help on getting his CD promoted and sold. - Dan Jacobs)

Your project sounds like a winner. I knew a couple of other artists who produced CD's for that market and did exceedingly well at it. I'd love to hear what you've got when your CD comes out.

As I've written before, getting a CD out and consumed by a public willing to pay for it requires two important factors:

1. The artistic preparation, planning, organization, recording; production, layout and design of the artwork; other administrative and financial factors will consume 100% of your time and energy.

2. Promotion, marketing, advertising and sales will eat up the rest!

Although I am too busy myself, producing and promoting my own music to take on another producing project, I'd be happy to give you some broad directional advice. You, however, will have to do all the work. I can give you the outline of what I did (and am doing) with the two jazz CD's, but the program that we used with Simplicity Records, Inc., in 1991, is no longer viable. The internet has almost totally replaced that market. Our biggest seller sold well over 100,000 units sold, in bricks and mortar sales, which was a monster hit at that time and was in the top 10 in our market for over two years, but that market is almost dead now.

In any case, here are the steps that you can get started on now:

0. Decide that you want to take on this job and will see it through to successful completion.

1. Send me a copy when it's released, I'll review it.

2. Get some artists to review it, save these reviews as they'll be used later in your promotion.

3. Go to www.cdbaby.com and sign up to have your CD placed there as soon as it's released. (cost is minimal, just do it) There are more steps to do here, but I'll tell you about them later.

4. Buy "The Indie Bible" if you aren't already hip to it and read it. There are tons of great ideas in it.

5. Realize that no one else cares as much about your project as you do. This means you'll have to step up and do most of the promotion yourself, at least until it is successful enough to hire someone else. In Phase 1 of any business, the entrepreneur has to "do it himself" - this simply goes with the territory, if you can't face this fact, get another job. In Phase 2, you start turning over the "hats" that can be turned over (some of them can't be turned over). You'll always be doing some Phase 1 forever. Get used to it.

6. At least 90% of the time, your success is determined by whether or not you show up. Someone has to "be there" and be willing to take responsibility for the outcome of this project. In this case, it's you.

7. I believe you have what it takes to make this a huge success, but you have to believe it more than I do.

8. Print this out for future reference and get started.


Dan Jacobs

PS. Go to my website at www.danjacobsmusic.com and find the article I wrote for artists entitled "Success is Simple - there's only one catch") - it will give you one other important tip.

PRACTICING CORRECTLY
by dan jacobs

Practicing incorrectly will only reinforce poor performance. Practicing after your chops are tired can do more harm than good.

Practicing correctly is easier than practicing incorrectly. You have to watch and listen to your body and your sound and adjust accordingly.

When you practice correctly, you become accustomed to performing efficiently and effortlessly.

The following tips are designed to encourage more effective, rewarding practice sessions:

1. Don't rush. Jazz saxophonist James Moody once said, "A wise man practices slowly; a wiser man practices even slower." You cannot achieve speed with a speedy practice. Play as fast as you can do it perfectly. Build up speed slowly, and master the most difficult passages before speeding up the rest of the song. If you're making mistakes, you're probably playing too fast. Don’t try to get on second base before you’ve made it to first.

2. Create the right environment. Try to practice in the same place at the same time every day to establish a routine. It should be a quiet, private place with no distractions. Keep tools and materials within easy reach to avoid the disruption of getting up to look for something you need.

3. Relax. If you're tense when you're practicing, you're more likely to get tired and discouraged quickly. Try breathing and relaxation techniques to physically prepare yourself for the session. Tighten and loosen muscles, starting with the feet, working up through the legs, neck and arms. Don't forget the hands and fingers. Don't practice when you're tired. And take frequent breaks, as necessary, to train your muscles slowly. Remember, too, to clear your mind so you can play the music and not just the notes.

4. Don't push. Only practice as long as you can concentrate. A ten-minute session that's focused is better than 30 minutes if you find you're distracted. Most people can't concentrate for more than 45 minutes to an hour at one time. So it's better to practice at intervals throughout the day. This will also help minimize muscular problems, such as tendonitis or carpal tunnel syndrome. Be sure to set a timer so you don't get carried away and exceed your recommended practice time.

5. Record practices. By taping your practices, you can hear what your teacher and/or audience hears. A video recorder further allows you to observe posture, body position changes and technical errors.

6. Think positive. Practicing should not be drudgery. It should be fun without self-judgment. Set realistic goals for each session and record your progress. Break things into smaller groups. Try to end each session on a positive notice by playing something you know well.

YOU ARE THE BRAND: marketing for musicians
by daniel wright jacobs

Branding is one of those bright ideas that caught on about ten years ago as a sure-fire method of market recognition. It still works to burn the image of your product or service into the public’s mind . . . but only when used correctly.

It’s a myth that this will solve all your marketing problems. And when you’re thin on cash and clients and heavy on expenses, it’s definitely not your best bet.

A better approach is to figure out who you are in the minds of the market you are targeting. You can conduct an informal positioning survey by simply asking yourself these questions: When anyone hears my name, what is the first thing they think of? Is this how I want to be known? Should I reposition myself or strengthen the position I already hold? Either way, you’ll know how to move forward.

In the beginning use your own name as your brand unless there is some compelling reason not to. You already own it; you know who you are, what you do and what you stand for. It’s simple, direct, effective and easy to talk about because it’s just you. Then, tell your story.

How did you get started in this business? What do you love about it? Why did you choose this one? Where did you get the idea that what you can produce is valuable to others? Talk about these things. Use them in print, radio, the Internet or other advertising media whenever possible. Everyone loves a good story with a personal touch.

If you are already seen as the expert in your field, this is who you are . Direct your marketing budget to making this position better known and well thought of. If you’re not perceived as the expert, narrow your focus and find a niche in the market where you can become one. Own that territory and expand it.

As you become more successful and better known, a shift occurs and your brand begins to develop almost by itself. People start seeing you as an stand-out artist.

At this point, it might make sense to reinforce and strengthen this position with a sophisticated, professional branding program . . . if you can afford one.

But do it the easy way. Focus on who you are and what you can do. Tell your story. Keep your marketing efforts consistent with what has worked to get you there; and remember – in the beginning, for better or worse, you are the brand.

THE JOY OF LIVING
by daniel w. jacobs

You get a little too close to the edge and it hits you . . . that gripping sensation in the pit of your stomach, the dizzying feeling of trying to imagine a chasm so immense, the strange, unexplainable loss of control that comes over you . . .

You realize that a photograph of the Grand Canyon, even when expertly done, just doesn't convey the same depth. I suppose it's better than nothing, but second-hand emotion is never really an acceptable substitute for the real thing.

The joy of living is a byproduct of actual contact with life. And you don't have to engage in skydiving, river rafting or mountain climbing to experience it. The thrill of being alive and the joy of living are available to you at any moment no matter what you're doing.

It all comes down to one thing: the willingness to experience.

If you have decided that you hate your job, your town or the people around you, your attention is drawn magnetically to situations and circumstances that reinforce your decision and your unwillingness to experience.

On the other hand, if you have the idea that you are willing to experience what you are already experiencing, then you'll find that you can survive anything that comes your way . . . and it's not really all that bad.

