Comments on: Calling Chicken Little http://www.livmusic.com/2006/04/03/calling-chicken-little/ Ruminations on a life behind three buttons Thu, 19 Aug 2010 04:40:35 -0400 http://wordpress.org/?v=2.8.4 hourly 1 By: Craig Morris http://www.livmusic.com/2006/04/03/calling-chicken-little/comment-page-1/#comment-108 Craig Morris Sat, 08 Apr 2006 01:21:26 +0000 http://www.livmusic.com/lmi/2006/04/03/calling-chicken-little/#comment-108 FYI, I have posted a clarification regarding this article, since many people have not understood it. You can see it <a href="http://www.livmusic.com/lmi/2006/04/07/little-chicken-big-controversy/">here.</a> FYI, I have posted a clarification regarding this article, since many people have not understood it. You can see it here.

]]> By: Anonymous http://www.livmusic.com/2006/04/03/calling-chicken-little/comment-page-1/#comment-107 Anonymous Fri, 07 Apr 2006 23:42:13 +0000 http://www.livmusic.com/lmi/2006/04/03/calling-chicken-little/#comment-107 I don't know if you remember, but apparently you coached Matt in San Francisco and he's always been a huge admirer of yours. You should feel proud of having helped someone to be so prepared at such a young age. I don’t know if you remember, but apparently you coached Matt in San Francisco and he’s always been a huge admirer of yours. You should feel proud of having helped someone to be so prepared at such a young age.

]]> By: Anonymous http://www.livmusic.com/2006/04/03/calling-chicken-little/comment-page-1/#comment-103 Anonymous Thu, 06 Apr 2006 19:01:17 +0000 http://www.livmusic.com/lmi/2006/04/03/calling-chicken-little/#comment-103 This one has people talking for sure! http://www.trumpetmaster.com/forums/viewtopic.php?t=9585 This one has people talking for sure!

http://www.trumpetmaster.com/forums/viewtopic.php?t=9585

]]> By: Leigh Ann http://www.livmusic.com/2006/04/03/calling-chicken-little/comment-page-1/#comment-102 Leigh Ann Thu, 06 Apr 2006 15:13:21 +0000 http://www.livmusic.com/lmi/2006/04/03/calling-chicken-little/#comment-102 Props to you for for that article. Not sure if you had read my previous comment on another topic...I am labeled by the brass community as a 'comeback' player. After eleven years off the horn and at the moment struggling to get my chops back, there is no doubt that I love it and always will. I have actually gone in quite the opposite direction (as referred to above), and purchased a new (used, but new to me) trumpet to keep me going. Ahh, if I only knew then....what I was left to work with was two instruments that had been abused through many a practice, football game, marching band camps, etc. They were rough, but still hold their sentimental value. I will never NEVER sell them, and figured "What the hell?" So what do I go out and do? Buy a new one. What am I thinking? It's not like money is flowing like water around here, but here I sit - getting amped to do what I refer to as my 'daily reconditioning'. No selling off of instruments here. Only trudging on towards the horizon with a warm mouthpiece and absolutely no plans thereafter. Wish me luck ;) Props to you for for that article. Not sure if you had read my previous comment on another topic…I am labeled by the brass community as a ‘comeback’ player. After eleven years off the horn and at the moment struggling to get my chops back, there is no doubt that I love it and always will. I have actually gone in quite the opposite direction (as referred to above), and purchased a new (used, but new to me) trumpet to keep me going. Ahh, if I only knew then….what I was left to work with was two instruments that had been abused through many a practice, football game, marching band camps, etc. They were rough, but still hold their sentimental value. I will never NEVER sell them, and figured “What the hell?” So what do I go out and do? Buy a new one. What am I thinking? It’s not like money is flowing like water around here, but here I sit – getting amped to do what I refer to as my ‘daily reconditioning’. No selling off of instruments here. Only trudging on towards the horizon with a warm mouthpiece and absolutely no plans thereafter. Wish me luck ;)

]]> By: Anonymous http://www.livmusic.com/2006/04/03/calling-chicken-little/comment-page-1/#comment-100 Anonymous Thu, 06 Apr 2006 12:20:00 +0000 http://www.livmusic.com/lmi/2006/04/03/calling-chicken-little/#comment-100 That took some balls to write, Craig. Bravo! That took some balls to write, Craig. Bravo!

]]> By: mike http://www.livmusic.com/2006/04/03/calling-chicken-little/comment-page-1/#comment-97 mike Tue, 04 Apr 2006 20:40:04 +0000 http://www.livmusic.com/lmi/2006/04/03/calling-chicken-little/#comment-97 An interesting article. The saxophone people would do well to take note of it. But perhaps they already have. And the jazz folk in general. The "neutrality" of "Sound" and style has for some years now been a subject of complaint among jazz aficionados. One note heard by Coltrane, Coleman Hawkins, the just recently deceased Jackie McLean, Charlie Parker, Monk's chords - and You know who it is. They had an unmistakable "Voice". That is no longer the case : Folk play well, but Anybody is Nobody. I am certain that Mozart's preferred "Boyz" were something like the Ellington Band. Something that you do not get, and cannot get, anywhere else. A collection of "individual" sounds such as is unthinkable these days. Johnny Hodges' Alto, and the super rapid and flexible Tenor of Paul Gonsalves. Not to mention the Trumpet section. They were welded to the Stamp of the Band. Billy Strayhorn and Duke Ellington were very far from being idiots in Music. But they chose Instrumentalists each with a very marked indivual sound and appraoch. To be brief : Technical facility is one thing, the "Voice" is another. Generally, the Public - Your paying fans, will go for the "Voice". There is no such thing as an absolute in Classical Music. It is the united power of the "Voices" which convinces. I am a jazz person, myself. An interesting article. The saxophone people would do well to take note of it. But perhaps they already have. And the jazz folk in general. The “neutrality” of “Sound” and style has for some years now been a subject of complaint among jazz aficionados. One note heard by Coltrane, Coleman Hawkins, the just recently deceased Jackie McLean, Charlie Parker, Monk’s chords – and You know who it is. They had an unmistakable “Voice”. That is no longer the case : Folk play well, but Anybody is Nobody. I am certain that Mozart’s preferred “Boyz” were something like the Ellington Band. Something that you do not get, and cannot get, anywhere else. A collection of “individual” sounds such as is unthinkable these days. Johnny Hodges’ Alto, and the super rapid and flexible Tenor of Paul Gonsalves. Not to mention the Trumpet section. They were welded to the Stamp of the Band. Billy Strayhorn and Duke Ellington were very far from being idiots in Music. But they chose Instrumentalists each with a very marked indivual sound and appraoch. To be brief : Technical facility is one thing, the “Voice” is another. Generally, the Public – Your paying fans, will go for the “Voice”.
There is no such thing as an absolute in Classical Music. It is the united power of the “Voices” which convinces. I am a jazz person, myself.

]]>