Chase Sanborn is an engaging modern jazz trumpet voice with a warm, inviting tone, fluid lyrical phrasing, and a style that always swings. He exhibits the cultivated sensibility of a player at the peak of his powers.
Music Business Tactics is an easy and enjoyable read that provides sound, practical advice. If you are an aspiring musician, or you know one, get this book! You need this information!
Chase Sanborn goes right to the heart and soul of the music. His performance was an inspiration to hundreds of festival participants, and his positive and upbeat outlook made a lasting impact on our students
Jazz Tactics presents the material in such a clear and simple way, with the vitality and spirit of a live teaching session. This method speaks to all musicians, regardless of age and previous experience.
Chase addresses the needs of developing musicians in a manner that is understandable and relevant. My students were thrilled to work with someone who understands their learning curve.
Tuning Tactics teaches you to listen. In just a short time, I've witnessed strong improvement in my students' awareness. Tuning Tactics makes good intonation attainable for all!
Chase Sanborn has a natural gift for engaging and involving an audience. He shares a wealth of honest and knowledgeable information about music and the music business.
Brass Tactics offeres authoritative instruction balanced with sage and homely advice. It shows you how to handle yourself in any professional or amateur situation. No trumpet player should be without this book!

More Mouthpiece Talk

How much difference can a mouthpiece make?

A mouthpiece won’t create miracles, but it can help you to maximize your abilities. For instance, it might help you achieve a fuller tone, or more burn on the upper notes, or better slotting, easier flexibility, more accurate intonation, or more defined attacks. Ultimately, there is no substitute for hard work and intelligent practice. Choose a mouthpiece that works for you, then head for the practice room!

Do you believe in using more than one mouthpiece?

In theory, matching the equipment to the job makes a lot of sense. The sound you strive for when playing lead trumpet is quite different than the sound you strive for when playing with an orchestra or a jazz quartet. In practice, it can be hard to accomplish. It is no good to have a mouthpiece that sizzles in the upper register, yet sounds terrible below high C. Likewise, to have a mouthpiece that produces a rich dark sound yet cuts an octave off your range will be useless. There are too many situations that ‘straddle the fence’ to have a mouthpiece that curtails your ability in any one area.

Thanks to GR’s revolutionary design technology, we were able to design a ‘matched set’ of trumpet cups (M, MS, S). The blow resistance and range are very close, yet each mouthpiece produces a noticeably different tonal characteristic, allowing you to shape your sound to a given musical situation. Being able to match the mouthpiece to the sound that you hear in your head allows you to relax and concentrate on the music, rather than on the mouthpiece.

How did the Chase Sanborn model come to be?
In the year 2000 I was introduced to mouthpiece maker Gary Radtke (GR) by his business partner and my Toronto trumpet colleague Brian Scriver. Brian described the work GR was doing on trumpet mouthpiece design and expressed his opinion that GR would revolutionize the industry. I was only half interested; at the time I was happily playing a mouthpiece designed for me by a very well known mouthpiece maker, for whom I still have great respect. But I am intrigued by new ideas, and I’m a trumpet player, after all, so I agreed to have GR make me a mouthpiece, to see what he could do.

During a lengthy conversation, GR queried me on all aspects of my playing (situations ranging from small group jazz to lead trumpet to the varied requirements of studio work) and asked me what I would hope to achieve with a new mouthpiece. My answer boiled down to this: maintain my range and improve my sound or vice versa. I was not prepared to sacrifice one aspect of my playing for another, and knew from long experience that a mouthpiece is usually an exercise in compromise. I sent GR the mouthpiece I was currently playing along with a practice room recording.

Once GR had my mouthpiece in hand, he ‘digitized’ it, feeding all the coordinates into his computer program. He called me numerous times to discuss options, his conversation peppered with incomprehensible terms and numbers set against the background noise of whirring machines. He sent me charts and graphs identifying ‘problem areas’ with my current mouthpiece. We decided that the best way to start would be for him to copy my mouthpiece with the problem areas corrected, so that I could see how much difference that would make.

When that first mouthpiece arrived, I put in the horn and knew almost instantly that we were on to something. The mouthpiece felt familiar and comfortable, yet the sound was more vibrant and the blow was more even. My interest was piqued, and I wondered what further modifications might accomplish. Amidst many more phone conversations, a succession of prototypes arrived at my door. Each one was just a little better than the last. Eventually we found the perfect combination—every aspect of my playing was improved. We dubbed it the CS66. GR commented that he felt it was one of his best designs to date.

At that point, GR floated the idea of putting the mouthpiece on the market. I was initially hesitant; I had no idea whether others would like the design as much as I did. My ‘market research’ consisted of passing it around to my colleagues and asking for their opinion. The reaction was very positive; several people offered to buy it from me on the spot. Decision made, and the Chase Sanborn Signature Trumpet Mouthpiece went into production. Over the next few years we expanded the design to include three different trumpet cups and two diameters, as well as CS models for flugelhorn, cornet and piccolo trumpet. Enthusiastic testimonials from players around the world attest to the versatility of the design. GR is now a well-known name in the trumpet world, and Brian’s words were prescient; he has advanced the state of the art and improved the lot of countless trumpet players, for sure this one!

A note on ‘signature’ models: I’m pretty sure that wearing Michael Jordan’s shoes will not make me a basketball player. (Nothing short of a pogo stick would accomplish that.) No mouthpiece is right for everyone. But a mouthpiece or horn that is custom designed for a specific player will generally appeal to many others as well. When you purchase a signature model mouthpiece you reap the benefit of many hours of experimentation, trial and error. It’s like choosing an item from a restaurant menu: it is not the only good thing to eat, but the chef has saved you the trouble of guessing what to put in the pot, hoping it will turn out to be edible.

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