Carmine Caruso’s Musical Calisthenics for Brass

Because it’s mostly true, it has often been said that when it comes to playing a brass instrument, there’s no substitute for a good one-on-one teacher. But it’s also true that people have been playing brass instruments for hundreds of years, and that, consequently, some great teachers have been able to collect their best insights and teaching methods into books. In a series of posts, I’m going to write about some books on brass playing I think are well worth your while. Is all the information you’ll find in these books perfectly consistent? Can you guess what the answer to that question is? I can say you’ll find common threads of wisdom throughout these books. First up, it’s Carmine Caruso’s Musical Calisthenics for Brass..

When I was in high school, I studied with a teacher who was studying with Carmine Caruso [broken link removed] at the time [Warning: clicking on the previous link will cause you to return to the golden glory days of the World Wide Web, back when it was full of stars]. In turn, my teacher taught me many of Caruso’s brass calisthenics. To over-simplify somewhat, Caruso’s teaching and exercises revolve around three things:

  1. The exposure of embouchure muscles to the actions they need to perform in order to play a brass instrument.
  2. The consistency of airflow, or “blow.”
  3. The timing of 1 and 2 (accomplished by tapping the foot during exercises).

In the book, Carmine says this about timing:

It takes over 200 muscles to play a note. It’s important to remember that before you play music you must train your muscles to work together. The key factor is timing: it will determine when the muscles start and stop a certain movement. The type of time is established by tapping the foot to a regular, recurring beat.

You expose the muscles to a physical activity by repetition and timing until the muscles synchronize into a conditioned reflex response …

Caruso’s method also specifies a single setting of the embouchure on the mouthpiece for the duration of each exercise. During rests, the player breathes through the nose in order not to disturb the embouchure setting. The aim is to minimize the unnecessary movement of the muscles so that they can learn what to do. Caruso stresses that these are, after all, calisthenics, and not musical exercises.

What Carmine doesn’t discuss is how to create a embouchure specifically. Here, an embouchure that works — at least to a degree — is a given. This does not preclude the idea that, for a given brass player, a certain embouchure formation may be most efficient and simply “work better.” In my own experience, once I identified embouchure formation that worked well for me, Caruso’s exercises became that much more valuable.

How do you form an embouchure for playing a brass instrument? We’ll undoubtedly come across ideas about that as we proceed through the books I’ll be discussing in the next installment.

Jazz Insights Redux

Jack Teagarden

UPDATE: 3/20/23: Find Dr. Gordon Vernick’s Jazz Insights here, at Archive dot org.

A while back, I had a little write-up about Gordon Vernick and his Jazz Insights radio show that’s also a podcast. Jazz and trombone aficionados should know that in August, Vernick authored episodes featuring five jazz trombone players of the 20s, including Kid Ory, Miff Mole, Jimmy Harrison, Charlie Green and Jack Teagarden. Another good reason to check the show out.

It’s October, and presumably time to start raking leaves. Despite the date on the calendar, though, it’s still getting up to 80º degrees up here in Minnesota! Whoo-hoo!

Exercises and Etudes for the Jazz Instrumentalist

Exercises and Etudes for the Jazz Instrumentalist

J. J. Johnson’s Exercises and Etudes for the Jazz Instrumentalist is probably not as celebrated an etude book as it should be. On the cover, the publisher Hal Leonard promotes it as “Easy to advanced,” and “Great for sight reading.” Certainly true, but J.J., after dedicating the book to Fred Beckett inside, makes this better explanation:

This method book is based primarily on my own personal experiences and career as a jazz trombonist, and therefore has very little to do with dogma or tenets…In my opinion, if jazz improvisation is the heart and soul of jazz music, then a clear and basic understanding of jazz syntax (or the language of jazz) is the necessary heart and soul of jazz improvisation. With this book I am committed to helping you get a basic and clear understanding of jazz syntax.

Naturally, it won’t be a surprise to see Johnson drawing on the blues as a musical form. He also sometimes uses the be-bopper’s idea of “contrafact,” or writing a new melody over an existing chord progression. You’ll have to guess — or hear — which tunes are used as underpinning, though. No chord progressions are given.

J.J. sneaks in good advice, too. Over one etude, a reminder:

“How do you feel? Don’t overdue it. When your body is trying to tell you something, LISTEN !!! AND OBEY !!!

To sum up quickly, this is a fun, worthwhile, and thoroughly modern take on the traditional etude book. It’s available for all instruments, and is highly recommended.

Happy Birthday, Big Tea

Today, August 20, is Jack Teagarden’s birthday. In honor of that anniversary, I’m reposting a bullet-point version of Jack Tegarden’s career. I wrote this some time ago, although I’ve revised it since. Sure, there’s a wikipedia article, but why read that when you can get the information directly from one of the world’s foremost authorities on the subject?

