ITG Journal - March 2020 by International Trumpet Guild

Journal

Vol. 44, No. 3 • March 2020

International Trumpet Guild

Journal Vol. 44, No. 3 • March 2020

International Trumpet Guild

International Trumpet Guild Journal ®

to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet

March 2020 ITG Journal The International Trumpet Guild® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to quote limited, fair-use passages of this file in not-for-profit research papers as long as the ITG Journal, date, and page number are cited as the source. The International Trumpet Guild®, under the umbrella of United States and international copyright laws, prohibits the following without prior written permission from the Publications Editor of the ITG: • Duplication or distribution of this file or its contents in any manner that does not conform with the uses as stated above • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any party, including such a device intended to be used wholly within an institution.

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Timofei Dokshizer, the legendary, world-famous, Russian trumpeter, was trumpet soloist with the Bolshoi Theater Orchestra for over 40 years. He is internationally heralded for his spectacular recordings and over 80 musical arrangements and works for trumpet. Dokshizer was always in demand throughout the world as a soloist, adjudicator, and clinician. In his memoirs, Dokshizer recounts experiences and philosophies, both musical and personal, liberally sprinkled with stories and anecdotes about his family, fellow musicians, conductors, and life in Russia during the Soviet Regime.

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Soft bound, 224 pages, with over 100 photos.

International Trumpet Guild

JOURNAL

to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet

Vol. 44, No. 3

Peter Wood, Editor

March 2020

ARTICLES 6 Ralph Alessi: Kindred Spirit by Thomas Erdmann 14 The Future of Instrument Making: A Conversation with Craftsman Jérôme Wiss by André Bonnici 17 Ad van Zon: The End of an Era in Rotterdam by Ralph Henssen 22 Jazz Calisthenics: Warm-up Routines for Trumpeters, Part Two by Barry Rachin 26 Ministerial First Responders by Charles Leinberger

COLUMNS Ralph Alessi page 6

3 4 5 27 28 29 30 32 35

Ad Van Zon page 17

37 38 39 46 49 53 55 59 61

Harry Kim page 39

From the President by Grant Peters From the Editor by Peter Wood ITG Calendar; Albert Lilly, Column Editor Natural trumpet in D (7-foot, a' = 432 Hz) by Johann Wilhelm Haas, Nuremberg, ca. 1710 – 1720; Sabine K. Klaus, Historical Instruments Column Editor ITG Proﬁle: Manfred Stoppacher; Joel Treybig, Column Editor ITG Young Artist Award: Addison Bosch; Anne McNamara, Chair Upward Spiral by Nikola Tomić; Frank Gabriel Campos, Clinic Column Editor Body Awareness: Aligning Your Body to Play by Oswaldo Zapata; Jon Burgess, Pedagogical Topics Column Editor Podcasts: A Path for Musical Improvement by Julia Bell; Rebecca Walenz, itg journal, jr. Column Editor Private Ode to Major Brass by Don Petersen; Peter Wood, Editor’s Corner Column Editor YouTubing by Chase Sanborn, Jazz Corner Column Editor Hanging with Harry: An Interview with Legendary Trumpeter Harry Kim (Part I) by Nick Mondello and Jai Florada; Nick Mondello, Studio/Commercial Scene Column Editor Teaching Elements to Consider for New or Younger Brass Trios by Will Koehler; Marc Reese, Chamber Music Connection Column Editor The Cornet Etudes of W. Paris Chambers by Bryan Proksch, Repertoire Corner Column Editor Military Band Trumpet Audition Excerpts: The Top Ten by Jim Johnson; Marc Reed, Trumpet in the Wind Band Column Editor Brass Banding in the US: A Conversation with Jen Oliverio and Gordon Ward by Bryan Appleby-Wineberg, Cornet in the Brass Band Column Editor Orchestral Pops by Dennis Najoom; David Bilger, Inside the Orchestra Section Column Editor Jeff Luke, Associate Principal Trumpet, Utah Symphony by Jason Bergman, Orchestra Section Proﬁle Column Editor News from the Trumpet World; Jason Dovel, Column Editor

REVIEWS 65 66 70 73

Product/App Reviews; Brittany Hendricks, Column Editor Recording Reviews; Daniel Kelly, Column Editor Music Reviews; Luis Engelke, Column Editor Book Reviews; Eric Millard, Column Editor

MAIN MENU SEARCH MARCH 2020 ITG JOURNAL TABLE OF CONTENTS

ADMINISTRATIVE Jen Oliverio page 55

3 80 83 91

Index of Journal Advertisers 2020 Ellsworth Smith International Trumpet Solo Competition Information 2020 ITG Conference Information ITG Legacy Endowment Information ITG Journal Advertisement Information (inside back cover)

THE INTERNATIONAL TRUMPET GUILD JOURNAL (ISSN 0363-2845) is published four times per year (October, January, March, June) by the International Trumpet Guild (ITG), P.O. Box 2688, Davenport, IA 52809-2688. POSTMASTER: Send address changes to the same address.

ITG JOURNAL STAFF Music Reviews Editor: Luis Engelke Department of Music, Towson University, 8000 York Rd, Towson, MD 21252; musicreviews@trumpetguild.org Executive Committee News from the Trumpet World Editor: Jason Dovel, University of President: Grant Peters, Missouri State University; Kentucky; news@trumpetguild.org president@trumpetguild.org Orchestra Section Profile Editor: Jason Bergman, Brigham Young Vice-President/President-Elect: Jason Bergman, University; orchproﬁle@trumpetguild.org Brigham Young University; vicepresident@trumpetguild.org Pedagogical Topics Editor: Jon Burgess, Texas Christian University; Secretary: Elisa Koehler, Winthrop University; pedagogy@trumpetguild.org secretary@trumpetguild.org Product/App Reviews Editor: Brittany Hendricks, Arkansas State Treasurer: Dixie Burress; treasurer@trumpetguild.org University; productreviews@trumpetguild.org Past President: Cathy Leach, University of Tennessee; Recording Reviews Editor: Daniel Kelly, Texas A&M Universitypastpresident@trumpetguild.org Commerce, 830 Windham Dr, Rockwall, TX 75087; cdreviews@trumpetguild.org Directors Repertoire Corner Editor: Bryan Proksch, Lamar University; Michael Anderson, Oklahoma City University; Alexis Morales repertoire@trumpetguild.org Barrientos, University of Costa Rica; André Bonnici, Les Trompettes de Studio/Commercial Scene Editor: Nick Mondello; Lyon, France; Joseph Bowman, Mahidol University, Thailand; studio@trumpetguild.org Jennifer Dearden, Allegheny College; Jason Dovel, University of Trumpet in the Wind Band Editor: Marc Reed, University of Akron; Kentucky; Tina Erickson, University of Tennessee; John Foster, windband@trumpetguild.org Australian Baroque Brass; Ryan Gardner, University of Colorado; Young Artist Award Committee: Anne McNamara (chair), Illinois State Christopher Moore, Florida State University; Nadje Noordhuis, University; Matthew Frederick, Emory & Henry College; New York, NY; Raquel Rodriquez Samayoa, University of North Texas; Ed Jakuboski, Eastern University; Sarah Herbert, University of Chen Rui, Tianjin Conservatory of Music; Chase Sanborn, University of Wyoming; yaaward@trumpetguild.org Toronto; Amy Schendel, University of Iowa; Mary Thornton, Texas Journal Printer: Modern Litho, Jefferson City, MO A&M University – Corpus Christi; Brian Walker, Tarleton State Proofreading: Jodi Graham Wood, Rebecca Sheppard University; Peter Wood, University of South Alabama

2019 – 2021 Board of Directors

Executive Staff

ITG Website – http://www.trumpetguild.org

Affiliate Chapter Coordinator: Cynthia Carrell, Harding University; chapters@trumpetguild.org Conference Coordinator: Jean-Christophe Dobrzelewski, West Chester University; confcoordinator@trumpetguild.org General Counsel: Robert R. Carl, Baker Donelson ITG Archives Director: Robert Murray, Columbus State University; archives@trumpetguild.org

Director: Michael Anderson, Oklahoma City University; website@trumpetguild.org

ITG Journal Staff Publications Editor: Peter Wood Department of Music, 1150 Laidlaw Performing Arts Center, University of South Alabama, Mobile, AL 36688; editor@trumpetguild.org Assistant Editor/Principal Proofreader: Jodi Graham Wood Advertising Manager: Jodi Graham Wood; ads@trumpetguild.org Book Reviews Editor: Eric Millard Department of Music, 9201 University City Blvd, Charlotte, NC 28223; bookreviews@trumpetguild.org Calendar Editor: Al Lilly, Marian University; calendar@trumpetguild.org Chamber Music Connection Editor: Marc Reese, Lynn University; chamber@trumpetguild.org Clinic Editor: Frank G. Campos, Ithaca College; clinic@trumpetguild.org Cornet in the Brass Band Editor: Bryan Appleby-Wineberg, Rowan University; cornet@trumpetguild.org Historical Instruments Window Editor: Sabine K. Klaus, National Music Museum; historicinstruments@trumpetguild.org Inside the Orchestra Section Editor: David Bilger, Philadelphia Orchestra; orchestra@trumpetguild.org Index Editor: Kelly Deklinski, The Senri and Osaka International Schools of Kwansei Gakuin; index@trumpetguild.org itg journal, jr. Editor: Rebecca Walenz, Tallahassee, Florida; junior@trumpetguild.org ITG Profile Editor: Joel Treybig, Belmont University; proﬁle@trumpetguild.org Jazz Corner Editor: Chase Sanborn, University of Toronto; jazzcorner@trumpetguild.org Jazz Editor: Tom Erdmann, Elon University; jazz@trumpetguild.org Layout and Production Manager: Joseph Walters, Albuquerque Philharmonic Orchestra; layout@trumpetguild.org

2 ITG Journal / March 2020

ITG Editorial Committee Peter Wood, editor, University of South Alabama; David Bohnert, Wayne State University; Joseph Bowman, Mahidol University; Kris Chesky, University of North Texas; Jennifer Dearden, Allegheny College; Kim Dunnick, Ithaca College; Thomas Moore, Rollins College; James Olcott, Minneapolis, Minnesota; Bryan Proksch, Lamar University; Nancy Taylor, University of Texas at El Paso; Mary Thornton, Texas A&M – Corpus Christi Ideas and opinions expressed in this issue are those of individual writers, and are not necessarily those of the editors or of the ITG. Deadlines for receiving information to be published: May 15 (October Journal), August 15 ( January Journal), October 15 (March Journal), January 15 (June Journal).

ITG Membership Information All ITG memberships run from July 1 to June 30 and include four ITG Journals and annual cd or dvd. The ITG Journal is published each October, January, March and June. Join by visiting www.trumpetguild.org/join/join.htm or using the form at the back of this Journal. Membership Dues: Regular Print, us; Regular Electronic, us; Student or Senior Print, us; Student or Senior Electronic, us. Payment in us dollars may be made through the ITG Website, by check payable to ITG drawn on a us bank or foreign bank with a us branch, money order, visa, MasterCard, or American Express. Change of Address and Membership Inquiries: Dixie Burress, Treasurer International Trumpet Guild P.O. Box 2688 Davenport, IA 52809-2688 membership@trumpetguild.org or treasurer@trumpetguild.org Phone (563) 676-2435 • Fax (413) 403-8899

FROM THE PRESIDENT GRANT PETERS

reetings to my colleagues around the world! In just a few months, Columbus, Ohio (usa), will be center of all things trumpeting for five exhilarating days, May x  – , as we celebrate our th anniversary ITG Conference. If you are like me, you always look forward to this opportunity to learn and be inspired to improve as a player and teacher. Perhaps the most rewarding aspect of the conference is the reconnection with longtime friends and colleagues, many of whom you first met and collaborated with because of your affiliation with ITG. In addition to all of the inspiring performances by worldclass artists—including the Belgian Brass, Pasi Pirinen, Monarch Brass, Byron Stripling, Ashlin Parker, Les Trompettes de Lyon, and Dominique Bodart, to name a few—you will experience informative presentations on a wide variety of topics and have access to all of our industry’s instruments, accessories, and printed music in the spacious venues at the Hyatt Regency Columbus. Regardless of playing experience, all attendees will have the opportunity to be actively involved in the conference experience with warm-up classes, student competitions, masterclasses, the Festival of Trumpets, and the very popular opening fanfare for everyone with a trumpet! Check the conference website (https://www.itgconference.org) for all the details! Our th anniversary gathering will also feature a special event honoring important figures in our organization’s history. Former ITG presidents David Hickman, Richard Burkart, Vince DiMartino, Leonard Candelaria, Joyce Davis, Kim Dunnick, James Olcott, Stephen Chenette, Jeff Piper, Bill Pfund, Kevin Eisensmith, Alan Siebert, Brian Evans, and Cathy Leach are deserving of our gratitude and will be honored on Friday, May , at the Legacy Endowment Reception. These individuals played vital roles in developing the Guild we enjoy today, and having them at the conference will allow the next generation of trumpeters to meet them and learn more about their service to the trumpet world. Spread the word to

INDEX

ADVERTISERS

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your friends and colleagues to join us in tribute to these colleagues, teachers, and friends. Everyone is welcome. In an effort to demonstrate our commitment to making ITG more relevant and valuable to our youngest demographic, the Facebook ITG Student Group was established in September as a means for younger members to communicate among themselves, report any ideas or concerns to the Board of Directors, and disseminate helpful information about ITG and the trumpet to college students. Students Madison Barton from Texas A&M – Commerce and Abby Temple from the University of Kentucky are the administrators/moderators of this group and have grown the membership to approximately  students. The group is planning to meet at the conference, so if you know a young person who would benefit from knowing more about ITG from their peers, please have them join the group (https://tinyurl.com/itg2003a). Plan to join us in person or via live stream September  –  for the  Ellsworth Smith International Trumpet Competition, hosted by Jason Bergman at Brigham Young University. In this year’s event, ITG and the Columbus Foundation will again collaborate to produce what has become one of the most prestigious solo competitions in the world. Supporting the careers of young trumpeters is certainly part of our ITG mission, and sharing the performances of these fine soloists with the world via streaming video is certainly an extension of that effort. Edward Carroll, Pacho Flores, and Giuliano Sommerhalder will be the judges, and first prize is us, and a solo recital at the  ITG Conference in Anaheim, California. Further details can be found on the competition website (https://tinyurl.com/itg2003b). I am inspired every day by the selfless efforts of those entrusted with leading ITG and of the many people who have contributed for the last  years to the vision of supporting, improving, and sustaining the many ways in which we enjoy the trumpet. Tell a fellow trumpet enthusiast today about why you enjoy being a member of ITG, and help them find out how to join. See you in Columbus!

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CONTENTS

Pickett / Blackburn . . . . . . . . . . . . Col Robert Civiletti. . . . . . . . . . . . . . . Col Robert’s Engineering / Blue Juice . . . . . . . . . . . . . . . . . Col Schilke . . . . . . . . . . . . . . . . . . . . . Col Schmitt Music . . . . . . . . . . . . . . . . 90 Select-A-Press . . . . . . . . . . . . . . . . . 87 Stevens-Costello Embouchure. . . . Cvr Summit Brass . . . . . . . . . . . . . . . . . 89 Sunderman Conservatory . . . . . . . Col Triplo Press. . . . . . . . . . . . . . . . . . . 87 Trumcor Mutes Inc. . . . . . . . . . . . . 82 Yamaha . . . . . . . . . . . . . . . . . . . . . Col March 2020 / ITG Journal 3

FROM THE EDITOR PETER WOOD

reetings! I hope your  is off to a fantastic start! This issue marks the third of four installments in the th volume/year of the ITG Journal, and, as always, x there is a wealth of information included for all trumpeters. In these pages, we meet the charismatic Ad van Zon, who recently retired after  years as principal trumpet in the Rotterdam Philharmonic Orchestra. André Bonnici, member of the ITG Board of Directors, talks with Jérôme Wiss, an innovative French trumpet builder who is utilizing cutting-edge technology to develop new instruments. Tom Erdmann sits down with Ralph Alessi to discuss his illustrious life and career in performing and teaching. Nick Mondello and Jai Florada together visited with the legendary trumpeter Harry Kim at last summer’s ITG Conference in Miami for an extensive two-part interview, and the first half is offered here. Jason Bergman talks with Jeff Luke, associate principal trumpet of the Utah Symphony, about his orchestral career in Salt Lake City. In the Cornet in the Brass Band column, we welcome Bryan Appleby-Wineberg, who has stepped in quickly to succeed the late Philip Biggs as editor. Bryan offers us a terrific interview with two American brass band musicians, Jen Oliverio and Gordon Ward, who talk about the state of the growing brass band movement in the United States. In the Inside the Orchestra Section column, Dennis Najoom talks about some of the many useful techniques he has learned over  years of playing jazz/pops concerts with the Milwaukee Symphony

Orchestra. In the ITG Junior column, Julia Bell contributes an intriguing article about several great podcasts that are of interest to trumpet players. In the literature category, Bryan Proksch relates how he stumbled upon several cornet etudes by W. Paris Chambers while doing research at the Library of Congress. Will Koehler gives an overview of the brass trio repertoire, and Jim Johnson discusses the top-ten most-requested excerpts on professional wind band auditions. Finally, we hear a moving account from University of Texas at El Paso Professor Charles Leinberger about the important role that we trumpeters can play in ministering to those who are suﬀering in the aftermath of tragic events. Coming up at the end of May will be the th annual ITG Conference at the Hyatt Regency in Columbus, Ohio. Having attended the  Conference in the same location, I remember well how nice the venue was. Please join us for another great week. We are always searching for ways to increase our reach and demographic representation, and we hope you see yourself in some way in this and every issue of the ITG Journal. Please consider submitting an article or joining the Journal staﬀ as a reviewer or conference reporter; we welcome your input and contribution. I sincerely hope you enjoy this issue of the ITG Journal, and I look forward to meeting and working with you!

FREE MUSIC SUPPLEMENT FOR 2019 – 2020

तुरही यात्रा

Turahee Yaatra (Trumpet Voyage) By Lakshminarayana Subramaniam We hope you enjoy this year’s free Music Supplement, a piece for trumpet and flugelhorn with percussion and piano, by the renowned Indian composer Lakshminarayana Subramaniam. This work was the result of ITG’s  commission. This pdf file is available now for download from the Resources: Special Offerings section of the ITG Website.

4 ITG Journal / March 2020

CONTENTS

ITG CALENDAR ALBERT LILLY III, EDITOR To submit calendar items for the ITG Journal and ITG Website, contact Albert Lilly by email (calendar@trumpetguild.org). Please note that submission deadlines are generally more than  days before publication, so information about calendar items must be submitted long in advance of the event date.

March 1, 2020: New England Trumpet Workshop, to be held at Bridgewater State University, 131 Summer Street, Bridgewater, Massachusetts 02325 (usa). Guest artists will include Ashley Hall and Marie Speziale. The final concert will feature the New England Brass Band and the winners of their  Youth Solo Brass Competition. Dr. Spencer Aston serves as host for the event. For additional details, contact Dr. Aston by email (saston@bridgew.edu). March 19 – 21, 2020: National Trumpet Competition, to be held on the campus of Messiah College, Mechanicsburg, Pennsylvania (usa). Dr. William Stowman will serve as the host, and Dr. Dennis Edelbrock is founder and executive director. For additional information, check the competition website (http://www.nationaltrumpetcomp.org). May 1, 2020: Entry deadline for the 2020 Ellsworth Smith International Trumpet Solo Competition, to be held September  – , , at Brigham Young University in Provo, Utah (usa). See the competition description below. May 22, 2020: Registration deadline for the Fourth Annual University of Kentucky Summer Trumpet Institute, to be held June  – , . See the event description below. May 25 – 30, 2020: 45th Annual International Trumpet Guild Conference, to be held at the Hyatt Regency, Columbus, Ohio (usa). Additional details are available on the ITG Website (http://trumpetguild.org). June 8 – 11, 2020: The Fourth Annual University of Kentucky Summer Trumpet Institute will be held on the campus of the University of Kentucky in Lexington, Kentucky (usa). Faculty will include Caleb Hudson, John Foster, Robert Sullivan, Vince DiMartino, Ryan Gardner, Jason Dovel, and many more. Registration deadline is May , . More information and registration can be found on the institute website (http://www.UKtrumpet.com) or by email (uktrumpetcamp@gmail.com). June 29 – July 5, 2020: The Fourth International Trumpet Seminar will be held in the foothills of the Alps in RonzoChienis, Italy. Faculty will include Ivano Ascari, Gary Malvern, and Peter Wood. Activities will include masterclasses, private lessons, trumpet ensemble playing, public concerts, great food, and recreation. Location is ideal for European sightseeing before or after the seminar. For more information, contact Ivano Ascari (ivanoascari@libero.it), Gary Malvern (Gary.Malvern@furman.edu), or Peter Wood (pwood@southalabama.edu).

August 3 – 7 and 10 – 14, 2020: Thirteenth Annual Trumpet Program at SummerKeys (weeks one and two as separate events), held in Lubec, Maine (usa). Adult trumpet players of all levels and interests are invited and can attend either of the two weeks. Avocational and “comeback” players are especially welcome. Participants will receive a daily group class, a daily one-hour private lesson, practice time and space, and the opportunity to rehearse and perform with a faculty pianist and with other musicians. In addition, there is time to enjoy a vacation in this charming Down East coastal village and nearby Campobello Island. The instructor will be Dr. Robert Stibler, Emeritus Professor of Music at the University of New Hampshire and founder of the SummerKeys Trumpet Program. For more information, check the SummerKeys website (http://www.summerkeys.com) or contact Robert Stibler (rstibler@unh.edu). September 23 – 26, 2020: Ellsworth Smith International Trumpet Solo Competition, hosted by Dr. Jason Bergman and sponsored by the International Trumpet Guild, The Columbus Foundation, and the Brigham Young University School of Music. All events will be held at the byu School of Music, Provo, Utah (usa). Deadline for entry is May , . For more information, check the competition website (https://tinyurl.com/itg2003b) or send an email (ellsworthsmithcontest@trumpetguild.org).

CALL FOR VOLUNTEERS

ITG Global Chapters Initiative is a drive to form ITG Affiliate Chapters in virtually every country, region, or state worldwide to broaden the international footprint of ITG. Volunteers are needed to develop contacts and coordinate regions worldwide. Contact ITG Affiliate Chapters Committee Coordinator Cynthia Carrell (chapters@trumpetguild.org). ITG Sister Chapters Program is intended to create international and intercultural relationships between ITG Affiliate Chapters worldwide. “Sister” chapters will share information and encourage each other. Select chapters may also be called upon provide assistance in the formation of chapters in lower socio-economic settings. ITG member volunteers are needed to coordinate the forming of these relationships. Contact ITG Affiliate Chapters Committee Coordinator Cynthia Carrell (chapters@trumpetguild.org).

