The Trumpet and the Cornet in Jazz and Popular Music

After 1945 jazz developed many different currents and was to become the object of polemic among critics. There were, notably, the small be-bop combos and, in reaction to this “modernism”, the usual resurgence of the past — the New Orleans revival. The Louis Armstrong of the third period, abandoning his virtuosity of the thirties and using a dashing refined style, was to remain until his death the most admirable hero of the traditional small group that could be imagined. The boppers kept the spotlight on the trumpet until the end of the forties. After 1948 Gillespie blended be-bop and “Latin” style, heading a large band, certain aspects of whose scoring remain current today.

In post-war France, alongside the most varied small jazz bands (New Orleans, be-bop) large dance bands like that of Jacques Hélian (which were like schools for many young trumpet players, just like music colleges), so-called “typical” orchestras, were very successful (mambos, etc.). Generally the same artists were to be found in all these areas and, in addition to Barelli, Fassin, van Haeke and Gérard, whom we have already mentioned, the early fifties produced a host of excellent section players like Maurice Thomas (*1928), Michel Decourrière (*1924) and Vincent Casino (*1923); good soloists like Fernand Verstraete (*around 1925) and Pierre Sellin (*1930); and two great chorusmen — Bernard Hulin (around 1931-1981) and especially Roger Guérin (*1926) of international class. The fifties produced two more good chorusmen and big-band arrangers: Jean-Claude Naude (*1933) and Ivan Jullien (*1934). And of course there were many others.

Unfortunately for the trumpet in the evolution of jazz, the greatness of the saxophonist Charlie Parker was quite exceptional and after him the sixties were plagued by John Coltrane. It is giants that motivate young people; there were to be many saxophone players and today they hold the centre of the stage in so-called “modern” jazz. Of course the trumpet was to have its leading light, who shines to this day — Miles Davis, who has continued to evolve like Armstrong, in four periods:¹³

1. 1944-1955 A bopper who listened to Gillespie but adapted him to a more sedate and lyrical style (the first step for a genius is to know his own limitations; Miles never had Gillespie’s technical facility). He used bop harmonies with conventional rhythms and his repertoire contained nothing unusual: standards, blues, bop themes. He had a pure sound with no vibrato. Note the characteristic tone colours in his 1949 recording session with horn and tuba, a lesson learned by white West-coast jazzmen like Shorty Rogers (*1924), an excellent arranger.
2. 1955-1959 A more chromatic period, refining the dramatic character of his phrasing (which became more open) and of his sound, using more moderate tempos in a still conventional repertoire. The Harmon mute was essential.
3. 1960-1964 His musical language was more selective, he used modes, but he also enjoyed popular success thanks to his big-band collaboration with the arranger Gil Evans.
4. since 1965 After the quintet he was influenced by rock and adopted an electronic environment. His musical language became more unrestricted, pantonal, often built of short phrases creating a climate. The last period influenced trumpet players less than the sound of groups with or without trumpets. The preceding periods were fundamental since all, or almost all trumpet players were to be formed by a combination of the influences of Gillespie and Davis or Brown and Davis.