You channel is such an incredibly beautiful, thoughtful, and respectful archive of Jazz History. Thank you for making this history so accessible to the world.
Those are lovely words, thank you! It was a hidden benefit of Covid that I had to make all these videos to teach my course online; I'm so glad they can now be shared with others.
One of the greatest playing for the Clintons at the White House in her witty whim away. I also love to see her at home playing on her white grand piano. She sometimes would have taken with her to play.
Tell the people at Robkoo that they are on the righ track. Get rid of the fingering for fifths and octaves and make a mouthpiece that will do that. All you need is about 6 or 7 mouthpiece levels to hit all the notes. Then just 3 buttons. Then add a USB connector to access incredibly realistic trumpet sounds instead of the chintzy ones on board. Could be the "perfect trumpet" A little more design please! jk
The Robkoo is based on a system that has been used since the first EVI, using a rotational device or buttons to replicate the range function of the embouchure. Even if you could figure out a way to do that with the mouth instead of the hand, it would still not be the same as what a brass player does with the lips, so I don't know if it would feel any more or less natural. The Robkoo like all wind synthesizers can trigger external sounds, however the best brass samples I've heard still sound like a poor imitation of the real thing, so I think we are still a long way from the 'perfect trumpet'.
@@chasesanborn There are some really authentic sounding patches that fit, but the fingering is still the obstacle. I don't quite understand your point. What I know from the Yamaha EVI is that to go from C# to D, you have to use 5 fingers, on five buttonw and to go from D to C# you have to use a different set of 5 fingers with 5 buttons. If the mouthpiece could do away with that so that all you had to do was use the traditional 3 fingers, you'd have a great product. Let me know if that is true. I'll buy it tomorrow! (Tired of long tones) Jerry
@@chasesanborn No man. I been waiting for a decent stand! And you came up with it. I live in Copenhagen, Denmark. New products do not show up here until 3 years later. I will not deal with Amazon. I ordered it from Thomann in Germany. A big online warehouse. They did not have it. But they will get it. So everything is Ivey Divey, you dig? LOL!
It's certainly unique and innovative, but it strikes me as remarkably disposable. The friction-hold telescoping tubes are of particular concern, since they'll loosen over time and eventually reach a point where they'll stop grabbing, and there's not an obvious way to re-tension or repair them. Personally, I suspect they'll weaken to useless for my purposes relatively quickly, given the demo with an iPad and light causing the pole to sink already - I'm using an iPad, plus reeds and phone and sundry on the stand, so I wouldn't be surprised if it was a sinker for me out of the box. Frankly, it's really concerning to me that a really normal use-case (iPad plus light) causes sinking reliably enough that it felt necessary to include in a positive review. I've been using the Peak Design SMS-30 as my portable for years now, and I'm very happy with it. Yes, it's plastic, bulky even when folded, and the desk-shelf is a separate piece that does warrant the carry-bag, but the height accommodates a standing 6ft-plus player, and the lock-hardware are compression collars using tension-levers with adjustable screws that can be re-tightened with a standard philips-head screwdriver whenever needed (about once a year with heavy loads on the desk). I'll take maintainable reliability over clever design any day.
Let me know what you think about this design and whether you have any questions I have not answered. For more information, visit the Kraftgeek Store: bit.ly/3xLNDBn 10% Discount Code: CHASE
Any thoughts on the bore size and resistance compared to, say, a Schilke B3 (with a Bach 1-1/4 or Schilke 19 mpc? Saw a quote from Maynard, years ago, in Instrumentalist magazine, to the effect of "play the largest equipment you can handle." I've always marveled that Bobby Shew plays so well on smaller, if not the smallest, instruments. I think I'd have to re-train for months to make it work.
As I've never owned a B3, I don't have any basis for comparison. Perhaps someone else in the comments might. I would not expect a 'human bellows' like Maynard to match well with the small bore of the 8310Z--that's not what it's designed for. That said, I have no problem going from a typical medium large bore to the 8310Z; it's not a radically different feel from my standpoint.
@@chasesanborn You make a good point. However, in retrospect, the true King of Jazz in the early 1920s was Fletcher Henderson. Paul Whiteman was a mere pretender.