CONTENTS

March 2020 / ITG Journal 5

RALPH ALESSI: KINDRED SPIRIT FA1

BY THOMAS

ERDMANN

’s Hissy Fit, immediately noticed Alessi’s talents and rumpeter, flugelhornist, and composer Ralph stated, “Alessi is emerging as one of the most important new Alessi may have been blessed with great musical trumpeters and composers of the new century.” Further genes, but nothing comes of them without hard acclaim for his recordings as a leader arrived in the form of work to develop that talent. Born in  to famed classical numerous four-star DownBeat magazine reviews, feature artitrumpeter Joseph Alessi (longtime trumpeter with the Radio cles, and various Top 10 Record of the Year lists. In JazzTimes, City Music Hall and Metropolitan Opera Orchestras and noted critic Nate Chinen wrote of Alessi’s  Baida later a celebrated West Coast-based teacher) and soprano recording, “Without abandoning his yen for oppositional Maria Leone Alessi (who sang at both Radio City Music Hall energies, it’s a beautifully coherent statement, not just his and the Metropolitan Opera), Ralph and his trombonist most accomplished album but a contender for one of the brother Joseph (principal trombone with the New York Philharmonic since , on the faculty of The Juilliard School, year’s best.” The New York Times seconded, acclaiming the album for its “elegant precision and power.” and previously with the Philadelphia and Montreal symNever far from his desire to share what he knows with sucphonies) have not only continued the family’s tradition of cessive generations, Alessi currently teaches at the School of unswerving devotion to their own musical excellence, but Jazz and Contemporary Music at The New School; has also eagerly passed on their knowledge to generations of students. While the rest of the family followed the classical road, taught at the University of Nevada – Reno, New York University, the Eastman School of Ralph chose a path that includes not just classical performance, but also “He may have the genes, but de- Music, the New England Conservatory, and Brandeis and Harvard unijazz, with great critical acclaim, in veloping them into what Down- versities; and is the founder and addition to teaching. Ralph’s ﬁrst studies on the trum- Beat called ‘an individualist director of the New York-based non-profit School for Improvisapet came from his father before working with traditional jazz and with a style and sound all his tional Music. Among the bands he leads include This Against That, an forward-thinking bassist Charlie ensemble Alessi describes as “organHaden at the California Institute of own’ was all his own doing.” ically toe[ing] the line between jazz, the Arts (cia). During this time, pop and contemporary classical music,” and the Baida QuarRalph performed in Haden’s groundbreaking Liberation tet, of which DownBeat exclaimed, “Alessi works between the Music Orchestra while also freelancing with the San Francisco Symphony and various opera and chamber ensembles. notes… the group’s focus on low-level details [is] a study of exactitude, like a jeweler’s art set to music.” When one listens After completing a bachelor’s degree in jazz trumpet perto the dexterity, reﬁned brilliance, luscious tone, and genreformance and a master’s in jazz bass performance, Alessi hopping skill Alessi displays in everything from neo-bop to moved to New York in . Quickly coming to the notice straight-ahead to free to classical, it is easy to see why he is so of musicians associated with the downtown scene—such as revered. He may have the genes, but developing them into saxophonist Steve Coleman, pianist Uri Caine, and clarwhat DownBeat called “an individualist with a style and inetist Don Byron, among others—Alessi established himself sound all his own” was all his own doing. as a major creative performing and compositional force. Critic Michael G. Nastos, in reviewing Alessi’s debut as a leader, Erdmann: Not only are your parents and your brother accomplished musicians, but even your parents came from families of musicians. You have said, “Music was around the house 24/7,” but how integral was music in the household as you grew up? Alessi: Certainly, the constant trumpet lessons going on, as well as my father’s practicing, was pretty consistent. My mother also practiced, and eventually my brother was practicing a lot. There was lots of live music going on. On the other hand, I looked up to my brother and really liked his record collection. I heard a lot of music from him, either by osmosis or by him turning me on to things. Erdmann: Was it mostly classical music? Alessi: No. My earliest memory of his collection was Herb Alpert and the Tijuana Brass, but also a lot of big band jazz. Joe was into jazz as a young musician; he loved it and was good at it. He then took a left turn—or a right turn, depending on 6 ITG Journal / March 2020

your viewpoint—and left jazz behind until recently, when he has revisited that territory. Erdmann: I know your earliest lessons were with your father, but you also studied with Bob Elkjer. I was going to ask if he was your first exposure to jazz, but I guess not. Alessi: My first exposure to jazz was from my brother’s collection, but my first jazz lessons were from another student of my father’s, Ken Saul. He showed me a bunch of Clifford Brown transcriptions and then played the tracks, which blew my mind. Erdmann: You studied with Armando Ghitalla at Michigan for one year. Why did you leave and head to Cal Arts? Alessi: I was searching for the right fit in terms of a school. Cal Arts was actually my third school in three years. I went to the University of Texas at Austin for a year after Michigan. When I was at Michigan, I was pretty focused on being a clas© 2020 International Trumpet Guild

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Photo credit: Juan-Carlos Hernandez

sical player and was there to study with Mr. Ghitalla, but he had some health issues around that time. I don’t, however, know if I would have stayed regardless of that. I went to Texas and studied with Ray Crisara; then, for the wrong reasons, I ended up at Cal Arts. I wanted to be in Los Angeles, because I was dating someone. My father took care of everything for me; he was very old school and a decision maker and said, “Okay, I’ll ﬁnd you a trumpet teacher in Los Angeles. Mario Guarneri is excellent and teaches at the California Institute of the Arts.” I didn’t know anything about the jazz program there and hardly knew who Charlie Haden was, but that is why I took this circuitous route. Even then, I was still circuitous. I was there for a year and didn’t feel things were working out and felt I needed a break. I moved in with my parents, freelanced, and practiced a lot; I got better around that time. At this time, I was still focused on being a classical player. Things obviously changed. Erdmann: At Cal Arts you studied with Charlie Haden, who is best known as being an original member of the Ornette Coleman Quartet, but he had a much broader musical palette, including what Don Cherry called, in an interview with Ben Sidran, a

country-and-western and gospel background. What did Charlie bring to your musical conceptions? Alessi: That is a hard question to answer, because he continues to influence me. The influence has grown since I left Cal Arts, because I wasn’t quite ready for him. Jazz was so new to me. I definitely recognized greatness every time he played for me. Every note he played was like hearing a symphony. I was particularly struck by the incredible sound he had on the instrument. One of the things that has stayed with me was his enthusiasm and love for music. He instilled that in all of us who were in his classes, and luckily enough, we got to play with him. When you play with someone on that level, it is hard to define how you are influenced by that individual. Anyone on his level uplifts you, and I got to play with him a lot. Since leaving Cal Arts, my love and appreciation for not only his music, but also Ornette Coleman’s and Don Cherry’s, has continued to grow and deepen to this day; that is the music I continue to revisit and never grow tired of hearing. Erdmann: You made some musical associations with fellow students while at Cal Arts, which have progressed and continue to this day, such as Ravi Coltrane, Peter Epstein, Michael Cain, and

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March 2020 / ITG Journal 7

Photo credit: John Rogers

David Bernstein, who was the head of the program. He told Scott Colley. What do you tell your students about the associations me they needed a trumpet player and asked if I wanted to one makes as they are coming up and developing into musicians? audit. I came back, and it was a completely different feeling. Alessi: Often times, the most important part of your educaCharlie had made a transformation, had also just met Ruth tional experience are those kindred spirits you meet. As great Cameron, and was in really good spirits. as my teachers were there, it was those relationships I was nurturing at the time “Often times, the most impor- There were also some new students who had just arrived. It was a night-and-day that were the biggest part of that experience. I cannot imagine growing without tant part of your educational difference, but that year I just played in those particular individuals. They were experience are those kin- the ensembles. After that year, I reenrolled and finished up my undergrad friends, but we were also making music before taking another year off and then in a way I never had done before. We dred spirits you meet.” coming back again and earning my maswere doing it together, and that largely ter’s on bass, because they needed bass players. I played electric fueled my desire to move to New York, because they were all bass and a little double bass as well. eventually moving there as well. I tell people all the time that Erdmann: When did you start playing the bass? the , to , a year you pay in school is where you Alessi: I started in high school. I was always attracted to it, get your money’s worth, and you should take full advantage of and when I started on it, I realized, “Oh, this is a lot easier than your colleagues. We were playing, hanging out, and listening to music together. It was literally a party, and in a larger sense, the trumpet. I think I can play this, not have to practice as much, and still be decent.” The double bass is another sort. it was a joyous time to interact with those types of people in The bass started as a hobby, but I was getting better. When I that focused artistic environment. After three or four stabs at came back to Cal Arts, it was a similar situation in that they finding schools, Cal Arts became my place. Maybe I was desneeded a bass player. They gave me a great scholarship, and I tined to always be there; I don’t know. I should also mention finished my master’s in three semesters. that one of the reasons I took a year off after my first year there Erdmann: Your ballads are some of the most tender composiwas because Charlie was not particularly healthy, and his vibrations I have ever heard. Brown Hat from Look, and Maria Lydia tions were not great that year. The reason I went back after from Baida, as just two examples, are stellar. From where do you spending a year living with my parents was that I decided at draw inspiration when you compose ballads? first not to go back to school, but to move to Los Angeles to Alessi: I like everything about music. I like rhythmic music try to be a studio player. I moved in with Scott Colley, whom and abstract music, but I also like songs with nice melodies I met at Cal Arts. I then went up to the school to say hello to 8 ITG Journal / March 2020

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Erdmann: Well, your version is very beautiful. Your composiand harmonies. Initially, I was attracted to rhythm, but I think tions and playing are so intricately intertwined. Is the great dilemeveryone is initially attracted to rhythm on some level. I am a ma for any serious musician—jazz or otherwise—to try to find a big Stevie Wonder fan; I think he is as sophisticated harmoniway to further the music and find your own voice? cally as any musician I know. I am attracted to song forms of Alessi: It all depends on why you’re doing it. It’s always been that nature. From there, I gravitate toward other composers that way for me, and Cal Arts really instilled that thinking. I who are pretty strong in a harmonic sense, like Kenny Wheeler don’t think I had that before I went and Duke Ellington, and I could add there—at least certainly not in a conothers. For a while now I am pretty certain I have been influenced by Ste- “I like everything about music. I scious way. That’s the hard thing, and vie’s music; I definitely wore it out for like rhythmic music and abstract the harder we get into this music, the harder it is to do. This music was faira long time, and I go back to it from music, but I also like songs with ly new back in the ’s, where so time to time. many of the innovators who we put Erdmann: You arranged Stevie’s nice melodies and harmonies.” on the highest pedestal are now sixty Same Old Story from his Journey years removed from the music of that Through the Secret Life of Plants rectime. It took me a while to be aware of that idea. I didn’t think ording in a very novel way on your Cognitive Dissonance recordabout it, but at one point I decided to accept who I was as a ing. To me, it almost sounds like you recomposed it. Your interpremusician and embrace different influences and try to embrace tation incorporates some very original insights. them all. With any musician, it’s all in there, and if you have Alessi: I have to say I wasn’t very happy with that arrangesome experiences with music that inspires you—and I would ment. I thought I would take a crack at it. In a way, it is a very go even way back to my first influence of Herb Alpert and the hard thing to do, to play a Stevie Wonder song, because they Tijuana Brass and all of that early pop music that excited me are so codified. I think I had the right idea, but I wasn’t able to as much as anything, particularly pop music in the ’s— really deliver the goods on that one. On tour we played it a few times, but I haven’t played the song since. It’s a beautiful song. along with my background as a classical player and the hours One of the things we did to the song was play it in a very loose, and hours of playing trumpet etudes—you’ll find that’s all in rubato way, and I did add my own little harmonic twist on it. my music. Also, hearing my mother, father, and brother I wanted to try to come up with something arrangement-wise, play—it’s all there. One of the things I tell people is “Just be but when you come down to it, we did it pretty loose. who you are, and over time, all those different streams will

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March 2020 / ITG Journal 9

SELECTED DISCOGRAPHY As a Leader Imaginary Friends (ecm, ) Quiver (ecm, ) Baida (ecm, ) Only Many (cam Jazz, ) Wiry Strong (Clean Feed, ) Cognitive Dissonance (cam Jazz, ) Open Season (Kindred Rhythm/rkm, ) Look (Between the Lines, ) This Against That (rkm, ) Vice & Virtue (rkm, ) Hissy Fit (Love Slave, )

Gustav Mahler in Toblach (Winter & Winter, ) Sidewalks of New York (Winter & Winter, ) With Thomas Carbou Pure Proﬁle… (Twinz, ) With James Carney Ways and Means (Songlines, ) Green-Wood (Songlines, ) Oﬀset Rhapsody ( Jacaranda, ) Fables from the Aqueduct ( Jacaranda, )

With Lucian Ban Enesco Re-Imagined (Sunnyside, )

With Steve Coleman Lucidarium (Label Bleu, ) The Ascension to Light (bmg, ) The Sonic Language of Myth (bmg, ) Genesis (bmg, ) The Sign and the Seal (bmg, ) The Way of the Cipher (bmg, ) Myths, Modes and Means (bmg, ) A Tale of 3 Cities (Novus, )

With Jamie Baum Solace (Sunnyside, ) Moving Forward, Standing Still (Omnitone, )

With Scott Colley Empire (cam Jazz, ) Architect of the Silent Moment (cam Jazz, )

With Don Byron Love, Peace, and Soul (Savoy, ) Ivey Divey (Blue Note, ) You are #6, More Music for Six Musicians (Blue Note, )

With Ravi Coltrane Spirit Fiction (Blue Note, ) From the Round Box (bmg, ) Moving Pictures (bmg, )

With Others With David Ake Humanities (Posi-Tone, ) Bridges (Posi-Tone, ) With Michaël Attias Spun Tree (Clean Feed, )

With Michael Cain Phew (ma, ) Circa (ecm, ) With Uri Caine Rhapsody in Blue (Winter & Winter, ) Mahler-Caine: The Drummer Boy (Winter & Winter, ) The Classical Variations (Winter & Winter, ) Othello Syndrome (Winter & Winter, ) Uri Caine Plays Mozart (Winter & Winter, ) Dark Flame (Winter & Winter, ) Shelf Life-Bedrock Trio (Winter & Winter, ) The Goldberg Variations (Winter & Winter, ) 10 ITG Journal / March 2020

With Steve Davis Sugar Blade (Babel, ) With Jeﬀ Denson Secret World (Between the Lines, )

The Irrational Numbers (Premonition, ) 7 Black Butterﬂies (Premonition, ) With Carola Grey Noisy Mama ( Jazzline, ) With David Gilmore Ritualism (Kashka, ) With Simone Guiducci Dancin’ Roots (Dunya, ) Chorale (Dunya, ) With Joel Harrison The Wheel (Intuition, ) With Jim Hart’s Cloudmakers Trio Live at the Pizza Express (Whirlwind, ) With Fred Hersch Live from the Jazz Standard (Sunnyside, ) Trio + 2 (Palmetto, ) Songs without Words (Nonesuch, ) Leaves of Grass (Palmetto, ) With Jon Irabagon Outright! (Alliance, ) With Joonsam A Door (Origin, ) With Brian Landrus Generations (BlueLand, ) With Tony Malaby Novela (Clean Feed, ) With Andy Milne Forward to Get Back (D’Note, )

With Alex Koo Derudder Appleblueseagreen (Clever Tree Records, )

With Jason Moran Artist in Residence (Blue Note, )

With Peter Epstein Polarities (Songlines, )

With Michael Musillami From Seeds (Playscape, )

With Michael Formanek The Distance (ecm, )

With Angelika Nieschier/Florian Weber NYC Five (Intakt, )

With Thomas Fujiwara Triple Double (Firehouse , ) With Drew Gress The Sky Inside (Pirouet, )

With Charlie Peacock Love Press Ex-Curio (Runway Network, )

CONTENTS

With Enrico Pieranunzi Proximity (cam Jazz, )

With Michael Rosen Sweet 17 (Forced Exposure, )

With Johannes Wallmann The Coasts (MooseWorks, )

With Lonnie Plaxico With All Your Heart (Muse, ) Emergence (Savant, )

With Tomas Sauter Double Life (Catwalk, )

With Florian Weber Lucent Waters (ecm, )

With Ken Schaphorst How to Say Goodbye ( jca, )

With Elliott Wheeler The Get Down (Score Soundtrack) (House of Iona, )

With Bobby Previte The 23 Constellations of Joan Miró (Tzadik, ) With Tom Rainey Obbligato (Intakt, ) With Sam Rivers Culmination (bmg, ) Inspiration (bmg, )

With Timucin Sahin Inherence (Between the Lines, ) With Brad Shepik Human Activity Suite (Songlines, )

With Marcelo Zarvos Hollywood, Original Motion Picture Soundtrack (Varese Sarabande, )

With Various Selected Signs, Vol. 3 – 8 (ecm, ) Women’s World (emi, )

example, Soy Ink opens with a short motive that is treated in a canon-like manner before the piece opens to incredible solos by EQUIPMENT Don Byron, you, and Nasheet Waits. Even during the solos, though, there are composed backgrounds that are intricately tied Trumpets: silver Bach  ml Model  Anniversary Model to the opening motive in the same way Stravinsky would use celand a silver Bach Mount Vernon  ml raw brass, with a lular construction in L’Histoire du soldat. In that first 2002 Bach 1½C mouthpiece recording, were you spending more time on the compositions than Flugelhorn: Yamaha with a Bach 1½C mouthpiece on the performances? Microphones: akg and Neumann tlm preferred Alessi: I don’t think so. I have never spent a lot of time composing. I wish I would spend more time composing. Like a lot of people—but not everybody—I put most of my work in as I result in an amalgamation.” For me it took a long time to feel get closer to a record or a gig. I’m writing music, but I don’t do like I have my own take. I’m not reinventing the wheel, but I it regularly; I wish I would. During that time—and I can’t am making a little contribution. remember totally—I was composing with a sequencer, which I I always think writing music helps that process in ﬁguring have stopped doing. I think that made me arrive at a type of out the kind of music you want to make. That doesn’t happen writing that would not be as easy without in real time; you have to have time to consider what you want “Just be who you are, and over it. That’s one thing I do remember from that time. to do. Early on, I—in a conErdmann: Why did you abandon the scious decision—also stopped time, all those different streams sequencer? listening to trumpet players. I Alessi: With the advent of music notawanted to be inﬂuenced by other will result in an amalgamation.” tion technology, I found a way to expeinstruments, so one by one I dite the process of writing music. I have perfect pitch, so relastopped listening to my heroes like Kenny Wheeler, Miles tively speaking, it is easy for me to write music away from an Davis, Freddie Hubbard, and on and on. I have since come instrument. I eventually became a Finale user and then became back to them, and every time I do hear some great trumpet both a Finale and Sibelius user, but back playing, I think, “Maybe that wasn’t such a great strategy.” Sometimes “When I take the time to listen in those days when I was using that program, I realized I could travel and write you do need to hear something laid out that really does inspire you on to the younger players of today, by entering things in, listening to them, your instrument. I also feel that way I am impressed, because they and then printing it up. That’s a pretty fast process. That was the reason why, I with the younger players of today. When I take the time to listen to can do things I can’t do, and think, I went away from the sequencer them, I am impressed, because they that fuels inspiration to make and started to gravitate toward notation software. Since I am always scrambling, can do things I can’t do, and that music notation software became a way fuels inspiration to make me want to me want to get better.” for me to write music quickly. With the get better. exception of a few moments where I have gone to a piano and Erdmann: If I am correct, your This Against That band is a generated some material with that instrument, I have largely group of musicians with whom you have worked over a very long written using notation software. period of time, where you do virtually all the writing for the Erdmann: By 2007 (with the wonderful, yet subtle, Look group, and, for lack of a better moniker, it is “chamber music” in recording), while just as tightly and complexly written, the compothe sense one might think of a classical-music small ensemble. For © 2020 International Trumpet Guild

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March 2020 / ITG Journal 11

music. We had played thirteen gigs and were definitely ready to record and had related the music to a point where we could really play it. That is ideally what you want when you make a record. In terms of anything beyond that, we were just playing the music. We’re getting older, changing, and hopefully evolving. I have done records in different ways. For example, Wiry Strong was also done after a tour. Quiver happened prior to a tour. Those different scenarios contribute to the music in different ways— sometimes positive and sometimes negative. Sometimes if you play the music too much, it can become a little stale, but also, if you’re really exploring it in the studio, the result can be a double-edged sword. It might lead to more off-the-cuff spontaneous playing; but also maybe the music isn’t quite ready, and you might not be quite feeling it—and feeling it is what you always want. In terms of what was happening in the studio with Imaginary Friends, we were ready to make the music, and I don’t think we ever went beyond two takes. Erdmann: You mentioned 2011’s Wiry Strong. To me, that recording demonstrates perhaps the widest dimension of your writing and performing ability. There is a great dichotomy between tunes like Station Wagon Trip, which is so much more in the straightahead mode, while Clown Painting and Wiry Strong, as just two examples, aim for that rarified avant-garde air. Halves and Wholes is such a beautiful ballad, and A Dollar in Your Shoe is kind of a tonal Cecil Taylorish number. You mentioned that that session happened after a tour. Did the tour open up things that led to the wide color palette expressed on the recording? Photo credit: Peter Gannushkin Alessi: No, but we were fairly confident playing sitions seem to allow more group improvisational expression. Is this that music. There were a couple of things that changed in the due to the shared musical associations that developed in the interstudio. There was a ballad for my daughter, Mira. That was vening five years? played as a fast tune on tour. I was hearing it that way, and Alessi: I don’t really remember that being a conscious idea. I then right when we got in the studio, I wasn’t happy with the was thinking maybe I was evolving as a composer, and I was way it was sounding and thought we should try it as a ballad. starting to think more about those things, using more group That was a spontaneous playing of that piece and the first time improvisation, but I think there was a little bit of that occurwe had played it that way—no conscious thought. I am not ring on early records as well. I tend not to dictate those things; that different from most musicians; I like it all. Maybe to a I like them to happen naturally. Maybe the music was happenfault, my records are sometimes a mixed bag, because I really ing more spontaneously because of those relationships that respect musicians like Mingus. I was just talking about his The were deepening with those musicians. Black Saint and the Sinner Lady, which has a constant theme Erdmann: Let’s jump now to your running through the record. I really fantastic 2019 Imaginary Friends record- “We had played thirteen gigs and respect records that way. Another ing. There is still a great deal of composithing I would say about Wiry Strong tional complexity, such as on Improper were definitely ready to record is that I did a little mixing on that Authorities, but to me the feel is a bit and had related the music to a recording; it’s fun to do that. Right looser with what I perceive as more room around that time I was starting to between the rhythm section and how you point where we could really learn a little something about Proand Ravi Coltrane interact with the rhy- play it. That is ideally what you Tools—just a little. Ravi likes to thm section. I hear this on Oxide as just keep it a secret—I don’t have any one of many examples, but it is also there want when you make a record.” problem spilling the beans—but he on Improper Authorities. To me, it basically engineered four or five of sounds like you are in there with the rhythm section, but there is my records. He uses a pseudonym, “Bobo Fini,” when engialso a little separation. I hear this a little on your Baida recording, neering. He likes to keep it a secret, but he’s literally one of the but more pronounced on the 2019 recording. Am I at all correct? best engineers I have ever worked with. After we made that Alessi: We were fairly loose with the music on that recording, record, I wasn’t satisfied with the mix. I can’t remember who because we had been playing it on tour prior to recording the mixed it, but he said, “Get ahold of a stem mixer, and you can 12 ITG Journal / March 2020

