Chuck Tumlinson, reporter

Rowan University jazz trumpet teacher George Rabbai presented a clinic addressed toward both the use of articulation and mutes in jazz. Rabbai was assisted in his clilnic by the Rowan University faculty Bryan Best - guitar, Doug Mack - bass, and Jim Miller - drums.

The first subject concerned development of the use of articulation in jazz students. Rather than use new material, Rabbai suggested using standard trumpet literature. He first played Arban and Clarke exercises in the original manner, then changed to a jazz swing style. The rhythm section then joined him as he played the same studies transposed up a half step and suggested that be done in all keys. He followed that by improvising over the changes in the same style as the studies.

Rabbai emphasized the importance of articulation to achieve a convincing jazz style. For jazz, legato is extremely important. Many students have one brand of tonguing - what he characterized as “slamming” it, which he then demonstrated. He related that a former teacher of his drilled him on scales with four sixteenth notes per pitch with legato tongue. Another etude that is effective is one in G minor from the Brandt book, which he then played - first straight, then using a swing style. He also demonstrated a similar etude in D Minor from the Charlier's 36 Transcendental Etudes.

He next mentioned “Do You” tonguing which he heard of from a sax player who studied with Eddie Daniels. Pronounce those words with the “Do” on the upbeat and the “You” on the downbeat. Then, practice quarter notes on upbeats in time, using the “du” tongue. He demonstrated this and the Clarke on Secret Love. To emphasize the importance of possessing a convincing jazz tonguing technique, he demonstrated the difference between a solo that was only slurred to one with tonguing.

He mentioned Dizzy Gillespie as one of the primary musicians you should listen to so that you can understand the style. Gillespie was the first to utilize this style of articulation. Two other important historical figures are Roy Eldridge, the primary influence on Dizzy, and Clark Terry, who was the master of articulation. Rabbai then related a conversation with Clark Terry who suggested systematically practicing the various notes of a scale (the 2nd, then the 3rd, and 4th etc.) to give it some life. He also discussed Clark's use of doodle tongue and bending tones.

Rabbai then segued to a discussion of mutes. It is difficult to capture with words the difference between the various mute sounds, but it was evident to the audience that there were subtle, yet dramatic differences between them. His main point is that there is an ideal mute for every style. He recommended listening to the following jazz artists: Bubber Miley, Ray Nance, Harry “Sweets” Edison, Charlie Shavers, Joe Newman, and Thad Jones. He then demonstrated the various Harmon, bucket, and plunger mutes available and the fine differences between them. Some other tips include to flattening out the edges of a standard Humes and Berg cup mute and sanding down the corks so that the edge of the mute almost touches the bell. Rabbai's student, Jon Barnes (a 2006 Jazz Improvisation Contest Finalist), joined him for a duet performance on Half Nelson. Rabbai performed on an Ardsley bucket while Barnes used the standard Humes and Berg bucket. While both players were outstanding, the difference between two mutes was evident.

It is evident that George Rabbai has thoroughly studied many aspects of playing and teaching trumpet in both a classical and jazz context. His session was enlightening - particularly with the subtle yet important differences between mutes.