Jack Teagarden

  • Originally named Weldon Leo, Jack Teagarden was born in Vernon, Texas, on August 20, 1905.
  • Teagarden began studying music early in life. First came piano, then peckhorn. (The peckhorn looks like a small baritone horn, pitched in Eb rather than Bb.) Jack took up the trombone at the age of eight, and was reportedly proficient by the time he was eleven.
  • The Teagarden family household was a musical one, mostly because of the influence of Jack’s mother, although Jack’s father did play (apparently weak) cornet in the town band. As the family grew, each of Jack’s new siblings took up a different instrument: Younger brother Charlie played trumpet, sister Norma became a pianist, and the youngest brother, “Cubby,” played the drums.
  • Jack had perfect pitch and could, as sister Norma remembered, “Call off the overtones in a thunderclap.”
  • Jack discovered his own way of playing trombone, making use of a flexible embouchure and alternate positions to get around the inherent clumsiness of the trombone slide. This general way of “getting around the horn” influenced many contemporaries of Jack, as well as future jazz trombonists such as Carl Fontana. The trombone sound Jack began to develop has often been described as a “jug tone,” slightly nasal and hoarse.
  • While still a teenager, Jack began gigging around the Southwest with “barnstorming” bands, including Doc Ross’s “Jazz Bandits” and a band run by the famous but reclusive pianist Peck Kelley. Still unrecorded, Jack arrived in New York in 1927 with Doc Ross.
  • While with Kelley, Jack created a way of playing the slide alone with a water glass in place of the bell. The technique, which changed all the usual slide positions, created a muted and earthy sound that Teagarden used expressively on a variety of tunes, especially the blues. One of the best examples of this amazing slide-with-glass playing is St. James Infirmary, from a 1947 concert recorded at New York City’s Town Hall.
  • Jack became known as a masterful blues trombonist, and by his own account he became familiar with the sound of “blue notes” by listening to the African American holy-roller-tent-revival meetings that took place near his childhood home in Vernon.
  • Louis Armstrong became a musical hero early on when Jack discovered the trumpeter’s records. Supposedly, Jack and trumpeter Wingy Manone buried a copy of Armstrong’s Oriental Strut in the Southwestern desert, hoping the record would become petrified for the benefit of future generations. Later, Teagarden would go on to perform with Armstrong many times.
  • Jack first recorded with Louis Armstrong in 1929 — one of the earliest racially mixed sessions. The tune was a blues, Knockin’ a Jug.
  • In 1944, Jack, with the help of his band, provided the soundtrack for two Walter Lantz Universal Cartoons: The Pied Piper of Basin Street and the Sliphorn King of Polaroo.
  • Jack eventually recorded and performed with most of the major jazz musicians of his time, which kept him on the road throughout his life.
  • Jack played with the following groups, among numerous others:
    1. Ben Pollack, 1928-1932.
    2. Paul Whiteman, 1933-1938.
    3. Various editions of his own — sadly, mostly mis-managed and perpetually in-debt — big band, 1939-1946.
    4. The Louis Armstrong All-Stars, 1947-1951.
    5. His own small quasi-dixieland groups, one of which did a tour for the U.S. State Department in 1958.
  • Jack’s singing was just as beguiling as his trombone playing to many. Like his trombone sound, his voice had a distinctive timbre, “Between croon and moan,” as critic Nat Hentoff described it.
  • Teagarden enjoyed tinkering with mechanical things. He designed mutes and mouthpieces, occasionally taking a lathe on the road with him. He owned and worked on two Stanley Steamers during his life, although one was stolen when he let a prospective buyer take it for a test drive.
  • Teagarden supposedly originated the use of Ponds cold cream as a lubricant on trombone slides.

Three Great Blue Note CDs Featuring J.J. Johnson as Sideman

During his career as a jazz musician, the late J.J. Johnson recorded many times as a leader. His well known musical vision and skills as a writer and arranger — not to mention his virtuosic translation of modern jazz to the trombone — meant the leader role fit him well. That same reputation, too, meant he was in demand as a sideman. In these instances, J.J.’s playing always adds something special to the musical proceedings, and, while freed from the responsibilities of a leader, he might sound a little more relaxed than usual. Below are three Blue Note CDs you may not have heard yet: all feature J.J. as a sideman. Check them out. The titles and cover art will link to the music at Amazon.

Afro-Cuban

Leader: Kenny Dorham, Recording date: March 28, 1955

  1. Afrodisia
  2. Basheer’s Dream
  3. Lotus Flower
  4. Minor’s Holiday
  • J.J. Johnson, trombone
  • Kenny Dorham, trumpet
  • Hank Mobley, tenor saxophone
  • Cecil Payne, bass sax
  • Horace Silver, piano
  • Oscar Pettiford, bass
  • Art Blakey, drums
  • Carlos Valdez, percussion

Volume 2

Leader: Sonny Rollins, Recording date: April 14, 1957

Page for this recording at Wikipedia

  1. Why Don’t I?
  2. Wail March
  3. You Stepped Out of a Dream
  4. Poor Butterfly
  5. Misterioso
  • J.J. Johnson, trombone
  • Sonny Rollins, Tenor saxophone
  • Horace Silver, piano
  • Paul Chambers, bass
  • Art Blakey, drums

Cape Verdean Blues

Leader: Horace Silver, Recording date: October 22, 1965

Page for this recording at Wikipedia

  1. Nutville
  2. Bonita
  3. Mo’ Joe
  • J.J. Johnson, trombone
  • Horace Silver, piano
  • Woody Shaw, trumpet
  • Joe Henderson, tenor saxophone
  • Bob Cranshaw, bass
  • Roger Humphries, drums