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and anybody can go online to learn chord/scale theory. I don’t do it from home.” I did, and I dealt with some tweaks and did think that is necessarily an evil, but it can be. That’s why musia few mixing moves I was pretty proud of. We did three cians like Ornette Coleman are so imporimprovisations on that record—Racy Banter being one—and at the end of that track, I “Scales are just tools; tant. You hear things from that band, which are in some ways conventional, and faded the horns out so what the rhythm section is doing comes into the foreground. That you want to use them— there are some other things you hear where there is no way you can put a label was fun. Maybe I can get back to that; I’ve put not be used by them.” on what they’re doing. doing that kind of thing way on the back Erdmann: JazzTimes got it right when they wrote that you burner, but I would like to get back to doing more of that have “drop-dead trumpet chops.” As busy as you are, do you still going forward. find time to practice? Erdmann: In the mission statement for the School of ImprovisaAlessi: I have less time to practice, but I get more out of my tional Music, you state that it is “a core group of musician/teachers time now. I am more efficient, and my mechanics are better. who are committed to providing instruction for instrumentalists When you get right down to it, it’s kind of embarrassing how wanting to study improvisation in all of its contemporary forms little I practice. I play most every day. I get two hours in here and implications.” The statement goes on to say, “While advanced and there, but most times I get about an hour in a day. I would jazz education is of the utmost importance, the person wanting to study improvisation has but a few choices made available to them.” love to get in more. With moving back to New York full time [this interview occurred shortly before Alessi left his position You have said that one of the focuses of the program is “how to make at the University of Nevada – Reno], maybe I’ll have more music right in the moment.” Can you explain this? time to practice. I used to need three hours of practice, and Alessi: This is hard to put into words, but it means bringing now an hour does me pretty well. something to the music right then; some decision is made that Erdmann: Is there something you like to focus on when you is not planned. One of the prime examples of the spirit of this practice? is Sonny Rollins. There are other improvisers who really take Alessi: I’m not that methodical; I wish I was. I have dabbled chances every time they play. There are some improvisers who at that. I used to follow a routine, but now it’s a few slurs, a are more spontaneous than others. Here again, this is someClarke study, maybe one expanding scale thing I learned at Cal Arts. Charlie would use the term “spontaneity” quite “Being spontaneous brings a exercise, and then I just jump into music, mostly improvising. Maybe I’ll play an a lot, and I don’t think we ever understood that until later. Being sponta- certain type of sound to the etude here and there. My practicing is pretneous brings a certain type of sound to music; the music sounds a ty condensed. I’m just better at having a sense of how to warm up. I can warm up as the music; the music sounds a certain way when it is more on the edge and certain way when it is more I go, instead of thinking I have to first do a when people are taking chances. Kind on the edge and when peo- warmup and then play. What I do is expedited, but it works, and I am always lookof Blue has its place in the music. One ing for a way to do the work better. I guess of the reasons for this is because of how ple are taking chances.” I’m just trying to get the blood going, tryit was made, and from that, the sound ing not to play too loud at first, trying to get my muscles workof the music has its own way. I can’t describe it any better than ing by doing some slurring and tonguing, doing exercises saying it has a sound. I have a lot of students that shy away where I go low to high to low in order to find a balance. I guess from that; they want a sure thing and want the music to be I’m so excited about music that I just do a quick warmup and tight and pristine. There is a time for that, but there is somethen jump into the music. I’ll improvise or work on a song or thing very important in playing spontaneously. That is a big whatever. For better or worse, it works pretty well for me. part of what we present. We’re trying to get people to put aside Erdmann: The key is really all about being excited about music. their preconceptions and really play together, to wipe the slate Alessi: Again, that goes back to clean and have a moment. Erdmann: I listen to so many young players, “I’m as excited about music Charlie Haden. I got a lot of fuel from being around someone like that. He and the one thing I hear over and over is was a legendary musician who was like “Which scale over which chord?” I get the feeling as I have ever been.” a kid. I would say music has rarely fallyour school of thought is to go beyond that to en short for me in terms of turning me on. I’m as excited about find other types of music where that kind of rule book is not the music as I have ever been. one that should be pulled out. Alessi: There is nothing wrong with that information. Most About the author: Thomas Erdmann is director of the symof the teachers who teach at the School have that influence in phony orchestra and professor of music at Elon University. Erdtheir music. Those are just tools; it’s what you do with them mann has had six books and over  articles published in jourthat is important. Those are just building blocks, but they nals as diverse as Currents in Musical Thought, Jazz Player, Jourdon’t dictate if you’re making great music. There are so many nal of the Conductor’s Guild, Women of Note Quarterly, Womemoments in the music—in addition to the things you can codnArts Quarterly, Saxophone Journal, Saxophone Today, and the ify and point toward, such as scales and that kind of informaITG Journal, to list a few. He has had over  record reviews tion—there are a lot of things that are outside of that, which published and worked for a time as the Jazz CD Reviewer for you can’t quite put into a box. Scales are just tools; you want the Monterey County Weekly, CA, and Police Beat Reporter for to use them—not be used by them. We don’t talk very much about that kind of thing in our school. That’s just information, The Pantagraph newspaper in Bloomington, Illinois. © 2020 International Trumpet Guild

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March 2020 / ITG Journal 13

THE FUTURE

OF INSTRUMENT MAKING: A CONVERSATION WITH CRAFTSMAN JÉRÔME WISS FA2

BY ANDRÉ BONNICI

André Bonnici: What is your background? Jérôme Wiss: My musical career is quite simple. I started the euphonium at the age of seven at the music school in my village, then I graduated from the Conservatoire de Mulhouse, then finally from the Conservatoire de Strasbourg. I was able to play in many orchestras along the way. I wanted to make music my profession, but the too-few positions available on the euphonium made me find another path, because teaching did not interest me. My professional career as an instrument maker started once I attended the itemm, the only school in France where you can learn instrument repair. My initial goal was to attend classes for a year and then open a store with high-end instruments and perform routine repairs. B-flat trumpet designed by Jérôme Wiss During this first year of school, we Bonnici: Where did the idea come from to work on an had the opportunity to do internships with instrument manuimprovement of the trumpet when we think that this instrument facturers. I asked a friend of mine who is a soloist for a big company to put me in touch with them to do an internship. has already arrived at the ultimate point of its conception? Wiss: To be totally honest, it is not only the trumpet that This internship opened my eyes. I no longer just wanted to deserves improvements—but all the instruments of the orchesrepair instruments; I wanted to make them! At the end of my tra. I am quite opposed to saying that somefirst year, I realized I still had a lot to learn is completely accomplished; you can and that it was necessary to continue my “I no longer just wanted thing always do better. I have always been amazed studies. I found a master in Paris who specialized in brass, so I continued my school- to repair instruments; I to see my trumpeter friends in the orchestra constantly moving their slides, having diffiing, alternating between studying and working for another two years. During this wanted to make them!” culties with accuracy, and having to de-tone some notes in order to play them in tune apprenticeship, I took advantage of a second with others. During my studies, I asked an acoustician if it was internship to work at my original company to create a mechapossible to calculate the accuracy of an instrument with a comnism never adapted (to my knowledge) on euphonium. Not puter. I thought to myself at the time, “We are able to send being a fan of the compensating system, I made a double robots to Mars, but we are still not able to make a trumpet mechanism (like on horn) on a euphonium. This is how my with perfect intonation.” The acoustician answered that they manufacturing adventure began. At that time, I had been in had developed software in  to do the business for three years, and I felt I still needed more training. It was then that the “I am quite opposed to say- these calculations. The software works under ms-dos. It was not really easy to itemm training director came to tell me that a new diploma had been created and ing that something is com- use, but I caught on quickly because of that it would last a little more than two pletely accomplished; you my love of old things. Bonnici: Why use new technologies, and years. So, I went into the dma. During what do they bring to the design, manufacthese last two years of study, I worked for can always do better.” ture and marketing? a famous French brass company. I worked Wiss: The use of the computer for technical drawings and and learned a lot in making instruments there. At this factory, various other aspects of instrumental making is not new; the I had the chance to work in almost all the positions of instruprocess I use is. New manufacturers often copy standard trumment making. I also had the opportunity to go to Germany to pet models and then make some modifications so that it fits do other internships as well. After six years of studies, I their image and the musicians who play them. This is not a embarked on the adventure of creating my own instruments. 14 ITG Journal / March 2020

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for the same shape of bell: brass, gold brass, red brass, bronze, reproach—just a statement. For my part, I prefer to make a nickel silver, and silver. Many other musicians and I tried the totally different instrument, rather than slightly modifying a different instruments, just considering the sound as a listener, copy. When I design a new instrument, whether it be a trumpet or something else, I always start with a blank sheet of paper. and found that the change of metals affected the sound almost not at all. However, the sensations from a player’s standpoint For example, the sound of a trumpet is characterized by its length, the diameter of its cylindrical bore, the shape of its bell, are different, with different vibrations of the metal. So, does the material change the sound? Yes and no. Yes, and its final diameter. All of this data can be modified, but if because all of the minute changes in feeling and vibration can it is designed empirically, it takes decades to find a correct maybe push the musician to play slightly differently, which can combination for an uncertain result. We can save a considerchange the sound, because the vibrations are different for the able amount of time using software. Changing the geometry of player. No, because if we could test every bell with an artificial a mouthpiece throat and knowing the results in terms of intomouth that is neutral (not like a human musician), I am nation takes only a handful of minutes when you know how to use the software. A craftsman who has to make  mandrels, almost certain that the difference on the spectrum would be close to nothing. If we want to study this, we also have to conmake the tubes, assemble them with the risk of breakage, polsider the ultimate perfect replica with ish the instruments, test them with musicians, etc. takes months or even years, “I sincerely believe that com- every material, and that is nearly impossible, because all those materials while a few clicks and figures are enough for a more accurate result. This approach pensation is a perfect exam- react differently when we work on is ecological and economical. I always p l e o f a g o o d t h e o r y o n them. A bell made in nickel silver is very hard to bend, and a normal brass work empirically, because I can do trialand-error calculations with spreadsheets paper that is bad in practice.” bell is easy to bend. So, the effort is not the same, and the difference could in a short amount of time. For manufaccome from that. Maybe due to the hardness of the job on this turing, I use a d printer to create prototypes. The instruments material, the deformation of the metal would not be exactly are all drawn on cad software. Then, all I have to do is print the same, and the interior shape would not be exactly the same. all the parts and make the plastic prototype first. This approach Bonnici: Why this valve block? Is it a compensating system? makes it possible to minimize errors during the manufacturing Wiss: I explained earlier about the manufacture of a double of the brass prototype. If the plastic assembly works perfectly, there is no reason that the brass construction will not work. mechanism for euphonium. This mechanism was meant to This also greatly limits the tooling for experiments that might go directly to the trash can. This is always a cheaper and more ecologically sound approach. Bonnici: What about materials and metal used? Do you not take that into consideration when designing instruments? Wiss: Good question. The answer is difficult, because this kind of topic is ambiguous. If you ask this question to many people, a good number of them will answer, “Of course, the material changes the sound.” Others will say, “The material changes nothing of the sound.” My way of thinking is closer to the second, but with some variation. The internal shape of the instruDesign of the valve block mechanism. Valves 1 and 3 are depressed. ment makes the sound, but the roughness of the inside of the tube also affects the sound. That is the difference between d-printed parts and parts made on a finely polished mandrel. The sound with the printed part will have some air in the sound, and the same part in metal will not have this particularity. This is because of the roughness of the abs when it is printed, but if you polish the printed part smooth, the sound will be identical to a regular part. When I made my trumpet, I was wondering what the difference would be between materials. So, I did the first trumpet prototype with a quick-change bell Actual valve block on Jérôme Wiss’s B-flat trumpet system. I used six different materials © 2020 International Trumpet Guild

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March 2020 / ITG Journal 15

ensures that the arms are not too close to the body, for better breathing. Also, as far as balance is concerned, my trumpets have slides with rather wide radii (which can make you think they are in C) and, thus, closer to the valve block. The mass distribution is a little closer to the musician to avoid the phenomenon of the bell falling to the ground. Bonnici: Is your trumpet intended to be played by a soloist, in a small band, orchestra, jazz band, etc.? Wiss: I think the / model will please musicians in all styles, because it is the closest to a standard model. Concerning the /, it is more intended to be played in a jazz combo, chamber music, or for a soloist. The shape of the horn gives this trumpet a more hushed sound. The tone of the / might be a little too soft for a st-century symphonic musician, but some trumpet players enjoy this. Lucienne Renaudin Vary plays the /, and a lot of young musicians are interested in playing this trumpet. The future is already here, and this may be just the beginning of a new way to enjoy the trumpet.

Mouthpiece receiver and bracing on Jérôme Wiss’s B-flat trumpet

remove the compensation. I sincerely believe that compensation is a perfect example of a good theory on paper that is bad in practice. The so-called automatic compensation forces the air to pass through the valve block a second time to give it a certain extra length. This system is widely used on large brass instruments to save tubes and weight, but at the expense of the sound. The piston system on my trumpets has only two portholes per valve, instead of the three in the Perinet valve system. For ease of play and efficiency in sealing, it was necessary to find a system that would have as few branches as possible. The more holes there are, the more potential leaks there are in the mechanics. We all know that a poorly sealed mechanism makes playing more complicated in a musical instrument. The adaptation of a system with two portholes seemed obvious to me. I am not the inventor of this valve system; the idea dates back to a nineteenth-century patent by Gautrot. Unfortunately for me, I only heard of the existence of this system after having drawn up the plans in my workshop. Yet, there is a notable difference

“I like visual simplicity and prefer a sober and balanced aesthetic to something flashy that will age badly.” between the nineteenth-century system and mine—the bore of the valve’s portholes. In the Perinet system and the system that Gautrot patented in the nineteenth century with two portholes, the bore is never consistent through the valve. You will find that in almost all piston instruments production (except for instruments using the maw system), it is still strangled. With the mechanics I designed, the bore is the same throughout the piston block, without any constriction. Bonnici: Why have you given a vintage look when many others are moving toward more modern finishes and ergonomics? Wiss: I like visual simplicity and prefer a sober and balanced aesthetic to something flashy that will age badly. Concerning ergonomics, I tried to make a rather light instrument with a valve block a little more in the center of the trumpet. This 16 ITG Journal / March 2020

About the author: André Bonnici is a founding member of Les Trompettes de Lyon, an ensemble that has played nearly a thousand concerts on several continents with the same musicians since the beginning. He is trumpet professor at the Conservatoire de Montluçon (France) and a member of the ITG board of directors.

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CONTENTS

FA3

THE END

AD VAN ZON: OF AN ERA IN ROTTERDAM BY RALPH HENSSEN

n September , , after a tenure of  years, former principal trumpet Ad van Zon played his last concert with the Rotterdam Philharmonic Orchestra. During this period, he worked under many great conductors, such as Edo de Waard, David Zinman, James Conlon, Jeffrey Tate, Valery Gergiev, and Yannick NezetSeguin, as well as numerous famous guest conductors such as Hans Vonk, Bernard Haitink, Eugene Ormandy, Rafael

Kubelík, and Kurt Sanderling. As a professor at the Utrecht Conservatory, the Royal Conservatory in The Hague, and the Rotterdam Conservatory, van Zon has trained and educated a large number of trumpet players. His retirement from the orchestra and conservatory is a good time to look back on his impressive career. The interview took place in Ad van Zon’s home in Hellevoetsluis, the Netherlands, on April , .

Henssen: What was your first experience with Marinus Komst? Henssen: Ad, can you tell us something about your youth and van Zon: After I auditioned for Marinus Komst in , he education? said to my father, “As my student, your son can finish the convan Zon: I was born on November , , in a small vilservatory easily, but may I ask you what you do for a living?” lage called Heerewaarden. My father played trumpet in a local My father replied that he ran a successful construction compawind band, and from a young age, I was attracted to the ny. Komst asked, “So, your son could also succeed you in your instrument he played. When I was seven years old, my father finally allowed me to try to play his trumpet for the first time. company and earn a good living later on? You know there is He was surprised that I immediately produced a good sound, only a relatively small chance of becoming a successful profesand he decided this was the time for me to start having lessons. sional trumpet player—even if you are talented.” He was always direct. Without hesitation, my father replied, “But if he My first teacher was Mister Parre. Although he was not a trumbecomes as good as you, he will surely find a decent job.” pet player himself—he was a pianist—Parre was an excellent Komst appreciated my father’s directness, and I became his teacher, because he taught me to make music. student. At the same time, Willem van der Vliet started as a When I was ten years old, Willem van der Vliet (who later student of Komst. became principal trumpet of the Dutch Radio Philharmonic Henssen: When you started with Orchestra) became my teacher. Komst, you had not completed your With Willem, I had one three-hour “Every lesson began with listening secondary school yet. How did you lesson each week. During my lesson, my father and Willem’s father to often just-released recordings by combine these two courses of study? van Zon: In , I had just met with the father of the later well-known cellist Anner Bijlsma Maurice André. From that moment completed my lts education (lower to play cards in a pub. Every lesson on, I knew I wanted to become a vocational technical school) and started with my mechanical engibegan with listening to often justneering course at the mts (technical released recordings by Maurice professional trumpet player.” school) in Den Bosch. Because I André. From that moment on, I was only fifteen years old, Komst put me in the preparatory knew I wanted to become a professional trumpet player. I am course, which lasted two years. My school week during these convinced that listening to Maurice André’s playing formed years was as follows: Monday morning : trumpet lesson my idea of how a trumpet should sound. In preparation for with Komst in Amsterdam (for one and a half to two hours), future conservatory study, I received music theory and piano lessons from Jan Baarda in Culemborg. These lessons were free. followed by classes from : to : p.m. at the mts in Den Bosch; on Tuesday and Wednesday, classes at the mts; ThursIn return, I played every Sunday with him on the organ at the day to Amsterdam for afternoon classes with Komst and Barbarakerk in Culemborg. When I was twelve, I became solo cornet of the brass band Electra, which was led by Ben Zaal. evening theory lessons; Friday to the mts; and Saturday morning : lessons with Komst in Amsterdam. Plus, with doing Ben was a trumpet player and professor of trumpet at the homework and practicing trumpet at home, it was a very busy Utrecht Conservatory. At that time, he was the teacher of week. Fortunately, I did not experience any problems or presWillem van der Vliet. Although the plan was that I would sure from the combination of the two programs. A disadvanstudy at the Utrecht Conservatory with Ben Zaal, my father tage of the combination of my conservatory education with decided otherwise. He noticed my great talent; in fact, I was able to play almost everything that was put on my music stand. the mts was, however, that I couldn’t spend enough time on the music theory subjects and later, toward the end of the proIf I wanted to become a professional trumpet player, the best gram, I was quite busy with finishing all the theory subjects on thing was to study with the best teacher available. So, at the time. In addition, my piano and theory teacher, Jan Baarda, age of fifteen, my father took me to the famous Marinus died in  at the age of . He always helped me with my Komst, at that time principal trumpeter of the Concertgebouw theory courses. In , I passed my final exams at the mts. Orchestra and professor at the Amsterdam Conservatory. © 2020 International Trumpet Guild

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March 2020 / ITG Journal 17

He called which fragment, and I had to play it. You can imagHenssen: How do you look back on the period with Komst in ine that after each lesson that always lasted about two hours, I Amsterdam? was broken, and my lips often hurt from playing (sometimes van Zon: You have to realize that I was very young when I even until bleeding). But I was young, so I recovered quickly! started with Komst. I was , and he was  years old. Initially Henssen: Did you keep in touch with Komst after graduation? I was a bit afraid of him, because he was an emotional man and van Zon: No. After graduating, I did not see him for eightcould become suddenly very angry. In the beginning, because of my accent, he had quite some difficulty understanding me. een years. The reason for this is that after my final exam, my father and I had dinner with him. After dinner, Komst said to One time, after having lost a pen, I asked him if he might have me, “Well, now you’re finished. I hope we won’t see each other taken my pen by accident. Komst reacted furiously and shoutsoon.” You can imagine I was shocked by this remark, since I ed that he did not need my stupid pen. Who did I think I was? After this incident, I did not dare go to his lessons anymore, had had a great time with him, and we got along really well. It was not until much later that I realized that he probably didn’t and I did not see him for six weeks. Of course, my parents were mean this literally. However, the result was that I only saw him not aware of this until the moment they received a letter from Komst in which he asked when I would come for lessons again. again in  at the ITG Conference in Rotterdam. Henssen: Can you tell me about your first experiences as a After that, I went back to him, and from that moment on we trumpet player in a symphony orchestra? got along very well. He even spoke often with me about his van Zon: In , when I was in my second year of the personal experiences and his career. preparatory course, I became principal trumpet of the Dutch Henssen: So, after that it all went well? National Youth Orchestra, which was initially led by Nico van Zon: Yes, until we had a second collision. In , I was Hermans and then followed by Heinz Friesen a year later, who asked to play as an extra in the Rotterdam Philharmonic at the time was also principal Orchestra for the first time. Because I always traveled to Amsterdam by car and Komst traveled to the con- “If you do not do these oboe of the Rotterdam Philharmonic Orchestra. The brass secservatory by tram, I had offered to pick him up at tion rehearsals of the nyo were home so we could drive to the Bachstraat together. gigs, I’ll kick your a**!” led by Peter Masseurs, at that This went well for a few weeks, until the rehearsal time principal trumpet of the Rotterdam Philharmonic schedule of the orchestra suddenly changed from one day to Orchestra. Thanks to Peter and Heinz, I had my first gig with another. Because of this, I would be unable to attend my lesson the Rotterdam Philharmonic in . We played a performwith Komst the next day. The problem, however, was that Komst didn’t have a telephone, so I couldn’t notify him in time. ance of the opera Aida by Verdi. This gig was followed by more invitations with this orchestra. Although the conservatory did Because of me not showing up at his house, Komst went to the conservatory on his own and waited for me to come in vain. not allow me to play these gigs, Komst was very clear about it. When I drove to his house the following week to pick him up, He said, “If you do not do these gigs, I’ll kick your a**!” So, I kept playing with the orchestra as an extra, and eventually the he was furious. He had been waiting at the conservatory for board of the conservatory allowed it. After my final exams at the whole afternoon for me to show up. How did I dare not to the mts in the same year, I became a member of the World come to his lesson? In the meantime, I was a bit older and had Youth Orchestra. I also started to play as an extra with the become more empowered, so I replied that it was not my fault North-Holland Philharmonic Orchestra, which at that time he couldn’t be reached because he didn’t have a phone. Even was under the direction of Hans Vonk. In , there was an though his wife agreed with me, he never drove to the conseraudition for second trumpet at the Residentie Orkest in The vatory with me again. Hague. I won the audition, but was not accepted, they said, Henssen: How did Komst teach? van Zon: As I said, I had lessons with Komst twice a week. because of my young age. The true reason was that the principal trumpet (Theo Laanen) and my teacher (Marinus Komst) Unfortunately, he never played for me during these lessons. He did not get along well, and it would be unthinkable that a retired from the Concertgebouw Orchestra in . After my pupil of Komst would become Laagraduation in , he also retired nen’s colleague. from the conservatory; I was his last Henssen: When did you join the student. Maybe because of this, he “He was really enjoying himself really made time for me and he often until the moment the janitor Rotterdam Philharmonic Orchestra? van Zon: After having played as accompanied me on the piano. He was a great pianist too and always came in with the message that an extra in Rotterdam, they contracted me as a “regular extra” in played by ear. He knew all the scores and could improvise very well. I his dog had been killed by a car.” . I had to play a lot of programs and therefore was able to gain experemember playing Carnival of Venice rience alongside principal trumpet Peter Masseurs. I learned a for him. The interludes between the variations each time lot from him. Peter was very busy with his technique and became longer and more virtuosic! He was really enjoying embouchure. Until then, I had never heard of “buzzing.” Peter himself until the moment the janitor came in with the meshad learned this from Koos Dekker, his colleague and mentor sage that his dog had been killed by a car. He fiercely shut the from when he was a member of the Dutch Royal Marine Band. piano and shouted at the poor janitor as if this man had killed Eventually, in , there was an audition for a trumpet job in his dog! Komst left the classroom without saying a word and Rotterdam. I won this audition and was appointed trumpet went home. player of the Rotterdam Philharmonic Orchestra. At the same At the end of each lesson, he made me stand in the corner of the classroom and ordered me to play orchestral excerpts. time, the North-Holland Philharmonic Orchestra offered me © 2020 International Trumpet Guild

