Maynard
Ferguson, for those who knew him,
was what most every trumpet player aspired to be,
the king, there were many pretenders to the throne,
but there will never be another Maynard.
It is
a dark day for the multitude of trumpet players
around the world that are inspired by him. His mark is an
indelible part of our lives. With a heavy heart I say farewell
to this magnificent soul and wish him a blessed journey.....
It
was Maynard’s first U.S. tour as he returned to the states with his all English
band upon the release of the “Give It One” album. He was the opening act for
the Kenton Orchestra, Circa 1971, that night I was blown away and AWE struck.
Maynard played up to an “F” above double high C, throwing the audience into
a spontaneous standing ovation. He was in his early forties and in outrageous
shape. I was taken back by his showmanship, I’d never witnessed anyone so at-one
with his playing and physical involvement. As I began to study him I realized
that as much of what he was doing was entertaining he was utilizing his key
power points of his body in perfect form, in unison with his playing. Ah, there’s
that word again, “form”. His form flowed in perfect balance with his requirements
of what he was performing without thought. He was one with himself and the horn,
literally transcending the physical and placing himself in a higher state of
mental focus. He is a true living master overcoming adversity and mastering
his craft to its pinnacle state. He knows and reads his body without conscious
thought. I contend that Maynard would be a master at any endeavor. His sound
and influence have entertained countless millions for more than half a century,
and changed almost everyone for the better along the way. It seems the world
is blessed every century or so with such genius’, he is just such one of these
inexplicable artists. There is only one Maynard Ferguson, there will never be
another.
A living master and legend. I stand in awe, today as then, with my sincere admiration
and respect.
1973 Poster
- 15 Piece English Big Band
As
a serious student of the trumpet I engaged a photographer to go to a MF concert
with me to take photos, so I could study Maynard. The photographer had a fully
automatic camera and sat next to me, he was under my instructions to take photos
on my cue. The purpose was to try to capture the performance sequence of his
set and release to try to gain some insight into his playing. Prior to the concert
we visited before he began his warm up routine. Since the first concert I was
at in 1971 Maynard religiously would close the door and spend 30 minutes warming
up.
There
is more to this photo than just Maynard playing into a microphone. His feet
are firmly planted, knee’s bent in the classic S shape body stance, which
gives maximum power to the lower quadrant of the lower legs and back, where
all the power of the body is.
Here
Maynard is leaning back on the lower back riding on the air, with the lower
stomach extended downward for proper power.
This
spectacular release reveals several things, his body is upright, he has
completed the follow through, his feet are still at a 45° angle, his
abdomen is still extended for proper breathing and the mouthpiece ring on
his lip reveals that he favors the right side.
As
much as this is part of showmanship it is part of follow through. The stance
is still classic.
Maynard switched mouthpieces sometime In the early 70’s, leaving the smaller
mouthpiece for the current signature model he’s playing on now. If you listen
to his earlier recordings you’ll hear a more brilliant sound associated with
a smaller cup, I believe his decision was one based upon flexibility and diversity
for jazz playing and less back pressure as he matured.
The
Kenton Band
Maynard played 5th trumpet on the Kenton Orchestra all night long, until 11:30
when Stan Kenton brought him down front to do all of his solo’s right in a row,
“Maynard Ferguson”, “What’s New”, and “The Hot Canary”. Maynard was the highest
paid member of the orchestra and the biggest attraction, the point was to try
to keep the audience there as long as possible, so Stan held Maynard back until
the end of the night. Often Buddy Childers would play a high “G” and the audience
would go wild, Maynard would stand up and wave, taking credit for the note,
being mischievous, and everyone would laugh.
What’s
New
Maynard,
in his playing, has a special ability, in that he pivots around high “G” and
shifts to an up stream. It’s just a natural ability that gives him a sound that’s
extra thrilling. This is exemplified by the sketch
done by Shorty Rogers, who, while sitting in the Kenton trumpet section, studied
Maynard’s sets and pivots, and wrote “What’s New” in the best key to feature
Maynard’s tremendous abilities. While I was recording “What’s New” I ran into
this problem and Shorty Rogers pointed this out to me. I was forced to play
the double “D’s” the old fashion way.
The
Titan Symphony
The
Titan Symphony was composed by Bill Russo, and premiered in New York with Leonard
Bernstein conducting the New York Philharmonic Orchestra in 1958, featuring
Maynard Ferguson, the third movement was composed entirely of a high note trumpet
feature. The performance was so remarkable that when the press asked the principle
1st trumpet player, William Vacchiano, his opinion of Maynard Ferguson: he said
“if he ever lost his lip he can always play 1st trumpet for the New York Philharmonic.”
The remarkable piece was performed only one other time, with the Chicago Symphony
Orchestra, with Bud Brisbois as the soloist, whose performance was excellent.
The recording with Maynard Ferguson has fire and excitement and remains the
pinnacle performance.
In
Closing
Maynard,
who’s nickname is the “Fox”, has always seemed to do the impossible, he lives
in the present or the now, unshaken by trivial distractions, rising to the highest
level of consciousness as though a great shaman or guru. He has also achieved
the impossible by keeping a vibrant touring band for more than 30 years on the
road since the “Give It One” album, an accomplishment no other Trumpet artist
has been able to achieve.
The Music
1)
"The Titan Symphony" - by Bill
Russo, New York Philharmonic 1958, conducted by Leonard Bernstein
2) "The Titan Symphony" - Low Speed
3) "Don't Let The Sun Go Down On Me"
- Jay Chattaway, recorded in the late 70's
4) "Tommy" - recorded in the late
70's - Part 1
5) "Tommy" - Part 2
6) "Maynard Ferguson" - by Shorty
Rogers, Carnagie Hall, The Kenton Innovations Orchestra 1951
7) "Body And Soul" - 1987 concert
for KKGO, with Chuck Niles
8) "CERVEZITA" - Recorded: Sept.
25, 1956, Birdland Dream Band
9) "Hey There" - by Willie Maiden-
On the "Jazz For Dancing" album, 1959
10) "All The Things You Are" -
by Dennis Farnon -Charlie Barnet Orchestra of 1949, featuring MF at 21,
in a performance that thrilled many jazz fans, but enraged Jerome Kerns'
widow, and the composer's publishers, Chappell and Co. Capitol Records,
in fact, withdrew the disk from the catalog after receiving their complaints.
11) "Fire And Rain" - by James
Taylor, recorded in the UK at London's Lansdowne Studios in 1971
12) "Somewhere" - by Leonard Bernstein,
recorded in the UK at London's Lansdowne Studios in 1969
13) "Naima" - by John Coltrane,
recorded in 1979
14) "MOGO" - Recorded: Sept. 24,
1956, Birdland Dream Band
15) "Danny Boy" - Released in 1964
on NEW SOUNDS OF MF
16) "Summertime" - Released on
Verve Records in 1954 on DINAH JAMS
17) "You Can Have Me Anytime" -
1980 on the IT'S MY TIME album
18) "Tenderly" - 1958 from SWINGIN'
MY WAY THROUGH COLLEGE - Trpts: Bill Chase, Larry Moser, Jerry Tyree
19) "People" - Released in 1965
on the COLOR HIM WILD album
20) "Anthony And Cleopatra" - Released
in 1964 on THE NEW SOUNDS OF MAYNARD FERGUSON album
.......... Classic profile of Maynard Ferguson
INTERCHORDS
- 1982 MAYNARD FERGUSON INTERVIEWED BY ED WILLIAMS - Featuring: Primal
Scream
Hollywood
Don't Stop 'Til You Get Enough
For Your Eyes Only
Deja Vu
Gonna Fly Now