If it's a head-to-head match I don't disagree, but Paul Whiteman has his defenders, as you can read in some of the comments on that video. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-LKpSk46YCPw.html
@@chasesanborn Paul Whiteman was a lightweight. Fletcher Henderson was the real deal. Those who defend Whiteman are bereft of the history of jazz. It was Blacks and Creoles who created jazz. White folks such as Whiteman are not the originators of jazz. All music in the United States worthy of the name music was the creation of African Americans.
I like to start with the lead pipe because it establishes the full perimeter of my range quickly. Mouthpiece buzzing then fills in the steps. That said, it's a personal choice; there's no 'right' way.
Dizzy was a genius, period... and also a great human being. I don't know how much of the Arturo Sandoval story is true, but if half of that was real, it would be worth a movie... And it exist, "For love of country" where Arturo Sandoval is interpreted by Andy Garcia and Dizzy is incarnated by Charles Dutton... If you haven't check it out, great movie...Thanks for sharing this, I love it!!
I think it's a bit unfair to say Diz didn't evolve after the bebop era. His playing style mellowed over time, especially as the chops naturally fell off, but the music he made changed quite a bit over the years. You stuck to the bebop side of his music, but his contributions to Afro-Cuban cannot be overstated. He's a major figure in the development off salsa and latin jazz, and even made the first bossa recording on Dizzy at the French Riveria. It could be said he's a major influence on the development of funk as well, since afro-cuban musical concepts are central to the music. Putting the Cuban and bebop stuff together makes Diz easily one of the most important figures in American music.
I don't think I said, and certainly didn't mean to imply that Dizzy did not evolve musically beyond bebop--I did talk about his influence on the evolution of latin jazz and about his interest in world music. However I think it's fair to say that his greatest impact on jazz history was during the bebop era (one is free to disagree), and that was indeed the focus of the musical clips I chose to include. It is fascinating to think what music Charlie Parker might have played, had he lived as long as his 'worthy constituent'.
Fine and Mellow - just outstanding. Great performance and excellent sound engineering with all instruments clear and perfectly balanced. And didn’t Gerry Mulligan look like he was enjoying himself.
Mashing many styles, weaving through them in and out, Dorothy Donegan was prolific in mastering sudden changes and tempos. A prodigy at a young age, discrimination definitely curtailed, perhaps, a stellar career.
Chase, I first met Gary in 2001 at the University of Central Florida. I have always found him a great person to talk with. He was in his early days of getting the company. I have always been a fan and so thrilled for the success he has had. As a truly amateur player who just enjoys playing, I find my GR mouthpiece makes it so much easier to play.
I've been very fortunate to have been working with him from the start, watching scepticism turn to belief as more and more players got a taste of the pudding. :)
Man, I love your jazz history documentaries! Would you ever do any more on modern masters like Chick Corea, Michael Brecker, or the recently passed away David Sanborn? Thank you for what you've done on these. I've watched them more than a few times each. Especially the several you did on Miles Davis and John Coltrane.
The jazz history videos are based on an in-person university course which I had to take online during Covid. The curriculum covers a 70-year span ending about 1970, due to time constraints. The six episodes on Miles conclude the series.
Is the benefit of whisper tones that, taking the air power out of the equation, the pitch is created by all the other elements (I think of it as "shape")? Then when air is reintroduced, the sound is more focused because you have learned the correct "shape" for each note?
Of all the saxophonists I've listened to, Lester Young has always been the one whose playing affected me the most, especially on the midtempo and slower tunes, and in his collaborations with Billie Holiday. There's something about the mellowness of his tone and lyrical phrases that just makes me smile. Just a lot of love and tenderness in his approach that's very uniquely him. Other sax greats may have pushed the envelope in terms of technique and approach, but Lester was one of a kind, much like Billie. It's no wonder they were kindred spirits. ❤
Concerning Cannonball, my first Jazz album I bought in 9th grade was " Cannonball Adderly Greatest Hits". I never got tired of being put in a trance by his tone, lyrical playing and inflections. I still think he was the greatest Alto player in Jazz.
Yeah, Chase, I actually have this Ascension to the gallows on a CD in my practice room and I play along with it just to get in the mood whatever that is.
