Roger Grupp

Terrific review! Thanks.

Happy to see John Whitlock III mentioned! I was thinking of who my most influential instructors have been, and the first that comes to mind is III's father, John "Corky" Whitlock. I worked with him as a teen-ager in the St. Paul Scouts, and later with (Minnesota) Brass Inc. I think what I've learned most from Cork is to put some style in my playing -- not that I've achieved his level. I can recall him playing right through a "wrong" note and making it sound so cool and so right! And he really knew (knows) how to ghost a note. And he really taught us how to blow! He passed a lot of his gifts along to his successor, Rick Rueckert. I'm happy when I can hear some of Corky's "voice" in my playing when I play something well, especially if it's an improv solo. ---------------- On the other side of the coin, Robb Muller has been most influential to me in recent years. I say the other side of the coin, because at this point in MBI's development, Robb's influence wasn't about loud, but all about quality of sound, intonation, and blend, and making a horn line even more powerful than one that's merely loud. Even though MBI produced great horn lines over the years, Robb brought a new level of quality and serious musicianship to the line. "Being good is fun." (Love ya, man!) The most amazing thing about Robb as a horn line teacher, is that he's a percussionist, and has taught top-level drum lines as well.

In 2002, Minnesota Brass Inc. (senior) marched 22 sops 14 mellos 19 baris 10 contras (65 total) This year we went for a darker sound with 18 sops 13 mellos 15 baris 4 euphs 10 contras (60 total)

I'll weigh in, too, on this interesting subject. For the past 20 years now I've used a Bach 1-1/2C on trumpet and bugle, and it's worked just fine for low and high range. Whenever I've tried mouthpieces that people have recommended for high range, the pieces have been very shallow cups -- I suppose that's the kind of "cheaters" we're referring to. But you know, I use too darn much pressure, and I bottom out as soon as I go above a high C. So I'm happy to stick with my 1-1/2C. I can still end a tune on a double D if I have to; if I'm feeling lucky, the double F is there. In the past two years I've started playing piccolo trumpet more often. I didn't like the sound I had with my 1-1/2C, and my endurance wasn't what it should be. I played with a few different pieces, and ended up happy using a Bach 7C for all my picc work. It gives me a little more endurance and the right sound. If that's cheating, well that's just too bad.

I just have to tell you all about this!... About 12 years ago I was playing a lot, and the chops were in good shape. I started to notice that my low range was getting crappy -- anything below a low B was raspy. I tried so many different things to try to fix the problem, including cleaning my horn. I tried different ways of blowing. I tried playing two or three hours more a day. And my low register was getting even crappier! This problem went on for two months. One day I tried one of my old mouthpieces (the same model), and I could play! I didn't know what the difference between the two mouthpieces was until I held them up to the light and looked through the shaft. My god, it was awful! So I cleaned the mouthpiece, and my two-month-old problem dissapeared just like that! I guess I had normally been cleaning my mouthpieces often enough, but just got into a period that was long enough to really gum things up. Now I clean out my mouthpiece about every two weeks. HEED THIS ADVICE!

Nope, Scott, just a G above double C at prelims and finals. they were both clean. Squeaked a CCC at the parking lot run-through. Only loud enough for mice.

Kevin C's sound was a delight to listen to, and I heard him four times this year. I'd listen to him play whole tones. A beautiful sound is the most important thing a horn player can have. Kevin has it, and then adds great musicality and technique. I hope we get to hear from him in a senior corps. (There are lots of good jobs and schools in the Twin Cities, Kevin!)

MBI put its no-excuses mediocre performance behind last night with perhaps one of the best rehearsals of the season. Maybe that Drum Beauty performance was the shaking we needed to refocus ourselves after the DCM season ended. Finally, we had some weather we could practice in, and we jumped on the opportunity. And now, back to the grind at work -- only 578 calendar days to go. Roger Grupp

This was a very strange show for MBI. I play horn, but go out on the field earlier than the rest of the corps. Usually I go out on the field with the pit, but the horn line dawdled in its warm-up, and we got to the stadium a little late. Anyway, I went on to the field and took my place in the pit, and waited, and waited for the rest of the horns. Later I was told why the corps was SOOO late -- maybe four-five minutes. We usually put the plumes on our hats before we head over to the field. Well, the weather was threatening, so the plume people waited until the horns got to the stadium. Distributing plumes took about two minutes. Then the horns had to move to the other side of the stadium. I'm told they just about RAN around the stadium. Because their entrance side was different, they had to line up differently. Meanwhile, the guard and pit folks didn't know what to do. How did all this happen? Let's just say it was a combination of things, and I hope it doesn't happen again. It seemed to affect the whole performance. C'est la vie. Roger Grupp

I loved how the Glassmen (why isn't that Gl***men on this forum?) in about '93 warmed up with a short version of Bach's Little Fugue. They left off the last resolving chord...! Then the judges were readied, the corps was introduced, the DM started them, and -- ahh! -- they resolved the chord! So satisfying! Roger Grupp

Who was that Garfiled soloist, and what is she doing now? Still playing? Anyone know? Roger Grupp

Hey, River Rat, thanks for the nice review of the Hastings show. That note I hit was the highest I ever played in a show. When I play that solo I always go to a D above double C, and then slide up to a G above that if I feel good. But that night I slid up beyond the G toa C (nine ledger lines above the staff), and it was solid. I don't know if I'll ever be that lucky again in a performance. I wish I had a recording of it. Roger Grupp

I want to remind you all of the great sound mellophone player Kent Rockow made for the Madison Scouts in 1988, their latest championship year. At the end of Malaguena, the horn line plays really loud in a big wedge. Then the sound stops and Kent plays the most beautiful, professional sound I'd heard come out of a mellophone. Kent's sound and the staging made that soft, slow solo the most memorable of the year for me. I don't know Kent. But I just had to find out who that guy was, and I've never forgotten that drum corps moment. Where is Kent playing these days? Does anyone know? Roger Grupp Prematurely bald bugler for 30 years