Claude Gordon Brass Camp 1990 - Claude Gordon on Virtuosos, Cornets, Trumpets in Final Lecture

Was y'all asleep?
No, I slept really well, no problem.
And there's an interesting article that came out in the Times, Los Angeles.
I thought you might use it.
It says, in the 1930s, any trumpet player who was anyone played an F. Besson trumpet.
The instrument first made in Paris in 1835.
That's a long time ago.
The first one in 1835 won, at the turn of the century, 66 medals of excellence, including six Grand Prix competitions.
By the time of the 1939 World's Fair in New York, Besson trumpets were withdrawn from competition,
and became more or less the standard by which all trumpets were judged.
They were the best there was.
Then came World War II when France went to war.
All the tooling for making the Besson instruments was hidden.
Unfortunately, the man who hid them was killed in the conflict of 1835.
So that means that those medals and things had never been found.
Assorted parts had been shipped to America earlier, but unfortunately they were combined with inferior parts to make complete instruments.
The resulting trumpet deteriorated quickly, as did the professional support for the making.
So you see how long it's been since a good old Besson has been found.
Most everyone that came later was made in this country and just put together by parts by whoever was around to put them together.
So that's why the real Besson deteriorated and finally disappeared.
But it was the standard by which all trumpets were judged.
The old French Besson cornet could be considered right in with that.
The English Besson cornet was not that good. It was a hard-balling horn.
It didn't do too well. It wasn't that popular.
So there was the English Besson and the French Besson.
The average of that old French Besson was 460 bore.
They never put bore sizes on the horns at all.
Later came the Miha, which was the great Besson trumpet.
There were several other names for it, too.
Do you remember that Italian name?
Propeccionari?
No, there was another name.
It started with a C.
Propeccionari?
No.
There were several makes that came out that were all Bessons.
When Bach first started to make instruments, they were basically Bessons.
He used Besson parts.
Some of the early Bachs may be Besson bells.
As he sat over his grandson, he had a whole carload of bells.
And he used those.
Every good instrument was copied from the Besson.
That was the standard of everything.
A Kahn 2B series was copied from the Besson.
That was the standard of the world.
That started them all out.
It's a shame those things got lost.
Of course, they could probably have been abused anyway by whoever got a hold of them.
Okay.
We got a hold of a gem here.
I've had it for years and didn't know what I had.
I realized what I had when Bob Coddle brought out an article in a magazine about Coturia.
Is that how you pronounce it?
Coturia.
Okay.
Now, it was so interesting.
The first great manufacturer in this country was Kahn.
And Kahn became the greatest of all the countries.
They sold more chocolates and cornets and other parts than all companies put together.
It was just a shame when Kahn went down the tubes just a few years ago.
He brought a bunch of youngsters out of college, degree college people,
who knew nothing about instruments, playing them.
They put them in charge of the Kahn Corporation,
and they just ran the company right down the tube.
Kahn had the greatest collection of instruments that existed.
And they were on the fourth floor of the Kahn factory in Elkhart, Indiana.
They took a bulldozer on the fourth floor
and bulldozed every one of those instruments out in the dump trucks,
and he took them to dump.
Lost that great heritage of instruments.
Kahn was a character.
And quite a politician.
He climbed up very high in the political world.
They were a tough bunch in those days.
Whenever they had an argument in the factory,
he would get the two guys that were arguing, take them up to the roof,
get everyone in the factory to come up, and they had a ring up there.
He'd put them in a ring and say, now fight it out, and everybody would watch.
That's a really good thing.
This quartet there is an amazing instrument.
Chronicle is when something starts and gradually gets wider all the way.
That's chronicle.
Cylindrical is when it stays straight.
It's impossible to make a chronicle perfectly.
I don't know what this guy did in this, but this is chronicle.
This is a quick change to A.
The valve ports are different sizes.
They said they used something like 28 drills,
different sized drills to put this together.
It starts out in the open position.
It is absolutely chronicle from here to here.
Constant table.
The only thing Larry Susan and I were talking about yesterday,
you get back to some of the valves positions,
now there's got to be a cut back somewhere, the way it works.
It can't be absolutely chronicle.
But in the open position it is.
Notice this valve piece, it has a black curve on it.
Can you see that? It's concave.
Now the only thing you've got to cover is don't get it in this way.
It's got to fit around.
The horn, I'm sorry I can't play anymore,
but everybody who plays it tells me it's unbelievable.
So what we're going to do,
we're going to take this kid completely apart,
measure every inch of it, and see what he did.
Maybe some of the ideas I can use on the cornet.
You know, when I found that,
there's a whole thesis written on that horn.
A what?
A thesis written on that horn.
On the valve?
Yeah, at San Jose State.
Oh really?
On that one, yeah.
You got all the information.
We did.
It's on file over at San Jose State,
but I don't know who did it.
And here, it's amazing to me,
this man, according to the articles,
must have been a phenomenal player.
He went blind.
He did design that horn,
and the advertisements were marvelous.
They had pictures of the horn.
They all looked like this, the cornet, the trumpet,
they all looked like that.
I don't know how these slimes are ever going to come out,
unless they're unsolid.
So, but we'll find out when we take it apart.
This had golden red ring and gold bell,
but that's all disappeared.
But it's interesting to see the holes in the valves.
The ports, they'll be bigger in one valve
than in the other, showing that graduation of taper.
Very interesting horn.
Dave tells me it blows beautifully.
Yeah, it really is like an incredibly free horn.
The mouthpiece, the way it kind of wraps around your mouth,
it's just amazing.
Just like you kind of go, yeah, hello.
It's like really fast and just really quick.
It's like...
It just blows.
Now, that was...
the brother Neto's date.
That was in the 1800s right now,
according to this article.
So, it's pretty old.
But that's a gem.
I had it sitting up on the shelf in the garage.
I never paid any attention to it for years.
It's been there.
Didn't know what I had in it.
Now, then the first cornet manufacturer was in France.
France has a great heritage, if you make an estimate.
And this one was the Courtois.
The first cornet that Herbert Clark had was this model.
The Courtois.
Real short, steady, beautiful in your hand.
Ooh, that feels good.
It's right in front of you.
Sometimes it feels like you're thumping your nose at somebody.
It's a great little horn.
This one has not been rebuilt, so I don't know how it plays.
I noticed the lead pipe would always come out.
