The two people most responsible for the 4147IB sat down recently to discuss how this instrument came to be. It’s a great interview that shows just how much collaboration went into this build. Enjoy!
First came the Getzen Custom Series trombone line in 1992. Born of five years of success with the Edwards Instruments line of trombones, the new Custom Series trombones took the industry by storm. They quickly became some of the most sought after trombones in the world and fully cemented the Getzen Company’s place in the professional trombone market.
For nearly two decades, the full line of Custom Series trombones set the standard for what a professional grade trombone should be. Minor improvements over the years like all metal linkages, improved valve designs, and the addition of Griego mouthpieces kept the Custom Series fresh and at the top of the list, but it wasn’t until the introduction of the Custom Reserve line and the 4047DS in 2011 that a brand new model was added to the line.
The 4047DS Custom Reserve was unlike anything previously offered under the Custom Series banner. More than two years in the making, it featured an all new rotor design, wrap, bell, and handslide complimented with a Getzen exclusive fiberglass case. It quickly caught the attention of trombone players everywhere. Rave reviews showed that the Getzen Custom Series trombones were once more setting the standard of what a truly upper level trombone could be. We are extremely proud and excited to say we’ve done it again!
Introducing the all new, Getzen 4147IB “Ian Bousfield” Custom Reserve tenor trombone. Designed by Christan Griego in partnership with world renowned trombone artist Ian Bousfield, this new trombone marks another leap forward for the Getzen Company. While it may look similar to the 4047DS, the 4147IB is a completely different animal. The handslide, leadpipe, neckpipe, tuning slides, and bell are all exclusive to the 4147IB. It is Getzen’s first premium, professional trombone model built around a narrow handslide configuration. Other Getzen firsts include a single version of the Edwards trombone patented Harmonic Pillar system and a revolutionary handslide cross brace. This new cross brace is not only more comfortable in the player’s hand, but its design, material, and position dramatically improve the trombone’s resonance and response. The 4147IB is a truly premium, professional trombone worthy of the name “Ian Bousfield”.
The 4147IB Custom Reserve comes standard with the same Getzen fiberglass case as the 4047DS and a Getzen Custom Griego CS5 mouthpiece. Due to the nature of the 4147IB, initial supplies are expected to be extremely limited. Because of that, we are making the 4147IB available for pre-order now with anticipated delivery beginning in June of 2013 on a ‘first come, first served’ basis. For more model information, availability, or to pre-order visit your local Getzen dealer or www.getzen.com today.
Ian Bousfield has been at the top of his profession for more than a quarter of a century, excelling in more facets of the music business than perhaps any other trombonist of his generation. His stellar career has included playing in two of the top-four orchestras in the world, one of which is recognized as perhaps the greatest opera orchestra anywhere. In addition, Ian has performed as a soloist with orchestras, brass bands, and on period instruments. His extensive resume also includes recording on top labels, playing the theme tracks for blockbuster Hollywood films, and teaching at the Royal Academy in London, England. It is easy to see why the name Ian Bousfield has become synonymous with the trombone.
Born in York, in 1964, Ian is a product of the famous brass band tradition in the north of England. His trombone career began at the ripe old age of seven with his earliest teaching coming from his father and later from Dudley Bright. In a strange twist, Mr. Bright would later replace Ian when he left the London Symphony Orchestra in 2000. The longest spell that Ian enjoyed in the brass band movement was with the Yorkshire Imperial Band between the ages of 14 and 18. During that short four year time with the band, he was fortunate to win the National Championships in 1978, the British Open in 1981, and the Yorkshire Championships on two separate occasions in 1980 and 1981.
In 1979, at the age of fifteen, Ian won the Shell London Symphony Orchestra scholarship. At that point, his carrier began to move undeniably in the direction of orchestras. He joined the European Youth Orchestra at age sixteen under Claudio Abbado and made a brief stop at the Guildhall School of Music and Drama in London before becoming Principal Trombone of the Halle Orchestra in 1983. During his time in Manchester, Ian was lucky enough to perform the United Kingdom premiere of Eine Kleine Posaunenmusik by Gunter Schuller, under the conduction of the composer himself. In 1988, after five years with the Halle, Ian replaced one of his life-long mentors, Denis Wick, as the Principal Trombone of the London Symphony Orchestra at only 24 years of age. There he enjoyed a twelve year career. While with the LSO, Ian was featured as a soloist with the orchestra on several occasions, and recorded the soundtracks to many films, including Star Wars: Episode 1 and Braveheart. In 2000, following a successful audition in Vienna, Ian achieved the honor of becoming the Principal Trombone of the Vienna Philharmonic/Vienna State Opera. Ian was the first, and to date only, British member in the orchestra’s storied, 150 plus year history. This appointment was followed by his membership in the Vienna Hofkapelle Orchestra.
