This is an extremely worthy compendium for those seeking to understand the true, majestic nature of our noble, historic instrument and how to approach playing it. I would thoroughly recommend it to players of all abilities. There isn’t another book out there like it.'

‘I wholeheartedly endorse this book on the trumpet. No-one has written anything that comes close to the depth and breadth of this study—everything else pales into insignificance. I can recommend this book to both beginners and professionals and look forward with confidence to it becoming the standard guide to the natural trumpet.’

‘Your book is an absolutely amazing read, and such an achievement in regard of its content, unsurpassed presentation, and the quality of your narrative and commentary. I’ve never seen anything quite like it.’

‘I can't praise this highly enough, and I suspect that it will stay with me as a "slow burner" into the future.’

’The ultimate guide on how to play the natural trumpet—totally practical even for the complete beginner. Not just for practice purposes; it is also a fascinating read and a most valuable addition to the natural trumpet literature.’

'Russell Gilmour has done something very special here. Skilfully weaving together key historical artwork, music, and texts and his own practical insights, Gilmour lifts the lid on c.200 years' worth of ‘natural’ trumpeting. A book to enrich today’s understanding of a largely ‘lost’ tradition, but also a sumptuous testament to the ingenuity, skill and status of trumpeters past.'

'Russell Gilmour has created a great, fundamental work with his book ‘Just' Natural Trumpet. The young musician began researching the trumpet from the late Renaissance to the beginning of the Classical era (i.e. the heyday of playing this instrument), a good eight years ago. At the end of last year, Gilmour initiated a sensation with his writing: this is the most comprehensive book that provides key information about the construction of historical valveless instruments and their mouthpieces, about posture, blowing technique (even about the facial muscles, pitching, symbolism, tuning, etc.). In addition, practical tips from this internationally active trumpeter will inform beginners and advanced players about everything solo and ensemble playing.

In addition to an almost endless bibliography (nearly 300 sources are listed), Russell's main focus is above all on the almost complete timeline of composers who have left behind works for trumpet, starting with Heinrich Lübeck and ending with Joseph Haydn. Selected pieces are mentioned, reproduced in facsimile and modern notation, and briefly discussed. Cross-references from the 74 composers, a corporation (Handel Commemoration 1784) and a female composer (Elisabeth Jacquet de la Guerre) facilitate the biographical and temporal connections. The book does not represent a complete trumpet bibliography—librarians are then called upon to search with the help of national and international catalogues (i.e. dnb.de, Stabikat, RISM, etc.).

Considering what a tremendous task the translation of the many German, French and Italian sources alone was for a colleague from Great Britain—not native speaking, one cannot overestimate the encyclopaedic achievement of the work.

A must for the holdings of all academic and public music libraries.'

‘Over the years I have watched with great satisfaction and pride as Russell has risen to become one of the leading players of the natural trumpet in its many guises. Now, Russell has also shown himself to be a very fine scholar and researcher, having compiled and authored this unique book on the natural trumpet. If you have even a mild interest in the subject, then this book should be on your music stand or by your sofa, handy for constant reference.'

‘Russell Gilmour’s exceptional musical talent, great personal charm, and commitment to the quest of discovering the ‘lost’ art of satisfactorily performing trumpet music from the Baroque period shine through in this superb and rigorously researched book, which is laid on strong scholarly foundations and greatly enhanced by many historical sources and illustrations.’

Here are some snippets from Crispian Steele-Perkins’ very thoughtful review of ‘Just’ Natural Trumpet from Early Music Performance & Research 54 (Autumn 2024):

‘Russell Gilmour’s new treatise explores the evolution of musical performance from the Renaissance until the Age of Enlightenment … This book is full of instructional material from the intervening centuries and good, practical advice as to how these materials can be beneficial to students at the present time. A nice touch is that he includes facsimiles of the original manuscripts as well as corresponding examples in clear modern notation. There are also many visual delights in the reproduction of historic paintings and portraits with commentaries and anecdotes from contemporary colleagues, critics, and admirers.’

‘Russell Gilmour looks into every aspect of this lost art in great detail with a multitude of fascinating illustrations. He also confronts pedagogical aspects of his subject starting with the well-known treatises of Caesare Bendinelli and Girolamo Fantini, pointing out the fact that there is a 150 year gap before anything comparable was produced by J.E. Altenburg in 1795.… During these 150 intervening years there are many references in literature and diaries with cogent observations made by the likes of Samuel Pepys, Johann Mattheson, Roger North and James Talbot—all fully quoted in this book.’

‘I see myself returning to reread this time and time again. Please buy, read, study and cherish this marvellous book.’