And the reason for that was they changed pictures of the instrument
with the lead pipe, with the length of the lead pipe.
This is a B-flat pipe.
And then the A-pipe would have been a little longer.
Big, flat sound.
Very big.
And this would be, this one will be conical to some extent,
as much as you could in that.
I think it'll get larger and larger and larger and larger.
And of course, this one will be larger than this one and so forth.
Again, that was the first great cornet, or the first cornet.
Now then, after, when the first American manufacturer was conned,
and the first great American instrument was the con winner.
This is the one that, in the new Argon book,
this is the one that's in the picture in the back of the book.
We used this one.
And it had some interesting features.
And notice the gold bell.
They all had gold bells.
That's gold plate, of course.
The horns were silver and gold.
Again, the lead pipe comes out and interchangeable.
And that's an interesting thing here.
You could tune the horn while you played.
So you could adjust for intonation.
Take the third finger here and the thumb here
and you just work that slide back and forth,
however you want to move it.
And they had everything figured out pretty well.
The water key was a triangle.
And you got both pipes open at once.
And you could do that with your thumb on your plant.
And again, it just fits so nice in your hand.
Yeah, it is.
OK.
This is the original Con Wonder.
I hunted for this horn for years.
And I found one down in Florida.
It was in mid-condition.
It was a really nice one.
And somebody asked the guy what he wanted for it.
And he said, well, who wants it?
And he told him who wanted it.
And he said, oh, I'd have to have $1,000.
So I wasn't about to pay $1,000 at that time for it.
It was quite a few years ago.
So we didn't get it.
And Evans found that one for me.
And I shot over in Lund, didn't we?
Over in Azusa.
Yeah.
Tell them the story of how we found it.
Well, I've gone to a lesson.
And Claude just happened to mention
that he's looking for a Con Wonder carnet.
Everybody would say he's looking for the moon,
because I don't always talk about it.
And he showed me a picture of it.
I said, OK.
So I was over picking up some instruments
in this music store, which was kind of a rip-off place.
So I didn't feel guilty about what I did.
And I was in there getting some things,
and way up on the top of the shelf,
you can see this little bell sticking out like this.
I looked up, and I went, what's this?
I don't know.
Some old carnet we've had around every year.
The guy never came back and got it.
What the heck?
Well, could I see it?
He pulls it down.
It's like all black, just totally black.
No valves, no pipes, nothing.
Right?
And I look at it, and I go, you know what?
Almost to myself.
I was like, what Claude's looking for?
So I came over here, and I rubbed this thing off,
and I went, Con Wonder carnet.
I mean, it couldn't have been more than what, a week?
Yeah.
It was like a week.
And so I go, well, this has to be kind of fun
to turn this into a lamp.
I go, you got any other parts?
Like maybe like a light switch?
Oh, yeah, it's down the case there somewhere.
So I went, the case, right?
So I mean, I climb underneath the table,
and sure enough, there's this little tiny case.
I open it up, and it still had the blue ribbon
on Wonder carnet.
And in there were all the valves, all the slides,
and a Jules Levy mouthpiece, and a Liberati mouthpiece.
And then it's all basically just like what you see here.
So I put it together.
I said, well, I don't know.
It's kind of, you know, put a little lamp stand here,
and it'll be kind of cute.
What do you want for it?
Well, I don't know.
I said, well, I'll tell you what, give you 50 bucks.
Oh, OK, that's cool.
Ooh, outdoor, right?
So, oh, yeah.
So one, the next Wednesday night, his old studio
was glass around half of the studio,
and he had just got a brand new desk.
I mean, even when you put your books down,
you've got to put them down gently, right?
And, well, you couldn't get near that desk.
And so I walked in with this big old dumb quad case,
and I put this right in the middle of the case,
put it by the desk, right?
And I went, on his case, I mean, on the desk,
and Claude's eyes were like, oh!
So I said, I opened the case up, so I was facing him.
I said, oh, I've got to get my books.
I'll be right back.
And you can see the back of his neck turning red
like an idiot, you know?
And so he's sitting there looking at this,
and about 30 seconds into this, his eyes hit this bell here,
right?
And it was weird.
If you can imagine Claude Moore jumping into a quad case
and just seeing his little feet come out of the top, right?
He just kind of dived in, right?
And he goes, you found it.
I said, yeah, and here's all the rest of the stuff
that goes with it.
So that's how we found this little beastie here.
So it's like, yeah.
But this thing has just got a great sound.
But this thing has just got a great sound.
And it just blows, you know?
That's effortless how big this thing blows.
It's light, too, you know?
Oh, yeah.
It's as light as a feather.
The great horns were always light.
We used to beg the manufacturers to make us a light horn.
They would not do it because it costs more.
And the lighter you make them, the more bells you lose when
they bend them.
They break.
So they wouldn't do it.
The first light horn that came out since the old Besson
was the CG Bench.
We got that one very light.
They fought it, but they finally made it light.
And now then the Selmer, of course, I think it's even lighter.
Do you want to play some tapes?
Do you want to play a tape or two?
Do you want to play some tapes?
Yeah.
And they lose a lot of bells.
That's why the price will never be really cheap because they lose
so many bells in making them.
Once they bend that bell and it cracks or something, they throw it away.
They can't reclaim it.
The way they make bells, incidentally, the bell will come out
straight off the mandrel.
It's not that long.
And they'll fill it with ice or water.
They fill it with water, and they put it in a refrigeration unit,
and that water freezes.
Then they bring it out, and what do you call it, the former?
What you form them with?
A mandrel.
Yeah, it's not a mandrel.
You put the bell in it, and then you run a thing like this,
and it bends the bell.
And as long as that ice or whatever material I put in there,
it'll bend right equally with that and won't mess up the tape at all.
It's amazing the way things can be done.
Then they just put it in and the ice melts or whatever.
Okay, so Kahn became the first manufacturer.
As I said, they made more horns than all other manufacturers put together.
Now, their first horn, of course, was the one-year cornet,
which we just did a cornet.
Claude?
What year was it?
Mm-hmm.
18.
Why did they settle in Elkhart, Indiana?
Well, at that time, most of the country was settled back in that end of the country.
And it was right out of Chicago.
It's right at the end of that lake there.
What is it?
And there was a lot of manufacturing in that area.
The Studebaker plant was there, the Studebaker automobile, and a lot of others.