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March 2020 / ITG Journal 19

the position of principal trumpet without having to audition. recordings, I can only say that’s how it should be. That’s how a However, Hans Vonk advised me to take the job in Rotterdam. trumpet should sound. That is music. Henssen: When did you start teaching at the Rotterdam ConDue to the offer from the North-Holland Philharmonic Orchservatory (now Codarts)? estra, the Rotterdam Philharmonic immediately gave me a pervan Zon: After John Floore left the orchestra in  to manent position. become director of the Rotterdam Conservatory, I was Henssen: When did you became principal trumpet in Rotterappointed professor at the Rotterdam Conservatory and quit dam? my teaching job at the Utrecht Conservatory. Together with van Zon: When I joined the orchestra, Peter Masseurs and my colleagues of the Netherlands Brass Quintet, I also became John Floore were both principal trumpet players. From  professor at the Royal Conservatory in The Hague in . I on, they gave me the opportunity to play first trumpet regularly, especially on programs with contemporary music. In , now realize I have been teaching for  years in Rotterdam and for  years in The Hague. Peter left the orchestra to become principal trumpet of the Henssen: Are you going to miss your teaching activities? Concertgebouw Orchestra in Amsterdam. Because of his van Zon: No. I like to teach, but it has been long enough, departure, an audition was held in Rotterdam for principal and the way I teach was very intensive. During my -year trumpet. Because I was happy with my job and had enough career as a professor, I have coached and time to play tennis, I didn’t many students. My main goal was audition. However, no one was “When you have good technique, trained to work on good technique, and the most hired after the audition, and the other members of the brass sec- you can stop playing the instru- important indicator of good technique is a good sound. Therefore, buzzing is essential tion advised the management of for me. When buzzing on your mouththe orchestra to offer me the job ment and start making music!” piece, you immediately notice the weak of principal trumpet. They folpoints in your technique. Also, you have to check your intonalowed the advice and offered me the job. Although replacing tion while buzzing, because the trumpet is capable of obscurPeter would not be an easy task, I accepted the offer. The foling bad intonation. When you have good technique, you can lowing year, John Floore left the orchestra to become director stop playing the instrument and start making music! of the Rotterdam Conservatory, and he was succeeded by Henssen: Have you played as a soloist during your career? Edward Carroll. van Zon: Not with the Rotterdam Philharmonic, although Henssen: Apparently, as second/third trumpet, you had a great they asked me repeatedly to perform as a soloist. In , howtime in Rotterdam. Why did you accept the job of principal trumever, I played the Haydn Trumpet Concerto with the Dutch pet? National Youth Orchestra. Before the Haydn Concerto, I van Zon: In addition to the confidence my colleagues of the played first trumpet on the Overture to La Forza del Destino. brass section had in me, my teaching contributed to my deciAfter the overture, I quickly walked off the stage to grab my sion to accept the position of principal trumpet. In , I E-flat trumpet and played the Haydn Concerto. After the became professor of trumpet at the Utrecht Conservatory. This break, I went on stage again to play the first trumpet part in was my first experience with teaching, and I noticed that workShostakovich’s Fifth Symphony. After I had been named prining with students leads to a different view of yourself and your cipal trumpet in Rotterdam, I performed Bach’s Second Branown playing. It made me more critical. Until that time, I had denburg Concerto on , , and  December . My been playing a lot of tennis. I probably was spending more preparations for this series of concerts were very thorough. I time on the tennis court than with my trumpet. mainly practiced Clarke’s techniAs a professor, I have always considered cal studies on my piccolo trummyself more a coach than a teacher. As a coach, you have to be an example for your “You can teach almost every- pet. After the first concer t, students, show and play what you mean. The one to play the trumpet; teach- which was excellent, there was a party. I was enjoying myself very main thing for me was to help students develop their own talents and to teach them to ing someone to make music, much during that party until the conductor Heinz Friesen told make music. You can teach almost everyone however, is totally different.” me he was amazed I was still to play the trumpet; teaching someone to there (it was well after midnight). make music, however, is totally different. Contrary to what I had thought, the concert the next day Henssen: So, you regard yourself more a musician than a trumwasn’t in the evening, but in the morning! After a very short pet player? night’s sleep, the second concert went well in spite of a little van Zon: Yes. Unlike a lot of trumpet players, I never had a more stress. Of course, the last went well too, with a little stress. competitive spirit. I never felt the need to prove myself; I just Furthermore, I recorded the concertos for two trumpets by enjoyed making music. That is what Komst taught me—makVivaldi and Franceschini with my fellow principal trumpet ing music, not playing the trumpet. Playing the trumpet I have player, Edward Carroll, in . learned by myself. Henssen: For a long time, you were also a member of the Komst loved opera very much and encouraged all his stuNetherlands Brass Quintet, which, unfortunately, no longer exists. dents to listen to great opera singers like Maria Callas. On his Can you tell us something about this great ensemble? advice, I also took singing classes during my time as a student van Zon: The Netherlands Brass Quintet was founded in at the conservatory. Although I love to listen to great singers , initially as the brass quintet of the Dutch National and instrumentalists, for me, the most beautiful instrument is Youth Orchestra. Initially, the ensemble consisted of my colthe trumpet, and when I listen to Maurice André’s numerous 20 ITG Journal / March 2020

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and occasionally use a three-valve Schilke E/F/G trumpet. The leagues Arto Hoornweg on trumpet, Martin van der Merwe on E trumpet is especially useful for some tricky parts. horn, George Wiegel on trombone, and Tjeerd Oostendorp on Henssen: I remember you played a 1½C by JK. Do you still use tuba. Later, Hendrik-Jan Renes succeeded Tjeerd. In , it, and what other mouthpieces did you play? Arto left the quintet, and Peter Masseurs took his place. In the van Zon: During my time with Komst, I used a Bach c same year, the quintet became artists in residence at the Royal mouthpiece. When joining the orchestra, my sound turned Conservatory in The Hague. In the  years our quintet existout a bit small, so I switched to a Bach 1¼C. Later I used a ed, we gave concerts and workshops all over the world. We took tours to Canada, the United States (Baltimore), Indonesia, 1½C. The 1½C by Klier ( jk) has a larger backbore that went very well with my Bach . Until the s, my mouthpiece the Netherlands Antilles, and Great Britain. It was a great periplacement was quite off center. I noticed that I started to expeod. Playing with the quintet was great for all of us, because we knew each other very well, both personally and musically. rience problems and decided to change my embouchure by moving the mouthpiece to the center. During the summer, I After George Wiegel had left the Rotterdam Philharmonic to worked on this change, which, luckily, worked out very well. become director of the Rotterdam Conservatory, the quintet The result is that now, at age , I have a better and stronger ceased to exist. Besides the many performances we played, we embouchure than before. I practice a lot; I just love to practice, also recorded two cds. and I will continue to do so after my retirement. Why? Because Henssen: You also made quite a few recordings with the Rotfor me, the trumpet is the most beautiful instrument there is. terdam Philharmonic. Which is your favorite one? Henssen: So, you will keep on practicing. Won’t you miss playvan Zon: I am proud of a number of beautiful recordings ing in such a high-level orchestra? we made. The ones I like most are on the dvd of Mussorgsky’s van Zon: I am grateful to have played in the Rotterdam Pictures at an Exhibition with Gergiev and the Faust SymphoPhilharmonic, but for me, it’s time to quit. Over the past  ny by Liszt. years I have played in Rotterdam, I have seen the orchestra Henssen: At the time I was one of your students, you played a change and rejuvenate a number of times. I have played almost great Bach 238 C trumpet. Which instruments have you played everything under a lot of great conductors and with worldduring your career, and which instruments do you play now? famous soloists, including the Convan Zon: When I first started, my certo for Orchestra by Bartok under father gave me a Conn Director B-flat trumpet, and in , when “In my experience, all the greatest Ormandy, among others. I loved it became clear that I would to go to conductors were mainly coaches. most playing under chief conductors James Conlon and Valery the conservatory, my father and my teacher, Willem van der Vliet, took They were not teaching, but let- Gergiev. Also playing under such conductors as Rafael Kubelík and me to Hakkert, at that time a well- ting the orchestra make music.” Kurt Sanderling for me were experiknown music shop in Rotterdam, to ences never to be forgotten. In my buy me a Conn Victor C trumpet. experience, all the greatest conductors were mainly coaches. Together with Willem, I tried all the Victor C trumpets they had in stock and made a choice. The instrument cost fl. , They were not teaching, but letting the orchestra make music. But now it is time for a new generation. Next to practicing, a considerable amount at that time (converted, more than I keep listening to music, especially to the recordings of Mau, now, about us,). I played this instrument until rice André and Clark Terry. Those two are and will remain my . However, in , the famous repairman Ruud Pfeiffer two great heroes, because they make music on the most beauput a Conn (Elkhart) Constellation bell on it, which made the tiful instrument there is. This new phase gives me more time sound fuller and better suited to the characteristics of the Rotto enjoy life together with my wife, Carin, and to spend time terdam concert hall, The Doelen. It was a great trumpet with on my other passion—cooking. a wonderful sound. You can hear it on our recording of Liszt’s I have a good life and a great wife, and our son, Niels, is Faust Symphony with James Conlon. After this second bell of doing very well and lives nearby. I can say that I am a happy my Conn was irreparably damaged in a car accident in , I person. changed to a Bach C trumpet. It was a large bore with a  bell and a a leadpipe. It was a great trumpet with a lovely About the author: Dr. Ralph Henssen studied trumpet at the sound, but it had some difficulties with intonation. In , I Rotterdam Conservatory and the Royal Conservatory in The switched to a custom-made Thein C trumpet; this was the first trumpet I found that had a G and a G-sharp that were in tune. Hague with Ad van Zon and chamber music with Theo Mertens at the Royal Flemish Conservatory of Music in For the German repertoire, I use a Schagerl Horsdorf Heavy C Antwerp. Henssen holds a mastrumpet with rotary valves. Furtherdegree in mechanical engimore, I play on a piccolo trumpet by “Five years ago, this instrument was ter’s neering from Eindhoven TechniSelmer from the s with a redbrass bell—an instrument with a stolen during a subway ride home cal University and a PhD in musicology from Utrecht University. great sound. Five years ago, this instrument was stolen during a subway after a concert; I was devastated.” The subject of his PhD thesis was ship’s trumpeters and drummers ride home after a concert; I was devin the sixteenth, seventeenth, and eighteenth centuries in the astated. Fortunately, six months ago, you discovered the Netherlands. In  he published a biography ( pages) in instrument being offered on an internet marketplace. With the Dutch about Marinus Komst (Het ging hem glad af, isbn help of you and the police, I got it back quickly. I was so --). happy! I also have a Yamaha short-model E-flat/D trumpet © 2020 International Trumpet Guild

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March 2020 / ITG Journal 21

FA4

JAZZ CALISTHENICS: WARM-UP ROUTINES TRUMPETERS, PART TWO

FOR

BY BARRY RACHIN

n the late s, the South African trumpeter Hugh Masekela was the featured artist at a late-summer jazz concert in Providence, Rhode Island. Scheduled as the last act, the trumpeter disappeared into a camper parked alongside the stage once he arrived and began warming up while a large ensemble of drummers, guitarists, and sound crew set up their equipment. To say that Masekela warmed up before the show was a gross understatement. The trumpeter played almost non-stop for half an hour, negotiating an endless array of chords, scales, arpeggios, and jazz licks. A self-taught musician, Hugh Whole tone scales Harry Glantz, principal trumpet with the New York Philharmonic from  to , wrote a collection of etudes titled 48 Studies for the Advanced Trumpeter. On page  (study xxvi) is a brief arpeggiated exercise (see Example 1) that can be played slowly as a ﬂow study. The notes in each sequence outline a series of augmented chords, gradually ascending through the scale in thirds. Played on a regular daily basis, this classical exercise is an excellent tool for improving tone and physical

Masekela had devised his own personal warm-up routine, an approach that favored his high-energy, visceral style. The July weather was unseasonably muggy, and yet, the trumpeter had played an entire set before ever setting foot on stage! That blisteringly hot night, Masekela played and sang his heart out. The band’s energy level never wavered and, judging by the crowd’s enthusiastic response, the South Africans stole the show. As explained in the first part of this series (see the October  issue of the ITG Journal), each player must develop and fine-tune his or her own warm-up regimen. stamina while developing a sense of comfort with whole tones and intervals of the major third. Why is this particular scale important for jazz players? Whole-tone scales can be substituted over dominant-seventh chords in dozens of inversions and rhythmic permutations (see Example ) that add harmonic color. The goal here is two-fold: to gain familiarity with the fingerings and unique tonality of this particular scale and to begin working out patterns that can be used when improvising in a jazz setting.

Example 1. Harry Glantz, 48 Studies for the Advanced Trumpeter, excerpt from Etude XXVI

Example 2. Examples of whole-tone scale patterns

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Example 3. Verne Reynolds, 48 Etudes for Trumpet, excerpt from Etude No. 3

Example 4. ii-V licks to practice in all keys

Another excellent example of whole-tone scales used in a up or down the scale in half tones. Strive for smooth articulaclassical setting can be seen in Verne Reynolds’ modernistic tions and tonal clarity. Eventually you will feel equally com48 Etudes for Trumpet (see Example ). These symphonic fortable playing sequences in more demanding keys. pieces can expand one’s thinking about conventional harJazzadvice.com is a website geared to the novice/intermediate monics. They also help internalize (i.e., hearing the harmonjazz musician. Regarding the challenge of assimilating new, ics with your “inner ear”) scales in ways that can be useful in melodic ideas, the website hosts offer the following advice: solo situations. Get your ears in the game. When you think about When working out a systematic warm-up routine, one warming up, your thoughts probably go right to your tends to devote considerable time committing favorite jazz instrument. But the truth is, your musical warmup patterns to memory. This process can should start before that. You become both clichéd and mechanical. need a warmup for the musiWhether a lick is borrowed from an “Whether a lick is borrowed from cian behind the instrument, established player or serendipitously an established player or serendip- and this means focusing on stumbled upon, each player must proyour ear. itously stumbled upon, each play- Reacquaint yourself with ceed judiciously. “They’re not particular about whether the sound of intervals, chord er must proceed judiciously.” you play a flatted fifth or a ruptured tones, chord qualities, and 129th as long as they can dance to it.” common chord progressions. (Dizzy Gillespie) That way, when you actually start improvising, you’ll be prepared to hear anything. Stop approaching your solos like a mental exercise—you need to know the Basic chord progressions and melodic patterns sound of these musical devices.1 The first pattern in Example  was copied from a Clifford Listen to a jazz tune. Can you identify the root movement? Brown solo. Play through the ii-V licks in all keys by moving © 2020 International Trumpet Guild

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March 2020 / ITG Journal 23

about the term. The musical treasures of jazz are not What are the unique qualities of a particular chord (major, easily accessed. You have to dig deep into yourself, minor, modal, etc.)? When improvising on jazz standards, can discipline yourself, become focused on the music you identify the ii-V progressions and fundamental chord and your instrument before you can unlock the structure? It is essential not just to memorize melodies, but also treasure chest.2 to grasp the underlying compositional logic. To accomplish this, you must truly “get your ears in the game.” Examples b and c are fairly traditional licks over ii-V progressions, dating Pentatonics in the warm-up routine back to the early bebop era. These motifs should be memorized Circle-of-fourths patterns offer an excellent opportunity to in all twelve keys and practiced regularly until the fingerings gain familiarity and mastery in all twelve keys. Example  become second nature. demonstrates several pentatonic scales that can be reformulatAs previously mentioned, warm-up routines are not coned to accomplish this goal. In the first offering, Example a, a fined to time spent with the mouthpiece on the lips. After a series of pentatonic licks move up and down the scale in interwhile, one develops the habit of hearvals of the perfect fourth. The next ing the music (e.g., progressions, har- “It is essential not just to memorize lick was copied from a live recordmonies, intervals, rhythmic motifs, ing. A Boston-area jazz program symmetrical patterns, etc.) internally melodies, but also to grasp the on wgbh, Eric in the Evening, feaand at a deeper, cognitive level. The the fantastic trumpeter Jim underlying compositional logic.” tured process becomes no longer mechaniRotondi, soloing on an up-tempo cal—just playing through a series of bebop tune. Midway through the notes on the printed page—but an organic, cumulative process first chorus, the trumpeter cut loose with a rapid-fire pentatonthat evolves over time. Whether lying in bed at night parsing ic lick (see Example b). Because of the easily identifiable circhord progressions or working out a deceptive cadence discovcle-of-fourths pattern, the individual notes were easy to hear. ered while transcribing a jazz solo, you are definitely on the “Music is your own experience, your thoughts, your wisdom. If right path. you don’t live it, it won’t come out of your horn. They teach you “Woodshedding” is the term we use to describe the organic there’s a boundary line to music. But, man, there is no boundary process. Paul Klemperer, a Texas-based sax player and teacher, line to art.” (Charlie Parker) describes the woodshed as “the place where you work out the “Master your instrument, master the music, and then forget all techniques that form the foundation of your improvisational that bulls*** and just play.” (Charlie Parker) ability.” Klemperer goes on to say: It is a recognition of the need to sequester oneself Pushing the harmonic envelope and dig into the hard mechanics of the music before What if we want to expand the horizon, building patterns you can come back and play with a group in public. based on different intervals? In Example c, the pentatonic There’s something philosophical, almost religious, licks ascend in minor thirds, outlining the tonality of a dimin-

Example 5. Pentatonic licks over circle-of-fourths progressions

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Example 6.

ished sixth chord. Bear in mind that, during live performances, time. Eventually, what originally seemed mind-bendingly difficult becomes second nature—just another usable skill set as all the listener/audience simultaneously hears a few things: the of these possibilities are worked out slowly. Finally, a warm-up familiar chords the rhythm section is laying down and the routine for jazz trumpeters can be as ever-shifting harmonies that the soloist pursues as he eventually negotiates his “Organized chaos, free jazz, efficient and productive as you choose to make it. way back to the diatonic chord structure. Example d presents a deceptive cad- avant-garde—call it what you About the author: Barry Rachin is a ence, courtesy of John Coltrane. Col- will; these clever, harmonic trumpeter/cornetist who has pertrane, who liked to weave in and out of the established chord structure of a snippets definitely make the formed in the Boston area and southeastern Massachusetts for the past melody, begins this run of pentatonics on the Fmaj7 root chord before moving listener sit up and take notice.” fifty years. Recently retired, he still plays in several local community orup by a minor third to the A-flat tonality. chestras. Rachin has developed a method of jazz improvisation At this point, he shifts twice in intervals of fourths before based on an intervallic approach that integrates traditional resolving down a half step to the original Fmaj7. melodic theory with a more progressive, polytonal approach. “Try to find the best teachers, listen to the finest playing, and try to emulate that. Be true to the music.” (Wynton Marsalis) Endnotes Pushing the envelope 1 Eric O’Donnell, “10 Surprisingly Effective Warm-ups for Jazz Improvisation,” last modified April , , accessed Let’s say you have a favorite lick, reminiscent of something November , , https://tinyurl.com/itg2003c. the pianist McCoy Tyner played back in the s (see Example a). Transpose the motif down a half step from G to 2 Paul Klemperer, “Woodshedding & The Jazz Tradition,” F-sharp. Now play both patterns together simultaneously (see accessed November , , https://tinyurl.com/itg2003d. Example 6b) and hear the upward extensions of the chord (b9, #9, #11, b13, etc.). Another option is to play the original pattern but then drop down a tritone (see Example c). Notice ALL NIQUE AND RELEVANT how this creates a similar collection of harmonic tensions. Venturing further outside the box, what if we took a fairly MATERIALS FOR RCHIVES simple four-note motif based on a pair of fourths and whole tones and, as in Example d, continued up the scale by minor The ITG Archives, housed at Columbus State Univerthirds? As the simple motif ventures outside the established sity in Columbus, Georgia, extends an invitation to all chord structure of the tune, the listener hears the inherent ITG members to donate any unique and relevant matestructure of the symmetrical pattern outlined in a diminished rials relating to ITG and/or the world of trumpet pertriad. Organized chaos, free jazz, avant-garde—call it what you formance and pedagogy. Music, literature, recordings, will; these clever, harmonic snippets definitely make the listenetc. are all welcome for consideration. All accepted er sit up and take notice. materials will be permanently stored and, where appro“Do not fear mistakes. There are none. Don’t play what’s there, priate, digitally displayed. play what’s not there.” (Miles Davis) If you have materials to submit, please contact Rob Needless to say, each jazz musician must work these more Murray (archives@trumpetguild.org). complex harmonic options out slowly over a broad period of

ITG A

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March 2020 / ITG Journal 25

FA5

MINISTERIAL FIRST RESPONDERS BY CHARLES LEINBERGER

On August , , several thousand people gathered at s trumpet players, we are privileged to play some of the greatest music ever composed. Southwest University Park, the baseball stadium in El Paso, for One of my trumpet teachers, Charles Way, a memorial service that included musical performances by often said, “When a composer has something important to say, many local musicians, including cellist Zuill Bailey. Thanks in part to the power of music, El Paso is moving forward and he [or she] always has the trumpet say it.” Whether we perform healing from this tragedy. This is and always has been a very in orchestral, band, chamber, jazz, pop, etc. settings, we all safe city. It is a community where two nations, two cultures, have the opportunity to play great music, and we have done so for centuries. We are often invited to play at joyful events, and two languages come together as one every single day. Here, the border is a place where we unite and not a place where we including national holidays, religious holidays, weddings, and are divided. more. We are all very fortunate indeed to play the magnificent One month after this tragic and unforgettable event, I perand versatile instrument that we do. formed at a commemorative Mass with the bishop for the vicI am a non-pro player. I earned a Bachelor of Music degree tims and families affected by this tragedy. At this Mass, the secin trumpet performance, a Master of Music degree in music ond reading was 1 Corintheory, and, after a few years away from trumpet and academia, a Doctor of Philosophy degree in “When a composer has some- thians 15:51 – 57, which includes, from verse , “For music theory with minors in trumpet and media arts. Now I teach music theory and film music, thing important to say, he or she the trumpet will sound, dead will be raised inadvise music majors, and serve on numerous always has the trumpet say it.” the corruptible, and we shall committees at a university. Much of my trumbe changed.” I was humpet playing lately has been for my church in El bled and honored by this reminder of our instrument’s role in Paso, Texas, and the Catholic Diocese of El Paso. I am one of this moving Epistle of Saint Paul. many musicians in my community, just like in communities There must be countless ministerial first responders around around the world, who donate their time and musical gifts in the world who perform at hospitals and funerals on short the service of religious organizations. Music ministry can be a notice. Many of these unsung heroes are fellow trumpet playmusically and spiritually rewarding experience. ers. It is my sincere hope that all ministerial first responders— On Saturday morning, August , , something terrible not only in El Paso, but also elsewhere in Texas, across the happened that changed my city in a way that is difficult to put United States of America, and around the world—will be into words. A young man with an assault rifle drove over  miles to El Paso. He came here with one purpose: to kill people. blessed with the peace of mind that comes from knowing that we help heal the minds, bodies, and spirits of people in pain Sadly, he succeeded. A few days after the horrific mass shooting and in mourning through music. at a Walmart, where  lives were lost, I was asked to play trumpet at funeral Masses for four of the victims. Although I had About the author: Charles Francis many things on my calendar, I could not say no to these invitations. “We help heal the minds, bodies, Leinberger is professor of music at the University of Texas at El Paso, where he Music has always been an important part of life’s major events, and spirits of people in pain and teaches music theory and film musicology. He is the author of “Degüello, No both joyful and solemn. By playMercy for the Losers: The Enduring ing trumpet at these Masses, I was in mourning through music.” Role of the Solo Trumpet in the Soundpart of the music that helped these grieving families and friends heal from this senseless tragedy. track of the Old West” (ITG Journal .), Ennio Morricone’s The Good, the Bad and the Ugly: A Film Score Guide (ScarePeter Kolar, director of the El Paso Diocesan Choir and crow Press, ), and is a contributing author to the antholOrchestra, called us “ministerial first responders.” It was ogy Music in the Western: Notes from the Frontier (Routledge, important that those of us who were called were ready, will). He is also a freelance trumpet player. ing, and able to perform on extremely short notice. Had I not played, there would have been no trumpet at these Masses. Everyone reading this article is well aware of the special significance that a trumpet adds to any musical performance. Funeral services for other victims of this tragedy were of The International Trumpet Guild has its own Facebook other denominations or were non-denominational, and page! Join the thousands of trumpet enthusiasts who have many services included music performed by local musicians, already joined. The most current information about the including some of El Paso’s wonderful mariachi groups. trumpet world and announcements important to ITG Some of my colleagues also performed chamber music, members can be found there. Facebook is a free service. including cello solos, cello duets, and trombone quartets, at El Paso hospitals for those victims recovering from their surgeries following the shooting.

