Lin Biviano (lead trumpet): You have to have achieved a considerable level of accomplishment to incite this kind of discussion, whether you like his playing or not. (For the record, I know him as a teaching colleague at The World's Most Famous Music School, in Boston, I've played a show with him ((Joanne Castle)), and I like both his playing, and he, himself.) A great, roaring, big band version of a great Cole Porter tune. Addendum: Note Buddy Rich's flawless percussive punctuations of this great arrangement... It is my understanding that Rich could not read music, and when an arrangement was brought to him and the band, he would sit out, and listen to it being read down, and in his own mind, make the choices about what he would play on it. (I'm sure that, performance by performance, it was refined.) I find this nothing short of miraculous. **Jorge Callico Tuxguys, Good post! Glad you got to meet Lin. I'd met him when he was in his late 20's and on the Ferguson band playing lead, Your assessment of him is accurate, Once long ago had a lot of critics because Lin is a real showman. He's got that in common with Maynard, Your remarks about Buddy are interesting as well. There was a time when I couldn't sight read well. Nor at fast tempo. I could play (trumpet ) both fast and high (not quite so high as Biviano lol) and in some ways this was an advantage. Because it forced me to memorize charts and to always play from the heart. Much of our modern rock & roll and old timer jazz was composed by persons who could not read music. And while good sight reading is a necessity nowadays if you want a lot of work we ought note that sight reading is the main skill required to PLAY THE MUSIC COMPOSED BY SOMEONE ELSE! And one of the negative characteristics of cats who read well is that they often lack SOUL in their tones. Heart & soul are two factors that can not be written into manuscript. Before I take off into a Blue or similar ad lib solo I like to image that my trumpet is similar to Jimi Hendrix's guitar. Jorge Callico Interesting observation... Guitar players (including moi) are notoriously bad sight readers, because on our instrument it's pretty easy to sound pretty good, pretty quickly, without really knowing what you're doing. But brass? I thought reading was an absolute necessity, due to the nature of the way the tone is produced. **Jorge Callico I just question what these almost excessively demanding technical tasks do to the creative mind. In my world? EVERYONE knows how to sight read pretty well. You can not enter the brass, sax or rhythm section unless you're a bitchin good reader. And yet where are the pop/rock records being produced? Studios and former garage bands where almost no one sight reads. As for myself I was barely an acceptable reader on my way up the ladder. But I realized even back then that my high range accuracy and endurance would allow me more possibilities to get steady gigs and employment. So I was almost surrounded by an intimidating group of kids who read much much better than myself and yet who could not play the lead trumpet book even if their lives depended upon it. I FEEL these past technical demands pulling on my memory like a divorced, formerly hen pecked husband still hears his first wife nagging in his nightmares. AND even today I'm still surrounded by kids who probably read a hair better than me but can not play G above High C. So to that extent I'm the better reader. ie if you can not play G above high C? Then you can't sight read one. Life isn't fair... I believe that the push to convert brass players into strong readers may rob them of understanding their natural, creative flow. It may even screw up their upper register development as well. Register FIRST! Then sight read functionality. Being all concerned with the mechanical they forget the heart and guts. This in turn shuts off their air supply and they remain stuck in a cast which allows no serious high note production. I'm not sure what the cure is except perhaps to intimidate them BACK and just emphatically demand that they BLOW that horn. Really make some noise. Air support ought to be the primary goal. Closely followed by mouthpiece selection but that is too involved for this post to discuss. Jorge Callico I'll defer to your expertise.
Okay for Steve Marcus on tenor, but Andy Fusco did not play the solo, he sat on the left of the soloing alto sax player (whose name I do not know, clue anyone ?)
@pickardsl yeah it is!!! holy crap i have a jazz camp with him every summer i love taking lessons with him... you should hear him play this song with the yellowstone big band when he is on lead (which is always).. he beats the crap outta this lead trumpet anyday
@liljohnreplogle i never care for Lins style of playing. his high notes look like each one is strained to produce. Miyashiro and Dave Stahl, now those 2 could blow a horn.
best is a matter of opinion and taste. I thought Lin sounded amazing on Basie's band in '77-Lin had great time/feel. Lin's playing is not for everyone-that being said, Buddy LOVED Lin's over-the-top showmanship-he used to tell Miyrashiro to be more like Biviano...that story came from Eric.
![POLYCAT - ข้อความรูปยิ้ม [Music Video]](http://i.ytimg.com/vi/lBhIgPGCgbI/mqdefault.jpg)
SAW BUDDY AND HIS "KILLER FORCE IN THE 70'S JUST GREAT
That was the late, great Steve Marcus on sax. He was with Buddy for many years
Lin Biviano (lead trumpet):
You have to have achieved a considerable level of accomplishment to incite this kind of discussion, whether you like his playing or not.
(For the record, I know him as a teaching colleague at The World's Most Famous Music School, in Boston, I've played a show with him ((Joanne Castle)), and I like both his playing, and he, himself.)
A great, roaring, big band version of a great Cole Porter tune.
Addendum:
Note Buddy Rich's flawless percussive punctuations of this great arrangement...
It is my understanding that Rich could not read music, and when an arrangement was brought to him and the band, he would sit out, and listen to it being read down, and in his own mind, make the choices about what he would play on it.
(I'm sure that, performance by performance, it was refined.)
I find this nothing short of miraculous.