And they had transportation in and out.
I believe that's why they did it.
Where they lived might have had something to do with it.
Like the old King plant was in Cleveland.
So they were all somewhere in that area.
And, of course, there are others right there because most of the manufacturers sprung from Kahn.
Like an engineer in Kahn would wake off and start his own, like Holton.
And they all worked for Kahn at first.
Now then, let me see, I want to get these in some kind of order.
As time went on, they came out with what they called the new one.
Now, at this time, they were getting a little more trumpet-looking.
The cornets were getting longer.
Here was a beautiful one we came up with, all gold.
When that's polished up, it looks beautiful.
Just sparkles in it.
And this was the original, if you could call something a tuning bell.
Shokey came out later with a tuning bell, which is actually a monstrosity.
The bell is loose on it.
You set it with a set screw.
And you pull it out and take the bell off.
You lose an awful lot of vibration where that set screw fits in there.
And it's a thick metal because of the double metal.
Can you imagine the conductor, you grab your tutable bell horn,
and you get up to play, and it's all wrong.
Wait a minute, Mr. Tchaikovsky.
Wait a minute, I've got to fix this bell.
Do you think he's going to wait for you?
Sure.
And then the bell is hanging loose on there.
It's a terrible thing.
But this was a great idea.
And Kahn had it way back then.
He initiated a tremendous amount of advances.
He was a very clever guy.
The bell comes like this.
This is a double gear.
There's nothing just to make it look better.
The bell comes like this and a rope.
Then he made this little sliding in here.
And you can work the slide with that wheel.
You see how it is?
That wheel works the slide.
And that's where you tune the horn.
You don't tune with this at all.
You tune with this little slide here.
And you can tune that thing absolutely to the letter.
Now then, in those days, most positions were not educated
in music transposition and all that,
so they didn't transpose that well.
And yet there were a lot of parts written for A cornet,
a half a step under the B flat.
So they would have to have another cornet there,
or pull the slides.
So he worked out this device.
Do you see this rod here?
Can you all see that?
And it goes in through here and out and comes over to here.
Now, this is your quick change to A.
You're playing in B flat and all of a sudden it says,
change to A.
Now it's in A.
And you notice that all of those slides pull to match
so that the horn is still in the tube.
Now see if you can see them.
I'll pull it back in.
See them now?
Now watch again.
Watch these slides.
Every one of them will pull.
This hits a trigger.
You know what?
And now every now is in tube.
A marvelous idea.
It's a very small board.
It's 487.
Small trombone.
It's like a small trombone.
487.
How does it blow time?
Low.
It's so easy to play and such a big fat sound.
Oops.
Thank you.
Okay.
.
Pull it.
Yeah, pull it.
.
Instant, yeah, instant A.
Now that, that horn's graduated into the con victor.
Victor.
This, when I learned to play it, I was a crying victor.
I played it for nine years when I was a kid.
As a kid and not knowing, I didn't know what I had
or I never would have let it get out of my head.
But it was a great instrument.
It has the same mechanism.
So pull.
Now this one is put together a little bit
so the slides pull a little more obvious.
See that?
Watch these now.
And push them back in.
These are gems.
They're getting harder and harder and harder to find.
487 more.
And here's the tuning wheel.
Same as the other one.
These valves were completely different.
They changed later on to a valve.
Well, this was the standard valve.
This would work pretty good.
But later on valves were not good valves.
It just gave everybody trouble.
The latest horns were the worst valves
when they came out with that constellation.
That was a terrible valve.
It came to heaven.
It came in silver.
Okay.
So the kind of series,
there was always some new innovation with the con.
It's amazing.
They named the horns always with the word con in them.
Constellation.
What was the other one?
Conqueror.
Conqueror, yeah.
Conconqueror.
Constellation.
He was a very clever advertiser too.
Okay.
Now then.
Let's see.
We had here.
That's the Besson.
Well, the Besson was ahead of that.
That was a French.
This is one of the greatest
ni hao Bessons that I ever saw in my life.
I don't know where I picked this up.
It was in a music store somewhere many years ago.
I've used it so long,
I noticed all the engraving is almost worn off.
I used this horn for about 40 years.
All the records.
Let's play a record with this horn on.
We'll do it on the moment.
This is on the tapes.
Is that the horn on the TV show?
The horn we saw on TV also?
Yeah.
I used this for about 40 years.
Boy, it is light.
Is it?
Yeah.
How about the time when Khan was furnishing all your horns?
Yeah.
Remind me,
the videotapes were making a bad ad.
Yeah.
Claude, have horns always
come with gold finish and silver and lacquer?
Yeah, you could get them before.
Back in the days of Khan, there was more silver.
But they'd come in lacquer finish, too.
But that's...
It's your part.
Tape time.
So...
This man is on the video.
Say hi.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Hello.
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh.
When we recorded that, we did two takes and I took the second take because I forgot I wasn't going to do it anymore.
But I noticed that it really had a nice, brilliant sound to it.
That's the same one on the Dick Clark thing?
Yeah.
Yeah, hello.
Huh?
Well yeah, that's the only note I have too.
It just has a core to it.
Yeah, I really love that horn.
So do I.
I never saw one ever like it.
And I've seen a lot of Bessons. I had more Bessons I think than anyone in town at one time.
None of them played like that.
And most of those secrets that were in that horn have been incorporated in the Selma.
So that's why that horn plays.
Did you catch that?
Yeah.
What's the other one?
As I said, the first one that Bart played was the patois.
And Bart, he was proud of that. He had a Selma cornet and that was something to know.
I guess it cost $85 at that time.
I think it is.
So what are we going to fit for?
And we talk about players.
And they were all playing these cornets at that time. That's all there was.
Here's an Englishman named Winford Kemp.
And you'll be absolutely amazed.
This was made back at the turn of the century.
And probably originally on those little cylinder discs.
Oh, I had one that I forgot to bring.
And I was going to show you so that those of you that had never seen those early recordings.
It was a cylinder.
And the needle, the cylinder would be like this and the needle would drop down on top of it.
And the cylinder would turn.
And that was the way they recorded it.
They'd break up later. I still have one.
It's actually really wax.
And it gets hard and brittle and it breaks away.
So they don't last.
Okay, Winford Kemp.
Now this man you want to listen to very carefully.
And we talk about high notes today.
Everybody thinks that the players today are the only ones who can play high notes.
