Denis DiBlasio -Story time - Maynard and the High Note Book

[@straceshow3212]

Maynard could not describe how he played high notes or what gave him the range. He was 100% a natural player, he willed the notes out because that's what he heard in his head and he would not accept anything but that coming out of the horn. By the way, I played with you in the Eddie Olinski Orchestra in Buffalo, NY in the 70's. You played with us from time to time to pick up a little extra pocket cash. Fond memories! Also, you are exactly correct, Maynard loved playing melodies "making music" and he like the way it sounded up a minor 3rd so that's what he did. He wanted to hear it up a minor third and he made it come out of his horn. That's it, no other secret to it.

[@CaptainJazz262]

These are awesome, thank you for posting! I grew up listening to Maynard and yourself in live recordings and it’s a treat to hear hear anecdotes about people I’ve looked up to in my career.

[@trumpetvids]

I read an interview with Al Hirt where he said he once asked Maynard in their younger days how he played so high. Maynard's answer - "I have no idea, the notes just come out." That completely falls in line with the content of this video. It just worked for Maynard. I've never seen a Maynard clinic video that was really enlightening as far as "how to play high".

[@joksal9108]

It was all about air for Maynard-no raised tongue, no chops compression. Lynn Nicholson explains it well. That’s how you get the huge sound, and that’s why Maynard didn’t play as well after he got into his early 60’s-it’s incredibly demanding physically.

[@MrWastingmytime59]

Denis, thanks for taking the time to share these stories. Sadly it's a by-gone-era, but many of us still cherish the memories of seeing Maynard, Buddy, Woody, etc. whenever they came through town. As a life-long Maynard fan, it's a real treat hearing these stories from someone that lived on the road with him. Thanks for helping keep the legend alive!

[@randybowman1260]

Thank you Denis!

[@eriksmithdrummer]

This is gold! The laugh at 5:52 is incredible lol

[@JohnnysCorner]

Hey Denis! I love your wonderful stories. I remember playing with you back in 1970, Leon Breeden, Atlantic City Traymore Hotel, NJ All State! Remember that so many years ago? Keep 'em coming! Caio!

[@kathyleicester7306]

These are so great. So, so great. I was just laughing, though. When you tell the story you act as if the mafia is coming any moment, and you've got to get this one last story out before the shootout starts. It's hilarious.

[@EdWeibe]

thats pretty good

[@erickorte2552]

Great stories. Education is 90% stories.

[@EdWeibe]

I always thought it was horse nay excersises gone nuclear. Great story Denis

[@lwskiner]

If Maynard wrote a high note method book I don't believe it would be longer than 5-7 pages. There would be no exercises, the content would focus on breathing, mind set and a paragraph on equipment. That's it.

[@klipklick6067]

GREAT MESSAGE

[@skylardegroot1484]

Thanks for all you do! I was very happy to learn from you at the All Virginia Jazz band, and hope to see you again soon.

[@kesslerrb]

I still have the Bop Shop books from back in the late 80s

[@chasefreak]

Denis, at the 4:31 mark, Alan Wise told me this story from the '80's...he also mentioned there was an audio tape made and later edited with Maynard only saying 'ah, Um, well, ah, um, ah, yea, um, ah. Saw you w MF at the Hyatt Hotel in West Palm Beach April '82, also Johnny's in Melbourne, Fl. May '84 (upscale joint). Luv your vid's

[@sinrob1]

I have the Cat Anderson book and there is virtually no theory in it at all related to embouchure etc. It's simply a series of exercises that are completely useless to a player that is playing with a poor embouchure setting. I subsequently read that Cat Anderson had absolutely nothing whatsoever to do with the book and his name was used by the publisher as a selling point.

[@jorgecallico9177]

Embouchure is absolutely critical to high note production on the trumpet. Maynard simply was what is called a "Ready-made customer". Consider the woodwinds: The Reed is always placed in the perfect position. As is the ligature. Now on the trumpet all of these analogous parts are found on the embouchure & in the mouth. Roy Stevens described the correct way to form the embouchure. That and he directed ALL of his beginners to initially start blowing high notes. This was done as a test. Because if the embouchure is formed CORRECTLY? This allow the production of high notes. Even just Roy's beginning students were all playing extremely high notes. This is one reason why Roy's book the "Tripl

[@jorgecallico9177]

(continued) The Stevens-Costello Triple C Embouchure Technique" Is still the best method of all of them! Incidentally, before Bentley Ferguson's (Boss's only son) untimely death in the early 1980s, his father had sent him to study with Roy Stevens. This should tell you how respected that Maynard felt Roy was.

[@gordonwilliams984]

Uh

[@alex2gokenzingen]

So all his trumpet section players had the natural skill and played also that high notes without knowing how to do it?

[@gertnood]

No, but they studied with others.

[@mikehorner2564]

All those drugs Maynard did back in the day caused the synapses in his brain to stop firing, hence, that's why he kept saying "um, ah, um," all of the time. Too much drugs and alcohol kill too many brain cells.

[@msmith53]

Obviously, it only kills the WEAK ones as Maynard had no issues communicating MUSIC!

[@michaelrandall9034]

Hey bag of dicks! GFY... What’s your excuse? Simply born that way, uh. Somebody do some drinkin’ with you in the womb.