As a soloist, Ian has performed with the Vienna Philharmonic, London Symphony, London Philharmonic, BBC Philharmonic, Halle Orchestra, Sapporo Symphony, and Austin Symphony to name a few. He has worked with countless conductors including Riccardo Muti, Michael Tilson Thomas, Sir Neville Marriner, Kent Nagano, Ion Marin, and Matthias Bamert. Over the years, Ian has also made several solo recordings for labels such as EMI, Camerata, Chandos, and Doyen. Perhaps the greatest highlights of Ian’s solo career to date have been performing the Nina Rota Concerto with the Vienna Philharmonic and Riccardo Muti three times in Vienna, as well as at The Lucerne Festival and in Tokyo, Japan. Another highlight for Ian was performing the world premiere of Jonathan Dove’s Stargazer, written for and dedicated to Ian, with the London Symphony Orchestra under Michael Tilson Thomas in 2007. He has performed with all of the world’s major brass bands, recording with many of them. Ian has appeared as a soloist and as a clinician pretty much everywhere in the world. In fact, it’s probably easier to mention the conservatories and festivals at which he has not appeared than to list all of those he has!Ian is currently Professor of Trombone at the Hochschule der Künste in Bern, Switzerland, a position he has held since September 2011. Having had a relationship with the Royal Academy of Music in London since 1992, where he has been awarded an Honorary Membership, he will be returning as a member of staff as of September 2012.
Ian is also currently an International Fellow of Brass at the Royal Conservatoire of Scotland. His list of former students includes some of the most successful players in orchestras around the world and that list continues to grow.
Showtime – Nicole Sasser
Nicole Sasser excitedly released her first album during the summer of 2008. Her CD, entitled Showtime, showcases her talents as both a trumpet player and singer. It is available for purchase on her website at www.nicolesasser.com.
Mark Sheridan-Robideau, Peter Madsen, Doug Farwell, and Steve Wilson of the Continental Trombone Quartet proudly provided the musical accompaniment for the American Repertory Ballet this past October. The Worlds End/Worlds Begin show was held as a fundraiser to benefit the Highland Park, New Jersey group Artists Now.
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In April, we had some very special visitors stop by the Getzen factory. Members of the Stan Kenton Alumni Band under the leadership of Mike Vax stopped by on their way through South-Eastern Wisconsin. We treated the band to a tour of the factory and lunch. They treated all of us to a thirty minute concert in the Allied Supply warehouse.
Thank you to Mike and the members of the band for stopping by. Thanks also to Breber Music of Elkhorn, WI for loaning us a drum kit, keyboard, and amplifier for the performance.
Think of some great American trumpet players. I’m sure everyone can come up with an impressive list of players both past and present. Now, go back through that list and pick out the women. What’s that you say? There aren’t any? Hmmm. Now take a look at your local band programs. How many females occupy the seats in the junior high, high school, or college trumpet sections? I’m guessing not too many. These are exactly the trends Kiku Collins is hoping to bring to an end.
Kiku started her trumpet career in a small, New Jersey town following in the footsteps of her older, trumpet playing brother. By the age of 12 her skills were becoming apparent despite being one of the only females in her school band. At age 16, after spending two summers in their National Music Camp, she earned herself a scholarship and a place in the prestigious Interlochen Arts Academy in Michigan. From there, Kiku went on to study classical performance at the Manhattan School of Music under the tutelage of her mentor, Dr. Mel Broiles. He constantly encouraged her, as one of his few female students, to fight on and pursue her dreams. His words have stuck with her and have helped shape the successful career she has now.
In 2006, Kiku’s career took the biggest jump to date. After years of playing with her own group, sitting in with other artists, and countless studio sessions, she landed the role of Beyonce Knowles’ trumpet player. The next year was a whirlwind. Performing with Beyonce and her band for numerous television appearances, multiple music videos, and a world tour befitting a pop superstar.
Somehow, through it all, she was able to write, arrange, and record her own jazz album. Here With Me is an instrumental album featuring Kiku on flugelhorn and also her multi-tracking on trumpet and trombone. The album debuted to rave reviews, opening doors for the trumpeter including an invite to headline two brass festivals in Europe. First with The Brass Group in Palermo, Italy and second the Durham Brass Festival in Durham, England. Even more impressive is the fact that, despite performing with Beyonce and promoting her own album, Kiku still found the time and energy to continue with her hectic NYC schedule. Playing gigs around the city, sitting in on recording sessions with other artists, and most importantly raising her six year old daughter.