I want you to listen to this man's sound.
Originally it came off of one of those wax so it's not the sound that he really got.
His sound would be much, much more bad.
Much bad.
But it's there.
And listen to his phenomenal technique.
And towards the end of the record I'll let you know you want to listen carefully.
Okay?
We're going to try it on another system.
Okay. What was that?
This one. It's really distorted.
Okay.
Let's try it again.
Let's try it again.
Okay.
Now the Italians were coming along into the cornet limelight.
And there were some great Italian players.
There still is.
There still is.
Italians need good players for some reason.
Liberati was the one.
Conrad Gozzo was a good example in modern days.
Italians really did well.
Liberati is the one that I had the book of.
I quote it from during the week.
Marvelous player.
Very, oh, he was quite egotistical.
Which was good because he was afraid of nothing.
He'd come out and play and don't care what it was.
And he would strike his mouth so hard you'd listen and you could hear him banging on the horn.
Let's see if Liberati sounded like that.
That was Edison himself announcing.
I thought it was quite interesting.
Okay.
Let's try it again.
Let's try it again.
Hark was probably playing a con wonder at this time.
And we have a record, one of his early records of Caprice by Leontius,
Okay, the recordings are not really what they would sound like because they were made.
The way they recorded in those days, have you ever seen this picture of a Victor Vitrola company where they had a big horn and a little dog sitting in front listening?
That was the Vitrola.
They recorded that same way.
They would have 25 of these horns in a half circle.
And then the soloists would stand back where best they could pick up the sound.
Now each one of those machines would have a wax disc.
They were about that thick.
And they'd only record on one side of it because it didn't work the other way.
That's where the term cutting wax came from.
Today the rock and rollers say, I'm going to go cut wax today.
They're going to record.
But that came from way back there.
Now they played into the horn, it came around and came down very small and caused a needle to vibrate.
And that needle had a cutting edge on it and they put that on the wax and that's what cuts the grooves and picked up the sound.
So you never got a true sound of the instrument.
You got what came through that horn.
So if someone criticizes the tone, you can't because that's not the sound they had.
Now they would put those machines on.
Now I used to say Herbert Clarke and the Sousa Band, it wasn't the Sousa Band because he refused to record it.
He said it was going to destroy the business.
I'll just stay way back there.
And this was just started.
He refused to record.
So it was about 12 to 15 guys of the Sousa Band as a company.
And they used the same arrangements.
The full band arrangement was about 12 or 15 guys.
So the company wasn't that good on any of us recording.
All right, now Kahn kept on.
And following the tradition, he copied the message.
And he came up with a great trumpet that was called his 2B, Kahn 2B.
And it became, he called it the Symphony Model.
It became very popular in the morning.
This is one of the better trumpet players to play this.
It's a Kahn 2B.
It's my favorite one in the whole set.
You can take that one out and play it today.
And it's just like...
It's got a great sound.
What year would that be?
It says here 1926.
And the thing still just, you know, yeah.
What bore is that?
What bore?
460.
Yeah, it looks like medium-large.
Now at that time, casserole was becoming very popular.
And Sunny Valley was playing high.
And high notes today were raged.
And so they figured that to play high, they had to go smaller.
So they took the 2B and scaled it down to 438
and came up with what they called the 22B.
I'll bet you that every trumpet player in the United States had a 22B.
Yeah, they're hard to find, but this is a 22B.
I still have one.
Do you?
Yeah.
What's the 3?
4?
438.
438.
Yeah, really small.
They were making those still in the 60s and 70s.
Yeah, I still have one at home.
Those ones that have the copper bells too, right?
Huh?
Those ones that have the copper bells.
No, those are the old Kahn, Kornet, Coprian, Kornet, things like that.
It's like right now.
It's very bright.
It's quite tight to play though.
Yeah.
Whenever a register gets harder, it's not easy to tell.
These two horns I just saw.
Yeah, they were fine.
That's fine.
Not again.
I'll put it away.
Yeah, turn it away, then I know I'm doing it.
I think we did that one last time.
Which one?
This one.
Yeah, we did that one.
Well, that's the two big ones.
All the ones that are this way.
Oh, already?
Yeah.
Okay.
I gave him one.
So you got the...
Do you want to go on?
Do you want to go on?
I gave you the Art Deco.
Yeah.
Now that later years, as the horns got more modern, Kahn came out with a beautiful instrument.
Look at those valves.
They look like the supports out on the great Italian buildings.
Beautiful horn.
He called it the Volca Bell.
There's no rib on the bell.
So you got to be very careful.
Guys that owned this, boy, these ribs were all deaded up.
But there's no ring in there.
I get a kick...
Guys will come in and they'll say,
Well, I want a dead bell that's better.
You know, you hit the bell, but it won't ring.
It's just the foot.
Notice this has got quite a ring.
Now, actually, that dead bell doesn't mean a thing.
You know what causes a dead bell?
A bad solder job in the ring where it curls around.
That's all.
But again, you know, they get these myths going.
These were the new valves that Kahn made.
They don't come out.
Yeah, they won't come out.
Yeah, he called it Kahn clickless steel valves.
See, it's a whole different idea.
They have a mechanism of the type that the valve works on that pin.
It's hard for you to see unless you're right on it.
And then that mechanism fits into the groove.
Great idea.
The only thing is the third valve was always binding up.
But it's a beautiful horn.
I played that for a year or so in the studio.
Show them the spit valve.
Show them the spit valve.
Oh, yeah.
Look how they're all enclosed.
I heard it.
A bad mosquito somewhere, you see?
There he is.
We grabbed the horn.
He's throwing mosquitoes at me, eating us up alive.
And notice the thumb hook.
The straight lead pipe.
Well, the lead pipe's inside too, right?
Yeah, it's quite heavy.
Yeah, because this is not the lead pipe.
The lead pipe's inside of this pipe.
What's the bore on that one?
That's about a 260.
And he called this the Kline of the Volca Bell.
And it's really weird to look down the horn and you don't see that ring there.
You kind of go, what is missing, you know?
I believe it's the 2B.
It blows a lot like it.
I like it.
Yeah.
This horn, you notice the con horns at that time are pretty solid.
Oh, yeah.
Of course.
Yeah, right.
Yeah.
Beautiful, isn't it?
That was just like where I knew.
Yeah.
Did Bob do that for you?
