===
I admit, that the F-horn or the F-side were not the best tools for jazz or 
contemporanean music (is it music ? - In most cases it might be nothing else than 
black dots on white paper, just to make noise more or less, implementing the extremes 
of the instruments & avoiding the
advantage of every instrument !), off course. Here the Bb-horn is more flexible, 
special then if sound & beauty of sound are not important. So we have to divide our 
tasks.

===

Prof. Pizka,

As a jazz hornist, I find the above statement quite interesting. The creation of a 
"characteristic"sound for jazz on the horn has been monopolizing my time lately. Well, 
actually, ever since i started learning to play jazz on this instrument. I've 
performed on an 8D, Alex 103, Paxman Triple (compensating) and, currently am playing a 
heavily modified Pax descant (American bore).  After listening to the samples on your 
website, I realized that the SOUND I'm after is closer to what I believe you've called 
the Romantic ideal. You can imagine my surprise! I do agree with you that the F horn 
is not the best tool for playing jazz (having tried for quite awhile)but i wonder if, 
in my search for a jazz horn sound (by this I mean, a jazz trumpet player doesn't 
sound like an orchestral player, but you know he's playing the trumpet... I don't 
think that the horn should sound like a valve trombone or something just because 
you're not playing orchestral music)that is fat and rich, but not 
 too dark and tubby, my equipment has gotten too big. It's a hard habit to break in 
NYC.  Big equipment rules. Plus I need to be able to play with drums and electric 
guitars in rooms that are not always "horn-friendly"

Anyway, I find your statements interesting (I've just joined the list)especially after 
hearing your concept of how the horn should sound. Thanks

Mark Taylor
Hornist with Henry Threadgill, Max Roach, Muhal Richard Abrams and others
http://www.mark-taylor.biz

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