Knowledge acquired through the senses, rather than some ivory tower abstraction or professorial reasoning, will give you the deep, instinctual and visceral awareness that life is happening for you right now! The game has started and all that is required is for you to decide to play.

Discard the self-protective ramparts you’ve constructed and throw yourself into the running stream of life; embrace the essence of friendship and betrayal, beauty and ugliness, success and failure, loss and abundance, hatred and love; they are all part of the game.

The true joy of living is here . . . once you decide you are willing to experience it.

Nothing else even comes close.

DREAM SKETCHES VIDEO

This features Dan on flute and piano and Chuck on bass in a video of "Dream Sketches," composed by Dan Jacobs. The video was shot shortly after the release of the CD entitled, Dream Sketches, in 1991. It was first played on BET TV network that same year. The album of original music compossed by Dan and Chuck was a hit in the alternative market with distribution throughout the U.S., Canada and S.E. Asia. This album is the CD recorded by a record company founded by Dan and Chuck. The company went on to become very successful, producing and distributing over 30 albums, all this was before the advent of the internet!

THE GIRL IN THE WINDOW
(marketing for artists)
by dan jacobs

He could hardly contain himself. “If you capture their attention and excite their imagination you've got your hands on the most powerful sales tool there is.”

Having just returned from a vacation in Amsterdam, a city known for its free-spirited liberalism, diversity and tolerance, my buddy enthusiastically told me about his new discovery, which I've called, “the girl in the window” principle of marketing.

“Attention or thought marketing," the latest buzz in sales and marketing circles, has been around for ages, since political posters were first painted on the walls of the arena in ancient Rome, but these girls in the windows of Amsterdam have it down to a science. Struggling to make a living in an extremely competitive market, the girls realize that to make the sale, they must attract enough attention to cause the prospect to imagine the benefits of doing business together.

It's called raambordellen, a Dutch term used to describe the legal practice of window prostitution, where scantily-clad girls pose visibly in large windows of small rooms in houses along the streets of the Rosse Buurt, one of the red light districts of Amsterdam, attempting to attract potential clients. Regardless of ones' personal opinion of such things, the underlying principle is a simple one: you have to capture the attention and excite the imagination to have any hope of reaching an audience.

Ways of applying this basic technique can be creative and imaginative, but the fundamentals never change. They always follow one basic pattern no matter what label you put on it.

Simply put - the task of any artist is to attract attention, spark the imagination, generate or increase demand for products or services, provide a smooth manner securing payment and deliver what is promised.

Every artistic endeavor follows this same sequence: a) Attention activates interest b) Interest excites imagination c) Imagination initiates action. d) Action generates demand for your art form what ever it may be.

Now, what are you waiting for?

DOUBLE-TONGUING IN JAZZ SOLOS
by daniel wright jacobs

Clark Terry told me long ago that he used a "doodle" type of tonguing for fast passages, interspersed with single tonguing for accents.

I have practiced and used this method with success as well. Practice with the Clark studies will smooth it out quickly for anyone.

Articulation is a vital part of any jazz solo and often is one of the defining charactistics of your style.

Along with dynamics, pacing, phrasing, note selection and other technical aspects, tonguing contributes to the coloring and sparkle that make a jazz solo come alive.

OBJETS D’ ART
by daniel w. jacobs

1. Works of art are created by people.

2. Works of art are seen, heard, read, perceived, felt, sensed, and experienced by people.

3. If you leave people out of the equation, you don't have a work of art, as at least one person must be involved to create, view, hear, see, sense and experience it, even if it's only the artist.

4. A work of art or "objet d'art" is something that is perceived to possess artistic value.

5. Artistic value is generally determined by one's consideration of how much something is wanted.

6. How much it is wanted is measured by the quality and desirability of the message being communicated.

7. Works of art are not meant only for a small clique of elite insiders; they take on new life and meaning when shared broadly.

8. The primary purpose of technique in any artistic pursuit is to facilitate the delivery of the message.

9. Artists are as valuable to the culture as they continue to dream, to imagine, and to create.

To be continued . . .

daniel w. jacobs
(c) 2007-2010, all rights reserved

QUOTE: ARTISTS ARE VALUABLE
by dan jacobs

I believe that artists are arguably the most valuable people on earth. For they seek to inject the culture with all the art, beauty or aesthetics you find on this planet. Without the working artist, the world would not be as livable, and, I’m proud to be counted as one of them.

ESSAY: INVISIBLE FOOTPRINTS
by dan jacobs

You’re doing it all the time . . . and so am I.

Our physical footprints leave impressions of where we’ve been and where we’re going, but they’re a bit short-lived aren’t they?

There is an “invisible footprint” that we’re leaving all the time that has greater impact and is far more powerful and lasting. It is created through the ideas in our minds, that when put into action, leave a lasting imprint or impression for others to witness or experience.

Now we’re all born with this handy, jim-dandy, automatic mental camera. It operates with every thought we think, anything we look at, feel or experience. It can take more pictures per second than you can shake a stick at. And what’s more, it never runs out of film, batteries or memory. Then we store up all these pictures for some reason, or perhaps for no reason at all.

Our ideas are largely formed from these pictures for better or for worse. Inevitably these pictures – thoughts, memories and ideas of pleasant or painful experiences - are shared through word of mouth or whatever media and passed on to others virally; it’s just human nature.

Now, I suppose at this point I could draw a long philosophical beard and introduce a theory of societal reciprocity wherein we tend to treat others as we have been treated; responding to a positive action with another positive action, and responding to a negative action with another negative one; or get into a rant about Ayn Rand’s doctrine of objectivism wherein the proper moral purpose of life is thought to be solely the pursuit of one's own happiness or "rational self-interest,” largely regarding the interests of others as of no great concern. But I digress . . .

I’m just saying that if we’re alive, we’re interacting with others whether we like it or intend it or not; leaving our own invisible footprint on their lives through our thoughts, ideas, actions or inactions and relationships; just as they are with us.

It’s been said that ideas inspire action or inaction and both have consequences on our own lives and the lives of others. Your invisible footprints show where you’ve been and in what direction you’re heading. Make sure what you leave behind reflects what you what it to.

Perhaps if we all just stepped up and took a big bite out of this sandwich called life and assumed a bit more responsibility for all of our actions and inactions, things might go along a bit smoother than they do now.

ESSAY: A CONCEPT OF MUSIC
by daniel wright jacobs

Why bother with attaining a high level of musical competence?

Why not just bang on some pots and pans scattered around the floor and call it a day? In any case, it could be argued by some, that certain types of "music" could be classified as nothing more than random noise, right? What then is it that distinguishes "noise" from "musical sound" and how does this join with the requirements of a listening audience to be able to share in this creation? Yes, there are complexities in the production of sound pleasing to the ear but what's that all about anyway?

Now then, while drawing a long, (and now) grey philosophical beard while strolling down the proverbial garden path, I propose an answer to the myriad of questions posed above.