What does the future hold for Ms. Collins? She’s continuing to promote Here With Me while working on album number two. As usual, she can be found performing her solo work all over NYC. You can also catch her playing around town with other artists/groups like Psycho the Clown and Voltaire to name a few. Biggest of all is that she is joining Michael Bolton as the lead trumpet for his current American tour. Pretty good for a girl in a supposedly all boys club. A fact Kiku expects isn’t lost on her young fans. She hopes that her talent, style, and success can inspire the next generation of female trumpet players.
You can learn more about Kiku Collins by visiting her at www.myspace.com/kikucollins or at www.kikucollins.com. Her site includes a bio, blog, schedule, photo album, music samples, and more. Her album, Here With Me, is available from www.innova.mu, www.cdbaby.com, and for download via iTunes.
Tom Getzen (center) met with Mike Vax (right) following Mikeâ€™s performance with the University of Wisconsin Marching Band during their annual Spring Concert. Tomâ€™s grandson Dylan Linhart, trombonist, attended the concert as well and was excited to get to meet Mike after the show.
By Mike Vax
The proper way to build range is to increase it gradually over a number of years, always using as natural an embouchure as possible. Students need to learn to let the air do the work instead of the chops. And always, always, always avoid false or trick embouchures like the plague!
Always remember that range comes from endurance, not the other way around! After you gain the support and muscle control to play for longer periods of time, you begin to have the basic foundation to start increasing your range. Working to extend range by half step increments, over a long period of time, insures control, confidence, and consistency in the upper register that will last for years. There is no deep dark secret that will increase your range overnight. It takes hours of hard practice and concentration. There is no shortcut!
Young players trying to stretch into the upper register too quickly can face quite a few problems. Gaining the ability to reach up high should be thought of as a marathon rather than a sprint. A student can injure muscles in the embouchure as well as other parts of the body by trying too hard to hit the upper registers without first having the knowledge and physical stamina to play up there correctly. Rushing it can also be a detriment to other aspects of playing.
There was never a time in my life that I spent hours a day just trying to “honk out” high notes. The upper register was just one of the many facets that I worked on with regard to my overall playing. Instead of focusing only on high notes, I try to point out to students the importance of working on technique, articulation, flexibility, reading, and endurance. If all of those are mastered, the ability to hit high notes will follow. I also stress to students that the measure of a player is not how high he/she can play for one, forced note. The real measure is how high he/she can play both consistently and musically. I urge them to remember, that the main consideration of trumpet playing is to achieve pure musical sound in all registers of the horn.
Things To Focus On To Extend Range
- Flexibility studies
- Long tones
- Pedal tones (with natural embouchure)
- Endurance builders (such as the characteristic studies in the back of the Arban’s Book and the Daily Set-Up drills of Herbert L. Clarke)
- Chords and scales that gradually go higher
- Breathing exercises. (AIR is your real “octave key”. When you SUPPORT your sound properly, playing high becomes much easier)
- Walking, running, biking, swimming, etcâ€¦ (the better shape your body is in, the better chance you have with both endurance and high notes)
Warning Signs Young Players Are Rushing The Upper Register
- Loss of flexibility
- Airy tone
- Trouble with lower register
- Loss of control and consistency
- Loss of endurance
- Inability to center pitches
In the fall of 2005, I was contacted by Mike Vax. Not a big surprise since Mike checks in with us at the factory quite a bit. This call was different. Mike was looking for our help. Some friends in I.T.G. had passed a story on to him that he thought we would be able to assist with. A group of musicians were having trouble getting instruments. Specifically a piccolo trumpet. The musicians were members of the Brandt Brass Band of Saratov, Russia. A very talented group rapidly making a name for themselves. Up until that point, the band was forced to borrow a piccolo trumpet from a neighboring town’s band. Not at all an ideal situation. In an effort to alleviate this, the members of the band were able to scrape together a few hundred dollars. By no means was that enough to purchase a new piccolo. They were hoping that through contacts in I.T.G. they would be able to find a used piccolo at a reasonable price. Enter Mike Vax.
Mike called us after he heard the tale and asked if there was anything we could do to help. Trumpet players around the U.S. had heard of the band’s troubles and were donating money to the cause hoping to boost the band’s buying power. Mike wanted to know if we had an old or seconds piccolo around that we could sell the band directly. We did not. After discussing the situation with my father Tom Getzen, we came up with a better solution. Rather than selling the band an old horn, we decided to give them, free of charge, a brand new 3916 Custom Series piccolo. From our standpoint, we had been fortunate in life and this was a perfect opportunity to pass that along. At the time, Tom relayed a lesson to me that my grandfather had taught him. At some point in life, you’ll have the chance to help someone else. While the time, effort, or dollar amount may not seem like much to you, to them it will mean the world. This was a perfect example of one of those situations.
