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I listened through and thought you did a great job. It sounded to me like you really understand that era of jazz and played right "in the pocket" which is the right thing to do. Frankly, I don't see any suggestions for improvement -- you definitely came off as one of the stronger players in that group.
 

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Nice job! You definitely got some of the Johnny Hodges vibe into the mix. We can always improve, that's part of the beauty of playing, but you sound great... keep it up!
 

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Selmer Seri III
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Good job.
I am use to hearing this thing played on tenor but hey, you make it work. Now, get to the next level, what college? IMO you could learn to play to the audience better, eg. after you finish making your initial statement be careful about detaching yourself from your horn/music. By crossing your hands and waiting the audience starting applauding (rightly deserved) and so they/some missed out on you starting your ad-lib section. Keep the audience attentive by keeping the horn in your mouth or something that leads the listener into your ad-lib; learn to PLAY the rests. I take it you had the thing memorized so I would have liked to hear you take more liberties – how are you going to make the same phrase sound a bit different and yet remain ‘connected’ (?), but then that’s IMO. Your performance was better than the sound recording so I missed some nuances. There is lot’s more but hey… like I said … Good job and keep going; keep the faith. Take care of yourself physically (easy now, you are young) and you will have many more ‘stories’ to tell with your music. I will be interested in hearing what you sound like in …. say eight year?. Send me a link.
Thanks for the listen worth listening..
DD
 

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I agree with Duddly, especially about coming back in where the trumpets are building. A couple of things come to mind like either starting the ad lib section from the bowels of the horn and arpeggiating upward in a 16th note run into your solo to let everyone know you're still the soloist there, OR speak with your director and ASK what you can do to overcome getting stepped on by the brass section (hopefully it will be his idea to simply hold them down a bit because trumpet players want to play fff and make like Maynard Ferguson.) You are outnumbered, a little humble request might go a long way. We're picking nits here. You did a super job. Thanks
 

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Discussion Starter · #8 ·
Thanks so much for the feedback, guys. Definitely a good call to ask the trumpets to quiet down, especially considering I'll be unamplified at the next festival. However, I don't think I'll change what I do too much for my solo, since it's basically a transcription on Johnny Hodges, and the adjudicators at the upcoming festival who will be deciding who receives the scholarship are notoriously traditional.
Wish me luck :)
 

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SuperActionMan, I don't envy you at all trying to play this piece of music. Trying to get close to Hodges's sound and tonal command is like climbing Mount Everest. Hodges didn't play a heavy set-up, he had a lot of flexibility in his sound and could both wisper and sing without any resistance from the horn or reed. Perhaps play the quiet parts a little more subtone as Hodges did. Your vibrato is coming through nicely. Just keep referring back to the original for inspiration. I also played this solo feature when I was in my music college Duke Elington repertory orchestra so I know how tough it is. Good luck!!


Good job.
I am use to hearing this thing played on tenor but hey, you make it work.DD

DuddlyDoRight, this was the original version by Duke Ellington / Billy Strayhorn of Blood Count which was an alto feature. Stan Getz recorded it latter so may be that is why you associate it with the tenor rather than alto?

 

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Selmer Seri III
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"................original version by Duke Ellington / Billy Strayhorn of Blood Count which was an alto feature. Stan Getz recorded it latter so may be that is why you associate it with the tenor rather than alto?"

Yep, Getz along with any other tenor player worth talking about and yes the 'Rabbit' was, I suppose, the first to record then thing and yes, I suppose, the judges will be listening to how close you come to Hodges and yes if I were a judge I would give you a scholarship based on how you perform ‘B.C.’ but I am sure you excel in other areas in music that would land you the ticket to college other than your performance of ‘B.C.’ IMO you have to listen to A LOT of Hodges, Marshal Royal and Benny Carter playing A LOT of tunes in order to come across like those masters. Again, as far as I am concerned you’re in but the main thing is what you do with your horn and music once you get in. What are you going to contribute to the art form once you are out of college? I would hope you go beyond Hodges, Stitt, Woods, Bostic etc. and become yourself and develop your musical ‘talent’ to the best of your ability and isn’t that what college is suppose to do? Yep, Hodges premiered the tune but I’ve gleaned great musical satisfaction with the tenor players who have told a story with that tune. Yep, IMO you’ve got that tune down now go out and learn about 1,267 more and along the way don’t forget to nail Mozart, Ravel, Aaron Copland, J. Cage and, and, and, and,…..
Good Luck.
PS - Thanks for including a link of Hodges but sorry I didn't listen to it 'cause I have probably heard it a thousand times. However I do remember hearing him doing it live many years ago and it was good. I'm Out !
 

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Discussion Starter · #11 ·
Hey guys! Didn't get the scholarship, but I was one of 6 recipients of the Outstanding Performer Award! The scholarship went to a fantastic guitarist who is graduating next year, unlike myself, who still has another year of high school to go after this one. He's a great guy and definitely deserved it more then I! Thanks for all your feedback and help!
 
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