So – the Selmer Gold Seal was the first one. The rest is history and well documented elsewhere. These formed the basis of the “blues scale” and I was up and running by January of 1968 and beginning to play along live in a few songs with the embryonic Jethro Tull.īy the time we were rewarded with a residency at London’s famous Marquee club, I was playing in a more confident and strident way and old school pal Jeffrey Hammond noticed my unorthodox style and introduced me to an album by American jazzer Roland Kirk who used that same bold technique of vocalising his tunes and solos. Without an instruction book or a fingering chart, I just had to make it up as I went along and soon found a few more notes, reinforced by singing them at the same time. However, early attempts to get a note out of the damned thing proved abortive and it wasn’t until December of the year that I managed to coax a wobbly, insecure note of G out of the thing. Well – at least Eric Clapton didn’t play flute so it seemed worth a try. The second choice was harder and the only thing that caught my eye was the shiny Selmer Gold Seal student flute hanging on the wall, glistening in the sunlight.
Trevor James Flute Serial Numbers professional#
THE professional microphone, made in Chicago in the good old USA which began my long history of using Shure microphones and their other products to this day.
Annes would allow me in exchange.Ī Shure Unidyne III was an easy choice.
It all began in the summer of 1967 when I traded in my old Fender Strat for whatever Ken Watts, the music shop owner in Lytham-St. Some great, some not so great and some which are like old friends, even when I don’t play them so often any more. Over the last 51 years I have played and owned many flutes. I am often asked – what kind of flutes do you play?
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