[Dixielandjazz] FW: Vibrato

[Larry Walton Entertainment - St. Louis]

now
may be unable to play without it.
____________________________________
Playing with constant vibrato seems to be a problem with flute players and 
people who use diaphragm vibrato.  When I use it it's in a very specific and 
controlled way.  i.e.: slow ballads or on the end of tunes.  The diaphragm 
doesn't seem to be as controllable as the other methods of vibrato.

Probably the least controllable is the throat vibrato.  It's either zero or 
100% because it's a rather violent, throat constricting method.  Some 
singers use it more or less effectively depending on taste but because there 
is no back pressure they can get away with it.

On flute there just isn't any other way to produce vibrato except by 
diaphragm.  Some double reed players also use it.  Sax players that use it 
just can't do other types of vibrato such as the Miller vibrato.  I sat next 
to a very fine sax player one time that used only diaphragm vibrato.  He 
went nuts because it was a Mickey band with lots of wide section vibrato.

These people even use it when they tune up which is a real big NO NO.  When 
they do that you get the feeling that they just can't turn it off.
Larry
StL
----- Original Message ----- 
From: "Brian Harvey" <brer.rabbit at tiscali.co.uk>
To: "Larry Walton" <larrys.bands at charter.net>
Cc: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>
Sent: Thursday, September 20, 2007 9:36 AM
Subject: [Dixielandjazz] FW: Vibrato


>
>
> -----Original Message-----
> From: brian at radiojazz.co.uk [mailto:brian at radiojazz.co.uk]
> Sent: 20 September 2007 15:36
> To: DJML
> Subject: Vibrato
>
>
> When interviewing and researching for my biography of Avery Kid Howard I
> paid close attention to the fact that - in common with a number of other
> early New Orleans trumpet men - he had a wide vibrato. Brass instrument
> experts assured me that the reason for this was "poor technique".
> Researching further I found that many fine New Orleans horn men like Peter
> Bocage and Papa Mutt Carey, with expert techniques, also used a wide
> vibrato. People in New Orleans claim that this is (was always) a "dialect"
> of the city and certainly not due to poor technique. And I believe many of
> the players - like Howard - who exhibited wide vibrato could also equally
> well play without it. But it is probably also honest to say that many
> "revivalist" horn men have copied the vibrato of the pioneers and are now
> may be unable to play without it.
> Brian Harvey
> PS - the Kid Howard biography - "The Hottest Trumpet" will be published as 
> a
> strictly limited edition by Jazzology Press towards the end of the year.
>
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