A Quote by Flea
I played trumpet in the school bands. I learned things I liked to play on my trumpet, but I didn't learn why this note goes with this note and why it produces that sound. Or how to create tension in the composition.
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I hate the natural sound of the trumpet, but I think I'm naturally set up to be a trumpet player. I know that sounds weird. But pretty much anytime I play a note, I'm uncomfortable in a general sense.
I played trumpet in school once because I joined band because a cute boy played trumpet too. And I was really bad at trumpet.
Other friends have said, "I don't understand why you've used this trumpet-style sound rather than a real one when you know you can write for trumpet." But it's most important to get the energy right.
You want to know how I started playing trumpet? My father bought me one, and I studied the trumpet. And everybody I heard that I liked, I picked up things from.
I got to be about 13 and everyone started playing guitars and being in rock bands. There was no place for me with my trumpet and I wasn't cool anymore. Although now if I played the trumpet it would be the coolest thing in the world.
I've heard stories of pickup bands that can't follow, but here's the thing: If you want to play with Chuck Berry, you listen to his greatest hits and learn the format of the songs, but don't try to play it note-for-note.
After I learned the piano, I went on to learn percussion, the tuba, b-flat baritone, French horn, trombone, trumpet, most of the instruments in the orchestra. Trumpet was my instrument.
Sometimes it's an external approach where one can learn the skills required, let's say, learn to play the trumpet and in that process other things happen. It's magical: through the process of practicing four hours a day you start focusing on emotion and when you pick up the trumpet it's filled with feeling.
When I was 8 years old, there was a showcase of all the instruments you can learn at my school. This guy was playing the trumpet. I heard it and was like 'Oof I got to learn to play.' The sound - everything was amazing. I was blown away.
Many critics always saw and heard that my style comes from Roy Eldridge, which is true. But for many things, not only how to play the trumpet but the way to choose the notes, how to play them and how to phrase all of them, I took that from Sweets [Edison]. He really brought something new to the trumpet.
And my dad wanted me to play the trumpet because that's what he liked. His idol was Louis Armstrong. My dad thought my teeth came together in a way that was perfect for playing the trumpet.
I didn't understand key signatures or anything, you know. I'd say silly things at the top of a trumpet part like, 'Note, when you play B naturals, make the B naturals a half step lower because they sound funny if they're B naturals.' And some guy said: 'Idiot, just put a flat on the third line and it's a key signature, you know?'
I've always been a music fan. I played trumpet. When I was in 4th grade, we were getting demos from the music teacher about different instruments we could play, and I said I wanted to play the trumpet right away. It was easy: it just had three valves.
I played trumpet in middle school, and then I had to get braces, so I had to stop playing trumpet and start playing drums.
Miles Davis came in a couple of days and said, "Oh, man, I love that. Keep going." So he said, "Let me know when you need trumpet." And he came in, and he was sitting there, and I was very intimidated, because now he's going to play the trumpet on something that I wrote." He starts to play, and I go, "That's not right, but I don't know how to tell him it's not right." Finally he goes, "When are you going to tell me what to do?" He said, "This is your music. I know you know how it's supposed to sound. Stop fooling around. We don't have time."
There's nothing worse than bad scatting, except maybe bad mouth trumpet. Mouth trumpet may sound like a trumpet, but it's really more like playing a kazoo. The instant you do your solo, the audience has a bit of a chuckle.
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