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26 ITG Journal / March 2020

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HISTORICAL INSTRUMENTS WINDOW SABINE K. KLAUS, COLUMN EDITOR Ideas and suggestions for the Historical Instruments Window should be directed to: Sabine K. Klaus, Historic Instruments Window column editor; historicinstruments@trumpetguild.org

Natural trumpet in D (7foot, a' = 432 Hz) by Johann Wilhelm Haas, Nuremberg, ca.  – . Engraved on bell garland IOHANN / WILHELM / HAAS / NURNBERG. Engraved master’s mark: leaping hare facing left with initials iwh. Brass. In late seventeenth- and early eighteenth-century Europe, natural trumpets by master maker Johann Wilhelm Haas ( – ) in Nuremberg were the most highly praised instruments by members of the trumpeter’s guild and their princely employers. This trumpet by J.W. Haas is in virtually original condition and was the most treasured possession of Dr. Joe R. Utley ( – ), who amassed more than  high brass instruments over the course of ﬁfty years. The ITG Journal’s Historical Instruments Window column was the brainchild of the late Joe R. Utley and Edward H. Tarr (the ﬁrst column editor from  to ). Since , the Utley Foundation, founded by Joe Utley, has generously enabled the continuation of this column. This typical natural trumpet of the Baroque era has no vent holes. Nineteenth-century London trumpeter Thomas Harper Jr. reported in his School for the Trumpet (ca. ) that it had been possible in earlier centuries to play such a natural trumpet securely, accurately, and in tune by devoting one’s entire practice time to the high notes. Joe R. and Joella F. Utley Collection, National Music Museum, University of South Dakota, cat. no. . Photos by Mark Olencki. For more information on the history of the Utley Collection, see ITG Journal, June , pages  – .

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March 2020 / ITG Journal 27

ITG PROFILE JOEL TREYBIG, COLUMN EDITOR This column is dedicated to profiling interesting people within the ITG membership who bring something special to the trumpet world. If you have suggestions for this column, please contact: Joel Treybig; profile@trumpetguild.org

MANFRED STOPPACHER

Manfred Stoppacher was born on April , , in Althofen, Carinthia (a southern province of Austria), and grew up in the medieval town of Friesach. His father played solo flugelhorn in Friesach’s town band and first trumpet in Treibach’s Chemical Factory Orchestra. Manfred received his first instruction from his father at approximately age seven, and by the age of ten, he was a member of the town band, also playing fanfares with his father for theater productions performed at one of Friesach’s castles. After climbing the mountain to the castle, there were still  steps to the top of the tower where they played—excellent breath training! At age fourteen, Manfred began studies at the Conservatory in Klagenfurt, and by age fifteen, he was working as a substitute player for operas at the Landestheater Klagenfurt. In addition to the classical training, St o p p a c h e r h a d h i s o w n Blue Band for local balls and celebrations. Like all Austrian men at the time, he served a term of nine months in the Aus trian military, playing in their concert band and performing with dance bands at age nineteen. Stoppacher then moved to Vienna to study at the Academy of Music with Helmut Wobisch (solo trumpeter of the Vienna Philharmonic and the first trumpeter to record Joseph Haydn’s Concerto per il clarino). During this time, Stoppacher played as a substitute at the State Opera, the Wiener Symphoniker, and the Niederösterreichische Tonkünstler orchestra under such renowned conductors as Paul Hindemith, Herbert von Karajan, and Christoph von Dohnányi. In , Stoppacher toured the usa with the Johann Strauss Orchestra, conducted by Strauss’s great-nephew, Eduard Strauss II. While in New York, influenced by fellow Wobisch student, Carole Dawn Reinhart (whom he married in ), Stoppacher purchased the first of several Getzen trumpets—an Eterna Severinsen model. Thanks to his experience with jazz and dance bands—which was not common for classical players at that time—he was hired as lead trumpeter for the first German performances of West Side Story. Following a tour of Austria, Switzerland, and Germany with the popular singer Peter Alexander, Stoppacher was offered a job as lead trumpeter in Berlin’s rias (Radio in American Sector) Big Band. In addition to the schedule of radio and tv shows, the rias and sfb (Sender Freies Berlin) big bands formed the Dream Band for special concerts with Stan Kenton, Oliver Nelson, Ray Conniff, and Gil Evans. Under the name of “Stoppy Markus,” Stoppacher recorded several top-selling solo lps of popular songs for Teldec. Fifteen years later, in , when his wife was offered a professorship in Vienna, Stoppacher gave up his steady rias job to move to Vienna, where he played in the Orchester der Vereinigten Bühnen Wien and where he was in demand to play such musical theater productions as A Chorus Line, Cats, Phantom of the Opera, Les Miserables, Freudiana, and Elisabeth, among others. He took over as leader and soloist of the Original Swingtime Big Band, which had an emphasis on the repertoire of Harry James. While in Berlin on tour, a J. Parduba & Son, New York, Harry James model, double-cup **mouthpiece that Harry James had actually played was given to Stoppacher by a fan who was impressed with his performance. Harry James had given it to this fan after a concert in the late s. The Manfred Stoppacher Big Band performed more modern repertoire. In , Stoppacher purchased his last Getzen trumpet, a Mike Vax model, at the ITG Conference in Amherst, Massachusetts. He retired from his brilliant, varied career in . 28 ITG Journal / March 2020

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ITG YOUNG ARTIST AWARD ANNE MCNAMARA, CHAIR Nominations for the Young Artist Award are accepted throughout the year by the Young Artist Award committee, Anne McNamara, Chair, at yaaward@trumpetguild.org. For more details, please see the box on page  or visit the ITG Website (http://www.trumpetguild.org/resources/yaa.htm).

ADDISON BOSCH

This issue’s Young Artist Award winner is Addison Bosch, a sixteen-yearold trumpeter who attends Volcano Vista High School in Albuquerque, New Mexico, and studies privately with Dr. John Marchiando. Addison performs in several groups both inside and outside of school, including the Albuquerque Youth Symphony under the direction of Sayra Siverson; the New Mexico Jazz Workshop Honor Band; his high school jazz band, in which he plays lead trumpet; and his high school marching band under the direction of Paul Blakey. With the Albuquerque Youth Symphony, Addison has been a featured soloist on two separate occasions, recently performing the ﬁrst movement of the Böhme Concerto and performing the Arutunian Concerto as an eighth grader. He was also the featured soloist in his high school marching band show. Other important highlights include competing as a ﬁnalist in the ITG Youth Solo Competition in , being selected to participate in both the New Mexico All-State jazz band and concert band groups in  and , and performing in the Sydney Opera House while on tour with the Albuquerque Youth Symphony. Addison plans to graduate from high school a year early in order to pursue a bachelor’s degree in music performance at the University of New Mexico, continuing his studies with Dr. Marchiando. An fan of both classical and jazz music equally, some of his favorite trumpet players include Chet Baker, Maynard Ferguson, Allen Vizzutti, Wynton Marsalis, Tine Thing Helseth, and Alison Balsom. Addison’s former teachers include Kent Erickson and Brynn Marchiando. As the March  Young Artist Award recipient, he will receive a one-year complimentary membership to ITG. Congratulations, Addison!

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March 2020 / ITG Journal 29

CLINIC FRANK GABRIEL CAMPOS, COLUMN EDITOR Clinic addresses a wide variety of teaching and playing issues. Ideas and suggestions should be directed to: Frank Gabriel Campos, Clinic Editor; clinic@trumpetguild.org

UPWARD SPIRAL BY NIKOLA TOMIC'

When teaching trumpet lessons, regardless of the level of the ll of the greatest trumpet players, in one way student, the following scenario plays out so frequently that I or another, devote tremendous amounts of think it might be the greatest example of a teachable moment time, energy, and care to working on fundathat I know. The student begins to play a passage, and I immementals. Of the skills one might classify as fundamental to diately notice an imperfection in the trumpet playing, there is one without which all the others are meaning- “Play as high as you like, tongue sound. It might be very slight, like the brittle or tubby quality associated less. I am referring to simple sound production. The slightest hesitation faster than anyone else, and have with playing high or low on the in response, the merest hint of rasp the greatest dexterity on the plan- pitch. It might be obvious, like a secondary vibration of some kind or a in the tone, and everything built upon this foundation may be prone et; but if you can’t do this with a harshness in the sound. Or, it might be the most classic example of forcto crumbling, given enough stress or challenge. Play as high as you like, beautiful and free sound, it will ing, where the sound resists at first, tongue faster than anyone else, and be hard for anyone to summon and then violently explodes into being. Depending on the severity of have the greatest dexterity on the the imperfection, the student might planet; but if you can’t do this with a up the interest to listen to you.” last through part of the passage bebeautiful and free sound, it will be fore something has gone too far wrong to keep going. This hard for anyone to summon up the interest to listen to you. A final straw might be something like a failed wide leap or a loud, consistent sound is the essence of and prerequisite to efficient articulated pitch that doesn’t speak. production on the trumpet, and it is nearly impossible to culI ask the student, “Where did the tivate any reliable technique without it. “If one is unable to immediately problem first creep in?” The student will almost inevitably point to a spot Some say it is human nature to be impatient, but unfortunately, prog- produce a clear sound in a com- very shortly before the crisis zone. I ress in trumpet playing tends to go fortable register without having reply, “I think something was already not quite right here,” and point to the at its own pace. We might practice faithfully and thoughtfully, but still to strain or resort to playing loud- first note the student played. When the student focuses on producing a go for long stretches without per- ly, then something is wrong.” beautiful, unforced sound at the start ceptible gains in ability. Perception of the passage, the subsequent problems begin to evaporate. itself can be an enemy in these situations. We may be unaware Here are the comments I tend to offer in such interchanges. of gradual progress if our expectations grow at a faster rate than • Every note is the first note of the rest of the piece. our ability to meet them. This is natural, but there is a danger • Set yourself up for success each time you begin to play. in allowing perpetual dissatisfaction with our playing to make • If you can’t produce that pitch at all with a quiet breath us sad and angry at ourselves. Having a qualified private attack, you can’t expect to control it with a loud tongue. teacher who can provide clear and accurate feedback about our • Take a moment to imagine exactly what the music should progress, as well as recording oneself regularly, are indispensasound like. When you are sure your imagination contains ble if we wish to improve as quickly as possible. the most detailed rendering possible, play it again. Along this path of slow but real improvement lie many traps Chronic sound production problems are truly matters of baited with the illusion of instantaneous leaps in ability and faulty coordination and physical execution. Rarely are they due the promise of musical miracles, but there is simply no substito having been dealt a lousy physical hand for trumpet playing, tute for consistent and steady practice. In the end, if one is such as “bad chops.” More often, a bad or inconsistent sound unable to immediately produce a clear sound in a comfortable register without having to strain or resort to playing loudly, is the result of no teacher, having a teacher who did not focus on sound, or ineffective practice habits. But the single biggest then something is wrong. What one does next must be aimed culprit is the failure to identify a beautiful sound caused by not at addressing this problem, or else more will likely soon listening to great trumpet playing live or on recordings. We go wrong. 30 ITG Journal / March 2020

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that become the justification for self-doubt and adopt the must know the qualities we want in our sound in order to proassumption that everything will really be okay. Over time, a duce that sound. Otherwise, we are relying on luck, and it is more relaxed, musical, and efficient approach will take root, quite the gamble to be content to sound good occasionally and and the path to consistency will begin to reveal itself. When by accident. mindfulness and positivity become habitual, the changes will One type of problem I see very often is with inconsistency of be reflected in the sound. With heightened positivity and selfsound production, and the cause is largely psychological. Seefulfilling prophecies of the good variety ing a “high note” or “hard part” lurking ahead in a piece of music, the “Cultivating a confident and leading the way, the student’s abilities begin to transform, and something player adopts a mindset of anticipating an approaching failure and begins positive mental state in per- wonderful happens: an upward spiral. the passage with a certain amount of formance is every bit as impor- About the author: Nikola Tomić is a added tension—usually not conscious. Starting with a relatively bad tant as holding the desired freelance trumpet player and teacher based in the New York City area. He sound and not paying attention to has performed at the International Certhe music, the problem becomes sound image in one’s mind.” vantino Festival, the Umbria Jazz Festimagnified, causing the student to beval, and on stages across the United States. Currently a faculty come less focused and less confident. Unsurprisingly, by the member of the Longy School of Music of Bard College (Camtime the scary technical challenge comes along, the student’s bridge, Massachusetts) and visiting trumpet faculty at Kutzform and mental state have spiraled downward and become so town University of Pennsylvania, Tomić has previously taught degraded that the only option is to stop playing. If this downat Ithaca College, the Ithaca College Summer Music Academy, ward spiral is a regular occurrence in lessons, it is surely the and the Eastman Community Music School. He earned his same in practice sessions and performances as well. dma and mm degrees at the Eastman School of Music as a stuLearning to interrupt the downward spiral of negative dent of Clay Jenkins and his bm degree at Ithaca College with expectations takes time, but it is critical to success. Cultivating Frank Gabriel Campos. Tomić writes a blog on artistic and a confident and positive mental state in performance is every pedagogical topics that can be found at his website bit as important as holding the desired sound image in one’s (http://www.nikolatomic.com). mind. The student must stop clinging to momentary failures

CALL

FOR

NEW WORKS

The International Trumpet Guild announces a call for submissions of new compositions for trumpet to be performed at the New Works Recital at the  International Trumpet Guild Conference in Anaheim, California (usa). Works must feature trumpet in a prominent role as soloist or co-soloist and be appropriate for a recital setting. In order to allow for a wide range of possibilities, this call does not specify instrumentation, but please note that compositions of unusual duration or instrumentation may face extra-musical hurdles when being considered by the New Works Committee. Submissions must have been composed within five years of the submission deadline date of August , , and should be un-premiered or have received only limited exposure. Score and separate trumpet part should be provided in pdf format, and a recording of a performance or electronic simulation should be provided in mp format. File names should clearly identify the work as follows: composer-title.pdf composer-title.mp3 Works should be submitted electronically via email to newworks@trumpetguild.org. Large files should be submitted using a file-sharing service such as Dropbox (http://www.dropbox.com), sharing with the same address. Compositions may be submitted by a composer individually or by a trumpeter in partnership with a composer. If submitted by a composer alone, a chosen work will be performed at the conference by a trumpeter nominated by the ITG New Works Committee. Inclusion of a work on the New Works Recital does not imply any financial obligation of the ITG, beyond providing a collaborative pianist to perform. Works calling for instruments other than or in addition to piano will require that the composer supply those performers. Composers and/or trumpeters will be responsible for all costs including conference registration. Works will be reviewed by the New Works Committee, and notification of inclusion on the recital will be made by October , . Materials will not be returned. If you have any questions, please contact Jason Dovel, Chair of New Works, at this email address: newworks@trumpetguild.org.

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March 2020 / ITG Journal 31

PEDAGOGICAL TOPICS JON BURGESS, COLUMN EDITOR Ideas and suggestions for Pedagogical Topics should be directed to: Jon Burgess, Pedagogical Topics Editor, School of Music, Texas Christian University, Fort Worth TX 76129 USA; pedagogy@trumpetguild.org

BODY AWARENESS: ALIGNING YOUR BODY TO PLAY BY

OSWALDO ZAPATA

inhale and exhale to play.3 The freedom of the tongue, and hen I was in college, I observed that many incoming undergraduate students seemed unaware problems in the temporomandibular joint (tmj), are dependof their bodies while playing. In particular, I ent on the freedom of the neck.4 As the neck is freed of tension, noticed some also had excessive tension, especially in the upper only then can the tongue relax.5 Additionally, if neck muscles body and neck. My classmates and I were fortunate enough to become tense, the back shortens and narrows.6 have an amazing trumpet instructor who guided us in balancBe aware that the spine is not straight and rigid, but, rather, ing our bodies quickly and efficiently. Now that I am teaching curved and flexible.7 The wide range of motion in the spine at an institution of higher education, I work with students allows performers to better express themselves through movewith similar body-tension issues. Students ment. Another important aspect is to keep should be aware of their bodies at all times bending the spine and torso back“Appropriate head balance from (we all should!) and should be able to ward to bring your instrument up, as that notice in what part(s) of their bodies the in relation to the rest of would cause tension in the back and affect tension is located. Incorrect use of the your breathing. In terms of breathing, it is body could lead to balance and coordina- the body is crucial.” important to know that our lungs lie in tion problems, causing some parts of the the thoracic cavity (space between the body to be overworked. There is a tendency for people to diaphragm and the throat, in the upper third of the torso). Air maintain excessive tension in their arms, shoulders, and necks goes in and out of our lungs in this area.8 The contents of the 1 while collapsing their backs and stiffening their legs. For abdominal cavity fill roughly the middle third of the torso. This area is devoted largely to digestion, and no air goes there.9 trumpet players, as with most people, tension frequently starts—or it is reflected—in the neck and upper body. The As the lungs fill with air, the diaphragm descends, and natuimportance of maintaining a free neck and spine is highly ral movement occurs in the abdominal area.10 Some people underestimated, as the head, neck, and torso are linked in an imagine that air fills the abdomen and moves it outward, but extremely delicate and vulnerable postural relationship. The that is incorrect; it is the viscera (internal organs of the head, besides holding the brain, eyes, ears, nose, and mouth, abdomen, including the pancreas, liver, and intestines).11 Any also holds the two main balancing mechanisms: the optical tension and voluntary movement in this area in order to “fill and vestibular systems. Appropriate head balance in relation to the stomach with air” could create a body balance issue. Advothe rest of the body is crucial.2 cates of the use of the abdominal muscles as we play should be aware of the physiological purposes of this part of the body, There are several methods we can utilize to help us be more and instructors should keep an eye out for students overdoing aware of our bodies and/or help guide students to improve their it and going off-balance (i.e., a student body balance. These include Alexander his/her back trying get or push Technique, body mapping, yoga, tai chi, “The swallowing muscles must bending air into or from the stomach area). and others. This author has had the It is also important to know and feel good fortune to practice some of these not be tightened when you how our body weight is distributed as techniques with wonderful teachers. we stand or sit. For example, as you The awareness of what your body is inhale and exhale to play.” read this article in the comfort of your doing as you play and the ability to help chair or sofa, notice how your body weight is distributed. Is others to achieve the same is invaluable. I would like to share most, or part, of your weight on your legs or thighs, or even some tips that I have found useful in my own playing and that on your back? Be aware that we do not sit on our legs. When have helped me guide my trumpet students as well. we sit, the base of the two pelvic bones, also known as the Our first step as trumpet players should be to make sure that rockers, or sitting bones, should bear our weight. These bones we do not bring the neck or head to the trumpet. The instrument should come to us as we maintain a balanced position. are angled like the rockers of a rocking chair and provide stability and mobility.12 When standing, be aware of what your The swallowing muscles must not be tightened when you 32 ITG Journal / March 2020

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There are several factors that teachers should consider when helping a student whose body might be tense from transferring marching technique to other settings. First of all, the way the trumpet is often raised to march could affect the way the pressure of the mouthpiece on the lips is applied. There is evidence that indicates that the upper lip must vibrate freely to produce a beautiful tone.15 Lifting the trumpet alone to marching posture—usually with the bell in horizontal position or higher— and not lifting the head at the same time can bring excessive pressure to the upper lip, hampering range and endurance. Thus, students naturally lift their heads as they lift their instruments to march. It is also important to consider the student’s dental bite. Perhaps a perfect dental occlusion could be ideal for trumpet playing and marching with the instrument in a horizontal position, as the upper and lower teeth naturally form an even vertical foundation for the lips and mouthpiece. However, a slight overbite is most common. In the case of a severe overbite, the lower jaw needs to be pushed forward in order to align the front teeth for an even surface.16 Professor David Hickman describes this as a “floating-jaw.”17 It is possible that playing with a floating-jaw could be useful for those students who are required to lift their trumpets as they march. Student lifts her head to marching position. In addition to this, using a mouthpiece bent at Photo courtesy of Donna Arevalo, used with permission the neck of the shank could help provide better ine the weight to be focused closer to the heels than it actually embouchure support for players who need to lift their instruis. Visualize an arch that goes from the heel to the ball of the ments/ bells. Another tool that could be used for marching foot (not including the toes). Our arches deliver weight from with the bells up could be the use of a bent trumpet bell, like the center outward.14 Dizzy Gillespie’s. These three options (floating jaw, bent I have noticed that most of the students who seem too rigid mouthpiece, and/or bent trumpet) could be solutions to help as they play were also in marching band in their high school students who bring tension into their necks and upper bodies or are currently part of the marching band program in college. from lifting their heads as they march. Some of these players are used to playing with “marching posAlthough the aforementioned tips may help, it can be very ture” on a regular basis, even when playing in a seated posidifficult to learn how to balance our bodies by simply reading. tion (in wind ensemble, orchestra, lessons, etc.). I am not Therefore, I encourage the reader to try the following exercise implying that marching band has negative effects on players’ that I have personally found to be particularly helpful. bodies. In fact, most of these students seem to be in great 1 Stand with your feet shoulder-width apart and let your physical condition—most likely with the help of the physical hands and shoulders fall freely to your sides. demands of marching band. However, trumpet instructors 2 Close your eyes and slowly bring your chin to your chest. and band directors should be aware of the particularities of Continue rolling down vertebra by vertebra until you can marching and help students deal with potential issues in a touch the ground with your fingertips (or as close as it is healthy and efficient way. comfortable without straining—the primary goal of this

knees are doing. They can be locked, balanced, or bent. Knee locking should be used only momentarily and is protective of the disks of the spine when body weight is taken oﬀ balance.13 Additionally, mapping the arches of your feet is essential to know where the weight should be centered. Most of us imag-

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March 2020 / ITG Journal 33

Student demonstrating head balance exercise with the head back, forward, and centered. Photo by Donna Arevalo

exercise is not increasing ﬂexibility). Bend your knees a little bit if necessary and stay there for a few seconds. Do not hold the air; continue breathing normally. Your head and arms should hang freely. After a few seconds, return slowly to an upright position, starting with the lowest vertebra of your lumbar spine (close to your bottom). Then, again vertebra by vertebra, go up slowly, leaving your head for last. Once the head (and the whole body) is upright, make sure you are not locking your knees, and slightly rock gently forward and back, feeling where the weight is on your feet. Find the place where the weight feels centered.

“Using the word ‘posture’ could result in rigidity, and using the word ‘relax’ could lead to collapse.” Then, very slightly rock your torso forward and backward, making sure it also stops in its balanced place. Repeat the slight rocking process with your head, making sure none of its weight ends up being held by the neck muscles. 6 When you feel you are in balance, then pick up the trumpet and bring it to your lips. Use a mirror to make sure your head does not change angle or go oﬀ balance, and play. Finally, I recommend choosing your words wisely when talking about body balance, especially when working with young students. Using the word “posture” could result in rigidity, and using the word “relax” could lead to collapse.18 Instead, create a list of words that helps your students achieve the physical condition that is conducive to appropriate playing. Examples of appropriate words include “comfortable,” “balanced,” “freedom,” “elegant,” “motion,” “easy,” “graceful,” “firm,” “light,” “ﬂoating,” “steady,” “strong,” “smooth,” etc.19 It is valuable for players to gain awareness of their bodies and for instructors to help their students with their “Awareness is the key.” body alignment as well. Awareness is the key.

