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So, What Are You Listening To NOW?


JSngry

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14 minutes ago, Larry Kart said:

Interesting how much Byrd's style changed over a rather short span of time; his playing here being Style One, while by the time of, say, "Fuego" or "Off To the Races" he was well into Style Two (much more brassy and round in sound, and with the number of notes per unit  of time being fairly well pared down) or maybe even Style Three. And there were more to come. Style Two certainly owed a debt in passing to Clifford Brown, but once one had heard the Byrd of Style Two, it was unmistakably him, a personal translation of Brownie.

P.S. I think that Byrd's actual technical approach to playing the instrument changed during this time -- from the pressure to no-pressure system or vice versa (I'm no expert there).. Then on "Fuego" he was playing the pocket trumpet, which made a difference.

The key change in Byrd's trumpet playing in this period came about because he was studying in 1958-60 with two of the great classical teachers of the era at the Manhattan School of Music, William Vacchiano and the elder Joe Alessi. I don't know the specifics in terms of trumpet technique, but that's why his sound  picked up so much strength, roundness and warmth within the brassy sheen. His chops would start to deteriorate soon after -- a long slide and a story for another time. But at Byrd's peak, 1958-61, he had one of the great trumpet sounds. 

This is amazing.

 

Edited by Mark Stryker
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2 hours ago, Chuck Nessa said:

That's an interesting one.

I found it to be more approachable than some Braxton. Despite having at least 20 or so Braxton releases I respect his music more than I like it. I rarely seem to understand him. the bottom line is that I think too rarely I make an emotional connection to his music. My fault rather than his.

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