In my humble (unscientific) opinion, the difference between "noise" and "musical sound" is a matter of the shape of the wavelength of each. "Noise" will mostly show up as a gross, jagged, ragged line on any device intended to capture such images. "Musical sound" will, conversely, appear as a smooth, flowing line on the screen, inviting the viewer to float pleasantly along with the line. And, if the mechanical device is equipped to do so, a pure aesthetic sound will appear as nearly a straight line, without harsh edges or jarring surprises, manifesting a wave-length of something like .0000000000000000000000002. (very nearly a perfectly straight line, and in some researchers, very close to the "wave-length" of a spirit)

So, the closer a musical sound comes to a pure aesthetic, the more it resonates with the listener (again, in my opinion).

Take a world-class musician from any area and listen to how one single note comes out and you'll see what I mean. Or, listen to the first six notes played on the album, "Blue After Hours." That tune was written as a tribute to memorialize the life of Blue Mitchell, a great trumpeter, and I suspect as a bit of therapy for the composer, Bobby Shew. If you listen carefully to the whole tune, "Blue" you'll see that the trumpet solo perfectly duplicates the emotion of loss and grief manifested in musical sound. Also, I happen to know on very good authority that the composer's tears nearly obscured the keyboard during the process of creating the tune.

In the solo section of the same piece, the long, draw-out notes cry out the loss and pain felt by the composer. The hauntingly simple solo is exactly how one would feel in the middle of any similar emotional situation. Though the composition and the performance resonate exactly at the level of grief and sadness, it still retains a strong aesthetic quality, pleasing to the ear in my opinion and apparently to many others as well.

As an aside, the solo played on that song was recorded in one take. It was perfect as it came out and I couldn't change it if I wanted to. It touched me as much in listening to it as it did in playing it. And, significantly, it sounded like me and how I felt at that time. Worthy of note perhaps, is that none of this analysis occurred at the time of the recording. It just came out that way and the evaluation of why it came out so well occurred long after the fact. After all, the listener only cares that it impacts him or her emotionally and nothing about the analytical dissection of the piece.

So, lets look at it from the point of view of the listener. It is my experience and opinion that in addition to "reaching," that music also must "withdraw." When I produce a musical sound on the horn, I am reaching. When I stop playing or "play the silence," I am withdrawing and thereby inviting a "reach" on the part of the listener. Whether this "reach" from the listener is a swaying of the body in rhythm to the music, clapping hands in appreciation, singing along, humming or just thinking and admiring the beauty of the music, all of these could be summarized as participation by the audience. As an example of this concept I draw from an experience shared by Ron Oates and myself.

In 1965 and 1966, I performed with the Navy Band, marching in the longest parade I had ever been in. The carnival period climaxing on Shrove Tuesday in New Orleans . . . The Mardi Gras. Now imagine a parade of this magnitude, absent the cheering, enthusiastic crowds along the route, offering drinks to any outstretched hand along the way, urging you to play more and louder! To say the least, the overall impact would be dramatically even terminally reduced. Suffice to say that the band that we played in on those days rose to the occasion desired by the crowd as our little Navy band of twenty-seven or so members outshined all the enormously large school band and took the 'BEST IN THE PARADE" trophy's for both years!

Any performing group will tell you that the audience is the "other member of the band” and that they can make or break a performance. The audience IS part of the show after all, isn't it? Otherwise the performance is only for the benefit of the participants or the producer only. Now, a performance or production could be for practice or rehearsal to create pleasure or therapy for the creator and the participants and therefore be valuable as itself. But that aside, any performance intended for public viewing and enjoyment must perforce include the audience in the equation.

As in my example, the Navy Band was formed, rehearsed and presented for the benefit of the audience specifically; it is no surprise that it achieved that purpose. This then, brings in one other factor that I will touch upon.

The “intention” of the performer must be taken into account. I have heard some soloists and performers use their instruments like a weapon. In spite of the competence demonstrated, it seemed clear that the intention was to intimidate, overwhelm or dominate others, whether other musicians or the audience. This concept is at odds with my musical purpose, which is: to engage, contact, impact or touch emotionally, involving the listener in the creation so that they are enhanced by the experience in ways they consider desirable. More could be said about this but enough for now.

To summarize this now lengthy discourse, and to support my first statement on my concept of music, I offer this:

Music is simply communication. The quality of that communication determines its being categorized as art or not. The technical expertise is important but secondary to the message intended to be delivered. Finally, music must allow some space for the audience to contribute to the creation.

Whew . . . this ended up being much longer than I initially intended, but it stands as it is!

daniel wright jacobs
March 2005

ESSAY: IT’S THE PEOPLE, STUPID!
by daniel wright jacobs

"What business are you in . . . really?" she asked with the hint of a smile in her voice. Her response to my nearly inaudible answer took me completely by surprise . . . just as she expected it would.

"The truth is, you're in the people business, she continued, everything else is secondary." A bit thrown off my game, I still managed a feeble reply. "Hmm, I see where you're going, but . . . " She interrupted, "It's the people, stupid! Otherwise your focus is on the wrong target." And you know what . . . she was right. Those four words said it all.

I wasn't in the music business, the sales business, computer industry, the entertainment industry or any other business or industry if the people factor were omitted or neglected. And importantly, if people were left out of the equation, there wouldn't be any business at all. Many others agree. For example: legendary educator and trumpeter, Herb Pomeroy, gave his version of the same concept. "In my early professional years, music was the most important thing. I came to realize that I was wrong. The people are the most important thing."

One professional poker player had this to say: "Just playing cards with other people is for amateurs. To win as a professional, you must realize that you're in the people business - while you're playing cards. The more you know about people, the better your chances of winning."

I had one of those "whack on the side of the head" realizations that happen when you figure out something that you always knew - and this one was a gemstone! It boils down to this: If I am actively involved in the game of life - I'm in the people business. Period!

The subtle yet profound wisdom and broad implications of this concept had deeply personal yet universal applicabiltiy. Being in the "people business" meant that anything I could do to nurture, care for, or help others get along better in life would inevitably end up helping me as well.

As a starting point, applying this "people principle," was as close as I could get to a guarantee of success. It provided an orientation for my thoughts, a clarification of my purpose and simplification of my actions and efforts, all in the direction of taking care of business where it really mattered.

Those four words, "It's the people, stupid!" made all the difference. I'm happy I was listening.

CRITICS - an opinion
by daniel w. jacobs

Mostly, they are leaches. Without the creative artist to feed on, they would be nothing.

What issues from the carping critic is a covert attempt to focus attention on themselves at the expense of the true artist who’s work is under consideration . . . pitifully, they are failures at this as well.

The thing they can’t stand is to be ignored.

daniel w. jacobs
(c) 2007-2015, all rights reserved

ESSAY: SOUND, FLEXIBILITY, SPEED AND RANGE
by daniel wright jacobs

There is no quick fix or instant
Dbl C method that will work for everyone, everytime.

Range will come along if the physical elements of proper breathing, air support, embouchure etc. AND the mental elements are all in alignment.

I will say that if they are forced, you will not get the results you desire and you will have much work ahead of you to undo the bad habits you form.

Anxiety over demands for instant range will only make the process harder as you begin to work against yourself.

Frustration is a direct result over skipping the steps necessary in a given sequential process. You can't take step 10 until you have comfortably and completely completed step 9, for example. If you skip a gradient, your gains will be impermanent and unsure.