Dr. Zapata lives in San Antonio with his wife, Sarah, and their sons, James and Thomas. 1 2 3

4 5 6 7 8

9 10 11 12 13 14 15 16 17 18 19

Endnotes Michael J. Gelb, Body Learning: An Introduction to the Alexander Technique (New York: Delilah Books, ), . Ibid., . Barbara Conable and Benjamin Conable, What Every Musician Needs to Know About the Body: The Practical Application of Body Mapping to Making Music, Rev. ed. (Portland, OR: Andover Press, ), . Ibid.,  – . Barbara Conable and William Conable, How to Learn the Alexander Technique: A Manual for Students, rd ed. (Columbus, Ohio: Andover Press, ), . Ibid., . Ibid., . Conable and Conable, What Every Musician Needs to Know, . Ibid., . Ibid., . Ibid., . Ibid., . Ibid., . Conable and Conable, How to Learn the Alexander Technique, . David Hickman and Amanda Pepping, Trumpet Pedagogy: A Compendium of Modern Teaching Techniques (Chandler, Arizona: Hickman Music Editions, ), . Ibid., 1. Ibid., . Conable and Conable, How to Learn the Alexander Technique, . Ibid.,  – .

ITG YOUTH WEBSITE Designed specifically for our younger members!

http://itgyouth.trumpetguild.org

About the author: Oswaldo Zapata is assistant professor of trumpet at The University of Texas at San Antonio. He is also principal trumpet of the Laredo Philharmonic. Dr. Zapata is originally from Caldas, Antioquia, Colombia (near Medellín). He has studied trumpet with David Hickman, James Ackley, Allen Vizzutti, and Fernando Parra. He holds degrees from the Universidad Nacional de Colombia (bm), the University of South Carolina (pc, mm), and Arizona State University (dma). 34 ITG Journal / March 2020

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itg journal, jr. REBECCA WALENZ, COLUMN EDITOR ITG is committed to all levels of trumpet playing. itg journal, jr. is a column designed to help young students, comeback players, and music educators. ITG wants members to share this column with anyone who may benefit from its subject matter; this column may be freely copied and distributed to all. Topic ideas or requests to write a column should be directed to Rebecca Walenz via email (junior@trumpetguild.org).

PODCASTS: A PATH

FOR

MUSICAL IMPROVEMENT

BY JULIA BELL

your own ensembles from a successful freelance per t is no secret that listening is a crucial component of cussionist musical growth. Most musicians interpret the importance of listening as attending live concerts or studying recordings. Although these are undoubtedly important, using The Brass Junkies, with Pedal Note Media our ears to listen and learn in different ways can be just as Hosts Andrew Hitz and Lance Laduke are professional low beneficial. With the st century came brass players and teachers who interview the introduction and rise of pod- “Podcasts, when listened to one musician in each episode. With casts—a new, popular way to listen over  episodes, the podcast covers that is both entertaining and informa- studiously, have the ability to many crucial aspects of thriving as a tive. Podcasts, when listened to stuwhile keeping each topic enhance our musical know- musician diously, have the ability to enhance engaging and inspiring. Guests discuss our musical knowledge, boost our ledge, boost our emotional their struggles and triumphs on their emotional intelligence, provide selfpaths to musical and personal success, improvement ideas, and even elevate intelligence, provide self-im- providing a glimpse into the profesour mood. Discussed below are four provement ideas, and even sional world. podcasts that are a must-listen for the The list of guests on The Brass Junkies elevate our mood.” enthusiastic trumpet player. is extensive. As a starting point, here are a few suggestions: • Episodes  and : “Mary Bowden and Seraph Brass”— That’s Not Spit, It’s Condensation! with Ryan Beach Insight on her career, Seraph Brass, and utilizing social Featuring guest interviews and shorter discussions on specifmedia as an eﬀective professional tool ic topics, host Ryan Beach oﬀers an interesting and informa• Episode : “Dan Gosling”—A discussion of how the tive musical podcast. As principal trumpet of the Alabama popular “Chopsaver” brand was born Symphony Orchestra, Beach talks with inspirational, profes• Episode : “Phil Snedecor”—A discussion of the impsional musicians about a wide range of topics, including the ortance of a strong work ethic development of a strong work ethic, the road to greatness as a • Episode : “Ryan Anthony”—A conversation about musician, the pedagogy of Arnold Jacobs, connections everything from resilience to Cancer Blows between music and powerlifting, and lessons learned on the audition trail, among others. A few episodes to consider are the following: • Episode 1: “Demondrae Thurman”—Renowned euphonium soloist and professor at Indiana University discusses freelancing, orchestral playing, and using social media in your career. • Episode : “Arnold Jacobs and Mindfulness—What They The Memorial Scholarship Fund was created to Have in Common”—Beach discusses the connections give ITG members an opportunity to contribute between the pedagogy of Arnold Jacobs and mindfulness. • Episode : “Barbara Butler”—An incredible (and to annual ITG Con ference Scholarships. To lengthy!) episode that discusses her career path, qualities donate to the fund, send a check (write “Memorial of successful students, and much more Scholarship Fund” on the memo line) to: • Episode : “Winning the Job—Chris Smith”—Audition Dixie Burress, ITG Treasurer tips and advice from the recent winner of the principal P.O. Box 2688 trumpet position in the San Diego Symphony • Episode : “Freeway Philharmonic—Jamie Whit Davenport, IA 52809-2688 USA marsh”—Tips on building a freelance career and starting

ITG MEMORIAL SCHOLARSHIP FUND

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March 2020 / ITG Journal 35

• Episodes  and : “Joanna Hersey”—A discussion about the International Women’s Brass Conference and the importance of taking chances

• “Stuck in Traﬃc”—A ﬁve-minute meditation meant to be listened to in the car • “Falling in Love with Your Life”—A discussion on being content with our lives, followed by a meditation • “Meditation for Anxiety (in three parts)”—Tips for using meditation as a coping tool to combat anxiety • “When Tragedy Strikes”—Using meditation as a coping mechanism during times of sadness

The Bulletproof Musician, with Noa Kageyama Performance anxiety has affected even the most seasoned musicians. Host Noa Kageyama is a violinist, performance psychologist, and faculty member at The Juilliard School. His podcasts are well researched and informative With the help of Apple Podcasts and Spotiand range in length from under  minutes to  minutes, providing flexibility in the “There is truly an epi- fy, thousands of episodes are at your fingertime you have to listen on any given day. sode for everyone in tips. Although the selection is endless, the shows above are a great place to start. Happy There is truly an episode for everyone in Kageyama’s podcast. Listed below are a few Kageyama’s podcast.” listening! suggestions of where to begin. About the author: Julia Bell is a trumpet player and teacher • “Tom Hooten: On Being Curious, and Elevating Learnliving in Tallahassee, Florida, where she regularly performs ing and Growth above Ego”—Tom Hooten, principal with the Tallahassee Symphony Orchestra and Northwest Flortrumpet of the Los Angeles Philharmonic, discusses his ida Symphony Orchestra. She is currently pursuing a master’s approach to learning and improvement on the trumpet. • “How to Keep Your Cool in Stressful Lessons, Rehearsals, degree in trumpet performance at Florida State University. and More”—Tips on minimizing your response to stressful situations and becoming a resilient learner • “Angela Beeching: The Keys to Developing a Career That’s Book Now to Reserve Your Space! Totally ‘You’”—A career-development guru discusses how to use the resources available to help find and create your ideal career. • “Two Different Types of Nerves? How One Helps and the Other… Not So Much”—A look into how we react to pressure and how we can use it to help us • “Jeff Huber: On Preparing Mentally for Competition”— Jeff Huber, two-time Olympic diving coach, discusses how to set yourself up for success leading up to competitions. • “The Role of Self-Compassion in Overcoming Setbacks and Cultivating Mental Toughness”—Tips on how to respond to setbacks with resilience and how compassionate self-talk can help.

2020 ITG Conference

May 26 – 30, 2020

Hyatt Regency

The Mindful Minute, with Meryl Arnett Host Meryl Arnett begins each podcast by discussing a topic related to mindfulness and healthy living, followed by a brief guided meditation. Arnett strives to introduce meditation in an accessible way, keeping each episode at only ten to thirty minutes in length. In addition to individual episodes, she also organizes a series of episodes that address one large umbrella topic.

“When our body and mind are healthy, progress and performance on the trumpet become easier and more enjoyable.”

Columbus, Ohio (USA) Details available now on the ITG Website! www.trumpetguild.org #ITG2020

Visit the site frequently for updates.

Balancing schoolwork, extracurricular activities, practicing, and your personal life can be challenging. The practice of meditation counteracts overwhelming feelings, stress, and anxiety, serving as a tool for improved health. When our body and mind are healthy, progress and performance on the trumpet become easier and more enjoyable. A few individual episodes and guided meditations to begin listening are the following: 36 ITG Journal / March 2020

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EDITOR’S CORNER PETER WOOD, EDITOR

PRIVATE ODE TO MAJOR BRASS BY DON PETERSEN Do you read me? Do you read me? Over.

told us, No more Clark Terry ﬂugelhorns.

Old age suﬃced to put their horns away,

Dizzy makes everyone presumptuous, as if having nothing to say’s the foundation of speech.

Brave and glad for what we have on record, Clark’s ﬂugelhorn pyrotechnics,

sad deﬁciency, resolved in the end by no philosophy.

You have ears to hear, let them hear Dizzy prancing in the atmosphere.

Jonah Jones muted out of tricks and wailing licks,

You have eyes to see, let them see Masters cannot choose but mastery.

what remains is blues, wearing out your shoes.

Dizzy found the flatted fifth, and said the music could go on forever in his head. Clark Terry told us, UOP’s ’s audience, Stockton, California, F.A. Reynolds bought Olds, and broke his flugelhorn design molds. Each of us could see the part his genius played, and his art, set before us, private musical, astronaut equations formed in flugelhorn specifications, one of a kind design, broken by profit margin’s bottom line. Clark, on his high stool next to Plas Johnson, Pink Panther tenor master in his chair,

Time to go, to be gone, blowing elsewhere a new song. Great players, all made to stop. Buck Clayton’s mouth disease, gums and teeth, still young, his playing done before his life. Chet Baker’s teeth, knocked out by thugs, but he came back Charlie Parker phoned Dizzy and Miles in New York, and told them, There’s a little cat out here on the coast who’s gonna eat you up! In Lucca, Italy, Chet’s sound of an angel, false teeth, and speedballs, ﬂoating over prison walls. Buck, Chet, and Harry James, Roy Eldridge (Little Jazz), Diz too, Bobby Hackett, Clark Terry and Ruby Braﬀ.

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About the author: Don Petersen was born in Crookston, Minnesota, in . His father was drafted into the Marine Corps, Pacific fleet, which caused the family to move to Sacramento, California. Don Petersen has loved jazz since the late s and learned about trumpet from Harry James, Jonah Jones, and Ruby Braff. Petersen began playing cornet at age fifteen and has played trumpet and flugelhorn ever since. In college, he studied music and English/American literature, with a philosophy major. He taught high school and grammar school band and chorus in Siskiyou County, California, and joined the Navy in the s, serving aboard the USS Ranger in the South China Sea. He has written poetry since childhood, including volumes on jazz, Bach, and various other themes. He can be reached by email (donandjanet01@att.net).

JOURNAL STATUS ON TWITTER! You can follow the progress of each issue of the ITG Journal on the popular (and free!) Twitter service. You can start by going here: http://www.twitter.com/itgjstatus You can choose to Follow this Twitter account (and automatically receive updates as they are posted), or you can simply check into the above address at your convenience to monitor progress. As you’ll see, updates are not frequent, but as we hit milestones you can see where we are in the process, and you’ll learn when each issue is mailed so you’ll know it’s on its way! March 2020 / ITG Journal 37

JAZZ CORNER CHASE SANBORN, COLUMN EDITOR Jazz Corner seeks material related to the pedagogy and performance of jazz. Ideas and suggestions should be directed to: Chase Sanborn, Jazz Corner Editor, University of Toronto Faculty of Music, 80 Queens Park, Toronto ON M5S 2C5, Canada; jazzcorner@trumpetguild.org

YOUTUBING BY CHASE SANBORN

best practices. At the same time, I watched a lot of videos from his is the second time I have titled an article channels offering music education, discovering people like “YouTubing.” Previously (not for the ITG Journal), I Aimee Nolte, Rick Beato, Adam Neely, and Nick Homes. wrote about it from the viewpoint of a consumer of These folks and others offer an impressive quantity and quality content, the gist being an exhortation to students to take full of information and instruction, and each has a unique advantage of readily available access to music that was imposapproach to presenting it on YouTube. Given that they have sible to imagine when I was their age. I am writing this article hundreds of thousands of subscribers, I with the newfound perspective of being a content creator as well. A “I realize I am late to the party— realize I am late to the party—but better late than never. year ago, I didn’t know that a As I logged scores of hours watching “YouTuber” was a “thing;” now I am but better late than never.” tutorial videos, I developed an apprecione. (I say that based not on the size ation for the degree to which YouTube has evolved into an of my audience, but on the amount of time I am investing in educational powerhouse. This led me to think of making this pursuit.) videos not as a side project for my sabbatical, but as the main In the fifteen-year history of YouTube, we have all come to event. I assembled a modest studio in my basement and filmed take it for granted as a ready source of information and entermy daily trumpet practice sessions as something on which to tainment. I have built an entire jazz history course around the practice my neophyte filmmaking and editing skills. That was plethora of videos that have been posted, and it has come in revelatory in itself not just in terms of how amateurish my first handy when trying to figure out why my ikea product doesn’t look like the picture once I have assembled it. In recent years, attempts at on-camera instruction were—my children howled with laughter after watching the opening of Video No. 1, I have been peripherally aware that it has provided the launchwhich sent me back to the drawing board—or how cringeworpad for successful musicians like Jacob Collier. My kids introthy it was to watch myself speak on camera—thankfully, one duced me to full-time YouTubers like Jenna Marbles, who becomes immune after constant exposure—but also in terms amass huge fan bases while exhibiting nothing much in particof the things on which I profess to be an expert (e.g., trumpet ular beyond charisma. (If you are a Jenna Marbles fan, no playing). At various times in the past, I have recorded my pracoffense. Once she floated her dog to the ceiling with party baltice sessions; the challenge has been loons, I, too, was hooked.) Admittedly, I am well outside the “As I logged scores of hours watch- to find time to listen to the recordings. This project provided an incendemographic that has come of age with YouTube and for whom my ing tutorial videos, I developed an tive to watch what I had filmed each day. The eye and ear of the camera latter-day revelations likely seem quaint. My enhanced interest in the appreciation for the degree to reveal flaws not only on the part of platform took hold while I was which YouTube has evolved into the filmmaker, but also on the part of the “talent,” laying bare bad looking ahead to a sabbatical from habits. For example, I picked up on my teaching gig at the University of an educational powerhouse.” the fact that I always ran my tongue Toronto for the  –  school over my lips in the split second before placing the mouthpiece. year. In trying to determine how to make the best use of the That is a little thing that one would normally not notice, but time and opportunity, I considered projects that have been as I edited the videos, I got tired of seeing that maneuver and simmering on the back burner. At the top of that list was makexperimented with not doing that. As a result, I have develing demonstration videos to accompany my recent book, The oped a more conscious embouchure setup with improved conBrass Tactics 6/60 Routine. Knowing I had some research to do sistency of attack. (and stuff to buy—woo hoo!), I did as one does and turned to After some months of trial and error, I posted my first video YouTube. Noting the irony of watching YouTube videos to on April , , and have stuck to a weekly or twice-weekly learn how to make YouTube videos, I soon found myself simultaneously and obsessively watching tutorials on cameras, Continued on Page 45 lighting, editing, presentation techniques, set design, seo, and 38 ITG Journal / March 2020

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STUDIO /COMMERCIAL SCENE NICK MONDELLO, COLUMN EDITOR Studio/Commercial Scene seeks to present information on issues related to the trumpet’s role in the music industry in today’s ever-changing environment. Ideas and suggestions should be directed to: Nick Mondello, Big Toots Enterprises, 29 Riggs Pl, Locust Valley NY 11560 USA; studio@trumpetguild.org

HANGING WITH HARRY: AN INTERVIEW WITH LEGENDARY TRUMPETER HARRY KIM (PART I) BY NICK MONDELLO AND JAI FLORADA

arry Kim’s rise from New York’s Lower East Side to Los Angeles and performing venues around the world was not only unusual, but his eﬀorts to overcome “doing everything wrong playing the trumpet” have led him to personal discovery and an interest in helping other players overcome their playing issues. Harry has had a brilliant performing career performing and recording with

Harry James, Stevie Wonder, Linda Ronstadt, Phil Collins, and many others. Harry has been a mainstay on Dancing with the Stars, American Idol, et al. He is also an ace arranger and composer who played with the legendary Phenix Horns and founded The Vine Street Horns. We caught up with him at the  ITG Conference in Miami.

amount of engagement that the audience has to have to enjoy Mondello: On behalf of the ITG membership and the ITG the performance. I think the death of jazz came with heroin Journal, thanks for taking time. and the performers not being engaged with the audiences— Kim: It’s my pleasure, Nick and Jai. where the performers and performances became too intellectuFlorada: Please tell us about your early days growing up in New al and cerebral—both in jazz and classical. Quincy Jones told York and starting on trumpet. me that showmanship was a huge part of Kim: I had very humble beginnings. with big bands’ choreography and exuI grew up the son of a short-order “I realized that if you learned jazz berance that captivated audiences. Louis cook and a seamstress. Mom and Dad were very hard-working people. I one song, in my mind, you Armstrong and Dizzy Gillespie put on such shows that people were jumping oﬀ learned a great deal from them. I the rafters. They captivated people. Later, learned work ethic and learned that had a product to sell.” with Charlie Parker and those guys, they we had to contribute to the family. We knew we didn’t have much and were proud to contribute. became too internalized—and I’m not putting them down, All the kids in my neighborhood had to work from an early age. because their music was amazing—but the music became too intellectual and detached for the audiences. Back then, you could get a work permit at twelve, but most of Mondello: When did you start playing trumpet, and who us were working by the time we were ten years old. If you made you want to play trumpet? could ride a bike, you had product to sell; you could make Kim: I started playing in seventh grade when I was twelve, deliveries, which I did. This all paid off musically later on, because I realized that if you learned one song, in my mind, but I fell in love with the sound of the trumpet earlier—at ten years old—when I saw Young Man with a Horn on tv and you had a product to sell. That made it easier later on. And, if heard Harry James, with whom I you learned a dozen songs, you could would play later on. I was so absorbed get a job playing them. I formed my own band at fourteen. “To have showmanship, to be with the trumpet. When I was in sevThat’s where I learned about showman- sincere, you have to be engag- enth grade, I was playing in the ninthgrade orchestra and the All-City junship, which is another subject and a little out of order with my very early days. ed with the music and project ior high orchestra. I played in Carnegie Hall when I was thirteen and Showmanship came early on. It came the fun you are having.” Lincoln Center when I was fourteen from the happiness I had from playing with the All-City high school orchesmusic. When I had my own band, we let tra. During that whole time, I had my own band playing wedourselves express ourselves by performing and having fun on dings. It was the work ethic I had learned earlier that made me stage. You had to be demonstrative and express yourself. To able to do all that. have showmanship, to be sincere, you have to be engaged with the music and project the fun you are having. That’s because Following page, photo credit: Christopher Kim live performance is a visual art. I believe there is a certain © 2020 International Trumpet Guild

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March 2020 / ITG Journal 39

wide apart, and cutting off the vibration of the lips. I tried to Florada: You auditioned for, were accepted into, and attended streamline my airstream and had to use pressure, because my the prestigious “Fame” school—the New York School for the Perteeth were too wide apart and the tongue being extremely forming Arts, right? important—you know. It took me a long time to know how it Kim: Yes. I had the option of auditioning during the sumall works together like a machine—the teeth, the lips, and the mer of the eighth grade. I had to play some etudes and scales tongue. However, I persevered. I was unlike a lot of natural for a teacher and do a little ear-training interval thing. When players like Chuck Findley and Rick Baptist—they picked up I got the acceptance notice, I didn’t jump for joy. I wasn’t the horn the first time and kind of played correctly. Nothing cocky, but I felt confident that I belonged there. Later, when worked against them. All they did was improve, improve, I would get a job performing for a tv show, I felt the same improve, and improve. I asked Rick if he practiced a lot. He way—like I belonged there. It’s hard to explain. When I was said he didn’t, and every time he picked up the horn, he would accepted, it wasn’t like I called everybody. I accepted it as a sound great to a certain age. Me—I had to learn the horn every natural progression. By the time I got to high school, I got time I picked up the horn. It took years to figure out what I very used to auditioning; I knew what to play and what to was doing wrong. I would ask music teachers about my chops, bring. I wasn’t surprised. and sometimes they’d roll their eyes. They couldn’t believe anyThe school was the only school of its kind at the time. It was one would go through something like that. They can’t relate to actually an annex of the School of Music and Arts. That school it. It made me really upset when they would say, “It’s all in your got too big, and they created the School for the Performing Arts. It was a very unique and creative place—actors, dancers, mind.” I’ll give you an example. I have a tendency, when I’ve been playing a lot for day after day after artists, and musicians. You would often see dance students practicing their moves in the “It made me really upset day, my jaw starts shifting to the left. When I feel that a high C is hard to play. halls and stairwells, musicians practicing on their lunchtime, drama students rehearsing when they would say, I would overcompensate by shifting to the right, and I’d sound great again. I their lines to the walls. It was a small student body—maybe  students. So, that made it ‘It’s all in your mind.’” mentioned this to a notable player, and he couldn’t relate to it. “How could that special. It wasn’t like going to a high school happen?” I’m sorry, but it’s not “all in your mind.” I’d make a with , students. You had half a day of required academics and the rest of the day music classes—ear training, harmony, physical change gradually over a few weeks, and then I can’t play. It’s like a car. If it’s running rough, you’ve got to change and theory. Musically, I learned enough theory and harmony the spark plugs in your car. It’s not “all in your mind” with the there—a very solid foundation—which later on I would use car if the car’s running rough. extensively in my entire career. The theory alone would help all Florada: When did you move to LA with your parents? What of the orchestration and arranging I would eventually do. Of course, things would get more sophisticated as time went by, was that like? Kim: It was the summer that I turned seventeen—. My but all of the basics of theory and harmony I learned at Perfather spent much of his early life in California and always forming Arts. It was a wonderful foundation and extremely dreamed of moving to la when he retired. When I was a junior useful. I didn’t study theory and orchestration in college—I in high school, he asked if I wanted to move to la or finish didn’t go to college—but later in my career, when I was put in situations where I had to arrange for horns or strings, I could, high school in nyc. Moving to la sounded exciting. I pictured beaches, Gidget, and beautiful suburbs like in Leave It to because it is basically voicings and theory. Writing for strings is Beaver. I also knew that I had to prepare a senior recital the folreally easier than for horns. It’s really hard to make them sound lowing year, and that ultimately played a big part in my decibad unless you don’t know about the registers. Of course, I had to learn about ranges and clefs, but that sort of thing came later. sion to move. We ended up living close to downtown la. It was very nice, compared to places I had lived in nyc, but in reality, Later on, I was asked to write for horns, and I’d have two days was nowhere near the white picket fences of “Beaverland” or to do it. I wrote and gave the charts to copyists, and they the sunny beaches of Malibu. I found it depressingly quiet in would do that—even fix little things. Back then there were the evenings. Back then, you could drive fifteen miles in any many great copyists. Their calligraphy was beautiful. They were direction and you would be in farmland or undeveloped land. really something. It was wilderness to me—not my natural habitat. I missed the Mondello: With whom did you study in New York? Kim: I studied with George Berardinelli at Performing Arts, lively sounds of the city—the police and ambulance sirens, the sounds of all-night summer parties coming from open wina great player who played with Tito Puente and others. I would dows nearby. But most depressing of all was that the high have loved to have studied with people like Ernie Royal and school I attended really had no music program to speak of; it Victor Paz, but I didn’t know about them. I did study for three focused more on sports. My life had been filled with musical years with Carmine Caruso. I had “issues.” George studied activities in nyc, and suddenly there was nothing. with Carmine and sent me to him at a certain point. My chops So, early in the school year, I was getting a haircut. The barwere so bad back then, but with Carmine they made some ber played saxophone. He invited me to a jam session, where I gains. I improved my sound and range, but I didn’t know anymet a cat named Johnny Aquino, who, as it turned out, was thing about correctly using my tongue. That came way later. I the number-one contractor for Filipino events in la—and didn’t make miraculous gains with Carmine like some other there were lots of them: parties, weddings, and all kinds of people did. I didn’t know what I was doing wrong until I figevents—and he hired me for all of them. Except for the Filured it out later on my own and with help from people like ipino standards, I knew all the songs his bands played. Johnny Bobby Shew and others. There were things I learned to correct took me to the musicians’ union—by this time it was — later—like how I was holding the horn, if my teeth were too © 2020 International Trumpet Guild

