Dan, who's the young guitarist? Zane's playing is fantastic. When I met ('77) and spent time with him ('78), he was clean shaven. I'm thinking that this is post '78. Also he's playing a keyless instrument which he was only devising in '78 - I got my S12 keyless in '88. The second guitarist introduced at the end is a Garland. In '78 there was a Garland Harris (I think that's the surname). He played steel & was just getting into saxophone. I wonder is that's the same Garland? I played "Jammin' at Scotty's" once at a steel show in Australia.
Dig it Dan-BTW, have you tried the Bill Chase grip with the left hand? The index finger (pointer finger) goes through the 3rd slide ring and the birdie finger wraps around the outside of the ring-it's a modified pistol grip. I have NO idea where Bill got it. Other than myself, Bill and Alan Wise use it. Since you're also on a vintage B6LB-go all the way baby.
Jazzbob7 yes sir go back and check my beginning videos explaining it and if you have any questions I’ll try to answer them. Thanks for the question. Dan
Hey Dan, man, I've been meaning to reach out to you w a phone call but life has been insane the last 3 years. I see you're trying an S42, have you tried a B6L with a beryllium bell? I played the S42 but didn't like it as much as the B6...You know, I used to play huge horns (.468, .472 bores) Callets, etc. I've been playing M bore horns since April 1989 and I tell ya what, at first you'll hate it, but, once you've learned to back off and let the horn do the work instead of you, your efficiency is greater. Of course, you still have to "work" but not as hard as on those bigger horns. I still have my BC Master but prefer the 1973 Schilke Bill Chase 6A4a as it has a more open #26 throat and the backbore is freer as well. Why did you take off 5 months? Health? Hope you're ok.
JJ, Thanks for the information. The Bill Cat is a awesome piece. I’m going to post a video tomorrow evening about my leave. My wife passed away of a heart attack and I laid the horn down because I didn’t want the loss to be tied to my music. I was afraid if I continued to play right after the loss some how I would have linked them together and quit all together. Thanks my friend for asking, I am in a better place moving forward. A big adjustment and the hardest loss I have ever experienced in my life. My faith and friends have helped me move forward. We had 15 1/2 wonderful years together and I am thankful for that. Thanks again, Dan
Good morning Mr. Burnham, hope everything is going well with. I wanted to ask you if you are still using Lynn Nicholson's xpiece..... Do you have an extra that you be willing to loan/sell????
Art, thank you for your comments. The main focus that I teach is for upper register work. Regarding the Arban’s study, when I was in college I did play that but on a Bach 1 1/2 C. I’m sure Lynn Nicholson would have no problem playing that study. Thanks again for the comment and have a great day! Dan
@@danburnham5840 Yes Dan, my point is not to criticize anyone's playing, but I think that this "MF Protocol" embouchure is one that is limited in the kind of playing that it can produce. Sure, it's great for high notes, and it would have been great for playing the "scream chair" in Kenton's band, or playing the stuff that Walt Johnson used to play when he dressed up as Superman, playing the scream chorus of "The Birth of The Blues" with Lionel Hampton's band. But "scream chairs" don't exist anymore, and Lynn admitted that that's what his role was with Maynard's band, to play the crazy high stuff and take some of the heat off of Stan Mark, but when it came to playing hard-driving lead parts that required articulation, Stan was better suited for that. When I hear Lynn, who has mastered his "MF Protocol," tongue notes, his attacks kinda sound like someone hitting a pillow with a baseball bat. The attacks are splatty and clunky, not crisp sounding. And I question whether or not someone could double and triple tongue on the MF Protocol embouchure. I seriously doubt it, particularly because Maynard himself openly admitted that he couldn't double or triple tongue. So anyone who wants to experiment with this protocol should be aware of what its limitations are, rather than just be tempted by its lone virtue, which is strictly high note playing.
@@artvandelay8090 I understand what you are saying, and you provide an excellent response. I think it is not so much the embouchure as the player. While at Murray State we had a guy that played double C’s on a 1C, was the lead in orchestra there and also toured with Dizzy during the summers. While attending school there I had the privilege to spend the day with Allen Vizzutti who had a unique embouchure and played everything from classical to jazz on a 14A4A while touching his elbow’s together. Anyway, enjoyed the comments, and I appreciate the conversation. Dan