Forcing it, like overblowing, are your greatest enemies.

Frankly, you would be much better off to play what you can play without force or effort and make it musical. Both you and the audience will enjoy the results far more.

Don't sacrifice that for the "instant result." Take your time, practice with focus on making the sound the best you can without undue effort or force.

Practice softly and slowly and the muscle memory will come along making everything else easier.

Sound, flexibility, speed, range and musicality will all come along unbidden if they are approached correctly on the proper gradient.

Now, having given you the above information, for further data on general playing, range, breathing, etc. from the master.

Go to www.bobbyshew.com who taught me, Roger Ingram, Greg Gisbert and a host of other great trumpet players that there are some basic fundamentals that you can use to make playing trumpet a lot more fun.

QUOTE: APHORISM FOR LIVING
by daniel wright jacobs

"Your creation of time, circumstance and conditions of life determine where you have been, what you are and who you will become."

ARTICLE: LEAD TRUMPET, HIGH NOTES, PRACTICE
by daniel wright jacobs

QUESTION:
So if I practice the higher notes softly then in time I will be able to play them loudly?

ANSWER:
The simple answer is yes but there is more to it.

Roger Ingram was telling me about talking with Jon Faddis after a concert where Jon was playing some unexpected high notes (triple C's etc). He asked Jon how he was increasing his range so much. Jon said exactly what I told you, practice very softly, your body will develop the muscle memory and you'll find that you can hold the note longer etc. As the muscles develop, volume is not hard to attain.

As to volume, you should also be aware of the "sonic resonance" of each note. Every note has a slot on the horn and a certain resonance where it "sings" without effort. Volume is not a matter of just blowing harder, as you'll usually overblow and defeat the purpose, ie: overblowing begins to work against you and then you feel you have to blow harder to get the note, which creates more and more resistance.

Back off; find the ideal resonance for each note as you play it without effort and you'll find that the note will cut through and fill the room without all that effort to force it. You're not in a marching band after all. If you feel like you have to play louder beyond what is necessary, the guys in the section (perhaps the whole band) are playing TOO LOUD! If you're the section leader, it's your job to get them to play soft enough so they can always hear the lead trumpet. If they can't hear you, they're playing too loud!

This will eventually kill the intonation and endurance of the lead player and the rest of the section as well.

This is a vital point as if you're overblowing (or the section is) the intonation will suffer. When this occurs, you end up "lipping" the note in tune which causes your endurance and range to suffer noticeably.

There are many factors to playing lead trumpet that affect your
range and I won't go into all of them here. Just realize that if you are thrown off your "center" musically, you'll start to compensate by using oddball solutions to play the notes. These inevitably end up with bad habits, bad sound, poor flexibility, decreased range, and other undesirable things.

Just keep your focus on centering your sound, don't overblow, take it a step at a time, don't force it ever! Arbitrary deadlines are deadly when you just "HAVE to have a dbl C, NOW!"

Just don't fall for it. Bobby Shew tells the story of exactly that situation when he was thrust unexpectedly into the lead trumpet role with Buddy Rich. His advice on the matter is the same as mine to you as above.

Just do the best you can with what you've got now.

Never sacrifice your long run success for expediency of forcing it right now! You'll be much happier in the long run . . . I speak from experience.

Dan

ESSAY: YOU'RE ALMOST THERE
daniel w. jacobs

You just have to hold out a little longer, it's almost over.

If you can avoid running up a big karmic debt in the next few days; refrain from hurting yourself or others in a misguided attempt to fix situations that can’t be fixed; steer clear of temptations designed to throw you off the right path; you’ll be home free.

Soon the whole cast of monsters, demons, bullies and goons will pack up their inane torture devices and go trundling back to the hells from which they came.

Ignore the distractions, the dispersing chatter of small minds, the irrelevant, yapping cur voices of inconsequential opinions.

Keep your eye on where you’re going and what you’re trying to do. Nothing else matters.

You’ll be free of them soon enough.

daniel w. jacobs
© 2008-2010, all rights reserved

QUOTE: ON BAD ADVICE
by dan jacobs

"The first time you get bad advice it's excusable; the second time, it's suspicious; the third time, it's an enemy action. Take fast action NOW.

TRUMPET: Random thoughts on practice, rehearsal, performance and music.

1. Flutter lips to warm up. Long tones hurt more than they help
2. Buzz with attention to firm corners of mouth. Use isometrics.
3. More air, open chops = more sound. Less air, tight chops = thin sound.
4. Cotton in ear to focus attention on source of sound production instead of the effect (out the end of the horn)
5. Use the cotton initially to lock in on the slots for each note.
6. Overtone series to find each slot
7. Flutter tongue when playing to train tongue to remain in right place for openness and special effects
8. Drop bottom lip for better sound and range
9. Lip vibrato practice to find the slot and provide artistic effects
10. Practice scales as perfectly as possible to establish a foundation
11. Pace yourself when practicing. Don’t just get used to playing on tired chops. Rest as long as you practice.
12. Practice often, rest often rather than trying to play long and sound tired.
13. Practice playing random notes and patterns to break playing patterns
14. Play with Abersold CD’s without music even if you don’t know the tune to practice ear training.
15. Practice reading along or rehearsing with group for eye-hand-ear coordination
16. Remember three elements of music.
a. Practice alone
b. Rehearse with others
c. Perform for the audience
17. If it isn’t fun, you won’t continue doing for long
18. Make it musical
19. Do what you love
20. Perform to produce an emotional impact with your music
21. Practice professionally and you’ll begin to perform professionally
22. Play in front of people as much as possible
23. LISTEN to your sound
24. LISTEN to others that you are performing with
25. Decide what message you want to communicate.
26. Be consistent
27. A good reliable musician is more in demand than a great unreliable one
28. Remember: all things being equal, musicians would rather play with their friends. All things not being equal, musicians would still rather play with their friends.
29. It’s called “playing” for a reason.
30. Don’t forget that you have a gift, the gift of the language of music. Give it freely. Don’t play only for the money but be willing to receive money for playing. Love what you do. Do what you love. Outflow your message in your music. It is your voice. The language of music is universal. It transends all things. It is the closest wave length to the being himself. Music has the ability to transform you out of this universe and yet remain in this universe. You’re the lucky one, you're on the inside track!

Dan Jacobs
December 2000

TRUMPET WARM-UP & NOTES
by dan jacobs

1. FOCUS - do what you're doing when you're doing it
2. lip flutter for warm up
3. warm up using mute for resistance
4. lip buzz barely touching with mouthpiece in horn - soft middle G
5. soft lip slur up 8va and down
6. breath with open throat (yawn), 6 step yoga breath per Bobby Shew
7. ahhh (throat open)
8. eeee (tongue position for range)
9. remove mute
9a. teeth aligned
9b. breath like a drowning man
9c. wet lips
9d. ride the air stream
9e. back of tongue flat
9f. arch tongue for range
10. middle G, soft, then easy lip slurs & scales for flexibility
11. finger slowly and gradually increase speed
12. tongue (spit rice)
13. lower jaw out slightly
14. ride the air stream (flow don't force)
15. listen to sound, don't overblow, adjust to optimum
16. horn vibration/sonic resonance awareness
17. practice softly as much as you do loudly
18. Be aware of the opening of your apeture and adjust as necessary, remember keep your throat open.
19. firm corners of lips
20. focus air stream for range and sound and relax.

