High Notes (Pass Me the Earplugs!)

For many years it has been a trumpet player's (brass player's) quest to be able to play high. It was a reasonable challenge because the more notes that were in your playing vocabulary (under control) the more you could express yourself musically.

However, I personally believe that the "high note" game recently has gotten out hand. It's become the criteria and a substitute for good trumpet playing. You have to ask yourself, "Is it musical?" Hmm?

In the old says expressions and terms were formed. "High C" was considered a plateau until Herbert L. Clark came along and started to play to the F above the C. Today, professional needs require that you play comfortably above the staff... "High C" and beyond for extended periods of time and arrangers feel that this is a reasonable request.

Maynard Ferguson raised the bar even higher and Double High C (and in some cases beyond) became what to strive for. (I should note that Maynard was unique in that he could play in that register with great flair and the notes were produced like an opera singer. They were lyrically resonant and emotionally powerful. He seemed to know how to use the high notes judiciously (most of the time) and incorporate them within the musical statement.

I was living and working the Windsor / Detroit area some years ago and on this particular weekend afternoon was enjoying a barbecue hosted by fellow trumpet musician, John T. The shindig was held at his house outside in the patio and there was plenty of food and drink for all of John's drinking musician buddies. In fact there were kegs of beer.  I thought to myself, "Boy these Americans can really put down the suds."

John T was an exceptional trumpet player that could always play high, apparently even during his High School days. He eventually became first call for Mo Town Records. He was a truly professional studio player in that Big Band style. In other words he had "chops" galore.

Well, that afternoon I wandered into the house into a room with a fire place and mantle. I observed that on the mantle was a trumpet with a turned up bell. It was a professional model.  I was surprised to see this horn, as I wasn’t aware that John played this Dizzy Gillespie styled horn with the bent up bell.  

Just then John T walked into the room. He was really juiced. After all it was his party and his birthday and he was letting it all hang out. I said to him, "John, this is an expensive horn to be used as a prop on the mantle.  Do you still play it? " Through slurred speech and bulging red eyes he said. " I used to play that horn but I found it tight in the upper register."  

He then took the horn and without any warm up or test notes blasted a High G above High C, (I mean loud and clear) took a breath and stabbed a G the octave above it (that is two octaves above the staff sustained, almost off the keyboard). I was startled. I had never heard this note played except on recordings by perhaps Cat Anderson. This floored me, the note wasn't a squeak it was a big solid, strip-the-wall-paper-off-the-wall, bona fide sustained G. I didn't think you could even make this note sound on a trumpet and certainly not this loud!

All I could say in astonishment was "Yeah John.  It does sound a bit stuffy in that register." He didn't say a word but turned and went back to his drinking.

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