Bob did that.
Okay, now these are all...
We've done all those.
Well, about that time, the French companies were doing their own thing and very good.
Now, they came out with a little cornet.
Again, beautiful design.
Look at how cornet that thing is.
And of course, they all have the engraving on it.
And notice the bell.
It's rounded over the wire, but then it's wrapped clear a little further and got a flat thing on it,
sounded down, and it made the horn beautiful.
Look at the valves and everything.
This is where I got the idea on the CG Selbert to use the inside thread,
which works better and will last longer, both top and bottom.
But this, as usual with French instruments, it's very small, very small bore.
And grows tight.
What kind is it called?
Selbert.
Selbert.
French Selbert.
Selbert Paris.
It's quite heavy, too, because it's so ornate.
Can you hear all of this?
Can you hear okay?
It's real compact, kind of French sound you always hear about, you know?
Yeah, because they use their music with somebody.
Yeah, kind of that.
Kind of that type of quality.
You tire quick on it because it's tight.
It blows a little tight.
Now they came out with the trumpet.
The Selbert trumpet.
And this one was called the Louis Armstrong Ball.
Notice how far the valves are set back.
Now if you first started to play this horn, you'd have to be very careful,
because if you're used to the valves up close, you could knock a tooth out.
Don't talk about teeth.
Valves are beautiful.
It has the same basic design.
Notice the ornate, very French ornate craftsmanship.
I don't bump your tooth.
Yeah.
Notice where they have the third valve ring, too, below.
This is what?
1930.
This is what the whole Goodman band was using.
They had three of those.
James and the other two guys were using this one.
Again, very brilliant.
Yeah.
French sonnet.
Okay.
Yeah.
Now, in the brass playing book, you read about a little story about Krile, didn't you?
And how his teacher sewed him some of the horn in the lake in Chicago.
And forget it.
He'd never be a player.
Now, I've got this record from Clark.
He let me take it, and it's Krile.
This is Krile, Bonhamer Krile, on the Arben arrangement of Caramel of Venice.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
About that time, now, another instrument company was coming into form was the King
Company.
There was a repairman up in Cleveland.
His name was White, H.N. White.
And he was repairing instruments and did a marvelous job.
A trombonist came to him one time.
The trombone player's name was King.
And he wanted him to make him a trombone.
So he made him a trombone.
And this King became quite known trombone soloist.
And the horn played so well, everyone wanted it.
And they'd go over to White.
They'd say, make me one of those King trombones.
And that's how the name King came to be for the King Instrument Company.
That just grew until finally, I want that King.
So now then, let me show you some Kings.
There's a King Master.
You got the King Master there?
Right there.
Okay.
Now, here was an early 1893 made by H.N. White under the name King.
And he called it his Master Model.
This was a real hornet.
Still plays pretty good.
I got this one by accident, too.
Up in Oregon, some guy had it.
And I traded him a trombone for it.
Excellent.
Pretty smart.
Yeah.
That was a good old horn.
We always think of, you know, boy, if those old guys were alive today,
you'd think how much better they would play.
These old cornets are easier to play than trombones.
They're just up and down the horn easy.
So.
And it feels good in front of it.
Yeah.
Now then, there was a Besson Company in London.
I don't know whether it was the brother or what, but they called it the F.Besson London.
Now, notice this doesn't play as good as that one now.
Would this be the same as the English Besson?
Yeah.
English Besson.
Mm-hmm.
Yeah.
It doesn't want to open up at all.
And that was, that horn was always that way.
That old English Besson.
All right.
Now then, you know, King went through a lot of changes.
He called this the King 1893 improved perfecto.
And they were trying different designs.
Notice how this bell came around here.
And they were trying all kinds of things.
I don't know if I'll have that play.
We'll find out in a second.
That opened up.
Now open.
Let's see, is that all the Kings?
Oh no.
Now, King came out later now with what he called the master model.
Now this was Bell Stager's favorite horn.
And he played that all the time.
Notice it's a good looking hornet.
It fits real good in your hand.
It's pretty wide this way.
Feels good.
Right now.
What year was it?
1915.
What was Stager's?
What era was he?
What was he what?
Stager's.
Bell Stager's, what was he playing?
He was still playing when I was starting to play.
So 30s.
He had another studio, right?
You know, CBS was on Sunset in Dallas, in Los Angeles.
Back up on Gallagher in the studio there.
But Stager's, poor guy, he drank himself to death.
They used to have this contract that he drank himself to.
Now the Paramount Theater, which was one of the biggest theaters in the world at that time,
between shows one day he tried to climb up the curtain.
It was just sad.
But what a player.
Now on that horn, let's do the year.
This is for Bell Stager's.
That was the curtains for him.
He could have had the crowd.
I mean, he was probably the greatest at that time.
He didn't play the big band stuff, though, did he?
Just concert bands.
Yeah, but he did studio work, so same thing.
But he wasn't in any of the big traveling road bands, no.
Okay, let's play the Stager's record now.
Are we skipping one?
No, the Carle Venice.
Are we skipping one?
No.
We didn't?
Oh, yeah, we had, well, start that out and then we'll skip it.
Cruelly made a record using nothing but pedal notes.
This is not Bell Stager's.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
Now, then, this is...
That's the end of it.
Yeah.
All right.
Now, this will be Del Stager's with his Carle Venice.
Every great player made a recording of Carle Venice.
That was the stamp.
All right.
Now, then, he was playing on that horn we just showed you, the master bottle.
Then...
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
The Carle Venice.
All right.
All right.
All right.
All right.
All right.
All right.
Now, about that time, engineers were branching off from Carle Venice.
Branching off from Colin and forming their own companies.
The most notable was Hogan.
Frank Hogan.
And somehow or other, he was involved with this quartier.
I think this was made by Hogan.
And then...
Hogan proportions.
Yeah.
Off of that...
Now, I don't know.
I haven't figured this out yet.
I've got to read and study that article.
Out of that, same experimental horn gave the whole new proportion.
And I haven't taken it apart.
I hate to take that apart.
It's such a beautiful solo job.
But I'd like to measure to see how he is graduating this.
Because somehow or other, it's tied with that quartier.
Does it go similar to the quartier?
Yeah.
It plays pretty free, but not as free.
It doesn't play as free.
And out of that, came what they call the open flared horn.
Now, this one, I made it into a lamp at first.
