He played jazz , pop , rock , country , Motown , and classical music. Brisbois was born in Edina, Minnesota and began studying the trumpet at age He was mainly self-taught, and reportedly had most of his range before leaving high school. He briefly attended University of Minnesota before moving to Los Angeles, where he would live most of his life, when not touring. In September he joined Stan Kenton 's orchestra, where he took over the "scream" parts written for Maynard Ferguson , in addition to playing much of the lead trumpet. Brisbois toured with Kenton's band until the early 60's, recording over 30 albums.
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Here is a transcript from a clinic given by the great Bud Brisbois. He gave a concert at my alma mater Lawrence University with the group Matrix mentioned below and pictured above just before he committed suicide. While I was not at Lawrence at that time, many of my teachers were. They talked and still do talk extremely respectfully of Bud and I am very thankful that they turned me on to one of the true legends of the trumpet.
I normally try to keep my posts around words. He played all styles, including big band lead, jazz soloing, pop, rock, country, Motown, and classical, but it was his high-note playing that set him apart. At his peak he was one of the most accurate and consistent of all high-note trumpeters, and his range has never been equaled. Brisbois was born in Edina, Minnesota and began studying the trumpet at age He was mainly self-taught, and reportedly had most of his range before leaving high school.
He briefly attended University of Minnesota before moving to Los Angeles, where he would live most of his life, when not touring. Around he left Kenton to work in the Los Angeles recording studios. Bud worked as a studio musician in L. In following the breakup of his second marriage, Bud began having increasing problems controlling his manic depression, from which he had suffered all his life.
He quit the music business entirely and moved to Beverly Hills, where for a time he worked as a Porsche salesman. Less than a week later, he committed suicide. Breathing, knowing how to breath and knowing how to set the air and 2. Building the proper muscles here chops as opposed to destroying everything here chops.
First of all, they have a strong anchor or corners and they all take similar types of breath and they support their sound with their air almost identically no matter who the player is. It only worked so far, then I really had to build a good foundation.
I believe that you have to learn your breathing, your instrument from the bottom up instead of from the top down. I have used the same analogy that Roy brought up last night, you never start building a building with the 13th floor and then build the 12th and 11th. You build a good firm foundation, strong foundation and build up and learn your horn from the bottom up.
The scales, the techniques and everything else and you build your range gradually, knowing that every step of the way what you do, how to do it and build the proper muscles. So, your not going to wake up one day and all of a sudden have the trumpet licked and know how to play high. You build low and build the proper muscles and build the proper range that you can build as an individual with the strength and the tools that the good lord gave you to build.
Some of us can play higher than others, but we can all build a good consistent range, not everybody can play a double C, but they can play higher with more consistency, more accuracy, more penetration if they build properly as opposed to the player that just builds wrong. Taking it in through the mouth and filling this cavity in here. You fill this area in here and you fill it ALL. But a good one, and through developing you develop this area in through here.
So we take our air and put it here. With this type of a breath, then we put support or what I call compression on the air, we put pressure on the air once we get it down here. Now, the pressure that I put on whether it be in the low register or the high register, we take a breath we put pressure on the air and then we attack the note. But we have set up everything here first before we attack the note.
So we take our breath, plays strong middle C , I put a certain amount of compression for the middle C. As I go lower, maybe a little less compression, as I go higher I use more compression on this area. If I hit a high C I will have air compression and I will explain that in just a minute.
So the higher you go, the more of this pressure you put on the air. That is the same intensity that you are going to have as you go higher, you put more of this compression on the air. You grip the air with the muscles that you have. But this is the compression of the air. You take the proper air and you put the compression on it. The mouth squeezed and nothing happened, but if we take a good breath, support it and put compression on it, the proper compression for that note.
As we go higher we put more of this compression or tension on the air. Like gripping it. Oh, by the way by developing and utilizing this compression and building the muscles here, we put our pressure here stomach as opposed to here chops , so we are utilizing less pressure here chops.
