Feeling sorry about you, Haters! At first place this is exercise not studio recording, second you all have played every exercise in your life with full heart and passion to blame here? The passion he have for this music is endless and he has grown up in a Real Deal place and have done so many wonderful recordings! I respect and adore him!
Wynton rips on this like it's a science project, Miles connected with the music in ways that were went to the soul which I've yet to hear from this artist.
Dwight Frost Couldn't agree with you more Dwight . When Wynton first appeared on the scene I thought , oh my , great things are coming from this new comer , but although he has great command of his instrument he never developed that " thing " that special indescribable sound that sets people like Chet , Monk , Miles and Coltrane apart . And personally a great disappointment for me as his music is flat and without the underlying Jazz spirit that I had anticipated . To see Joe Schmo's comment that Wynton does it better than Coltrane is laughable . Nobody does Coltrane as well as Coltrane and most assuredly nobody does it better .
I wouldn't say he's "showing off". High screaming and classical are totally different. He just bridged the gap seamlessly and brought the two together for his decently high notes. Saying "high notes are showing off", is like saying, "playing technical is showing off". Two different styles and two different things that certain people will gravitate towards "showing off". Like, Maynard might not appeal to someone as Wynton will, and vice versa no matter what you show them from the others music
+etfoshizzle when he said 3's he played triplets. some 3 note sequences and mostly just feeling triplets in different ways. accenting every 2nd, 3rd, or 4th triplet. when he said fives he played double time (16th notes) but sequenced 5 note cells, accenting every 5th 16th note. that will make things sound really confusing because the level of syncopation is so high. but you sound hip if you can do that.
@leviistheshiz Besides the fact that "smoking" is just an expression, the Rhythm Section's instruments do not require their mouths to play. So if they wanted to smoke and play, they could do that.
@GCSneakers nah man! its a valid question, hes basically going up the scale (in the video) 3 notes at a time, then he says hes switching to 5s, he means that hes going up the scale 5 notes at a time, each time starting at a note higher! for example: cdefg defga efgab fgabc , something like that!
As much as I admire Wynton's trumpet playing I don't understand why he would demonstrate an idea that he hasn't clearly developed. He say's he's using eighth notes when they're sixteenths in both examples. Except for when he starts the group in 3's and is playing triplets instead and then swaps to sixteenths subdivided into 3 halfway through the example. It would be great to see the rest of the masterclass because I'd like to see to what end he would decide to use these ideas.
He is not an altissimo specialist, and is not showing.off. Jon Faddis, Arturo Sandoval, Maynard Ferguson, Roy Eldridge, ... are.This is their style-and trump card. Not everyone can use overtones. Clifford Brown was an allrounder.
Exactly right. Wynton plays fourth trumpet in the Lincoln Jazz Orchestra, where he's the leader, because that's where his natural range and sweet spot is, where his sound is most beautiful. Higher doesn't mean better. Miles' best range was also in the lower register. Cat Anderson (Ellington) had the most fantastic sound in the upper, upper register (the guy could make perfectly round and in-tune bird-like sounds on his instrument) but few people would exchange listening solely to Anderson as opposed to listening solely to Miles. And Clifford Brown's demise was a tragedy for the world of jazz.
+Jeff Reznik That's because Wynton Marsalis is addressing a specific style of music, as well as just giving general advice. There are exceptions to every rule. Also, So What is a very cool and modal piece; it would not swing as hard. Although, if you do indeed listen intently, you will hear Miles swinging tastefully and purposefully. It would be healthy to remove the idea that difference in opinions makes one opinion wrong. There is not right or wrong, it's just whatever the performers and audience thinks sound the best. If you like Miles' sound and style, play like Miles. Simple as that.
Wah Wah Wah. Miles has been dead for 30 years now , when are we going to get on with it and move on? Every jazz snob of the last 50 years has been using the argument "but so and so said don't do it this way". Things would never move on if things weren't done in different ways. I will say that granted, Wynton has largely become a traditionalist now. Because of guys like him though, the tradition is clearly defined so that others can gauge that and do things that are less traditional.
Rob Acree "Things would never move on if things weren't done differently". This cliche gets tossed around so much, but no ones ever defined what "moving on" means... or why it's important to "move on". People will play Baroque music for eternity because it's good and it pleases people. "Moving on" which many consider to be change for the sake of change, is for products, not art.
