{"id":6773,"date":"2015-07-13T18:03:52","date_gmt":"2015-07-14T01:03:52","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=6773"},"modified":"2015-07-13T23:13:34","modified_gmt":"2015-07-14T06:13:34","slug":"the-mouthpiece-placement-question","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2015\/07\/the-mouthpiece-placement-question\/","title":{"rendered":"The Mouthpiece Placement Question"},"content":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;rNlup2zO1VNkePGfUuq6DhtoDwx4ohqE&#8221;]<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/07\/Bill-Hardman.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/07\/Bill-Hardman.jpg\" alt=\"Bill Hardman\" width=\"200\" height=\"205\" class=\"alignleft size-full wp-image-6774\" \/><\/a>Steve Provizer\u00e2\u20ac\u2122s comment about Bill Hardman\u00e2\u20ac\u2122s off-center trumpet embouchure in last weekend\u00e2\u20ac\u2122s Horace Silver video reminded me of other trumpeters with unconventional mouthpiece placement. There are many examples. Hardman\u00e2\u20ac\u2122s, Jon Faddis\u00e2\u20ac\u2122s and Ruby Braff\u00e2\u20ac\u2122s mouthpieces go to the left, Louis Armstrong\u00e2\u20ac\u2122s and Wild Bill Davison\u00e2\u20ac\u2122s slightly to the right. In all cases, what comes out the other end of the horn is beautiful, leading to Steve\u00e2\u20ac\u2122s conclusion that there are no rules. <\/p>\n<p>Here\u00e2\u20ac\u2122s Wild Bill leading an All Star Band in \u00e2\u20ac\u0153You Took Advantage of Me\u00e2\u20ac\u009d at the Bern, Switzerland, Jazz Festival in 1985. Davison trumpet; Warren Vach\u00c3\u00a9, cornet (he doesn\u00e2\u20ac\u2122t solo here); Bob Wilber, clarinet; Bill Allred, trombone; Bucky Pizzarelli, guitar; Dick Wellstood, piano; Milt Hinton bass; Jake Hanna drums. <\/p>\n<div align=\"center\"><iframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/kWE4rkRRSpw?rel=0\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<p><p>Mr. Provizer, a trumpeter, knows what he\u00e2\u20ac\u2122s talking about. A few years ago on his <em>Brilliant Corners<\/em> blog, he posted an illustrated essay on the off-center question. A couple of the video examples have encountered copyright roadblocks, but most of them still work. The post ends with a famous Dizzy Gillespie-Louis Armstrong collaboration, and it\u00e2\u20ac\u2122s more than worth a look. To see it, <a href=\"http:\/\/brilliantcornersabostonjazzblog.blogspot.com\/2011\/12\/successful-wrong-trumpet-embouchures.html\"target=\"_blank\">go here<\/a>.    <\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;rNlup2zO1VNkePGfUuq6DhtoDwx4ohqE&#8221;] Steve Provizer\u00e2\u20ac\u2122s comment about Bill Hardman\u00e2\u20ac\u2122s off-center trumpet embouchure in last weekend\u00e2\u20ac\u2122s Horace Silver video reminded me of other trumpeters with unconventional mouthpiece placement. There are many examples. Hardman\u00e2\u20ac\u2122s, Jon Faddis\u00e2\u20ac\u2122s and Ruby Braff\u00e2\u20ac\u2122s mouthpieces go to the left, Louis Armstrong\u00e2\u20ac\u2122s and Wild Bill Davison\u00e2\u20ac\u2122s slightly to the right. In all cases, what [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":6774,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-6773","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6773","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=6773"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6773\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/6774"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6773"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6773"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6773"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}