Immediately, I got a hold of Mike and told him the good news. He was ecstatic and quickly passed the development on to his friends in I.T.G. The news spread fast and I was inundated with emails and phone calls thanking me for our donation. That’s not the reason we did it, but they were all appreciated. As word spread of our donation, trumpeters continued to donate money to the band. The new plan was that the band could use that money to help pay for a quality recording of the band with a CD to follow. I’m personally excited for that since I have heard nothing but praise for the band’s performances and I’m anxious to hear them for myself.
Soon after we decided to donate the horn, I was contacted by Mr. Gary Mortenson. He had great news. Gary had arranged for Steve Chenette, a former President of I.T.G, to deliver the horn and cash donations to the band during a visit to Russia. This was great, as it would ensure the horn made it to the band in good condition. Once the method of delivery had been established I had the piccolo prepped and shipped it to Steve. I also sent along several care kits (valve oil, cleaning cloths, etc…) for the band.
Once the piccolo was on the way to Steve and all the arrangements had been made, the members of the Brandt Brass Band emailed me to express their thanks. They asked me to pass on their “endless thankful words to all the people who some how took part in our life and help us to work better”. A few weeks later they also took the time to send me a nice Christmas greeting. I was honored that they would take the time and proud that they were so excited to get the instrument.
Fast forward to March of this year. Steve Chenette made his way to Russia with the piccolo and donations in tow. He emailed me from Saratov to tell me how excited the members of the band were upon his arrival. In fact, they couldn’t wait to try the horn. Instead, they spent nearly a week playing and practicing on it so they could use it in a concert shortly after the “official” presentation. After having the 3916 for a few days, Oleg Abramov emailed me to pass on their feelings. “Our trumpeters now behave like children.” Oleg said. “Everyone is trying to play it and they are always discussing it.” He went on to say, “Thanks a lot for the wonderful gift! We haven’t had such a trumpet until this in Saratov! So I think now it’s the most beautiful treasure in musical Saratov.” When asked how the players felt about the horn Oleg said, “Our piccolo player, Nikolay Khudoshin, is very delighted with the instrument. It’s very beautiful, has reach and a wonderful sound. It reacts on every breath you put into it!” “As our guys are joking,” Oleg wrote, “we have a beautiful blond, but we haven’t chosen her name yet. An enormous huge Thank You! If you’ll need something someday you must remember that you have 3 friends in Saratov, Russia that have close relations with one of your girls.” You cannot imagine my sense of pride. Knowing that not only were we able to help, but that the piccolo was met with such high regard. That, after all, is the most important thing. In July, Oleg Abramov contacted me to say that Nikolay Khudoshin enjoys the piccolo more with each practice. He went on to say that they have chosen music for their upcoming recording. The band will be performing Mozart’s The Night Queen’s Aria from The Magic Flute. I’m sure I’m not the only one anxiously awaiting its release.
All in all, this was a very rewarding experience for the company as a whole and for me personally. It was great to see the trumpet world come together to help their brothers in need. I am just glad that we could have a small part in the effort. Hopefully the piccolo will serve the band for years to come. I wish them and everyone who helped them continued success in all of their future endeavors.
Once again, Getzen proudly displayed the full line during the 2006 Musik Messe in Frankfurt, Germany. Long time fans and first time Getzen buyers visited the booth during the 4 day event.
University of Wisconsin marching band director Mike Lekrone visits with Mike Vax after a jazz performance in Madison, WI this past May.
Tom Getzen (front left) treated Swiss distributor Peter Marcandella (far right) along with Getzen’s Dave Surber (rear center) and Brett Getzen (far left) to dinner at Claudia’s in Sachsenhausen, Frankfurt. All four were sure to thank owner, Eisa-Mohammed Solaimaukehel (front right) for another fantastic dinner.
Dave Allison worked with the Brea High School Marching Band during a clinic sponsored by Getzen and Pecknel Music. Dave is a well regarded player/clinician and has worked closely with Pecknel all over South Carolina.
Jack Long shows off his new custom made 900 Eterna Classic. The trumpet was presented to Mr. Long to celebrate the 50th anniversary of Long & McQuade Musical Instruments in Canada. The trumpet featured hand engraving, custom etchings, and a gold trim kit. As Mr. Long put it, “I can’t think of a gift I would have appreciated as much.”
In Frankfurt, Tom Getzen gladly welcomed Haim Attias from Getzen’s Israeli distributor Hamusica Musical Instruments. Haim wanted to learn more about Custom Series trumpets to meet the growing demand in Israel for quality instruments.