For clarification the aperture in playing trumpet is the opening between the lips as the air moves through.

The definition of aperture is:
An opening, such as a hole, gap, or slit. Usually an adjustable opening in an optical instrument, such as a camera or telescope, that limits the amount of light passing through a lens or onto a mirror.

Derivation:
[Middle English, from Latin apertūra, from apertus, past participle of aperīre, to open.

Smaller opening = faster air = higher note. Larger opening = slower air = lower note.

19. coordination awareness
20. hug the mouthpiece with the lips.


21. The trumpet is only $35 of brass tubing and valves when you get right down to it. It is up to YOU to make something out of it, it does nothing by it self. If you love the instrument it will show in your playing. If the instrument excites you, return the favor. The instrument will respond to your feelings for it and what you're putting into it. It will give you what you put into it, not more nor less.
22. coordination

Dan Jacobs
December 2007

HOW TO BOIL A FROG - PART TWO

Thomas Jefferson wrote that the price of freedom is eternal vigilance. Our vigilance, not to mention our willingness resist tyranny, have been lost due to the twin towers of greed and fear . . . with our tacit consent.

John Stuart Mill, recognized liberty as the freedom to act and as the absence of coercion. Our liberties are now so eroded that they are scarcely recognizable and exist today in word only.

We use a system of fiat money, intrinsically useless and suitable only as a medium of exchange. A more accurate definition perhaps is that money is, "an idea backed by confidence." Our money is currently worth less than at any time in our history, deteriorating daily along with our confidence in it.

Similar to the driver who suddenly finds himself down the road with no memory of how he got there, we have been hypnotized by a constant, focused diet of fear and the dangerous environment, intentionally created.

The attention of the nation is alternativately fixated on disaster, glee, and dispersal - keeping us in a constant state of turbulance and disassociation in a unending search for sanity, security and a chance to catch our collective breath.

We have become blind to evidence of blatant illegality, immorality, injustice due to our own reasonableness and inaction and have become unable to spot the true source of our troubles. Even when the facts are revealed, we find them so incredible that we dismiss them as unbelievable, to our disgrace.

Criminality is the source of this downward slide and the studies on the "criminal mind" apply fully.

We have ended up electing a cabal of self-righteous criminals pretending to be upstanding citizens looking out for our best interests.

Our low confront of evil has protected the individuals with nefarious intent, hiding behind a curtain of deceit.

However, I don't feel that all is lost and that we should just abandon ship and surrender with all flags struck.

The technological advances have made spontaneous transmission of information possible at a rate never before imagined. And it is growing exponentially by the day.

Though often fought, the spotlight of truth, through the communication of true information can awaken the people from their deep slumber.

When this does occur, they can and will rise up to throw the bums out.

I just hope the next crew is better.

daniel w. jacobs
Jan. 19, 2008

JAZZ IS . . .
by dan jacobs

Jazz is the only form of music where you play the same notes differently the first time.

IT’S ALMOST OVER

You just have to hold out a little longer.

If you can avoid running up a big karmic debt in the next few days; refrain from hurting yourself or others in a misguided attempt to fix situations that can’t be fixed; steer clear of temptations designed to throw you off the right path; you’ll be home free.

Soon the whole cast of monsters, demons, bullies and goons will pack up their inane torture devices and go trundling back to the hells from which they came.

Ignore the distractions, the dispersing chatter of small minds, the irrelevant, yapping cur voices of inconsequential opinions.

Keep your eye on where you’re going and what you’re trying to do. Nothing else matters.

You’ll be free of them soon enough.

daniel w. jacobs
© 2008-2010, all rights reserved

POSITIONAL POWER AND OTHER TIPS

Note: A letter from a friend prompted this writing as an effort to provide some solace and support in a stressful time.

Certain groups consistently engender a visceral repulsion to me. Nearly any interaction with governmental agencies is with one of these groups.

I am reminded of the words of the late conservative journalist, Samuel Francis when he wrote:

“Wherever overgrown power collides with disarmed individuals,
the four ‘I's’ of anarcho-tyranny tend to occur.”

“These are: “inertia, implacability, indifference and incompetence, evident in abundance within the federal bureaucracy.”

Some people have all of these characteristics some of the time; some people have some of these characteristics all of the time.

This concept has been termed in other writings, “positional power.”

Intuitively, it means simply the power that comes with the title of a specific job, used exclusively at the whim of the position-holder, however unreasoned. Bureaucrats often fall under this heading, as outside of their defined area of control, they are virtually powerless to influence others except to infuriate, incense, irritate and inflame with their “inertia, implacability, indifference and incompetence.”

When some odious clerk at the DMV arbitrarily applies positional power it is annoying though perhaps ultimately forgettable. Conversely, when used by someone who has the ability to cost you untold amounts of wasted time and money, not to mention years of your life because of their nearly criminal negligence, or worse, nefarious intent combined with a taste for cruelty, such oppressive domination becomes intolerable.

Yet, what to do?

Under the circumstances described, one could glibly suggest you simply need to persist and eventually prevail. But, this is no guarantee either, as getting oneself across the lines of what is laughingly called the “justice system” is a crapshoot at best.

Perhaps you should fight back as directed in the “I'm mad as hell and I'm not going to take it anymore” tradition. While that solution might provide an adrenalin rush and some momentary satisfaction, history has shown that raised fists, rakes and pitchforks when matched against tanks and disciplined, well-armed troops don't go very far to further one's cause. And despite the brief public spotlight focused on the injustice, such violence often does little to right the wrong.

Now then, to address the subject of becoming hardened and a bit cynical by the mis-adventures of dealing with such people – this familiar phrase comes to mind, “Everyone should live in New York, but not long enough to make you hard and in California, but not long enough to make you soft,” which might hold some applicability to the immediate situation of which you speak.

Hardness is not really part of my innate personality, nor is it of you as I’m aware. We were both raised in a part of the country where trusting people was seemingly inborn; distrust only coming after getting stung a few times too many.

For myself, my inclination still leans toward trusting the basic goodness of people as the first assumption. I subscribe to this belief - sometimes to the exasperation of my wife who thinks I am far too disposed to see the glass half full instead of half empty.

My time, attention and life are important to me as yours are to you. Therefore, I think you would agree that to not act in such a way to safeguard yourself or others is an act of stupidity, lacking intelligence, perception and simple common sense.

My advice then, is to follow a path I have found successful. When confronted with circumstances you've discussed, I have adopted the idea of doing whatever I must to handle unpleasant situations.

This strategy is simply to pour the coals on personal production, promotion while simultaneously create a future worth moving into when the “emergency du jour” fades into the past.

In the main, this strategy has worked to keep me stable and in motion with the result being that any covert or overt attack coming my way ends up strengthening me in the end.