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March 2020 / ITG Journal 41

Kim: I didn’t have a trumpet teacher at that time. I had not and got me to join Local . He took me around and introstudied with anyone since I left New York. When I moved to duced me to everyone there. He introduced me to a lady la, Carmine Caruso suggested I contact Al Porcino, but he named Billie Cutler who was once a trumpet player during the lived quite far from me, and I didn’t drive at the time. Unforswing era. She ran the “exchange floor;” that is, she announced tunately, it never worked out. A trumpet player I met at la available gigs for the union musicians. Some months later, BilCity College heard I was looking for a teacher and told me lie called me, because she needed a trumpet player for a multiabout Claude Gordon, so I started studying with him. I am so ethnic band being put together to play on a weekly tv show glad that I did, because I learned so much. I had been so called The Square World of Ed Butler. It had a conservative focused on chops that I really didn’t have an organized practice theme smack in the middle of the hippie era. The band was routine. I randomly practiced out of Arban or Clarke, but named The Sons of Liberty. That was a very exciting time for spent most of the time doing chop-building exercises. Claude me, because it was completely unexpected. It was real Hollycombined chop building with a very well-organized schedule wood! They paid us to join sag/aftra. They sent us to hair for developing technique. He taught me “How to Practice,” as stylists in Beverly Hills and got us tailor-made custom outfits his book claims. There was so much for the stage. That was a really big deal! I remember the first time I went “Playing in dead rooms and with material covered every week that I ended up practicing six hours a day. I to the hairdresser. It was a highfalootin’ Italian-named salon in Bev- loud bands just ate up the sound developed lots of technical abilities, never got that “double high C in erly Hills, and there I was sitting next I was trying to produce, so natu- but 52 weeks” that his book promised. to a film celebrity of the ’s who was also getting his hair done. Ironically, rally my embouchure would go The problem was that I could play high notes in the practice room, but it was the actor James Darren, who my chops would completely fall apart played the male lead in the Gidget completely out of whack.” on stage. What I wasn’t aware of at films. It was the first time I ever did the time was that I was trying to duplicate the sound I heard tv, and the show lasted two seasons. We were featured on one in the practice room when I was on stage. Playing in dead song each week that we pre-recorded in a studio. We were paid rooms and with loud bands just ate up the sound I was trying Musicians’ Union tv scale for pre-recording the music and to produce, so naturally my embouchure would go completely aftra scale for singing. This was the first time I was to arrange out of whack. Eventually I took a few lessons with Bobby Shew, for horns at this level. I had written horn parts for many other who really helped me to understand what was going on. He bands I was in and re-written poorly arranged horn parts, but this was the first time I was doing something really professional. taught me to focus on feel rather than sound. He had me playing long tones, crescendoing from soft to very loud, while tryI’d be sitting there in the studio writing horn parts while the ing to determine the exact point at which I produced the most rhythm section was laying down their tracks. Here is one robust and vibrant sound. I realized that anything after that instance where all the harmony and ear training I had learned point was wasted energy and that blowing harder didn’t really at Performing Arts paid off. I didn’t need a keyboard or my make the note louder—just forced and distorted. He had me trumpet in my hand for reference. I could do it all in my head focus on all aspects of feel while playing long tones and phrases and write down the lines I was hearing in my head as quickly at that level of volume—how it as they came to me. felt in my hands, arms, chest, Mondello: Do you have perfect pitch or relative pitch that helped “I had to face the reality that the only face, etc. Then, after being able you? way for me to improve my abilities on to attain that feel consistently, he had me play all the exercises Kim: I do not have perfect pitch, but I do have or had very the trumpet was through self-discov- again using earplugs. Playing by good relative pitch. I’ve lost some ery, because a teacher can’t crawl into feel is a concept that I believe in and have taken many steps furof it over the years. Mondello: What happened after your mouth. He can’t determine what ther. It gives me the confidence my sound is projecting, that? you’re doing wrong or point out the that even when I can’t hear myself. Kim: I finished high school— just barely. I lost interest in school, things you do that are working against Every once in a while, though, I get too excited on stage, and all because I was gigging so much. I my discipline goes out the only graduated high school be- you. They can plant seeds, though.” window—and so do my chops. cause my mother nagged me to Claude, like most teachers with whom I studied, never really do so. Because “That’s what people do” and partially to avoid dealt with the subject of feel. Carmine would refer to feel as the draft, I enrolled in la City College. It was . It was a very interesting experience. There were anti-war protests every “getting a taste for the notes,” and Claude would refer to it as day on campus—one organization after another: Students for “gripping the notes.” I never got what that meant. As I mentioned before, trumpet playing doesn’t come naturally to me. I a Democratic Union, the Black Panthers, Brown Berets, and had to face the reality that the only way for me to improve my other organizations. I was very apolitical back then. I knew abilities on the trumpet was through self-discovery, because a there was a war going on, but I was totally absorbed in music teacher can’t crawl into your mouth. He can’t determine what and trumpet playing. As it turned out, I lasted only one semesyou’re doing wrong or point out the things you do that are ter there. working against you. They can plant seeds, though. I had plenFlorada: Who were you studying with then? 42 ITG Journal / March 2020

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know all of this innately. As for me, bad habits can happen ty of “Aha!” moments when I figured out certain things on my gradually without my awareness, while other bad habits hapown. I would say to myself, “So that’s what such and such pen overnight. I never take things for granted, so I make sure meant when he said this or that.” It seems that everyone’s sysI always “find that good reed” before I leave the house. I advise tem works once you get it figured out. Claude’s slogan “Hit it players like me to “never play on yesterday’s chops;” you can hard and wish it well” seemed nonsensical to me at the time eventually run into big trouble. until I discovered what “gripping the notes” or “tasting the Florada: Are you a naturally correct note” feels like. I know today what a high breather? G feels like, and I can “hit it hard” right “Hit it hard and wish it well.” Kim: No, not at all. I always have to out of the gate with confidence at the top make a conscious effort to breathe of a chart—well, most of the time! I have correctly. Claude Gordon and Bobby Shew introduced me to developed my own routines, but I follow Claude’s concept of some terrific breathing exercises that I practiced diligently at having a “systematic approach to daily practice.” I especially one time. I know what it feels like when I do breathe properly, apply it to my daily maintenance warmups. Several years ago I but I have noticed that I get very lazy, especially when I’m not borrowed a phrase from my friend, Charlie Peterson, who fully engaged on a gig or am physically tired. It was very diffiplays saxophone and trumpet. He said that warming up on the cult for me to stay focused on shows like American Idol and trumpet is like “looking for a good reed.” So, when I warm up Dancing with the Stars, because twelve-plus-hour days were not every day, I systematically search for “that feel,” “that sweet uncommon, and musical numbers averaged only about a spot”—for that “good reed.” minute long. There was just too much down time sitting on Mondello: Was Claude Gordon the one who got you thinking the set between numbers for my add personality to handle. I about “What’s working against you. Analyze that!”—or, was that say that because I lose interest easily when I am doing someyour own deduction? thing that does not require my complete engagement. Kim: It was my own deduction I made after a number of I find that when everything is working properly in my years. I have always noticed that when I played a succession of mouth, using my body to gently push air through the horn is hard-blowing gigs, I’d start out playing very well. Everything much more important than blowing large “volumes” of air. felt easy, and I would have the feeling of being able to do anyMany of the problems I had in developing efficient chops were thing. After a few days, though, the trumpet started fighting a direct result of teachers telling me to blow harder into the me, playing got harder and harder; and by the fifth day, I went horn. I blew my a** off, and all it did was wear me out. The from feeling invincible to really struggling to get through the only positive effect I got out of it was that my body got strong. show. It was extremely frustrating, because it happened all the It took me years to learn about using my body to push a “meatime. I’d practice my a** off each day to try to get back on sured amount of air” through the horn and that every register track, but only wore myself out further. It wasn’t until I started requires a different velocity of air, not asking myself what changed that I more air. Raising the back of the started on the road to discovery. I started by making a checklist of “I find that when everything is tongue compresses the air and causes it everything I could think of that I was working properly in my mouth, to travel faster. In actuality, the main purpose of the embouchure is to supdoing when my chops felt great. I actually wrote everything down— using my body to gently push port the air column rushing through lips. Your facial muscles will get placement of the mouthpiece, placeair through the horn is much your tired and your embouchure will fall ment of my tongue, how wide apart my teeth were, the angle of the horn, more important than blowing apart when that air column gets too thick. You simply cannot keep your lips etc. It was a very extensive list. I together. Learning how to push the would go through my list every day as large ‘volumes’ of air.” same amount of air faster for the higher I warmed up, and the list got shorter register allowed me to relax my embouchure. That means less over time. I discovered that sometimes doing a certain thing fatigue and greater endurance. That’s why being lazy is a big on the list would accomplish another item. For example, two one on my list that works against me, and it moves up in priitems on my list were angling my horn down a bit, resulting in ority as I get older. I have always admired Dan Fornero for his a more efficient vibration, and drawing my tongue back so as breathing discipline and his ability to stay alert. Every time he not to obstruct the airstream. I found that when I would draw picks up his horn to play, he maintains great posture, his my tongue back, it automatically caused me to angle my horn shoulders and chest are square and upright, and he always down. So, angling my horn was scratched off the list. Eventumeans every note he plays. ally I found that when I started having one of those crappy Mondello: How did your gig playing with Harry James come days, there was something on that list I wasn’t doing. Instead, I was doing something else. Aha! It was that “something else” about? Kim: I played with a series of club bands after my short time that was working against me. So, I started compiling another at la City College. There were tons of clubs and lounges back list of things that were working against me. My combined list then that hired bands with horn sections. Blood, Sweat and has dwindled down to about four or five items these days. I Tears and Chicago were really popular at the time. There was have developed the ability to mentally go through these items lots of work, and I eventually started working with lounge acts quickly when I start to feel like I’m working harder than I in Vegas, Reno, and Lake Tahoe. During that time, there was should. There are times when I start feeling uncomfortable a “lounge act” circuit throughout the country. Aside from during a shout chorus, for example. I correct the problem and instantly feel fresh again. I’m certain that “natural players” upscale restaurants and clubs, Holiday Inns, Ramadas, and © 2020 International Trumpet Guild

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Nick was also a very lovely guy who helped me to relax and not even bowling alleys had big, fancy lounges that hired show worry about anything. He was going through some teeth issues bands. So, I toured around the country with various acts. and also was having troubles learning to play with a new I made friends with a trombone player on one of those embouchure. So, the playing field was leveled, and before long bands, Steve Davis. He had been playing the bass trombone I was playing with confidence. No longer in fear of sucking, I chair with the Harry James band since I had last seen him. I was able to be myself. The section sounded tight and strong, got a call from him one afternoon; I believe I was performing each guy using his experience to play beyond his handicap. somewhere in New York state. He asked if I was interested in Gino Bozzacco was hired soon after to play lead, and what a flying to Las Vegas to audition for the split-lead chair on the great experience that was. Harry James Band. I said, “Of course.” I gave my band two After about three weeks touring with the band, I asked Pee weeks’ notice and flew to Vegas. Wee if I got the gig, because the mystery was causing me a lot Florada: So, it wasn’t Claude Gordon who referred you for the of anxiety. He let out a belly laugh and said, “Well, you’re still Harry James gig? here, ain’t ya kid?” Touring with a Kim: Actually, I found out much later that Harry James’s manager, Pee “All I remember Harry James say- big band in those days was no vacation. Although Harry’s band hardly Wee Monte, also managed Claude Gordon’s big band in the late ’s. So, ing to me was, ‘I want you to play ever did a “hit and run”—traveling all night after a gig to the next whenever Harry needed a trumpet town—we had few days off. I recall player, Pee Wee would call Claude lead on all the ballads, Babe.’” maybe two or three full days off durfor recommendations. Claude did ing a six-week tour. Everything was new and exciting then, but indeed recommend me for the gig. I did wonder how some of those guys managed to do that for Mondello: What was it like playing with Harry? so many years. We played in ballrooms, country clubs, and Kim: I auditioned for the band in a large ballroom at the yacht clubs all around the country. Most were dances, but I do Frontier Hotel. Half the band was new, so we had a long remember playing some concerts in theaters and fancy showrehearsal, running over many charts. Harry just happened to rooms. I got to know Sonny Payne pretty well. We started walk in while I was playing lead on a ballad chart with a lush hanging out together when we were both denied visas to enter melodic shout chorus, The Summer Knows. There he was, the South Africa for a gig. Sonny shared many of his life’s experiman whose sound inspired me to play trumpet and forever ences with me during that period—things that he kept pent up change my life! He looked like a star—white hair, very tall and most of the time. Harry eventually bailed on the gig, gaining lean, and well dressed in a casual outfit. I was later introduced lots of respect from all the cats. to him during a break, and all I remember him saying to me I had occasional conversations with Harry while on tour. He was, “I want you to play lead on all the ballads, Babe,” and he would call me over to his seat on the bus every now and then walked away. I noticed later that he called everybody “Babe.” and talk about music. He would talk about musical expression I was very nervous at the audition. Not only had I never and singing through the horn. He once pulled me aside backplayed in a big band before; I was also very intimidated by the stage to show me a quick warmup, other trumpet players. I was twenty years old and the new kid on that particular “Harry James said that every part of which I still use today. I remember those conversations well block, and it seemed like everyone knew each other. As it turned out, the lead opportunity he had while and try to pass along his generosity. Harry was a very impressive player. player, a guy named Bob Faust, cut his top lip open during that long first re- lounging around by the pool His beautiful, robust sound and clean hearsal, so he started passing me lots of or watching TV, he would sing technique amazed me night after night. He got really upset once when lead. I remember him bleeding all over his mouthpiece. To my left, on third Clarke and Arban exercises a trombone player stretched out on a trumpet, sat a really nice guy named Rich while fingering the notes and blues solo. He decided to play “outside” that night. Harry stormed on Cooper who was suffering after a long bout playing lead on Lido de Paris at the articulating with his tongue.” the stage and played about three or four wild choruses filled with crazy Stardust Hotel. That show might have intervals and rhythms. In retrospect, he sounded very much been the hardest-blowing show in Vegas at the time with writlike Woody Shaw. He turned to the band and said loudly: ten double B-flats and Cs. It was well known for tearing lead players down both physically and mentally. He told me his “anyone can play that s***. i don’t want to hear that ever again!” He walked off and continued entertaining friends at a story about playing that show eight times a week, week after table just off stage. week, without warming up properly. He started having diffiHarry was known for not touching his trumpet for weeks at a culties with accuracy and eventually couldn’t play a c''' just time between gigs. I asked him once how he was able to keep it above the staff. Before that, Rich had been well known for his all together. He told me that the secret is to not lose your coorblistering double Cs. He was very kind to me and helped me a dination. He said that every opportunity he had while lounging lot with articulations. I remember asking him when I encounaround by the pool or watching tv, he would sing Clarke and tered eighth notes tied to another eighth note in syncopated Arban exercises while fingering the notes and articulating with rhythms: “How do I know which ones are played long and which ones short?” He laughed and said, “You just gotta know. his tongue. Dammit! He was right. The first thing I lose when I Don’t worry, you’ll get it.” On fourth trumpet was Nick Buono, lay off the horn is the connection between what my mind wants who had been with Harry’s band since its inception in . to do and how the body responds to it. I end up fumbling 44 ITG Journal / March 2020

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SCHOLARSHIPS HELP STUDENTS ATTEND ANNUAL ITG CONFERENCES The ITG Industry and Sponsored Scholarship program helps qualiﬁed students attend the annual conferences. With generous donations from industry-related companies, as well as individual sponsors, many young trumpeters are better able to afford conference registration and travel expenses. Scholarships may be named for the donor companies, for individuals, or in honor of someone. To earn a scholarship, a student must submit a recording of required pieces, whereupon a panel of judges will select the most deserving students for the scholarships. Industry members who contribute to the scholarship fund also beneﬁt from a reduced exhibit fee at the conference. Scholarships are awarded to recipients in midspring and are recognized at the awards ceremony at the annual conference. See the ITG Website and contact the ITG Treasurer (treasurer@trumpetguild.org) for further information on how to donate and apply for scholarship funds.

http://www.trumpetguild.org around a whole lot, especially during quick passages. If I could go back in time, I would take better advantage of the opportunity to learn from his wealth of knowledge and experience. Harry was generally a pretty jovial guy. He was very happy with the band; I heard him offstage a few times shouting, “i love this band!” I was there one night, standing about five feet from him in a dressing room somewhere, when he got a phone call from Betty Grable. The room went silent, and she told him that she had cancer. His demeanor changed, and he was never the same after that. I quit the band for my own personal reasons shortly after that night. He remained kind and thoughtful toward me, though. Without asking, he had given me a couple of raises during my sixteen months with him, and a couple of weeks after leaving, I got a call from Pee Wee, saying, “Harry said you should go ahead and collect unemployment if you want. Don’t mention you quit; tell ’em you got laid off.” And that was that. (to be continued …) About the authors: Nick Mondello is a freelance commercial trumpeter, teacher, clinician, author, critic, and artist/event

marketing consultant representing clients worldwide. He is the co-author of 365 Trumpet Lessons (Note-A-Day Press) and writes for All About Jazz and other publications. He attended the Berklee School of Music and Long Island University and holds ba and ms degrees in music education and an mba in marketing. Originally from New York, Jai Florada is a semiprofessional trumpet player, now retired, who resides in Hoschton, Georgia. A lifelong trumpet player, jazz aﬁcionado, and military services volunteer bugler, he has performed with numerous community, semi-professional, and professional jazz and concert ensembles in New York, Panama, and Georgia. Jazz Corner

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upload schedule since then. It is fun, rewarding, and challenging to figure out how to present information in a format that competes with hundreds of hours of video that are uploaded to YouTube every minute. As in most facets of life, being young and attractive would increase the appeal; however, I have to rely on experience counting for something. I alternate topics between brass playing, jazz improvisation, and the business of being a musician. On the jazz videos, it is tricky to demonstrate improvisation techniques without accompanists. So far, I have resisted using play-along recordings, but I will probably do that eventually. I have had good response to a series on solo transcription. In one video, I tried to play along with my own recording, which proved surprisingly difficult. Viewers also responded to a video about Clifford Brown’s use of chromatics to embellish melodic lines. That is something I wrote about in Jazz Tactics; I call the technique and the video “Cliffordizing.” I have also launched a secondary feature I call “One Minute of Jazz,” featuring curated audio clips matched to a variety of video footage. (I am constantly on the lookout for interesting sixty-second shots.) Tongue in cheek, I pitch this series to “jazz fans with limited time or non-jazz fans with limited patience.” It is a way to breathe life into previously released cds, most of which are likely destined to spend the rest of their lives in boxes, and is in line with my philosophy that in a time when we are all inundated with information, it behooves us to “cut to the chase,” if you’ll pardon the expression. Of course, one cannot become an accomplished musician simply by watching YouTube videos. I suspect that ease of access may breed a certain amount of laziness and truncated attention spans among YouTube audiences, but I hope my videos communicate the thousands of hours that were required for me to get to this point. (One video specifically addresses the question of whether the ,-hour rule holds true in my case.) This project is an ongoing learning process for me, and I am happy for the opportunity to present my pedagogy in a new light. I encourage you to stop by and check out the channel (https://tinyurl.com/itg2003e). Don’t forget to subscribe! About the author: Chase Sanborn is a Yamaha Artist and associate professor of jazz performance at the University of Toronto. He has just published his seventh textbook, The Brass Tactics 6/60 Routine, described as “Circuit Training for Brass Players.” Other books by Sanborn include Jazz Tactics, Brass Tactics, Tuning Tactics, and Music Business Tactics. More information can be found on his website (http://www.chasesanborn.com).

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CHAMBER MUSIC CONNECTION MARC REESE, COLUMN EDITOR Chamber Music Connection is a forum for ideas concerning the trumpet’s role in the expanding literature in all types of chamber music. Ideas and suggestions should be directed to: Marc Reese, Assistant Dean and Brass Department Head, Lynn University Conservatory of Music, 3601 North Military Trail, Boca Raton FL 33066 USA; chamber@trumpetguild.org

TEACHING ELEMENTS TO CONSIDER FOR NEW OR YOUNGER BRASS TRIOS BY WILL KOEHLER

brass trios. Gekker said, “I like to start trios out with the he repertoire for brass chamber music is constantly Sanders, Nehlybel, and Masso trios. Some early music by developing and expanding—in particular, the literature for brass trio (trumpet, horn, and trombone). William Byrd is also good.” Other accessible selections include Frigyes Hidas’s Triga, Arthur FrackenIn terms of standard repertoire, the pohl’s Brass Trio, or Arthur Muelemans’s Poulenc Sonata for brass trio is arguably one of the only pieces that “The Poulenc Sonata for brass Trio No. 1. Acc ording to Sutte, “The comes to mind for many brass play- trio is arguably one of the Hidas is a delightful, accessible, throughcomposed work in three distinct sections.” ers. One reason that quintets have Sutte also said, “For more advanced been more popular is because there only pieces that comes to groups, Leslie Bassett’s and Robert Marek’s are five voices, allowing for more mind for many brass players.” compositions with the same title, Trio for variety in writing and potential rest Brass Instruments, are important Amerifor individual players. There is educan mid-century works; and certainly, Anthony Plog’s Trio for cational value in brass trios, however, and this writer has Brass has become a go-to of the genre’s repertoire.” sought input from members of professional brass trios to discuss common challenges and solutions, repertoire selection, and healthy/effective programming. Common Issues and Solutions One practical benefit of programming brass trios is that it is Endurance. According to Gekker, “Endurance in a trio is easier to coordinate three players instead of five. Trios can be unique. Poulenc is nine minutes with no rest. A Mahler Symextracted from currently formed quintets and expose each phony trumpet part may be nine to eleven minutes of actual player, allowing the group to further refine their skills. In terms playing, spread over :, but just as tiring in another way. It of repertoire, this also allows brass players to access a larger is impossible to be in prime shape for both at the same time, library of musical options. Chris Gekker writes: so that sort of endurance must be trained for. Many major One really exciting part of trio playing is that every orchestral players will avoid pieces like the Poulenc, as it intervoice is always heard, and each player is both a soloist feres with their orchestral conditioning.” and an ensemble player. The second you add a fourth Sutte said, “A trio show is going to feel like an Olympic trivoice, someone is in the background. There are a few athlon. Get in shape. Some pieces will feel like you are hypoxic rare people who can clearly hear more than three dis(oxygen deprived, as in swimming), others will feel like tinct voices at the same time. I believe trio playing is smooth sailing on your trusted steed (bike), and the big last the most intensive, challenging playing. piece, like the final run, takes concentration just to keep going at speed on wooden legs. The feeling after a trio recital is of elation and relief. I’m usually hungry.” Getting started Balance and blend. According to Jesse McCormick, Players can look to professional brass trios for ideas and inspiration. One example is the Factory Seconds Brass Trio, “Because the group has only three voices, blend and balance are primary areas of focus. Individual abilwhich is made up of the second players musical approach, tonal identity, and in the Cleveland Orch estra—Jack Sutte “A trio show is going to ity, equipment choice all play a role in a (trumpet), Jesse McCormick (horn), and Rich ard Stout (trombone). Individually feel like an Olympic tri- group’s sound concept. At its worst, a brass trio can sound asymmetrical with a thick and together, the members of this trio have trombone, a withdrawn horn, and a shrill much great information to share with those athlon. Get in shape.” trumpet—lacking cohesive musical ideas. looking to start or improve a brass trio. For But at its best, a brass trio can sound warm, full, and exciting, those new to brass trio playing, there are several options for often resembling a larger brass ensemble. Exploring chordal lighter selections to introduce players to the pacing required in 46 ITG Journal / March 2020

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works is the best way for a group to achieve a unified and appealing sound.” Richard Stout said, “Factory Seconds Brass Trio has a series of early music transcriptions (Arcadelt, Dunstable, Leonin, Sachs, etc.) that are ideal for groups of any level. These works focus on intonation, tonal blend, and natural musicality.” Setup. As with any chamber group, the setup and rehearsal/performance space can make a huge difference and should be utilized as a tool for groups to improve and succeed. Stout suggested: Try diﬀerent setups. You will be surprised at how much difference sitting in different combinations makes. Likewise, try different spaces for rehearsals; different rooms make you listen differently. Also experiment with reﬂective surfaces for the horn player to bring out that voice that can get lost in some voicings. Become adept at playing in tune well together by playing unison material. Chant and plainsongtype things really help get your ears in sync.

