The Petroushka story may have happened, but the one Bud told in interviews was about Also Sprach Zarathustra. Trumpet has a very exposed lick, jumping octaves from C to high C, at forte. Easy to miss. Reiner had the orchestra play that section several times in a row, finding some excuse to go back each time. Everyone figured out it was Bud's turn to be tested (I believe this was also shortly after his car accident, where he damaged his mouth). After 7 or 8 times through, Reiner looked back at Bud and Bud said, in front of the orchestra, "It's ok, I'm here til 12:30." Reiner gave up. Not only the talent, but the incredible work ethic and attitude towards his job, makes Bud truly special to me. He just showed up and did his job the best he could. His job happened to be principal trumpet in the Chicago Symphony Orchestra.
Troy. I’m sure your right. Sprach Zarathustra would most likely be correct. Thank you for that. Hearing Maynard tell stories was like playing ‘Wack a Mole’. He would tell the same story 10 times and each time the story would be different in some way so who really knew what the real facts were? You got the gist though. After a while you could piece together the truth, if not a truth. The real gift was listening to him tell the stories. He was like this giggling nuclear reactor of enthusiasm that made every story memorable. Man I miss that guy.
Another great story Denis. The Bud quote you mentioned was part of an interview from the mid-70's in the Instrumentalist magazine. He said, "I think Maynard Ferguson is the greatest brass player in this part of the century."
Great story Denis, also from someone who plays both classical and jazz, that was the best explanation I ever heard about the differences in performing jazz and classical. Here is another funny story about Herseth. Once during a CSO performance in a very quiet section, Bud’s mute fell and created a clamor. He picked it up and handed it to the guy next to him.
Great to hear and see you sir, grew up playing and studying your charts and learned pretty much everything I know about big band arranging from you and Sammy Nestico. Always love a Bud Herseth story, the guys here in LA tell them a lot! Bud Herseth was the only player who was allowed to tell the conductors how the piece was going to go.
Anecdotally while at music school I heard the Zarathustra story with one additional twist. My understanding was that the orchestra was traveling & on tour at the time. Late that night after the rehearsal / concert had ended & at around 2AM in the hotel Bud went over to Reiner's room and played the lick perfectly over and over again about 10 times or so and then went back to bed. A true legend!
I can empathize with those guys hanging out, waiting for just a few "secrets" or even a bit of "Willie Maiden High Note Salve" from Maynard and wisdom from Bud. You wait months for the band to hit town, get excited for the show... and somehow get next to Maynard and then.........tandoori chicken!! Classic jazz story. Like waiting at the wrong door of the theater for your hero to appear.
Denis, can you tell the story when Maynard was playing the Almanesson Ball Room and got heckled and Maynard asked the guy to leave and then paid his tab.
The Herseth quote that I heard was that Maynard was "the greatest brass player in this part of the century." It sounds like a pretty shocking quote, being that Bud was a classical player with great technique, and of course Maynard admittedly had pretty poor double and triple tonguing technique. It's unfortunate that Bud wasn't questioned further to clarify the context of his statement. It perhaps would have been more accurate for him to say that Maynard was the "most amazing" brass player that part of the century, because what he did in the upper register was truly amazing. But to say that he was the "greatest" brass player isn't a statement that can be supported with fact and truth because Maynard's was very one-dimensional and there are many aspects of trumpet playing aside from high and loud all night long. Maynard would have failed miserably if he ever attempted to play a concerto involving a lot of precision and articulation with a symphony orchestra. The term "greatest" brings with it an element of versatility, rather than just one aspect of one's playing. Another example: If you took a woman with the most amazing body and looks in the world, but she happens to be a bimbo and spoiled rotten, incapable of having a meaningful long-term relationship with another human being, incapable of being a good wife, mother, scholar, nurturer, professional, etc., it would be fair to say "wow, she's the greatest-looking" woman in the world." But it wouldn't be fair or accurate to say "wow, she's the greatest woman in the world." That's why it's unfortunate that Herseth said what he said the way that he said it without providing further context. Classical players say the darndest things.
@@MrBochawa The guy gives a very detailed, factual commentary, that really can't be debated for it's truthful accuracy and you come back with a one-sentence insult without even offering any statements to refute what he said? Truth be told, that would make YOU the moron.
@@dondahlberg8844 On the contrary, sir. His was a ridiculous comparison and a wasteful argument. He's arguing the semantics of a subjective experience, facts and truths are absolutely irrelevant with regard to taste. His comment simply regurgitates the kind of antiquated elitist swill that has been historically perpetuated by the classical academy and community. Furthermore, he is cherry-picking and retconning the words of a man no longer alive to clarify them simply because they don't align with his own opinions and biases. The dude is talking about Maynard Ferguson's double and triple-tonguing technique, which is exactly relevant to his musical identity and contribution how? I would contend that indeed, it is entirely moronic to compare the achievement of Maynard Ferguson to the expectations of orchestral musicianship. And anyone who sees his comment and believes it to be anything more than an absolute waste of server space is a dumbass. Derivative thinking - derivative comment. I'm afraid your logic is severely flawed. You can make no assumptions regarding my intelligence simply because I'm an asshole, I'm afraid. Nonetheless, if you've got more in you then let's go, old man. I've got words to spare and time to waste, and I'd be happy to go a few more rounds with you.
@@MrBochawa You're full of crap. Maynard Ferguson could never qualify as being the greatest brass player because of the simple reason that he was very one-dimensional. High and loud is all he could do. And even at that, he sounded like ass at times. His attacks were sloppy, his "kiss-offs" were exaggerated and distasteful, and even his improvising was limited to the point where he'd always resort to those descending and ascending shakes up and down. It's not pleasing to hear, not inventive or creative from a jazz improv standpoint. It's pretty shocking and ironic that a guy like Herseth would make such an outlandish statement. The context in which people interpret that statement is undoubtedly much different than Herseth's intended meaning. Unfortunately, he was never asked to elaborate on the context of what he meant, so we'll never know. But we DO know this: If you went around and asked all of the other trumpet players occupying the principal chair in all of the other symphony orchestras across the country and asked them who the greatest brass player of the 20th century was, they would surely NOT say that it was Maynard Ferguson. 99% of lead and commercial trumpet players who know their stuff would also name someone other than Ferguson as well. Looks like Bochawa is a 1%er. So ignorant. So stupid. Your brain is obviously as one-dimensional as Maynard's playing.
@@dondahlberg8844 That's a pretty impressive straw man you've got there. My contention was never with Herseth's quote, it was with the slew of ignorant and narrow comments made to refute Herseth's opinion - the attempt to objectify it. As far as that straw man you've constructed, you should go listen to Maynard during his Kenton years, or playing lead Shorty Rogers band. It was likely THOSE recordings and performances Bud was referring to as THOSE would have been the ones which he was likely most exposed to as a young trumpeter. Your perspective IS ignorant if all you've heard and can refer to of Maynard is post 1970's. Go listen to him improvise on MF Horn, or on Invention for Guitar and Trumpet on the album New Concepts of Artistry and Rhythm, or his control on Graettinger's A Trumpet on City of Glass. Nonetheless, my original point was that you fucking morons are doing the equivalent of comparing Pavarotti to Luther Vandross. This is an exercise in futility. Futility presented as some kind of profound elaboration - as if you are both the harbinger of clarity; as if either of you have said anything that anyone with a working fucking ear would not immediately understand. The context with which Bud stated the comment is simple to understand - he listened to the music and liked what he heard. And if there is anything that has been clearly recorded about Bud's perspective over the years, it's that he listened to *what*, not how.