I offer the following counsel with some increased awareness, certainty and good judgment borne of bad experience in the trenches of life:

1. My attitude and personal conviction is that one must become alert to the slightest hint of anything improper in self or others and be willing to face the situation directly.

2. I have found that dismissing, explaining, justifying or defending wrongnesses in self or others actually worsens the situation and creates nothing but unmitigated disaster in the end.

3. And finally, it is my considered opinion and experience; the price of freedom is never too great when the cost of indifference is so dear.

I hope that some of my remarks might find fertile ground and be put to use in handling your situation.

daniel w. jacobs
© 2007-2010, all rights reserved

On Saturday, April 12th, 2008, the jazz world lost one of it's greatest tenor sax players. He was a great friend for over 40 years, a marvelous sax player of great passion and technical expertise and a warm and natural human being. His passing will leave a big hole as he was a national treasure.

Dan Jacobs

WHAT SCARES YOU?
by daniel w. jacobs

Don't hide your talent inside you . . . share it with others. Then she continued with, do what you fear most and you will fear nothing . . . and I could tell she meant it!

An older, more experienced friend gave this advice to me long ago and it's a concept I highly recommend, adding only . . . do it now!

Don't wait until your music, art or talent is perfect to get it out there. Perfection is a trap designed by someone else trying to reduce the competition. Some of the best musical albums and artistic performances have imperfections and no one cares as long as the art has some personal meaning to them.

From decades of active involvement in performing and recording music, I have found that listeners want something they can connect with and something that connects with them; something that touches, excites, moves, enthuses, reminds, inspires, arouses, affects, transports them on a journey to a new and different time and place, lets them hear old things in a new way and new things in an old way or simply something that allows them to share in the joy of creation with the artist.

And mostly, they want to connect with the world of the artist, to see what they see, hear what they hear and experience what they experience. From the viewpoint of the artist, this requires that you expose yourself to them through your art. And this can be very scary indeed, for revealing yourself through your music or your art is far more important and often a lot more challenging than just striving for technical perfection. Most artists find that letting people in on what you're really about while performing live in front of an audience takes far more courage than practicing in a room with only a metronome for companionship.

Sure, always try to push your technique as high as reasonably possible but the audience is still always more interested in your message. And it is certain that hiding behind the “veil of technique” because you're afraid to reveal who you really are will not help get your point across.

Stop chasing technique for its own sake - - - slow down and let people hear and see what you've got to say artistically. Open those emotional doors and let them in on where you're at, what you're really about, who you really are, what you feel, what you've experienced and how it's affected you. They'll feel it with you and you'll both be better off for it.

Put yourself out there and let people connect with you and you'll connect with them.

Truly revealing yourself may be the scariest thing you'll ever do . . . but that's what being an artist is all about anyway, isn't it?

daniel w. jacobs
(c) 2007-2010, all rights reserved

THE ARTISTS’ SECRET
by daniel w. jacobs


It can't be bought and it can't be sold. It's invisible, intangible – elusive at times - but native to every individual in some area of life.

The artists' secret is: an abiding belief in oneself.

It’s the unshakable personal truth of every successful artist, perceivable to all when it’s present and uncomfortably obvious when it’s not. They have an enviable ability to rise above the inevitable self-doubts associated with being human.

From the audiences’ point of view, it’s the perception or awareness of artistic professionalism and passion for the art work and the artist; something they sense as an undeniably visceral experience that touches and moves them.

From the viewpoint of the artist, it’s a combination of sufficient technical proficiency to communicate yourself through an art form in a way that allows the truth and passion of your message to impact another human being.

Belief or trust in oneself is an internal confidence that something is true or real, underpinned by an emotional or spiritual sense of certainty that is unshakable. It doesn’t require “proof” in the physical universe to make it real. It emanates from within. It is a conviction that is true for you simply because you believe it to be true without external validation.

This self-generated belief provides the impetus for attainment of the disciplined technical competence necessary to perform effectively and efficiently to professional standards - and it also supplies a secure bedrock for the confidence, courage and willingness to allow your message, your art and yourself to be exposed, heard and seen in front of an audience.

The secret starts with your belief in yourself. Protect, nurture and recognize this for the treasure it factually is.

daniel w. jacobs
© 2008-2015, all rights reserved

DEATH BY A THOUSAND CUTS
by daniel w. jacobs

Yes, he knew how to handle people, he thought proudly, after all, he was an important man.

His professionalism and standing were impeccably positioned as beyond reproach; his reputation and the trappings of success blinding others to the dark corners of life masked by pretense and lies.

No one would ever suspect his deception, but even if they did, he could extinguish any threat of exposure with a tsunami of fear created by overwhelming intimidation or veiled domination by nullification.

Control with fear was his mantra, his way of life – carefully obscured by the frayed and tattered shroud of truth, justice and the American way.

Shielded by an ingenious combination of subterfuge and sabotage, he was now able to act unfettered by such legal niceties as the law, fairness and common decency. After all, it really was admirable, wasn’t it?

Yes, in the beginning it would stain the conscience a bit, but you get used to it after awhile, he would say to himself. Plus he privately believed that the idea of a conscience was stupid anyway - a made-up refuge to shelter a weak and timid mind.

Most people just didn’t understand; it was his destiny to contribute something new and important to his field - and besides, he needed something to wash away those nagging feelings that tugged at what little bits remained of his conscience.

And now he had found it! An ingenious adaptation of Ling Chi or “death by a thousand cuts,” skillfully applied to keep the victim on the edge of death - alive just long enough to extort the final drop of blood money.

This age-old Chinese torture technique, outlawed in 1905, was the form of execution reserved for the most heinous crime. A slow torturous death by many small wounds, none instantly lethal but fatal in their cumulative effect, now sanitized and made it acceptable to civilized society, all without fear of discovery or retribution. It was brilliant, he thought.

The incremental destruction of the enemy by repeated minor covert attacks is best, he reflected, as open aggression is too obvious and would be resisted.

His plan was to keep feeding a steady diet of bad news - through innuendo and turbulence - in the lives of the chosen victim while at the same time injecting lies, threats and generalities so that his version of the facts eventually become seen as true.

This way, guilt by allegation or accusation keeps them on edge to such a degree that it worries them to death! It’s virtually undetectable, he thought smugly, keeping them so spun in to themselves that they never notice what he’s doing.

Then, when his victim gives up after being emotionally, mentally, and financially bled dry, no one would suspect that this was his intention all along.

But there was that nagging twinge of guilt buried deep in the recesses of his mind that never quite went away. So as always, he pushed it aside with a heavy dosage of self-righteous justification. Self-criticism was just not a luxury he could afford. Besides, he wasn’t doing anything technically wrong or morally reprehensible . . . or was he?

He hated that thought . . .

Nothing was going to stand in the way of his greatest achievement. This was his legacy - his chance at the golden ring of immortality and he wasn’t going to let it slip away!

The fictionalized portrayal above might not be what you want to hear but it is something you need to know!

The gut-wrenching and sickening thought that such people are living amongst us in positions of power to ruin our lives is not pleasant. But, I have run into them and have the emotional scars as a reminder, . . . and so have you whether you know it or not.