**Jorge Callico
Tuxguys, Good post! Glad you got to meet Lin. I'd met him when he was in his late 20's and on the Ferguson band playing lead, Your assessment of him is accurate, Once long ago had a lot of critics because Lin is a real showman. He's got that in common with Maynard, Your remarks about Buddy are interesting as well. There was a time when I couldn't sight read well. Nor at fast tempo. I could play (trumpet ) both fast and high (not quite so high as Biviano lol) and in some ways this was an advantage. Because it forced me to memorize charts and to always play from the heart. Much of our modern rock & roll and old timer jazz was composed by persons who could not read music. And while good sight reading is a necessity nowadays if you want a lot of work we ought note that sight reading is the main skill required to PLAY THE MUSIC COMPOSED BY SOMEONE ELSE! And one of the negative characteristics of cats who read well is that they often lack SOUL in their tones. Heart & soul are two factors that can not be written into manuscript. Before I take off into a Blue or similar ad lib solo I like to image that my trumpet is similar to Jimi Hendrix's guitar.
Jorge Callico
Interesting observation...
Guitar players (including moi) are notoriously bad sight readers, because on our instrument it's pretty easy to sound pretty good, pretty quickly, without really knowing what you're doing.
But brass?
I thought reading was an absolute necessity, due to the nature of the way the tone is produced.
**Jorge Callico
I just question what these almost excessively demanding technical tasks do to the creative mind. In my world? EVERYONE knows how to sight read pretty well. You can not enter the brass, sax or rhythm section unless you're a bitchin good reader. And yet where are the pop/rock records being produced? Studios and former garage bands where almost no one sight reads. As for myself I was barely an acceptable reader on my way up the ladder. But I realized even back then that my high range accuracy and endurance would allow me more possibilities to get steady gigs and employment. So I was almost surrounded by an intimidating group of kids who read much much better than myself and yet who could not play the lead trumpet book even if their lives depended upon it. I FEEL these past technical demands pulling on my memory like a divorced, formerly hen pecked husband still hears his first wife nagging in his nightmares. AND even today I'm still surrounded by kids who probably read a hair better than me but can not play G above High C. So to that extent I'm the better reader. ie if you can not play G above high C? Then you can't sight read one. Life isn't fair... I believe that the push to convert brass players into strong readers may rob them of understanding their natural, creative flow. It may even screw up their upper register development as well. Register FIRST! Then sight read functionality. Being all concerned with the mechanical they forget the heart and guts. This in turn shuts off their air supply and they remain stuck in a cast which allows no serious high note production. I'm not sure what the cure is except perhaps to intimidate them BACK and just emphatically demand that they BLOW that horn. Really make some noise. Air support ought to be the primary goal. Closely followed by mouthpiece selection but that is too involved for this post to discuss.
Jorge Callico
I'll defer to your expertise.
Lyn Biviano is a great lead player. He played lead for Buddy AND Basie..rare privilege!!
Unreal single stroke roll 3.25 TO 3.30
Every time I think Buddy could not possibly play the singles any faster, I then see a video like this. He's not human. (at 3:25)
Hey fellas...say what you want...but Lin had the gig with Buddy!! Did you?...
respect!!!!
respeitoooo!!! mestre!
Lin Biviano was a student of the world-class brass instructor Dr. Donald S. Reinhardt, as was Kai Winding, Milt Bernhart, Dick Nash, etc. Enough said!
my heart pounds very time i watch this video! spectacular, cheers! x0]
This was taped March 5 & 6, 1982 in London.
Lin is da man!
The master.
If I had a band I would hire Lin Biviano in 2 seconds.
If there are any kids watching 2:00 solo is not how you press down trumpet valves.
BTW- the arrangement is by the great composer Pete Myers, whom I had the pleasure of working for on a lot of TV shows in the 80's.
John Harbaugh playing 3rd trumpet. That's our professor at CWU!
very true
Lin's not only a great player, he's pretty good guy too.
Muito bom!
fastest version i've heard
Very nice solo by Steve Marcus. The tempo is a bit up here, and that seems to have set the temperature higher. Where there's smoke there's fire.
The great Marcus on lead tenor, Fusco on lead alto.
Okay for Steve Marcus on tenor, but Andy Fusco did not play the solo, he sat on the left of the soloing alto sax player (whose name I do not know, clue anyone ?)
@pickardsl yeah it is!!! holy crap i have a jazz camp with him every summer i love taking lessons with him... you should hear him play this song with the yellowstone big band when he is on lead (which is always).. he beats the crap outta this lead trumpet anyday
SIMPLY THE BEST!!! B U D Y R I C H!!
buddy's the best!!
I believe that is Chris Pasin playing the solo
Andy Fusco
mike boone on bass?
Tempo is a bit crispy...
@liljohnreplogle i never care for Lins style of playing. his high notes look like each one is strained to produce. Miyashiro and Dave Stahl, now those 2 could blow a horn.
Biviano is a weak lead player. you can hardly hear him squeaking out the high notes around 1:10
Eric Miyashiro was by far Buddys best lead screamer.
cadillacdude1975 stfu it's literally just the recording. Lin is insane
best is a matter of opinion and taste. I thought Lin sounded amazing on Basie's band in '77-Lin had great time/feel. Lin's playing is not for everyone-that being said, Buddy LOVED Lin's over-the-top showmanship-he used to tell Miyrashiro to be more like Biviano...that story came from Eric.