I’m trying to get a bit of practice in every day.
More books and playalongs have arrived, so there’s no shortage of stuff to work on. The trumpet and the flugel are hanging up next to the piano, and the cornet (and mute) are upstairs next to the bed. Most of the playalongs and tons of other jazz recordings are on minidisc so I’ve always got stuff to listen to or play-along with. Also, my Revo has an ever increasing selection of “Grigson” grids to study.
It’s going quite well, although I detect a certain reluctance to get stuck into any standards. I’m not sure quite why this is but I’m hoping that Kenny might help me work this out when I go to see him this afternoon. He’s reluctantly agreed to see me for some kind of “lesson” although it’s clear he really doesn’t want to be a “teacher”.
I think what I should do is ask him to help me work on Stella – I think I have a bit of a foothold in that one.
What I really need is a tame pianist to help me work on some tunes. I’m going to phone Julian Jacobson (a very good pianist, who dabbles in jazz) in a few weeks, when he’s back from some cruise or other, and I’m hoping we can work up some tunes together.
The “LoadsOfModes” is working well. I think I’ll know them all in a couple of weeks and then I’ll just have to start speeding them up.
I’ve noticed something important. There is a tonguing difference between the horn and the trumpet. It’s a larger mass of air inside the horn so starting it and stopping it takes a bit more clout and steadier air pressure. This is the dreaded “support” but I hate the term it means totally different things to different people. I don’t think the trumpet needs any less of it than the horn but the tongue has to be used in quite a different way. I’m hoping that I’ll be able to switch tonguing styles as I switch instruments – rather like people who play both violin and viola have to learn to switch gears as move from one to the other.
Unless I was dreaming, today I played at the Vortex (a jazz club in London) with Kenny! He was making a guest appearance with the Evan Parker Trio and asked me to come along. At first I thought he meant for me just to listen but it turned out he wanted me to actually play! I was stunned and amazed, and I only agreed to join him because he said we would be playing “free” jazz rather than jazz jazz – so it would be relatively easy.
The first thing we played was a duet – just Kenny and me, in two sections – Kenny on the trumpet, me on flugel, followed by Kenny on flugel, me on horn. It’s hard to say if it was any good or not but it was certainly interesting and great fun. We made a lot of noise. Needless to say, Kenny was great – firing off powerful torrents of scaleic and arpeggiated notes, all fascinating. I made various squawks and rips and noodled around trying not to get in the way too much and mess things up.
Nearly all of the free jazz I’ve done before has been with non jazzers so this was very different to the kind of stuff I used to play with Derek Bailey back in the eighties, for example.
After that we played for 40 minutes or so with Even Parker’s trio. My abiding memory is of the sensation of playing the flugel, standing up, the sound firing outwards in the direction I was facing – something of a novelty for a rear-facing (French)horn player.
After that I drove Kenny home.