There was NOTHING like being in the audience, and hearing the start of this tune. You knew that you were fixing to be in for one hell of a show. God I miss Maynard.. Thanks for posting this.
I was at this concert, and was completely blown away. I still play the DVD once in a while when I'm in the garage working on the car. It never gets old!!
This concert will forever be the highlight of my concert going career, better then any Newport Jazz Fest, or anything. The DVD does the live concert well justice.
Hell yeah, and don't talk shit about stan mark, he is up there cause he played with maynard for almost ten years longer than most people, and he is really good.
I love the ending, and no one owns anyone at trumpet, it isn't a video game where you play a week and you beat it, it takes years to get as good as these guys and I would imagine even they learn a few things now and then unlike a video game where you just look up the cheats and you win lol
@cov01crew Wayne Started playing lead for Maynard in 1986 and played for him when Maynard went to the High Voltage stuff, and played with him when he switched to the big bop band and played on a lot of recordings of Maynard's in the 90's and 00's and played on his final album that was released after Maynard passed away, he is the best lead player ever in my opinion, and a good soloist, this is the perfect way to remember Maynard, play his old charts and have these guys just wail, and have fun.
If your talking about the bald one, that would be Reggie Watkins, he played with maynard in the 2000's, and the one to steve wiest's left is tom garling, he played with him in the 90's, all are amazing bone players.
Steve Weist actually played when Maynard was alive! Such an amazing Trombonist! I might be wrong either Steve Wiest or Weeks check the song The Melody by Maynard
I can remember the lineup for this clip alongside Give it One they did: Trumpets are Steve, Roger, Wayne, Stan and Carl, Trombones are ?, Tom Garling, Steve Wiest, Reggie Watkins, ?, Saxes are ?, ?, Mike Dubaniewicz, Matt or Mike Wallace, and Denis, the rhythm section is jeff lashway on piano and don't remember who's on the bass and drums. Hope someone can help me out. It's a helluva night for this group in honor of Maynard.
Wayne Bergeron's Fingering for the double C and Double A at the end is just the second valve???? does not compute. I tried it and if anything it makes it so much harder.
I think it's due to the air having to travel a shorter distance? I'm not entirely sure, since I had a similar experience that you did. My Double A slots really well with just 3 sometimes. I think it just depends on the horn and person.
It's a finicky note and not a lot of rhyme or reason to how it's gonna slot. About a couple months ago I was playing it first valve only as the 1st and 2nd played flat or wouldn't slot well at all. Then about two weeks ago the first valve started to become hard to slot whilst the 1st & 2nd sounded dead on in tune. A lot depends upon how good of shape I'm in. I just played it a minute ago and it worked fine 1 & 2. Another weird one is the A Flat. Used to be an impossible note for me to play. Even in just the practice room. The key to getting it seemed to be embouchure and air development. For a while I played the A Flat with a the second valve1/2 way depressed. The note is so high that the ordinary funkiness associated with a half-valve combination doesn't sound. Only thing different was I had to blow the note a little louder to compensate for the restriction of airflow the half valve combination created. Now though? I'm getting pretty confident playing the A Flat and A with the standard fingerings. A buddy of mine couldn't play the Double B Flat to save his life even tho he could literally "sit" on his Double C for an hour. Sad thing tho was he contracted an especially nasty neck puff. Not a whole throat puff starting from around his Adam's Apple but a smaller, most wicked bulge. Like the bubble an inner tube on your bicycle would get. I haven't heard from him in years and have always wondered how he fixed the problem. Or even if he did. Our friend Chris L from the East Coast knows some poor bastard who had HUGE Double C's but had to quit because his throat/neck puff tore him up badly. When mine finally "popped"? I took a week off and did the Reinhardt exercises starting on page 69 - 70 of "The Encyclopedia Of The Pivot System". Plus a few exercises I invented on my own and this cured my neck puff for good. Only thang is: I gotta keep my neck/throat muscles well tones. That takes exercise. Like if I lay off high notes OR just take a vacation off the horn for a week or so? My throat muscles lose their tone/strength and I gotta be careful not to let them puff. Various high note artists puff their throats and with no apparent problem at all. Bill Chase had a HUGE neck puff. Lin Biviano's was large too. Sometimes I think those two Italian men were separated at birth. But back to weird slotting high notes: Some forward jaw players whose chops duplicate the Stevens-Costello system can play seamlessly above the High G. Faddis and Brisbois come to mind. It could also be due to them not getting the huge volume of sound such as some more receded jaw cats get. Anyone who uses a lot of lip inside the mouthpiece risks getting a blockage somewhere around the High A. I think this is because the upper lip shifts position and gets pushed too deep into the mouthpiece cup. Thus learning to play without undue arm pressure may help relieve the tendency to block out the note. Be it the High A or A Flat.
Actually, it's a DHC# to A, for most, the double A is a VERY troublesome note and requires a lot of "finesse" to lock in and secure. The most common fingerings for it are 2nd valve or 3rd valve. I know a couple who can play it 1&2, some guys played it open and Chase played it with a all 3 valves but it only slots 2nd valve for me. To make the A easier to "lock in" you should have a usable DHC or above, that way the A is like nothing. Alan Wise told me that.
I've seen Wayne play many double A's as 1st and 2nd valve - the standard fingering - such as in McAuthur Park. But once you go above an Ab, fingerings don't matter anymore. The sound it basically the same no matter what combination you use. Partials don't really exist up there.
let's be honest, Wayne makes his living doing commercial stuff. Obviously his live of playing requires him to be consistent and totally clean. I think this quality of his playing also unwantingly pours into other aspects of his playing, such as with the Maynard Ferguson and the tribute band. Nevertheless, he's a dynamite player who will deliver pretty much anything put in front of him.
Woah, Wayne Bergeron, Roger Ingram Stan Mark nice. all amazing, i wonder how many times stan mark played this tune lol. probably like 10000 really. all really nice solos esp. roger and wayne, to bad stan didn't and carl was really good too and he has a really weird emberchure its like he was playing out of the edge of his mouth
