Juanmustard, I think you’re right, and not only about Wynton when you say that he pretty much sound like himself on most horns. That is pretty much true for ANY trumpet player. Just recently one of my friends and I drove down to Woodwind and Brasswind in Indiana to try out some of the “heavy artillery of today” as some call it. We tried out the Taylor Chicago Custom (4 lbs 3 oz., .470 Bore,etc) and the Chicago Standard(just a bit lighter, but still heavier than most trumpets) but we also took our horns with us because we wanted to see how our horn sounds in the same room in which we test the Taylors. I have a Stomvi Elite and my friend plays a Getzen Renaissance and what I did was I told my friend to turn with his face towards the wall while in front of me I had both the Taylor and my trumpet. All I said was “Ok, now I’m playing Trumpet #1” and played on it, then “Ok, now I’m taking trumpet #2” and played the exact same thing on it and after I put it down asked “Ok, which was the Taylor and which was the Stomvi/Getzen?”. He guessed wrong twice and the other couple times he had a pretty tough time deciding because the difference in the way I sounded was minimal.
As one of Johns Classmates at IU..I cannot confirm or deny John using his Bach “C” for the Brandenberg concerto, I believe this story originated by Dave Coleman, however, I can confrm for pieces that I used my picc, he was known to prefer his C with a shallower mouthpiece because of the intonation superiority. John is a fine player and I believe he didnt catch on to the monette craze until Dave moved his shop to Portland from Chicago.. Regards to all in the Monette Community, ...by the way I play Monete exlcusively myself.
For a brief time when John lived in Cincinnati I actually played some gigs where he did that….used his C for typical picc shit…he is a great guy and an amazing player.
Thank you all for the input re Monette horns. I’ve been playing a 993b now for several years and it is my favorite trumpet ever. Have owned a Flumpet I and Ajna I and Chicago 283 & the 993 is a far more flexible and expressive/soulful instrument. Gravitated from B2 to B2 Prana mouthpieces, then to the remarkable B2GS3 Prana, which is amazing in all configurations, LT to STC3, with various horns, including large bore mid-century Martin Committees. To back up a bit, it took a while to get with the Monette “concept”, but now with it, I’m hooked. For me it is the tone and dynamic color range of the 993 that is completely compelling. From my experience it is Dave Monette’s best horn ever. At one point I had posession of a new P1 Prana that was made for Urban Agnos. I guess he didn’t want to keep it and neither did I. Curious to see a 994 Prana made for Ryan Kisor for sale at Thompson Music. What is it with the new Prana horns that turns people off? All I know is I don’t want one, very happy as I am with the 993b and Prana mouthpiece. Could be some of us need a certain resistance in the horn body, but a free flow in the mouthpiece? In any case a work in progress, but from one very pleased Monette player, a wonderful journey worth all the effort.
P.S. This being ostensibly a Wynton website, when will Wynton, if ever, return to Jazz?
> P.S. This being ostensibly a Wynton website, when
> will Wynton, if ever, return to Jazz?
What do you mean? As far as I know, Jazz is all he does now.
Okay, I probably should have refrained from the comment about Wynton returning to Jazz. But I just returned from the French Quarter Festival in New Orleans, and what Wynton composes and plays now is such a far cry from the very heart of Jazz music that he’s pretty much lost me. Which I would hasten to add is MY problem, not his. If you ever get the chance, seek out and hear my friend Jack Fine, who at 79 will blow your socks off with his Jazz treatments and renditions, making the old stuff sound so new and fresh again. Everybody into Jazz has their own preferences, but for me the nerve center is still based in trad, pre bebop. So, backpedaling from that P.S. question, sorry to derivate from the thread, which was Monette horns. Jack plays a 1920s Paris Selmer medium-large bore cornet w/ a Rudy Muck 18M mouthpiece. I can’t do anything on his horn but he is a killer with it. So there we go. Apologies all around.
You’ve got to be the only person I’ve ever heard that said Wynton’s music was not traditional enough! Ha ha.
just a question…....... do standard monette horns have engravings? i look at wyntons horns (excluding his silver one) and i dont see any engraving on them.
The only “engravings” on standard Monette horns are the origin designations and model number on the 2nd valve case left side, and serial number 2nd valve case right side. Dave Monette is very circumspect in his way about “fancy”. Check out the Elysian Trumpet made for Irvin Mayfield, et al: insured for 1.3 million. Also hear it on the Irvin Mayfield/Ellis Marsalis release “Love Songs, Ballads and Standards” My 993B sounds every bit as good.
so if they dont engrave them regularly, can you get custom engravings on them from monette?
Not that I know of but you can always call and ask. 503-255-5552
I own a monette myself, and I must say it’s the best trumpet I ever had. I had it now for 5 years, and the instrument is just getting better and better (or is it me… lol)
I have a, so to say, a normal Monette C-trumpet, but I’d like to give a little warning, that these instruments are very hard to play, if you don’t play them right and follow the Monette concept. On the other hand they get very easy to play and sounds great if you play them the right way.
I do not play one of Daves horns. That being said, I love how they sound. Wynton sounds amazing!!! Have heard and worked with many different great trumpeters in my life and career and I must reiterate that we most often bring forth the sound that we hear in our inner ears…....IF you find and instrument that works better for you and helps you to produce that sound than why not play it. If that instrument is indeed a Monette, Bach, Schilke, Hub Van Lier or whatever than by all means play it!!! Incidentally, I am a good friend of John Wilds…. He was one of my early mentors…Great player and great guy!!!!
WOW! by what I am reading one would think that it is the horn that plays Wynton. It is just a piece of brass as Prof would say just put some air in it. I had a Bb Ajna that I had the hardest time playing, on my first lesson with Prof (Bill Fielder) I told him about my problem with this big a—Horn. Prof. took the horn out of my hands cursing at me and laughing at me then said ” Give me that D—- mouthpiece” all I had was a B11D this is the largest and deepest mouthpiece that Dave made. Anyhow Prof did some wind pattern then put the horn to his lips and started to play. He played Pictures opening Alpine, Firebird, Ravel piano concerto in G all the big solos fast big an with the most fundamental perfect sound you can imagine. Then after I picked my jaw off of the ground he played 4 Choruses of Giant Steps, playing Coltrane speed needles to say I never thought it was the horn again but always the player. Then he looked at me and asked Do you have any questions? I laughed and said no then he said Good because you are not Aware yet. That lesson changed my life and my playing. It is just a piece of brass the horn responds to your imagination.
A Monette player