Robert J. was recounting to Galway how he had aired that recording and had mentioned that he thought it was a seamless editing job where shorter, one-breath sections had been recorded and then spliced.
Robert J. mentioned that over the air and received a phone call from a recording engineer who had very impressive credentials who said he had that recording and had listened to it carefully and could find no evidence of splicing and so Galway had actually recorded it in one pass, using circular breathing.
When Robert J. told Galway that, Galway laughed and said, "Good gracious, no! I can't do circular breathing! We took it in short one-breath phrases and I was blessed with a conductor who had an unerring sense of tempo so all the shorter sections spliced seamlessly together with no fluctuations in tempo that might have needed editing."
So unless the liner notes state specifically that Marsalis did it with circular breathing, or you have seen him perform that work in public and actually saw him use circular breathing, I would remain skeptical about it.
I'm not saying that he didn't use circular breathing, only that it is entirely possible to create a recording that is so flawless that it seems it could only be done with circular breathing, while actually being done in short sections with lots of breathing room between.
Aaron Sherber wrote:
Darcy James Argue wrote:
> I don't mean to pile on, but this struck me as odd as well. While I > know a number of people who are able to circular breathe on woodwinds, > my impression is that it is considerably more difficult to do on brass > instruments, especially trumpet. In fact, I don't think I've ever heard > anyone circular breathe on trumpet.
Wynton Marsalis, in his excellent CD of cornet and wind band music called Carnival, does circular breathing all the way through the uninterrupted melodic line of Moto Perpetuo. It's the sort of thing you don't realize right off the bat, until you get to the end of the track and wonder why *you* feel slightly out of breath.
Aaron.
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