And then I took it down and rebuilt it.
And it's a beautiful horn.
Look at that gold in there.
Isn't that pretty?
And now, I don't believe that Plath designed this horn at all.
I think it was designed in Houghton.
Somehow it came off, was involved with that quartier and new proportion.
But Plath played it, and so did Krill.
Krill on that record was playing this horn.
And he liked it, and I think they put his name on it.
You can still play this today.
Yeah, that had a great reputation now.
Okay, now then, Stakers did one called Napoli.
I'm not going to take time for that.
Skip over Napoli.
Now, whose name went on that one, Krill or Clarke?
Clarke.
This is 1921, that open clarke.
Oh yeah, great.
Now, there was a phenomenal English trumpet player.
The first time I had this record, I got it back in New York,
and it was just a fluke that I got it.
I don't think anywhere you can get it anymore.
And I told the guys that we were in our first brass camp.
And I told the guy, let's go hear it.
I said, no, no, we're not going to hear it until we're good.
All day long, I said, come on, let's hear those dishes.
He said, nope, we're going to do it tomorrow morning at the camp.
So the next day we played it.
It was the first time I ever saw Carl fall clear off a chair.
He went clear off of the chair.
This guy was an English, I met a guy that knew him in New York
at the brass conference.
And he said, well, George.
He was an Englishman too.
And he said, George was, he imbibed a little.
So he was a character too.
But this is George Swift, who played, it seemed, anything at will.
Nothing seemed to bother him.
OK?
And we had one more Swift.
It's hard to tell because the records have been changed and dubbed
and copied so much that we don't know the exact speeds.
In the context of what he was playing at.
Whatever.
I think it was a B.
In the context of what he was playing at, it was a B.
Whatever.
I think it was a B.
In the context of what he was playing at, it was a B.
In the context of what he was playing at, it was a B.
In the context of what he was playing at, it was a B.
In the context of what he was playing at, it was a B.
In the context of what he was playing at, it was a B.
In the context of what he was playing at, it was a B.
In the context of what he was playing at, it was a B.
In the context of what he was playing at, it was a B.
In the context of what he was playing at, it was a B.
In the context of what he was playing at, it was a B.
In the context of what he was playing at, it was a B.
In the context of what he was playing at, it was a B.
In the context of what he was playing at, it was a B.
In the context of what he was playing at, it was a B.
In the context of what he was playing at, it was a B.
In the context of what he was playing at, it was a B.
In the context of what he was playing at, it was a B.
Okay, now then.
Others were branching off of Kahn,
and came up with another engineer called Bisher.
and came up with another engineer called Bisher.
and came up with another engineer called Bisher.
With the Bisher coordinate, and he was trying different
with the Bisher coordinate, and he was trying different
with the Bisher coordinate, and he was trying different
with the Bisher coordinate, and he was trying different
with the Bisher coordinate, and he was trying different
with the Bisher coordinate, and he was trying different
with the Bisher coordinate, and he was trying different
with the Bisher coordinate, and he was trying different
with the Bisher coordinate, and he was trying different
14654.
They advertise these as Bisher two-tone instruments.
They advertise these as Bisher two-tone instruments.
And Smith and Holmes wrote a lot of things that were built
And Smith and Holmes wrote a lot of things that were built
My brother and I used to play as duets when we were kids.
It was called Bisher two-tone echoes.
That's probably still available.
Now, one of my pride and joy is, in Boston,
a company spread out called the Boston Cornet Company.
a company spread out called the Boston Cornet Company.
And they made some beautiful little air stuff.
And this was called the Boston 3 Star.
Now, they also had a Boston 4 Star.
Here we go again.
Stay tuned.
Move to Boston.
Move to Boston. Not that desperate.
You can tell them story how I got this.
What's his name? Bill Hicks.
Well, all over the United States, my phone,
they threw a party for me down in Los Angeles.
They threw a party for me down in Los Angeles.
All the trumpet players came from everywhere.
It was a marvelous thrill.
I had not the slightest idea that this was going on.
I had not the slightest idea that this was going on.
And Gary and Jenny came over and told me
And Gary and Jenny came over and told me
that Steve was already over and they were going to take me to breakfast.
It was our anniversary.
So we went over and I didn't even dress up.
And I wasn't shaved or anything.
We walked in.
Here the first thing I saw was an entire room
Here the first thing I saw was an entire room
crowded with players and everything.
We got a video tape on that too.
This was like the birthday present at this party.
It was really mean.
It took quite a bit of doing to find this.
Then we had completely reworked and put that together.
That was the Boston Three Star.
They didn't stay in business that long like other companies.
They didn't stay in business that long like other companies.
But a lot of the great players.
I found out about the Boston Three Star through Clark.
So I'm always hunted for one.
Now there was a one-armed trumpet player.
Guys will come up with excuses about why they can't play.
Guys will come up with excuses about why they can't play.
There was a blind black player who was studying from Clark.
There was a blind black player who was studying from Clark.
There was a blind black player who was studying from Clark.
I never heard him play but Clark said he could play everything there was and more.
He was totally blind and his right arm was gone.
He was totally blind and his right arm was gone.
What's wrong with us?
He was such a great player.
He memorized the armbug cover to cover.
He memorized St. Jacob's cover to cover.
He said let's play that.
Then there was another one, Burke.
What was his name, George?
James Burke.
His arm was off here and he had his cornet made so the valves were on the other side.
His arm was off here and he had his cornet made so the valves were on the other side.
I'm going to take time to play a solo he did.
I'm going to take time to play a solo he did.
O'Donnell did this solo up in Oregon one day when we were doing a clinic up there.
It's called Danza Allegra.
Jimmy.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Jimmy played so musical, you know, it's just beautiful to hear him play.
Okay, now, there was another that came off the whole kind of company was the Martin Company of Words.
And I got a hold of a beautiful model in 19...
One Dallas, one...
One Dallas?
Yeah.
We'll just play it.
And it was just a great horn. I played it for quite a while.
It had the very open large bell on it. It's called the committee model horn.
You still can get them, I think.
Martin?
Martin.
Martin.
Right.
And they never, after the war, during the war, Martin was commissioned to make airplane instruments.
And the horn went in the closet. After the war, they came back and rebuilt it.
But it never was as good a horn as that 1930 vintage.
But I did pick up one about 19... it's about a 1945, I think.
1945.