Just a certain amount of pressure, just in order to maintain the mouthpiece there and not kill ourselves. We leave this chops with the least amount of pressure that we can get by with so it vibrates very easy and all of our pressure is here stomach.
By developing all of this area down here stomach , we alleviate the pressure and also can breathe totally relaxed in here throat and neck, upper body. That gives us nothing but flexibility, a sound that will sizzle all over a band of any kind and it gives us endurance and everything else. The only thing I think of consciously is thinking of playing everything as open throated as I can , and not thinking of EEE. EEE just seems to pinch the sound.
I try to think of everything as open and as relaxed as I can. You have so much support that you can do whatever you want. As I get up to the high G, the tension increased here, the compression increased here.
Maybe just a little more intensity, but the throat was open with an Ahh sound. As I said I am speaking about what works with me and all of the players I work with. I go between two chairs and let all my weight go down and touch with my legs bent, let my knees touch the floor and then go all the way back up.
And that keeps everything extremely strong in the back and everywhere else. Even though your using it here, you need to keep everything else strong and use every muscle in your body to increase the intensity.
The exercise helps me to increase my endurance. For most guys their level goes down, but for me I play stronger, louder, higher as I get going. For me the physical exercise is very important. Now if your going to do lip slurs, which are the best builder for here in the world along with building this part, your going to get a sensation. If your building everything else correctly, it will take care of this chops. It all boils down to what works for any particular player. I avoid movements of the horn as much as possible.
Play a scale from middle C to low C, then middle C to high C, slurring it all, repeat it several times, then change keys, or just expand the scale both up and down. Concentrate on your breathing and the compression of air.
I think of opening up in the low register, just singing the note out to get a full sound, support your low register just like the upper register. We put more concentration on the air when we go higher, but we still focus the airstream as we go lower. Build the things that we all have to have, then you can worry about the small things. Stand in front of a mirror, without a shirt on. This takes one week, ten minutes a day. Put your hands high on your sides and take a breath and try to push your hands out as far as you can.
Then count slowly as you release your air 1, 2, 3, … as soon as you completely out of air, take another huge breath. Make sure you are watching yourself in the mirror. The first day you may be able to get up to 15 or 16, by the end of the week, your up to 25, 30, 35, 40, some up to 50 and This is the normal way to breath and take in air, and so few of us really know how to do it. That is the proper breath to take. Repeat this for ten minutes a day.
That has put the air in the proper space, so at least we know how to breath properly. Now the compression on the air, that is the thing the sensation that I told you was coming up. Bang, we put tension all around the air. We are taking the breath in properly, we know how to put the tension on it, if you want to build strength in this area, you can get all of the information in a cheap book, called the Royal Canadian Air Force exercises. That is the 10 min. Driving it forward, keeping the compression, keeping it open and having it really sing out the best I can.
With everything working together. When I got louder, I pushed a little bit more air through the horn. This set up fits me. If you get a chance, go out and hear him. He was beautiful last night. Freddie Hubbard.? Making sure we warm up all of our muscles. The only way to play up high is to be completely limber. Start in the low register, then mid, mid-high, then above. Playing legit exercises and resting in between.
If you rest, you give the blood a chance to circulate again, instead of breaking down the muscles and never giving them a chance to rest. I tend to use the St. I just make sure that I rest in between each section of my warm-up and practicing.
Here is a transcript from a clinic given by the great Bud Brisbois. He gave a concert at my alma mater Lawrence University with the group Matrix mentioned below and pictured above just before he committed suicide. While I was not at Lawrence at that time, many of my teachers were. They talked and still do talk extremely respectfully of Bud and I am very thankful that they turned me on to one of the true legends of the trumpet. I normally try to keep my posts around words. He played all styles, including big band lead, jazz soloing, pop, rock, country, Motown, and classical, but it was his high-note playing that set him apart. At his peak he was one of the most accurate and consistent of all high-note trumpeters, and his range has never been equaled.