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The World of Jazz Trumpet by Scotty Barnhart

SOURCE: Published:
THE WORLD OF JAZZ TRUMPET
A Comprehensive History and Practical Philosophy
By Scotty Barnhart
Foreword by Clark Terry and Freddie Hubbard

“You have to go back. We are all standing on the shoulders of giants."

The World of Jazz Trumpet: a Comprehensive History and Practical Application (Hal Leonard) is a first-of-its-kind:

The first look into the rich history and practical application of the jazz trumpet from the perspective of a seasoned professional, Scotty Barnhart, a principal soloist in the Count Basie Orchestra

The first history on women jazz trumpeters ever written

From the source--tips on using the plunger mute from masters Clark Terry, Harry Edison, and Sonny Cohn; shoptalk about embouchure and mouthpieces; insight into the flugelhorn by Clark Terry and Chuck Mangione, hitting crazy high notes by Maynard Ferguson, playing “free" by Bobby Bradford

Exclusive photos taken by the author that have never been seen before of Frank Sinatra, Dizzy Gillespie, Sweets Edison, Wynton Marsalis, Tony Bennett, and many more

But perhaps the most important section in The World of Jazz Trumpet is the collection of groundbreaking interviews with 15 pioneers of jazz trumpet--some of whom are now deceased, thus this was their last interview. The real heavyweights are Clark Terry, Wynton Marsalis, and Freddie Hubbard, but included also are such greats as Sonny Cohn, Clora Bryant, Maynard Ferguson, and Woody Shaw. And many jazz legends are included herein by association--stories of Charles Mingus, Ornette Coleman, Miles Davis, Clifford Brown, Louis Armstrong, and Eric Dolphy.

Spanning all styles of jazz--from its New Orleans beginnings with Joseph “King" Oliver and Louis Armstrong, to swing to bop to hard bop, free jazz and beyond, and including contemporary stylists and trumpet-wielding pop stars--the contribution The World of Jazz Trumpet offers to music appreciation goes beyond a history of the instrument--it is an oral history of jazz and as such, it is a must-read for students, instructors, professional musicians, and jazz lovers around the world.

About the Author:
Whether it is performing as a featured soloist with The Count Basie Orchestra in venues all over the world; recording alongside Wynton Marsalis on the 1990 release of Deep In The Shed (RCA/Novus); playing muted solos behind legends Frank Sinatra, Cab Calloway, Joe Williams, Rosemary Clooney, or Tony Bennett; appearing with pianist Marcus Roberts at Carnegie Hall; or leading his own quintet at major jazz festivals and night clubs, musicians and critics alike have acknowledged the emergence of a new and original voice in Scotty Barnhart--trumpeter, composer, clinician and arranger. He lives in Los Angeles, CA and Tallahassee, FL, where he is Professor of Jazz Trumpet at Florida State University. This is his first book. (www.scottybarnhart.com)



From “Trumpet to Trumpet: The Interviews"--

Arvell Shaw, Louis Armstrong's bassist for twenty-five years We played in Africa. We landed in Leopoldville three days after the assassination of Patrice Lamumba and were the guests of his successor. The first night, we played a concert for the VIP's, and the next night we played a concert in the soccer stadium to the largest crowd we ever played for--about 175,000 people. There was a war going on, which was world news, and while we were there both armies laid down their arms and sat side by side in the stadium. They were dancing and having a ball! Two days after we left, they started fighting again.

British trumpeter Humphrey Lyttleton on Louis Armstrong I have memories of when he used to prepare for concerts. He would often have on very little, other than a very complicated jock strap and a stocking thing to keep his hair in place.

Ted Curson In 1959 I had been working with Cecil Taylor, we had done one album called Love for Sale. That was some wild shit, man. I got a call from a trumpet player friend of mine here in New York, and he told me that he had gotten a call to go play with Mingus, but he was too scared to go, because Mingus had been beating up on guys--knocking their teeth out and shit like that. He had just knocked Jackie McClean's teeth out... And he had also knocked out Jimmy Knepper's teeth. But you have to remember I'm a prize fighter. I was Golden Gloves. So I told this cat that if Mingus hit me, I would break his fucking jaw. I went over there to the audition for Mingus...

Clora Bryant I was the only female that played with Charlie Parker. Max and Clifford were playing at the Lighthouse Caf. Charlie went out to see them there. I was playing next door at the High Seas, with a tenor player, who later married Mahalia Jackson. I would always go to the Lighthouse on my intermissions. Charlie knew who I was. So I went into the club and spoke to him, and then I had to go back to my club. The next thing I know, Charlie is coming into where I was playing, with all of these people following him! He came up on the bandstand and asked the tenor player if he could play his horn. The guy had just gotten a new Selmer. Bird took that tenor and looked at me and said, “Well, Clora, what do you want to play?" ...

Harry “Sweets" Edison [Scotty: I heard the story that Dizzy outplayed Roy Eldridge so bad one night that Roy started crying.] He did. I was there. It was at a place called The Spotlight. It was the end of an era. At that time Little Jazz (Roy) was playing at the Strand with Artie Shaw. He had those weird chops. Just play his solo and get off. At The Spotlight, they had these jam sessions every Sunday afternoon where you could get your ass cut. Charlie Shavers and I played together, and after that, here comes Dizzy and Roy. Man, Dizzy had those tires burning! You could see the steam coming from the bell of his horn. Shit yeah he could play fast. And Roy sat down on the stage there and cried. It was the end of an era.


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