And it played pretty good. So I grabbed it and kept it.
Yeah.
It's got a great sound.
Yeah. Dave likes that one.
Yes.
It does. It's got a good bright tone.
Okay. Now then, the trombonists were having their day, too, when it came up with some great trombone solos in that era.
For some reason or another, Susan got all the great players.
He had a section of cornetts and trombones that were all great solos.
And that's why that band was so tremendously successful.
Arthur Pryor set the stage for every player that has come along since.
And there are people who claim that he had balance on the trombone, but you couldn't play a slang that way.
Skip over Blue Bells of Scotland.
Oh.
And we'll do the Book of Fantasy. That shows some of his fast work.
What's he doing there?
Blue Bells of Scotland.
This is the end of the Blue Bells of Scotland.
Back that up. Let's play a little bit.
I understand he learned to play outside of a barn.
Not back of a barn, but kind of in the...
Back of a barn.
Yeah.
Arigatou gozaimasu.
Does he feel she's eyes light up with that cable?
Okay. Now this is Book of Fantasy.
Not a great musical to it, but it shows a lot of movement on the trombone.
And that's the end of the Blue Bells of Scotland.
That's the end of the Blue Bells of Scotland.
That's the end of the Blue Bells of Scotland.
That's the end of the Blue Bells of Scotland.
That's the end of the Blue Bells of Scotland.
That's the end of the Blue Bells of Scotland.
That's the end of the Blue Bells of Scotland.
That's the end of the Blue Bells of Scotland.
That's the end of the Blue Bells of Scotland.
That's the end of the Blue Bells of Scotland.
That's the end of the Blue Bells of Scotland.
That's the end of the Blue Bells of Scotland.
That's the end of the Blue Bells of Scotland.
That's the end of the Blue Bells of Scotland.
That's the end of the Blue Bells of Scotland.
That's the end of the Blue Bells of Scotland.
That's the end of the Blue Bells of Scotland.
That's the end of the Blue Bells of Scotland.
The Blue Bells of Scotland.
The Blue Bells of Scotland.
The Blue Bells of Scotland.
The Blue Bells of Scotland.
The Blue Bells of Scotland.
The Blue Bells of Scotland.
The Blue Bells of Scotland.
The Blue Bells of Scotland.
The Blue Bells of Scotland.
The Blue Bells of Scotland.
The Blue Bells of Scotland.
The Blue Bells of Scotland.
The Blue Bells of Scotland.
The Blue Bells of Scotland.
The Blue Bells of Scotland.
The Blue Bells of Scotland.
The Blue Bells of Scotland.
T Years later
T Years later
T Years later
T Years later
T Years later
T Years later
T Years later
Let's skip over Candy.
The next one was one of my solos.
albums. And let's do Brassman's Holiday. This was a tune that Billy May made arrangements for me.
He called me and he said, you going to record next week? I said, yeah. He said,
let's do Brassman's Holiday. It had been done with strings and a big orchestra,
but no one had done it as a trumpet solo. So we went over to Warner Brothers and recorded it.
Shortly after that, it never did become a hit, but they used it as a major
star in one of their pictures, which I was happy about. But sometime after that,
Billy called me one day and he says, Al Hurt just called. He wanted to know if he could
get Brassman's Holiday. But he said, I told him there's nothing more I could do with it
for trumpet, because I've already done it for you, and that he'd have to ask you if you could use it.
So I said, sure. It hadn't become a hit anyway. So I said, fine, it's my blessing. So he put a
new introduction and a new ending on it, and Al Hurt put it out. And you know, I was very saddened
about one thing. I never ever heard from Al. He never wrote me, never thanked me or anything.
And I just gave him the thing so he could take it. So he's gotten the record out on it also.
I'm glad I got those records, because it'll never happen again.
You wouldn't have believed it.
Okay, now that's so many come up, and if you don't mind, there's been a lot of you come up
and wanted to see the video again. And Larry Miller hasn't seen it, and he's been hitting me
over the head. So we'll take a minute and run that video. Would you like to see it again?
Yes.
Yes.
You might want to shift over here.
Fine, thank you.
Yeah, get over here.
Yeah, that'd be cool.
A teenager in the crowd with a moustache. His name is Mr. Herman Kennan, who is the president
of the American Federation of Musicians. In a half a second, we found a couple folks here
who played the piano, and I'm sure there are many, many others here in the studio.
Um, what is there about this, this thing that we had on the uh, on the board there,
the new dance band of 1959? How did that come to be?
Well, take thousands and thousands of youngsters throughout the United States and Canada,
how to become skilled musicians, and to give them an opportunity to display their skills,
the American Federation of Musicians initiated a new program this year to find the best new dance
band in 1959. How on earth do you ever know about finding all of these people? There are so many
of them. That's quite correct. However, we have 700 locals in the United States and Canada, and
through these offices, we set up the machinery to find the best new band. 170 bands participated
in this contest. Some 3,000 musicians and the survivors of this contest are here tonight. That's
the Claude Gordon band in California, the great band in California. Mr. Kennan, hold on. We'll
introduce these songs. They all had to play the same song at one part of the contest, and it's
a thing called, I Could Have Danced All Nights.
["I Could Have Danced All Nights"]
["I Could Have Danced All Nights"]
["I Could Have Danced All Nights"]
["I Could Have Danced All Nights"]
["I Could Have Danced All Nights"]
["I Could Have Danced All Nights"]
["I Could Have Danced All Nights"]
["I Could Have Danced All Nights"]
["I Could Have Danced All Nights"]
["I Could Have Danced All Nights"]
How are you? Good to see you've been talking here.
Steve, that's a swinging group.
Lauren Gordon, the Gordon thing.
You know, most of these fellows look kind of on the young side.
Oh yeah, the average age of the band is 24.
We have some of them as low as 19.
Where do you play most of your engagement?
Mostly on the college and high school dates in the last year.
Incidentally, Dave, we have an album out designed for the younger folks
called Jazz for Teenagers.
Oh, really, Dave? Teenagers? Great.
What is the reaction to young people on the band like this?
Well, we find it's excellent.
In fact, we're very happy about it.
There seems to be a tremendous amount of enthusiasm
for big bands among the younger folks.
And this we're extremely happy about.
We're extremely happy to have you here as the winner of the
All That Makes You the Best New Dance Band of 1959.
Congratulations.
