Ms. Frink passed away July 13 from complications of bile duct cancer. She was 62. The loss of a great teacher is most tragic.
A Blog Supreme posted a nice tribute to Ms. Frink.
Below is a video of the Maria Schneider Orchestra playing Gumba Blue in 2000. Laurie Frink is in the trumpet section along with one of her students, Ingrid Jensen.
The metronome is a pretty useful tool. At a workshop, jazz trumpeter Dave Douglas said he gave up practicing with a metronome because it’s too mechanical and he felt rhythm and beat was more organic, less mechanical and unyielding. I get that, and agree, but I’ve found the metronome to be useful for especially challenging…
Here’s a YouTube gem: Festive Overture, written by Dmitri Shostakovich in 3 days! Premiered in 1954. All artists are a mash-up of their influences, and we all steal from each other to make new creations. This piece Shostakovich based on a piece from Glinka 100 years earlier (Russlan and Ludmilla).
While at the festival (I was there to critique groups and give a couple clinics on my investigation into practice), I got the chance to chat with Rob Klevan, long-time education director at the fantabulous Monterey Jazz Festival. He turned me on to a new app and interviews that you HAVE to check out if you’re interested in jazz, or any kind of music practice for that matter. This weekend I got to meet one of the featured players, Sal Cracchiolo, before he went up to play a smoking set with the always funky Tower of Power.
This thing goes deep.
Several months ago I spoke with the fantastic jazz trumpeter Ingrid Jensen about practice. She mentioned that one thing she liked to do was practice with drones, using an Indian instrument called a tanpura (also tampura). She said that playing against a drone was a great way to train your ear/horn coordination. Practicing with a drone allows you to really feel how it sounds to play every note against the tonic, throughout your range. It’s meditative.
Ingrid Jensen
When I hear a great practice idea, I try it, and I’ve been using this one for a while and absolutely love it. I almost immediately noticed a greater ability to match pitch (my fellow musicians mentioned it in rehearsal), and a deeper awareness of sound in general. Part of the reason for this is that playing with the drone makes me aware of where the horn is naturally out of tune, whether because of the way a horn is made or because of the quirks of the harmonic series.
One of the most foolish and embarrassing musical moments for me came in my senior year of high school at a music festival in Alaska for which I played (mangled is a more appropriate term) this piece that Maurice André plays below so beautifully below: The Concerto in Eb by Johann Nepomuk Hummel . I was unprepared for the demands of this very difficult piece, attempted it without help or a teacher (there were no accomplished classical trumpet players in Sitka), and with inadequate practice (I was still flailing away at the piece just before the performance, yet another lapse in judgment). Anyway, the poor adjudicator complimented my accompanist, the wonderfully helpful Peggy Brandt, but that’s about all he could say. It still stings. The only good thing is that I learned a thing or two in the process. It reminds me of a hilarious recording of the Hummel sent in for pre-audition to the Boston Symphony. Hear it here. (from trumpet bloopers)
Ever since I picked up the trumpet, practice has been a never-ending search for privacy. Mostly a failed search, too. When I was a kid learning to play, my parents banished me to the garage, and this was a great thing, even though the garage was unheated and we lived in Alaska. It gave me a space to explore without fear of annoying the hell out of anyone within earshot. It also let me escape fear of judgment and gave me the freedom to really explore the instrument and my relationship with it. Now I live in Chicago. No garage. Not even a house. I’m in an apartment and have neighbors on five sides.
Avishai Cohen Talks Practice Jazz trumpeter Avishai Cohen first came to my attention when Chad McCullough spoke with me about practice several months ago. I promptly checked him out and was psyched to discover a new favorite jazz trumpet player. He’s one of the most interesting players I’ve heard in a while; definitely check out his albums Triveni and After the Big…
It might go without saying that Ethan Bensdorf is a fantastic classical trumpet player, but I’ll say it anyway: Ethan is a fantastic trumpet player. We talked over the phone and he told me the story of how he landed the gig with the New York Philharmonic, playing with principal trumpet legend Mr. Phillip Smith, including a week spent getting his chops together on the rotary valve trumpet before heading back to New York for another round of final auditions. Ethan also shared his thoughts about practice and had a lot of great things to say. Hope you enjoy.
Check out the interview with Seattle-based jazz and classical trumpeterChad McCullough. Last year at the Lionel Hampton International Jazz Festival, Chad and I met and after a quick chat he agreed to talk with me about practice. Not only is Chad an excellent trumpet player, he’s also got piano chops, and this influences his trumpet playing. Listen to the podcast to learn his thoughts about trumpet playing and practice. McCullough just returned to Seattle after a tour of Belgium and release party for his latest album, Imaginary Sketches (out 2-15-11), from Origin Records in the states, and De Werf in Europe. He’s a busy guy and has some other great stuff out, too, including an excellent album from The Kora Band, and he was generous enough to let me use a tune from their latest album to open the podcast. The clip that opens the interview is Over-caffeinated and Under-fed. The Kora is a West-African stringed instrument that has a great sound. It sounds a bit like a Celtic harp, but with a different attitude and more rhythm. Oh, and a giant gourd. Here’s a video clip of Kora master Toumani Diabaté in action. Chad has interesting things to share about practice and how he thinks about music that I found both interesting and useful. Hope you enjoy the interview. Have fun and good luck with your practice.
I like to use electronics to make practice more fun and I think, more demanding. In this quick post I’ll show you the Boss Loop Station. It allows me to layer recordings. It can be used with a microphone (that’s how I record trumpet and various percussion), electronics (you can input beats or any other digital media), and/or guitar. Mine is set up with a microphone and guitar input. I won’t get into the details of how the loop station works, but here’s how such a device helps with practice.
No quotes, few words of mine so you can get to what Wynton Marsalis has to say (and sing):
If you cherish art, music, freedom, laughter, poetry, and masterful performance, you need to watch this.
http://www.wyntonmarsalis.org/2009/04/10/video-nancy-hanks-lecture-at-kennedy-center/
The Practice of Practice 