It is nearly impossible to fathom the dark world in which these characters live. For their lives are embroiled in continuing disreputable intention to stop others; stopping others from growing stronger, from becoming more aware, from producing, succeeding, creating or even living.

To them, all people are dangerous; creating a constant, pervasive fear that monitors all their thoughts and actions. Anything that would make lives of others more secure, stable or happy is viewed as a threat to their position and must be stopped.

Such individuals are not nice people. Normal humans beings have a very limited digestion for such behavior. It takes an individual with a tough constitution to face such things.

You can be certain of one thing: when your life is failing, full of stress, worry, self-doubt, depression or impending disaster with nowhere to turn, the effect of the thousand cuts has begun to exact its toll. Such severe conditions don’t just happen by chance. One or more of these evil characters described above is hard at work, secretly and actively helping to create the turmoil in which you now find yourself.

At this point, no amount of positive thinking or other therapy will get you out of this mess. You have to grab yourself by the emotional and spiritual bootstraps and face the fact that someone really bad is trying to do you in.

It’s not illusion or a bad-childhood, it’s real and it’s lethal. A failure to recognize this truth and act fast can be fatal to your dreams, your goals and your life.

I still find it hard to believe that such people exist in the world. Where I grew up, you could leave your front door unlocked at any time of the day or night without a thought of harm. I trusted people first and only reluctantly thought ill of them.

Regretfully, I had to train myself to be skeptical.

Even when the warning signs were obvious, it was all too easy to think, “That just can’t be; he’s so friendly and helpful; he’s just a normal guy.” My innate forgiving nature tended to blind me the oddities and aberrations of others. But what’s worse is that I ended up thinking there was something wrong with me!

My instincts and observations were dismissed as unbelievable. It fact, it was so “in-credible” that such an individual could cause this much trouble that this fact alone protected the culprit. It is simply “not – believable” and so is allowed to continue unrecognized and uncorrected. Often it is this single important fact that protects them.

It’s been said that sunlight is the greatest antiseptic and the concept certainly applies here; for the one thing such detestable individuals cannot stand is the spotlight of truth being shown in their direction.

However, there is hope. No matter the outward manifestations, these individuals are fundamentally weak. They are totally dependent only upon their ability to covertly manipulate and control others by creating an unsafe and turbulent environment. Once exposed, their apparent power is gone and they scatter like cockroaches when you turn on the light.

Often the hardest step is the first one - which is mustering sufficient guts to face the fact of what they’re already doing to you and others. Once you’ve got this one under your belt, the rest is easy. For it is your own unwillingness to face the truth of what they’re doing that allows them to continue to create an unsettled life for everyone they come in contact with.

When you are able to really look at such individuals, face to face and see what they are up to, their ability to control you is gone. Their power depends utterly upon deception, deceit and remaining hidden. Once exposed their undue influence over you and others will wither and die on the vine.

If you only stop and consider such things for a minute and realize that these people actually do exist, you will never again be the same innocent victim you once were. You are now armed with the understanding of what is really taking place.

Although these characters represent a very small percentage of the population at large, their negative influence is wide and pervasive. It is worth your time, your sanity and your life to expose them whenever and wherever you can.

Take my word on this one - you won’t regret it.

You can be free of them.

daniel w. jacobs
© 2007 – 2015, all rights reserved

IT’S ALL RELATIVE

Perfection is a relative concept. What one person considers perfect is a far cry from another’s point of view. A consideration of perfection as an artist changes each time you reach what you once considered perfection. You now have gained expertise and experience in discovering how to make it even better. Your idea of what is perfect is relative to your ability at any moment in time.

Absolute is a relative concept. It is impossible to attain in this universe. What is absolute zero for instance? You would have to ask, “Zero what?” It’s a zero quantity of something isn’t it? When you look at a “0” on the written page, don’t you always ask yourself, “0” what? You end up filling in the blank of “zero what?”

Truth is a relative concept. When you say something is “absolutely true” you’re biting off a bit more than you’ve bargained for in my opinion.

In legal terms, truth is the exact time, place, and event. But any trial lawyer will confirm that it always depends upon the viewpoint of the observer. Two people can view the same event at the same time and the same place, and come up with decidedly different results. Observation depends on training, experience, familiarity, personal bias, and most importantly the point from which one is viewing the event.

How about words like wisdom, communication, love, hate, fear, responsibility, knowledge, reality, time, trust, space, energy, and more? Aren’t these all relative concepts? To try to reduce any of these concepts to an absolute is impossible in this universe. Any time you quantify something, you have reduced it to a relative concept (how much, what kind, how many, etc.) Even something that is “absolutely still” is still moving in relation to the sun isn’t it? The planet is turning on its axis, around the sun, in relation to the other planets, the solar system and the Milky Way Galaxy not to mention other galaxies, right?

Something is “still” in this universe in relation to something else. But it’s still in motion in relation to the rest of the physical universe, which is constantly changing. It’s growing, deteriorating, adjusting, and changing constantly.

The consideration of tolerance of motion or stillness has to be taken into consideration as well. Los Angeles traffic at rush hour can be extraordinarily stressful to one unused to how traffic moves with CA drivers. Yet, one accustomed to driving in that environment may consider it to be relatively slow. It’s all relative.

The only thing I can say with absolute certainty is that absolutes are unattainable in this universe.

The physical universe is a force universe, constantly in motion. You would have to get out of this universe to find anything close to motionlessness. And the moment you observe that you are not in motion, you discover this fact by comparing it to another time when you were in motion. It’s all relative.

How much is too much? Too little? How many problems are too many? Too little? There is scarcity and abundance in all things isn’t there? Too few challenges and the person will crave to “get back in the game.” Too many problems and an individual only wants to “go on vacation.” How about “time?” It’s all relative whether one person thinks time is racing by when another finds the time dragging along interminably. It’s all relative.

Underneath it all, what is absolute is a consideration - your consideration. If many others agree with your consideration, it becomes more “real.” But it’s still a consideration.

What is true is true because you believe it to be true. It’s the exact consideration that you consider. If you can see it to be true in the world you live in, it’s true for you. In the physical universe, what is true is the exact time, place and event. Lawyers and judges deal in facts! “Stick to the facts,” they’ll say. Can something be proved to have happened with demonstrable, provable “facts” – then it’s true to a lawyer. As we all know, this is far from reliable. Getting yourself across the lines of the “justice system” for example is so far away from “truth” that it would be laughable if it weren’t so deadly serious.

At the end of the day what is this all about? If you’re searching for something to hang onto, look to yourself first. Your considerations, your opinions, your observations, your feelings, these are what is true for you. And these are more important.

Trusting yourself is the key to real stability in this or any other universe. Your instincts, your awareness, your sense of right and wrong, these are the factors that will last you as long as you use them. But even these are relative aren’t they?

They change with time, experience, education, training, and living life. But to the degree we validate them, they get stronger. To that extent, we have a stable point from which to operate. That point is you. Your observation. Your viewpoint. Your instincts.

To the degree you can hold a position in space and willingly face anything that comes your way and handle accordingly, you’re on the right track for happiness and success in this universe.