You all had to play I Put Out a Dance all night.
Did you have any other things you could do?
Yes, in fact, we had one tune that we think had a lot of influence
in the contest, strictly designed for television.
With your permission and approval, I'd like to do it.
It was a thing called Fantasia? Fantasia.
Alright, Fantasia!
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
I Put Out a Dance
Applause
That's wonderful
The Toa Oil Company always sends up
oil for everybody.
So we're going to pass out some oil.
And I hope you can
use it and enjoy it.
Is there any
now
we're winding up the camp
But
now is there any
questions on anything? The horns,
the soloists, tapes,
anything. Is there any questions
at all that we might get into?
Anything we haven't?
This is what?
The Clarke
and the Arthur Pryor records
have been reissued
through
crystal records.
So you can get those.
Any other questions
about anything? At all?
About the camp?
Something we may have missed, something bugging you?
Ask now.
Anything bugging you, forget it.
Anything you like, mention it.
We have run this back.
Carl?
Do we have phone numbers
or anything like that?
That camp makes that.
A lot of calls from people wanting to know
who teaches
this way.
Up in
Northern California
around the San Francisco area
we have
Bruce Haig.
He's
with Curt Isaac Music.
And you can
get these numbers, phone
numbers from them while you're here.
I meant to have a list
on that and I forgot.
Dave Bendekite's up there
he's teaching and if you want to
learn jazz
you couldn't do it the better way.
Want to give out a number?
The best thing is to see him
and write it down.
And then you have
Tom Brazine
and Kent Macasa.
Both of them are just loaded with students
up there and they're all in that
area and you can call if you're up there.
In Denver
there's
Denver
he should have been here this year too.
I'll think of his name as we go on.
And then
in Las Vegas of course we've got
Carl Leach in Vegas
and we've got Dave Evans over here
in the Fullerton area
in Long Beach area.
L.A.
Ira Kitt Bear Lake
very limited teaching
right now but doing some.
So who have I not mentioned?
Who's in Toronto?
Rich Hoffman in North Hollywood
and he's
doing a lot of teaching now.
And who?
Oh my gosh.
Brad Kinscher
on French Horn.
And Casey also
and there's lots
of teachers around
if you're really looking for a teacher that you want
to stay with.
In the university system
it's not a whole lot of us
that put in the time to make sure this works
right. But I'm in three different
colleges in L.A., a little advertisement.
Fullerton, Long Beach
and Azusa Pacific University.
You know Long Beach
doesn't give you
any build up though. You know they call
Long Beach and oh I don't know about David.
Fullerton and Azusa Pacific.
Fullerton is my main teaching college.
So a little recruitment
for the university.
So we'll do that.
Any other questions?
I usually have a few things that are
time when I can announce about clean up.
Hey Tom.
Mr. Brosey.
Yeah keep that keyboard with me always.
Just make sure that your room is real clean.
Just kind of go around and police around
your room. Make sure nothing is on the floor.
Hand me your keys.
What about the linen?
Take the pillowcases and put the linen in.
Yeah.
I said that.
Just leave it on the bed.
Put it in your pillowcase. Just leave it on the bed there.
Once you give me your key you're checked out.
Where is the bus going to be?
Right out of where I dropped you off.
It should be at one o'clock.
Don't miss the bus.
There's actually only one.
I'm really concerned about Yon's
stand.
Where?
Whose is that?
I don't know.
Everyone please look at your stand
and try to get
Yon has his name on it.
So please look at it.
Make sure that you don't have it by mistake.
Is the stand sitting up here?
Is that yours?
Is the store going to be open?
The store is open.
I'm going to be discounting a few things afterwards.
I don't want to take too long.
Thank you.
I have a question that might
lead to a suggestion if I may be
so bold.
Have you ever considered
a questionnaire that you might
pass out?
We've done that in the past.
Where you might get some input.
We've done that before.
Good idea though.
We didn't do it this year.
Good idea.
But if you have suggestions
let us know.
See Larry or Carl or Tom
or Ken or myself and just
light it down and we'll do it.
We were doing that at breakfast this morning.
We'll do it next year.
Raise your hand, Claude.
How many are you going to bring
somebody with you?
I tried this year but she hit me.
Does that take care of it?
Great minds are working over here.
We just
hope you understand
the whole reason that
we organized this camp was to help people.
It's not like it's the biggest financial
non-profit organization.
I think below non-profit.
Very non-profit organization.
We've all gone through similar things
like Claude had problems with his
playing and got into
things where he went to Herbert Clark
and got things straightened out.
When you're at the bottom of the garbage can
and you're trying to look up and you finally
make it up there and somebody helps you
you've got to return the flow.
That's what this camp is formed out
we're interested in helping you
and making sure you do better too
so that it's a lot more fun when you go out
and want to communicate.
The camp is presented
in that interest and always has been
and always will.
I hope you enjoy it
and I hope you come back.
I get just as much out of it every year
that I come here.
Some of the things that Claude's
been telling me, even surprisingly
up until
this year, and this is after
four hundred years they're taking from him.
I had another cognition
or realization this year
on certain things just at this camp.
It helps me too.
It's a little bit of a selfish thing too.
I like helping but I get helps too.
Stop and think of all
the different types of playing
you've heard this week.
Remember they're all
Claude's students.
It's not like
this is something that's going
to just lead you in a particular direction.
It's going to make you a player.
Like Carl says, it's going to free you up
to do anything you want.
That's what this whole thing is about.
It should be nice to get out on a
recruiting campaign and get some
educators in here.
We're going to be working really hard on that.
None of this help is
three thousand million percent better.
Let's give a round of applause.
Thank you.
Just like Carl said, we want to thank you
for coming up.
Go back, practice.
Think about the things we've told you.
It works.
Claude gives
so much to all of us.
The man's a great man.
I think of all the hours he has spent
with all of us guys.
If you've ever been forced up to study with Claude
and I'm talking about every student of Claude
feels like he's the only student.
The fact that Mr. Gordon's here
and helping everybody this year
and all the improvement, it's neat.
I'm glad to be here.
Everyone you've done
is great.
He's looking good.
He's looking great.
Let's hear it for Mr. Claude.
Thank you.
Before you leave, I want to say that
I can't tell you how much this campus has done for me.
I want you to know I love you all
and I hope I see all of you again
and stay with it.
Whatever you do.
Thank you.