What a great conversation. My trade (at its best) works as discussed. My partners daughter is a product of amongst other things Wells. That school seems to turn out some very capable musicians. Was interesting to hear thoughts on problem solving players developments
Louis is an incredible talent and his answers to Jose’s questions feel honest and open. He seems to be “real” and not affected by his growing celebrity. Louis sounds very much like Wayne Bergeron and THAT is a tremendous compliment. BTW,…Jose is a FANTASTIC interviewer! Ask the question and then LISTEN. Jose nailed it.
Brilliant, just brilliant and deeply insightful. I feel that your podcast and your guests are just so insightful. Great and skillful trumpet players that speak to a deeper level that just blowing the horn. Thank you for taking the time and effort to record/edit/produce these. Thank you Jose, thank you
A very accommodating, personable and extremely talented musician, however, it would have been far more to Louis advantage if the interviewer had sent the final questions in advance to save all those hesitant responses.
Thanks Louis, for addressing the mysterious "compression" at 1:16:23. Has always seemed like an enigma. Coming from someone like you, I now don't feel guilty not knowing what it is.
Billy Harper spoke to us while I was at unt. Talked about your “not necessarily having a backup plan” point. He said he was like that by just moving to New York when he did. No plan, just his clothes and his horn. He said it was a big part of his success. It worked for him bc it simply had to. No other option. Obviously very risky. But interesting 🐬
Correction Jose: Long time Reinhardt student here. Doc vehemently discouraged ALL trumpet players regardless of their "type" from using pedal tones in fact, I have him on tape spending several minutes railing against pedal tones for players of all types. I was a type IIIB at the time, and he said "while you're under my tutelage, please honor me in one way, do not practice pedal tones." His claim/reason was that a person cannot tongue cleanly if they practice pedal tones. Doc obviously missed the mark on this assertion because there are many fine players who have studied with Claude Gordon, practiced pedal tones, and have very good articulation. I later became a type IVA, and I practiced pedal tones and they helped me TREMENDOUSLY without hurting articulation one bit. There is one Reinhardt type for which pedal tones can cause problems. It's one of the upstream types (I or II), I can't remember exactly which one, but whatever type Bud Brisbois was, that's the type. Legend has it that Bud Brisbois experimented with pedal tones and they were terribly destructive to him. And that makes sense to me because in my opinion, Bud had what I would consider a funky embouchure, not the best sound in the world. Sure, we can marvel at his high register ability, but on the rest of the horn, his sound was not pure and resonant. There was always a tension and often a fuzziness in his sound. Even his high register was pinched-sounding. One of the ways I describe it is to say that even when he was in tune, he sounded out-of-tune. Pedal tones serve to balance the embouchure, which pays dividends in developing the range, and they also help to develop a good sound. When Brisbois practiced something that would correct the problems with his sound, it only makes sense that this would conflict with the way he was producing his high notes and play havoc with him. If you ever listen to that recording of Bud playing that Jesus Christ Superstar thing, when he switches to the piccolo trumpet, it really exposes how funky his sound was and you can also hear a lot of what I call "quacking" on the attacks. I wouldn't consider Bud a versatile player by any stretch and I'd be willing to bet that the studios regarded his calling card (USP) to be the upper altissimo register where the rest of the guys couldn't play.
What a great conversation. My trade (at its best) works as discussed. My partners daughter is a product of amongst other things Wells. That school seems to turn out some very capable musicians. Was interesting to hear thoughts on problem solving players developments
My man listing some based dinner guests: Douglas Murray, Jordan Peterson, and Elon. Awesome man!
Lol I heard those--I's like whaaaaat?? Haha the youth are all redpilled 😝😝
You should try and get Brian MacDonald or Marquis Hill or Chuck Parrish on the show!! All amazing cats to hang with
I second the Brian MacDonald request, and Kevin Burns would be a good one to get, too.
@@jasonkellogg388there is a Kevin burns episode now 🎉🐬
Louis is an incredible talent and his answers to Jose’s questions feel honest and open. He seems to be “real” and not affected by his growing celebrity. Louis sounds very much like Wayne Bergeron and THAT is a tremendous compliment. BTW,…Jose is a FANTASTIC interviewer! Ask the question and then LISTEN. Jose nailed it.
Brilliant, just brilliant and deeply insightful. I feel that your podcast and your guests are just so insightful. Great and skillful trumpet players that speak to a deeper level that just blowing the horn. Thank you for taking the time and effort to record/edit/produce these. Thank you Jose, thank you
A very accommodating, personable and extremely talented musician, however, it would have been far more to Louis advantage if the interviewer had sent the final questions in advance to save all those hesitant responses.
Thanks Louis, for addressing the mysterious "compression" at 1:16:23. Has always seemed like an enigma. Coming from someone like you, I now don't feel guilty not knowing what it is.
Billy Harper spoke to us while I was at unt. Talked about your “not necessarily having a backup plan” point. He said he was like that by just moving to New York when he did. No plan, just his clothes and his horn. He said it was a big part of his success. It worked for him bc it simply had to. No other option.
Obviously very risky. But interesting 🐬
Great as always Jose! It's interesting to see that quite a few jazz musicians are interested in politics.
Correction Jose: Long time Reinhardt student here. Doc vehemently discouraged ALL trumpet players regardless of their "type" from using pedal tones in fact, I have him on tape spending several minutes railing against pedal tones for players of all types. I was a type IIIB at the time, and he said "while you're under my tutelage, please honor me in one way, do not practice pedal tones." His claim/reason was that a person cannot tongue cleanly if they practice pedal tones. Doc obviously missed the mark on this assertion because there are many fine players who have studied with Claude Gordon, practiced pedal tones, and have very good articulation. I later became a type IVA, and I practiced pedal tones and they helped me TREMENDOUSLY without hurting articulation one bit. There is one Reinhardt type for which pedal tones can cause problems. It's one of the upstream types (I or II), I can't remember exactly which one, but whatever type Bud Brisbois was, that's the type. Legend has it that Bud Brisbois experimented with pedal tones and they were terribly destructive to him. And that makes sense to me because in my opinion, Bud had what I would consider a funky embouchure, not the best sound in the world. Sure, we can marvel at his high register ability, but on the rest of the horn, his sound was not pure and resonant. There was always a tension and often a fuzziness in his sound. Even his high register was pinched-sounding. One of the ways I describe it is to say that even when he was in tune, he sounded out-of-tune. Pedal tones serve to balance the embouchure, which pays dividends in developing the range, and they also help to develop a good sound. When Brisbois practiced something that would correct the problems with his sound, it only makes sense that this would conflict with the way he was producing his high notes and play havoc with him. If you ever listen to that recording of Bud playing that Jesus Christ Superstar thing, when he switches to the piccolo trumpet, it really exposes how funky his sound was and you can also hear a lot of what I call "quacking" on the attacks. I wouldn't consider Bud a versatile player by any stretch and I'd be willing to bet that the studios regarded his calling card (USP) to be the upper altissimo register where the rest of the guys couldn't play.
Is Louis using a gaming headset for Zoom?
Perhaps
Chickentiko!