Of course . . . it’s all relative.

daniel w. jacobs
© 2008 – 2015, all rights reserved

(note: I was asked this question by Buck Vandeermer many years ago after I finished my tour of duty with the U.S. Navy Band in 1966)

A vintage Jacobs quote.

Question from Buck:
What were the most important things you learned in the Navy?

Answer from Jacobs:
Clearly the meaning of discipline, dignity and respect.

Discipline doesn't just mean to punish. It means the ability to act in a professional way even in a difficult or stressful situation; it means to maintain order and leadership to obtain a desirable result in spite of difficult circumstances.

The Navy teaches men to lead.

All of the big bands of the jazz era had good players. The ones that achieved greatness had the best leaders.

I learned to have dignity and respect for all people and I learned the importance of always conducting myself in a manner consistent with the integrity of a Navy Musician.

QUOTE: ON LIVING LIFE

"Sanity, happiness and power are a direct consequence of living a life of simplicity, truth and following a worthwhile purpose."

daniel w. jacobs
(c) 2008-2020, all rights reserved

THE KEY TO SUCCESS
by daniel w. jacobs

“Practice, practice, practice.” Ask any professional about the key to success in music and you’ll usually get this answer. Of course, this is correct, but incomplete.

Success requires a combination of at least five factors separate elements:

Practice (learning by correct repetition) is vital to get your skills up to a level where you can participate in a very competitive game.

Patience (calm, sensible perseverance) is crucial, as only a step-by-step approach will provide the necessary building blocks to achieve greatness and effortless competence.

Persistence (determined continuance in spite of everything) is vital as success is a pipe dream without it.

Professionalism (skill, competence and character) is essential to compete at the highest levels.

Promotion (making something known and well thought of) is an ongoing activity that requires boldness, courage and audacity - without which your talent and genius will go unnoticed.

PRIORITIES
What you've got to say artistically is always more important than your technique.

Practice as much as necessary to gain sufficient technique to deliver your musical message.

Practice delivery of your artistic message as much (or more) as you do your technique.

Practice to increase technique when it becomes necessary to the delivery of your message.

Desire to deliver your message to people.

The volume or quantity of outflow (performances, promotion, etc.) is more valuable than inflow of money when you're starting out.

Focus on the quality of outflow when the promotion begins to bite and you see that you're getting some attention.

Seek out ways to monetize the activity to secure viability when quantity and quality are operating without constant attention.

LONGEVITY in the ARTS
A solid foundation of core human values.

A compelling desire to communicate your art broadly.

A willingness to take responsibility for the effects that you create with your art.

A recognition of the joy of creating and a desire to share this with others.

The willingness to allow others to contribute to your well-being and to contribute to theirs through your art.


SURVIVAL in LIVE PERFORMANCE GROUPS
Appreciate the contribution of other group members.

Remain in communication with others in the group.

Establish and maintain an agreement on the goals of the group.

Recognize and respect the leader of the group.

Do everything possible to support the overall survival of the group.

Take responsibility for your part in rehearsals and performances.

Recognize that you are in the entertainment business.

Practice for yourself. Rehearse for the group. Perform for the audience.

THE BUSINESS OF MUSIC
Remember that there are two words in “music business” music AND business. Success in music or the arts requires competency and professionalism in both areas.

You must have at least a conversational knowledge of the business of music to avoid painful pitfalls and expensive contractual arrangements.

Finally, recognize that you’re always a student. Being involved in the arts means a continuing pursuit of perfection. This is elusive because you are always finding new ways to express yourself with more efficiency, less effort and greater focus on your message.

daniel w. jacobs
© 2008-2020, all rights reserved

ON TIME
by daniel w. jacobs

There is no past.
There is no future.
There is no present . . . except that which you yourself create at this moment.

daniel w. jacobs
(c) 2008-2020, all rights reserve

TRUMPET PRACTICE ROUTINE 12.08
I'll have to do a video of what I'm practicing these days.

I go through a routine up to a "G" and but never higher. I usually start on a low F# and either play scales up three octaves and back down, or go up and down in natural intervals.
Once in a while I'll use an exercise similar to what you're doing, one that Roger Ingram showed me.

Simply starting on a middle C, slurring up an 8va, then back down. Take the horn off the lips, and then do the same thing up 1/2 step, again, I only go up to a G.

Then I might do some pedal tones down to a low C to loosen up.
The rest of my routine is scales, intervals and "slide-slipping" practice using tonguing and slurring.

The solo on
"myspace.com/danjacobsjazz" is an illustration of sideslipping technique in application on "Well, You Needn't" - recorded about 3 or 4 years ago.

Also the video of me on myspace, soloing on flute and then on trumpet is another example.
Basically, I start with some scale, or partial like a pentatonic or something, and play around with it, then move to a different key in the middle of the pattern, then move back to the original key. Then go to another key and do the same thing, or interject a couple of other key changes in the middle of the pattern when I feel like it.

Then I might switch to doing the same thing to diminished scales, chromatics, whole-tone scales, or blues scales or whatever comes to my mind. It's a great way to gain confidence and flexibility in jazz soloing in any key and opens me up to any idea I have that comes up on the spur of the moment in the middle of a solo.

I've showed several guys how to practice it, but most of them just stand back and go "huh?" - so maybe I've got to cut down the gradient a little when I'm teaching it. They understand that I know what I'm doing, but that's as far as it goes.

“In rivers, the water that you touch is the last of what has passed and the first of that which comes; so with present time.”

This quote by Leonardo da Vinci, started me thinking about how present time links the past with the future.

It's clear that the past is kept alive and carried forward through memories of, reactions to, and continued awareness of what has come before. And if my attention is fixed on negative emotions from the past - such as failure, loss, despair, hopelessness, blame, resentment, fear, or regret, these are carried with me.

Conversely, if my thoughts are on positive feelings of happiness - action, competence, confidence, serenity, forgiveness, friendship, love of life, self and others - these are carried along with me into my present time.

So, whether positive or negative, my perception of life, the environment, people and situations in present time, is colored accordingly.

Ultimately, the seeds of your future are created and carried with you at all times - brought into being by your decisions, thoughts, ideas and feelings about life at any moment and kept alive by your continuing attention on them. If neglected or ignored, they eventually wither and die.

In this manner, present time becomes a prediction of your future.

My discovery though, was something I hadn't considered before: the future does indeed unfold with inexorable certainty, but in extremely minute increments. It doesn’t happen all at once.

This is not to imply that it takes a long time, it only takes as long as necessary to bring it about. Big changes do occur, but only when countless small ones have preceded them.

Therefore, to create a future that you desire, begin right now - in present time. Start with one clear, unambiguous decision of what you intend to accomplish. For at that moment the universe begins a process of aligning to your dictates, rather than the reverse, and bringing about the changes you desire. Act as if your present time were your future . . . for it soon will be.web sized road in Michigan

So, prepare the soil, plant the seeds in your present time, nurture, care for and protect their growth until they develop into a future that can sustain a new life on their own.

Soon the seeds of your future begin showing up as a desirable present time . . . just as you hoped.

Enjoy the ride. I know I will.

daniel w. jacobs
(c) 2009-2020, all rights reserved

Written as a gift to my friends on my birthday on the twentieth of May 2009.