Jazz just deals with a lot of different aspects of our way of life. And Duke laid the ground work for us to understand how to compose with the blues harmonies and what the American orchestra was. He laid out the framework for it. I like to do a lot of different things. I like to stay busy. In the coming years, we want to continue to play the great music of our tradition, and continue to write new music that addresses the fundamentals while introducing new things.
We want to collaborate with more musicians around the world-New Zealand musicians, Argentinean musicians-in order to deal with the ongoing relationship of jazz music to other forms of music.
We want to do a lot of different things, get involved in some theater projects, try and write an opera, try to write a mass. I just want to expand and write more sophisticated music. The Internet is just transference of information, and music is about information- passing information on with you. Gerry Mulligan requested that, when he died, we do his posthumous concert and play his music. He told me to make sure that I do it. Just the fact that a musician of that magnitude and stature would make that request is a serious thing.
He wanted us to play the New Orleans March, and we did. That was one of the greatest tributes we could have. Friends Press Contact Us Top. Home » About » FAQ. Frequently Asked Questions Who gave you your first trumpet? Did you always want to be a jazz musician or did you try other genres first? Which artists have influenced you the most? What is the best advice another musician has ever given you?
Who are the greatest trumpeters or musicians of of all time? Do you know everything there is to know about trumpet playing? What performers today do you find to be the most interesting or promising? Click here to see pictures of the new horn and a clip of Monette presenting the horn to Wynton. Next Entry ». The reson Wyntons trumpets do not shine is because he buys them without lacquer.
You can order trumpets without lacquer on Dave Monettes Website. Low—down around middle C and lower—is the most difficult part of the register. It's not easy to get a tone down there that someone will want to listen to, especially playing soft.
As you lessen the flow of air through the horn in an effort to play soft, the sound will sometimes just disappear, right in the middle of a note. This may be acceptable in jazz but is definitely not what you want when you're playing, for example, the Hindemith Sonata for Trumpet, one of the rare solo works for trumpet that is performed with any regularity.
On conventional trumpets players may lose intonation when striving to play soft; with a properly fitted Monette horn they can barely breathe into the instrument and still produce a beautiful sound.
It's rare to hear brass players talk about the sound their instruments produce with the same passion that animates such conversations among violinists.
Other well-known Monette trumpeters are effusive in their acclaim. Richard Abate, of New Jersey, is a graphic artist. Other Monette converts include doctors, lawyers, and at least one architect.
The response is great. The odd vocabulary that Abate and others use to describe what Monette has done with his instruments is another indication of how unusual they are.
To build a trumpet, first you need to assemble the materials, which include valve casings, pistons, and the balusters that fit at the top of the valves. You also need a wide variety of tubes and pieces of sheet brass and mouthpiece blanks. Then you select the tubes to start with, and you cut them on lathes, piece by piece, making the guts of the trumpet. Monette used to make all the bells himself, but Dan Haswell, who has been with the shop the longest, has mastered the art after a costly trial-and-error period a bell with an imperfection must be scrapped.
Every Monette trumpet is custom-made for a particular player. A properly fitted Monette horn will typically be easier to play than a mass-produced instrument, will produce a fuller, more resonant sound, and will retain its pitch center at all levels of the dynamic and harmonic spectra. An amateur player picking up a Schlueter Monette would have difficulty making a note sound good; for him or her Monette would design an instrument that required less strength to play.
Most Monette horns are heavier than other trumpets, and some feature a double bell. The top-of-the-line Presentation Monette Nirvikalpa Samadhi is decorated by the goldsmith Tami Dean with saw-pierced icon decorations in the bell and body of the instrument and inlaid precious and semiprecious stones on the finger buttons.
As few as four or five horns a month may be manufactured. For several years Monette horns were delivered in raw brass, whereas assembly-line trumpets were highly polished. Monette stays in touch with the people who play his horns.
At the shop they are referred to as clients, not customers; Monette calls most of them friends. He will fly cross-country just to hear one of those friends play. He has been in New York for the premiere of every Marsalis commission, including the Pulitzer Prize-winning oratorio Blood on the Fields.
Still, Marsalis, a nine-time Grammy winner who wrote the first jazz piece to win a Pulitzer, says he usually plays a Selmer trumpet as well—and like, Armstrong, he gives his instruments away after about five years as well. There were some preparations needed to make the horn playable, says Dwandalyn Reece, culture curator for the museum. And there was some treatment to put it in that condition. But musical instruments are different than other historic items in the collection, she says.
The National Museum American History brings out a couple of instruments that get played every once in a while. We regret the error. Roger Catlin is a freelance writer in Washington D.
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