[Dixielandjazz] Mutes

[Custode at aol.com]

I haven't "chimed-in" for a while now; this topic has inspired me  to do so.  
 
Years ago, you couldn't get me to use a mute.  I really  disliked plugging up 
the end of my horn for a number of reasons, but  the main two were 1) my 
personal favorite trumpet icon was/is Al Hirt, (who  rarely used a mute) and 2) I 
really didn't like the way the horn responded when  I used a mute.  
 
It wasn't until I heard a recording of my group that I fully  appreciated the 
use of mutes, however sparingly I employed them.  In the  Buffalo, NY area 
(where I work extensively) the market will not support the  traditional seven 
man setup, and consequently most groups  perform as quartets.  My group uses 
banjo/guitar, bass/tuba, trombone  and trumpet.  I must admit, that after hearing 
the same combination of  instruments for an extended period of time, I was 
relieved to hear the  different sound on those tunes that I decided to use a 
mute.  I understand  the opinion that mutes should be used sparingly, but I would 
suggest  that trumpet players should rethink this approach based on 
individual  circumstances.  My experience has shown that the audience is  intrigued at 
the use of different mutes, and this elevates their level  of participation 
and support of music.  
 
Finally, someone responded that the use of more than a cup mute and  straight 
mute somehow diminishes the player's ability.  I regularly  use a cup mute, 
Harmon mute, Hat, and plunger.  It is not surprising that I  would 
categorically disagree with this assessment.  In fact, I  would argue that the effective 
use of mutes is an art.  Adding the  different colors that mutes provide 
illustrates an appreciation of sound,  and could arguably add to an instrumentalists 
musicality.   

Lewis D.  Custode, Jr., CLU, ChFC
_LDC  Advisory Services_ (http://www.myfinancialpro.net/custode)