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PATRICK HESSION'S
NEW PRANA MOUTHPIECE
I knew that Maynard Ferguson was coming to Seattle and I was exited to see the boss, the band, and to spend time with one of my best friends on the planet, Patrick Hession. I arrived at Patrick's condo about 30 minutes before it was time to head out for sound check. After the usual 4 second greeting, we were off and talking shop. Patrick was incredibly excited about his recent visit to Dave Monette's factory. As Patrick told it, they did a marathon session over several days to completely redesign his mouthpiece. Patrick was talking fast, getting ready for the opening night of the MF gig and warming up all at the same time. I had to work hard to keep up with the story, understand the details and figure out exactly what Patrick was talking about! On the way to the club it became clear that Patrick wanted to get there a little early so that he could pick up the overnight package from Dave, which contained the final, gold-plated incarnation of his new mouthpiece. Now, I've known Patrick for many years and he is less sensitive to equipment changes than most players. But, I have never seen him even suggest that he would open a box, put in a mouthpiece, and play the show without first taking at least a day to work into the new equipment. Sure enough, he did it. Patrick took out the new piece, put it into the horn and the downbeat for sound check happened 45 seconds later. After an extended sound check I asked Patrick about the piece, he looked at me almost annoyed, "Of course it's good and I'm going to play it for the show...those guys get it right!" Well, the opening show was a gas! Maynard was seemingly about 28 years old and playing all over the horn, the band was tight and musical and Patrick was on fire! After the gig, we were on our way back to the condo and Patrick was talking about the new piece. By the time we got to the condo the discussion was so intense that we were talking loud and laughing even louder. I finally said, "well show me!" He pulled out his horn and started playing, and playing hard, which is very unusual for Patrick to do after playing the gig, especially on opening night. He played from one end of the horn to the other, from one style of music to another: classical, lead, solo, Clark studies (low A flat), bebop and of course at least 57 double C's. After the first hour we went to eat and the discussion drifted. At 1:30 in the morning the mouthpiece discussion re-opened and so did the playing. Every time Patrick would make comments I would give him my input, but then ask him to play something to demonstrate more clearly what he was talking about. By 2:45 a.m. the intellectual discussion of rim contour and cup shape slipped into an uncontrollable need to play "Bop Duets." After the duets, which was literally 2 hours of non-stop playing, I was done. I sat back, we talked some more, and I listened as Patrick played off and on until 6:30 in the morning...well into sunrise! The next day, Patrick had a kind of silly grin on his face every time I mentioned the 6 and ½ hours of hard playing that happened after the gig. With the cautious optimism of a working lead player, Patrick was happy with his equipment and even happier to have the support and talents of Dave and all the guys at the factory. It was clear to me that Patrick being able to play like he did all night after the gig meant that this mouthpiece was really something special, and even more importantly, designed to be just exactly what he needs. And how does it sound? Well, on this new piece Patrick has the biggest sound core I have ever heard him produce, matched by an equal amount of overtones and ring, so that the total sound presence is lively, clear, centered and energized. And on the bandstand the sound of the new piece is absolutely on the money and through the back wall! My incredible day soon turned into a week that was capped off when I saw Dave and some of his associates as they sat and watched the MF band on closing night. It all became
clear. These guys really love what they do. And when Dave
set out to create and improve musical instruments, he did it for musicians,
he did it for himself, and he did it for us. When I saw Dave and his
associates watching the show, I saw myself, I saw every person who has
a passion for what they do. I saw a man who loved what he was hearing,
and who wanted nothing more than to simply help the artist advance his
art. This week was a celebration of friends and friendships with people
who are incredibly passionate about what they do. Thanks to Patrick
for sharing this experience with me!
Written by
Richard Little
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DAVID G. MONETTE CORPORATION
6918 NE 79th Court Portland, Oregon 97218 USA (503)255-5552 FAX (503)255-5593
www.monette.net
Copyright ©2006 David G. Monette Corporation
April, 2006
we could modify the blank to further optimize
his new piece. After trying several different blank styles, Dave came
up with one that was the true winner. The new blank is reminiscent of
the original Monette mouthpiece design, which really shows that Dave
knew what he was doing way back in 1985. The new mouthpiece
blank is not a copy of the original blank, but rather a tweeked-out version
that looks similar to the old design. We methodically fine-tuned the weight
and proportions of the new blank until it was just right.
I really have to
thank Dave, Dean and John for all of the extra hours that they
so willingly gave in creating my new mouthpiece. Twenty-six mouthpieces,
sore chops and four days later we had created the all new MONETTE PRANA
BL4S6!