Choosing repertoire. Gekker said, “The trio in nyc I had with David Jolley and David Taylor would do full programs, but we could do jazz with very modern improvisation. I also had the Bartok Duo for Two Violins transcribed, and we could put together a suite from them—anywhere from five to fifteen pieces.” According to McCormick, “Ideal programming should alternate selections between works that are chordal and works that are technical. This can be accomplished by choosing repertoire written in different eras and styles. Programs containing works from Baroque, twentieth-century, European, and modern composers will provide the greatest variety and will be the most interesting for listeners.” Sutte wrote: One of my strategies is to always consider a chamber approach—“small ball,” if you will. Practice the entire repertoire list at a slow pace and at a talking dynamic. Resist the urge to play orchestral loud. If you are having difficulties with endurance, it may be

TRIO REPERTOIRE Jacques Arcadelt Jan Bach JS Bach (Galloway) Maurice Bardin Leslie Bassett Lauren Bernofsky Oskar Böhme (Winick) Oskar Böhme (Winick) William Byrd (Danner) Al Cobine Josquin des Prez (DeJong) Samuel Ducommun Eric Ewazen Marius Flothius Arthur Frackenpohl David Hansen Frigyes Hidas Alan Hovhaness

Three-Voiced Chansons Triple Play Sinfonias Sonatine en Trio Trio for Brass Instruments Trio for Brass Prelude and Fugue in c minor Prelude and Fugue in E-ﬂat Madrigals (3) Trio for Brass Pieces (3) Petit Concert Philharmonic Fanfare Sonatina Brass Trio Ascend and Fly Triga Fantasy Nos. I, II, III

COLLABORATIVE WORKS (WITH Matt Barbier Boris Blacher Brendan Collins Howard Buss Arthur Frackenpohl Pierre Gabaye Esin Gunduz Paul Hindemith (Galloway) Jan Koetsier David Loeb Anthony Plog William Schmidt James Stephenson Isang Yun

Jan Koetsier David Loeb Robert Marek George P. Masso Arthur Meulemans Robert Nagel Clint Needham Vaclav Nehlybel Sherman Norman Anthony Plog Francis Poulenc Robert Pound Hans Sachs David Sampson Robert Sanders Jack Sutte Jack Sutte Will Swindler

Figaro-Metamorphosen Trasimeno Trio for Brass Instruments Trio for Brass Trio Trio for Brass Mobiles Trio for Brass National Anthem of the Moon Trio for Brass Trio for Brass The Stillness of Killing Meistersinger Melody, Gesangweise Duncan Trio Trio for Brass Instruments The Opener Meditation Fifth Prime

PIANO, ELECTRONICS, OR MIXED INSTRUMENTATION)

Gravlax for brass trio and tape Divertimento for Trumpet, Trombone and Piano Scuba Dance Jazzical No. 4 Suite Recreation Texts of Wisdom for brass trio with tape or live voice Ludus Tonalis Irisches Trio for trumpet, trombone, and piano Remembrances for trumpet, horn, trombone, and piano Triple Concerto Concert Music La Grande Vitesse—a triple concerto Quartet for Horn, Trumpet, Trombone and Piano

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March 2020 / ITG Journal 47

engaged. Blend is also key. Trumpet is normally the the manner in which you are playing that is prohibitodd man out in color, so find equipment that works ing your trumpet abilities to aptly support and honor well with your trombone and horn counterparts. the music. Remember that there are only three voices. These “blending down” considerations simply save Avoid “hero ball” musical tactics. Pick a few places to energy. You may be surprised at how different instrulet the horses run, though realize you might pay for it ments and smaller mouthpieces work to overcome later. Ask yourself, “How many matches can I burn?” most trio trumpet challenges. Exciting mid-range dynamics and flexible soft colors Brass trio repertoire is constantly growing, providing groups are key. with more options and making brass trios a more viable option We program repertoire that allows the utilization for students and professionals. Whether using this medium to of multiple B-flat trumpets; medium-, mediumcreate variety or practicality for a large-, and large-bore C trumpet, quintet or to refine individual D trum pet, and flugelhorn. For me, this variety is the key to stay- “Trumpet is normally the odd man skills, a brass trio is something that ing fresh. Some of these instru- out in color, so find equipment can benefit musicians while also introducing audiences to new and ments are constructed with four valves, which, especially on the that works well with your trom- varied musical experiences. B-flat trumpet and flugelhorn, About the author: Dr. Will allows relaxing notes in the bass bone and horn counterparts.” Koehler currently serves as adjunct clef. Our repertoire includes early professor of trumpet and horn at Tulsa Community College in music transcriptions, new works with tape, and trio Tulsa, Oklahoma. An active soloist and educator, recent highrepertoire ranging from Oskar Böhme and Francis lights for Koehler include releasing his premier solo cd (MockPoulenc to Clint Needham and Robert Pound. ing Midnight), performing as a new works artist at multiple One of the challenges is effective programming. ITG conferences, and teaching masterclasses at such instituFind works that sound different. This will give the tions as Kansas State University, Missouri State University, and trio variety in style and approach and allow the audiSoutheastern Missouri State University. ence enough variation and sound worlds to stay

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REPERTOIRE CORNER BRYAN PROKSCH, COLUMN EDITOR The Repertoire Corner examines historic, analytic, and performance issues in the trumpet literature. Ideas, suggestions, and submissions should be directed to Bryan Proksch, Lamar University, PO Box 10044, Beaumont TX, 77710; or via email to repertoire@trumpetguild.org

THE CORNET ETUDES BY

W. PARIS CHAMBERS

BRYAN PROKSCH

is apparently lost—or perhaps never made it to press; no idden away in the depths of the Music Division in library lists it in their catalog (although if you have a copy, I the Library of Congress is a short-lived and obscure would very much appreciate an email!). There are many journal held by no other library in the world—The items of historical value that have been preserved in these five American Bandsman. First published in August  and lastsmall issues. The news items and artiing only until February , its stated object was “to circulate itself among “Now that the etude has been cles are interesting in their own right, and Chambers’s writing staff included Bands, and awaken interest everywhere by printing the Bands [sic] news and found, we too can all learn John Philip Sousa (who contributed a ‘doings’ from all sections of the country, to play from C to shining c’’’’ lengthy, if meandering, article on band instruments), Ellis Brooks (who but more especially to promote ‘Band likely wrote the unattributed biograContests,’ Solo contests, Quartette con- by mail!” phy of Chambers in the October tests, and prizes for composition and issue), artist Paul de Longpré, bandmaster and conductor of arrangements.”1 The journal’s creator and editor was cornet the Metropolitan Opera John S. Duss, and Cincinnati bandvirtuoso W. Paris Chambers ( – ). While Chambers may not have been the ultimate cornetist of the period, he was, master John C. Weber. Each issue includes some music, a common practice for nevertheless, a world-famous virtuoso and a relatively proliﬁc most any music periodical. The ﬁrst edition of Chambers’s The writer of marches and cornet solos. Fortunately for us, he also Pearls Polka, a cornet solo reprinted by Carl Fischer many recorded his solos at a time when the technology was still in years later, appears in the initial issue. More interesting are the its infancy.2 handwritten cornet etudes in the following issues, undoubtEach issue prominently advertises Chambers’ Corresponedly written as teasers for his correspondence method book. dence School for Cornet—a method book that he authored. It

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March 2020 / ITG Journal 49

Figure 1. W. Paris Chambers, “Extraordinary Compass” etude

50 ITG Journal / March 2020

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March 2020 / ITG Journal 51

Figure 1 reproduces the first of these etudes, “Difficulties for “My Country ’tis of Thee” before concluding with the usual B-flat Cornet Thoroughly Explained, Extraordinary Compass, triple-tonguing fireworks on various patriotic songs.3 Now Intricate Fingering,” from the September  issue. Note that the etude has been found, we too can all learn to play Chambers’s description of the “impossible yet possible” etudes, from C to shining c'''' by mail! making clear reference to his own Not all of the etudes are as difficult—in accomplishments while tacitly advertisfact, later issues include a mix of begining his abilities as a teacher. The inclu- “His connection of the corner-level and virtuosic exercises—but in sion of note names for the highest and netist playing “chest tones,” the interests of space and uniqueness, let lowest tones clutters up the page even us close with an examination of his unas it emphasizes the absurdity of the a technique from vocal per- usual etude “Studies on ‘Tone Building’ range and his own earnestness that it formance, is intriguing.” for B-flat Cornet—Daily Practise” from could be played. Chambers could inthe October  issue (see Figure ). deed play the etudes, as he demonstratNote in the typed explanation that he was ed in his s recording of National Fantasie (also held by substituting this etude for what was supposed to be a discusthe Library of Congress), which includes both upper-register sion of how to play Bach’s Second Brandenburg Concerto (not quite this high, though) and pedal-tone renditions of (unfortunately, he did not get around to it later). These tonequality etudes are interesting in the way that he emphasizes a variety of tongue/mouth positions on a single note. Handwritten in the third staff, he notes: “The pronunciation of the vowels should be made clear and distinct, but do not exaggerate[.] Please pay attention to the crescendo, it changes every bar. The [illegible, perhaps “syll”] must be made gradual, not too much tone (mf ) quality.” As indicated by the closing part of his typed description, Chambers clearly achieved his vibrato using this syllabic approach. Nor was he alone in this a-ei-o-u approach; Frank Simon learned much the same from Herbert L. Clarke as a means of strengthening the embouchure and reducing lip pressure.4 In Chambers’s recordings, it is possible on occasion to hear a variety of tone colors, regardless of tessitura, as well as his vibrato (and, of course, lip trills), • Where I Get to Be Me: despite the limitations of recording technology of the time. His connection of the cornetist playing “chest tones,” a techCarol Morgan by nique from vocal performance, is intriguing. To quote ChamThomas Erdmann bers, “I am confident you will find something of interest in these new studies.”

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52 ITG Journal / March 2020

About the author: Bryan Proksch is associate professor of musicology at Lamar University in Beaumont, Texas. He has published extensively on brass history and bands. Proksch is currently compiling sources for a book tentatively entitled Source Readings in American Band History (and welcomes your submissions and suggestions for the project). He created and has edited the Repertoire Corner column since .

2 3 4

Endnotes W. Paris Chambers, “Introducing ‘The American Bandsman,’” American Bandsman 1, no. 1 (August ): 1. There were four monthly issues in  and then a single month in  (February). It is entirely possible that there was a January  issue not held by the Library of Congress, and there might be additional ones that followed. As a copyright repository, Library of Congress has only what was mailed to them. Three of his recordings were included on ITG’s cd Cornet Solos by Pioneer American Artists Recorded Prior to 1906. The National Fantasie recording is available at the Library of Congress website (https://tinyurl.com/itg2003i). For Simon’s description, see Michael Freedland, Music Man: The Story of Frank Simon (Portland, OR: Vallentine Mitchell, ), . © 2020 International Trumpet Guild

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TRUMPET

IN THE

WIND BAND MARC REED, COLUMN EDITOR

Trumpet in the Wind Band examines literature and performance issues associated with the trumpet’s role in wind band music throughout music history. Ideas, suggestions, and submissions should be directed to Marc Reed; windband@trumpetguild.org

MILITARY BAND TRUMPET AUDITION EXCERPTS: THE TOP TEN BY JIM JOHNSON

he wind band medium places extreme musical and technical demands on wind players, serves as a viable employment opportunity, and is an invaluable educational resource for student musicians. It is also a vital source for students’ musical upbringing, both musically and histori-

TABLE 1. MOST

cally, and is a vehicle for non-performers to connect and support the musical arts through various types of local bands. Aspiring trumpet players spend countless hours in the practice room working on orchestral excerpts in hopes of winning an orchestral job and improving their overall skill set. While

COMMONLY REQUESTED TRUMPET EXCERPTS

CONTAINED ON MILITARY BAND AUDITION LISTS Original Band Compositions John Bacchus Dykes, “Eternal Father, Strong to Save” John Leszczynski, Scherzo à la Britten Samuel Hazo, Ride Percy Grainger, Molly on the Shore Percy Grainger, Lincolnshire Posy, movement II Aaron Copland, An Outdoor Overture (3) Mark Camphouse, Watchman, Tell Us of the Night Ralph Vaughan Williams, Toccata Marziale (2) Paul Hindemith, Symphony in B-ﬂat, movement I (3) Paul Hindemith, Symphony in B-Flat, movement II (2) James Curnow, Concertpiece for Cornet Gustav Holst, 2nd Suite in F Major, movement II Vincent Persichetti, Divertimento for Band arr. James Neilson, “Battle Hymn of the Republic” Claude T. Smith, Festival Variations (3) William Schuman, “When Jesus Wept” Orchestral Transcriptions Camille Saint-Saëns, Pas Dedoublé Giocomo Puccini (arr. Beck), La Tregenda Paul Hindemith, Symphonic Metamorphosis Aaron Copland, Hoedown John Adams, Short Ride in a Fast Machine Leonard Bernstein, Symphonic Dances from West Side Story (2) John Williams, Summon the Heroes (5) Dmitri Shostakovich, Festive Overture (2) Igor Stravinsky, L’Histoire du Soldat Pyotr Ilyich Tchaikovsky, Swan Lake Pyotr Ilyich Tchaikovsky, Capriccio Italien

Charles Ives, Variations on “America” (3) Ottorino Respighi, Pines of Rome, movement I Ottorino Respighi, Pines of Rome, movement II (3) Camille Saint-Saëns, Samson et Dalilah Giuseppe Verdi, “Triumphal March” from Aida Bruce Broughton, Silverado Modest Mussorgsky, Pictures at an Exhibition, “Promenade” Pyotr Ilyich Tchaikovsky, Symphony No. 4 Marches John Philip Sousa, Black Horse Troop Henry Fillmore, The Circus Bee John Philip Sousa, Golden Jubilee William H. Boon, Queen City John Philip Sousa, Pride of the Wolverines John Philip Sousa, Hands Across the Sea Claudio Grafulla, Washington Grays (2) John Philip Sousa, The Gallant Seventh John Philip Sousa, The Thunderer Zo Elliot, British Eighth Popular Arrangements arr. Karl King, Barnum and Bailey’s Favorite Don Raye, Boogie Woogie Bugle Boy Richard Rodgers, Slaughter on Tenth Ave. Bugle Calls Daniel Butterﬁeld, Taps Tattoo To the Colors Flag Oﬃcer’s March

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March 2020 / ITG Journal 53

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there are dozens of books of commonly requested orchestral excerpts from which trumpeters typically study, there are very few collections of wind band excerpts. As a trumpet player who grew up playing in wind bands, I feel this is an error that should be remedied. During my doctoral studies at Florida State University, my treatise focused on discovering and compiling some of the most commonly requested trumpet excerpts from military band audition lists in the United States. The idea for this study

“I wanted to go beyond which excerpts were requested for military band auditions and devise a list of the ten mostrequested excerpts in order to give potential auditionees a better idea of where to focus their preparation.” came from an article by fsu alumnus Anthony Kirkland, which was published in the September  issue of the ITG Journal, titled “Auditioning for Military Band: Some Helpful Advice.” Kirkland created a table of wind band trumpet 54 ITG Journal / March 2020

excerpts that appeared on audition lists at the time. Because it had been over twenty years since this article was published, I wanted to go beyond which excerpts were requested for military band auditions and devise a list of the ten most-requested excerpts in order to give potential auditionees a better idea of where to focus their preparation. The first step was to collect as many military band audition lists as possible. I discovered that most regional military bands do not use a set list of excerpts for auditions. Instead, they typically ask the applicant to choose materials that best demonstrate the individual player’s musical and technical ability. Some of the only organizations that request prescribed lists of trumpet excerpts are four premier bands: the United States Navy Band, “The President’s Own” United States Marine Band, the United States Army Band “Pershing’s Own,” and the United States Coast Guard Band. In order to be as thorough as possible, audition lists collected dated as far back as . Once the lists were collected, each excerpt was placed into one of the following five categories: original band compositions, orchestral transcriptions, marches, popular arrangements, and bugle calls. Table 1 displays trumpet excerpts contained in these audition lists. Any excerpt with a number next to it indicates that it was requested by multiple premier bands. The ten most-requested excerpts overall (in order of frequency) are the following: 1 John Williams (Lavender), Summon the Heroes 2 Ottorino Respighi (Duker), Pines of Rome, movement II: “Pines near a Catacomb” 3 Aaron Copland, An Outdoor Overture 4 Charles Ives (Rhoads), Variations on “America” 5 Paul Hindemith, Symphony in B-flat, movement I 6 Claude T. Smith, Festival Variations 7 Ralph Vaughn Williams, Toccata Marziale 8 Dmitri Shostakovich (Hunsberger), Festive Overture 9 Claudio S. Grafulla, Washington Grays: March 10 Leonard Bernstein (Lavender), Symphonic Dances from West Side Story Focusing one’s practice on these ten most-requested excerpts from the wind band repertoire will give the potential auditionee a good start in preparing for an audition with one of the premier military bands in the United States. About the author: Jim Johnson is assistant professor of trumpet at the University of Akron, where he directs the trumpet ensemble and performs with the faculty brass quintet.

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CONTENTS

CORNET

IN THE

BRASS BAND

BRYAN APPLEBY-WINEBERG, COLUMN EDITOR Cornet in the Brass Band seeks to present information on issues related to cornet playing in brass bands. Ideas and suggestions for articles and topics should be directed to Bryan Appleby-Wineberg (brassband@trumpetguild.org).

BRASS BANDING IN THE US: A CONVERSATION WITH JEN OLIVERIO AND GORDON WARD BY BRYAN APPLEBY-WINEBERG

s I transition to overseeing this column, it is ﬁtting to brieﬂy remember the founder of this space in the ITG Journal, Philip Biggs. I hope you were, at some point, able to meet this wonderful man and brass advocate. Philip had what appeared to be limitless infectiously positive energy and was, at his heart, a lover of all things brass. He was a constant and tireless supporter of anyone seeking to learn more about the brass world. Like many of us, I was helped numerous times by Philip and was amazed by how much time and energy he was willing to invest in my individual projects and ideas. He championed the International Women’s Brass Conference and was awarded The President’s Award at Rowan University in  for his advocacy and support for iwbc. Philip was an organizer—his company, Philip Biggs Brass Festivals, produced festivals and conferences all over the uk—businessman, manager, publish-

er of the world-renowned The Brass Herald (which he started in ), journalist, and brass player. In short, I miss him and his boundless enthusiasm for brass playing, pedagogy, and performing. For this article, I interviewed two outstanding cornet artists who work on the usa side of the Atlantic—one competing at the top of the ﬁeld as principal cornet of the highest-ranked American brass band, the Fountain City Brass Band (fcbb), and one recently retired as principal cornet of perhaps the best Salvation Army Brass Band in the world, the New York Staff Band. Dr. Jennifer Oliverio and Gordon Ward (now retired) represent two of the ﬁnest brass players on the planet, and their insights and paths to the pinnacle of the brass band world are informative and interesting. Thank you to both of them for taking the time to chat with us about their journey.

Ward: My formal training began at the Royal Northern ColAppleby-Wineberg: Please talk about your current position lege of Music in Manchester, England, in the early seventies. and what you did prior to joining that ensemble. Unlike today, the cornet was not considered worthy to be a Oliverio: I am the principal cornet of the Fountain City major instrument at a leading music establishment, so trumpet Brass Band and have been a member of the band since . I it was. I did receive some excellent training from my main followed my husband to the band and started on bottom third teacher, Cecil Kidd, a retired principal trumpet player in Mancornet. I have had the opportunity to sit in almost every seat chester with a great reputation back then. Occasionally, toward in the cornet section, with the exception of repiano and soprathe end of my education at the rncm, Philip Jones popped no, and am honored to sit principal now. into my lessons. I followed this up with a post-graduate music Ward: I joined the New York Staff Band in  and education certificate at Hull University, and after moving to played soprano for a number of years. In  I was appointNew York, I gained a master’s in trumpet performance. ed principal cornet and served there for  years before retirAppleby-Wineberg: Please ing in . ta lk a b o ut yo u r equ i p m en t Appleby-Wineberg: Please talk about your background (education, locations, “Unlike today, the cornet was not (mouthpieces, instruments, mutes). Oliverio: I play on an Eclipse and previous ensembles). considered worthy to be a major large-bore cornet with a Denis Oliverio: I completed my Bachelor of Music degree in music education and instrument at a leading music Wick  mouthpiece. I typically s e a To m Crow n Gemi ni trumpet performance at Ithaca College establishment, so trumpet it was.” ustraight mute, a Denis Wick cup in Ithaca, New York; my Master of mute, the Bremner sshhmute Music degree in trumpet performance practice mute, and a Jo-Ral copper bubble mute. at the University of Arkansas in Fayetteville, Arkansas; and my Ward: I play on a Besson Prestige and have done so for sevDoctor of Musical Arts degree in trumpet performance, with a eral years now. I find this to be the finest cornet I have ever certificate in higher education teaching, at the University of played and combine that with a Warburton xd mouthpiece. Missouri – Kansas City Conservatory of Music. I am a foundThe mouthpiece choice was always interesting, as going to the ing member of the Trilogy Brass Trio and perform regularly rncm as a cornet player playing trumpet, I had a Wick , with the Alabama and Kansas City Symphonies. © 2020 International Trumpet Guild

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for the Salvation Army in New York, I found many opportunities to impart my knowledge on young impressionable players. It was a joy to bring the Greater New York Youth Band to a high standard for a number of years and to take them on many important life-changing visits to many parts of the world. Appleby-Wineberg: How did you start playing cornet? Oliverio: My first time playing cornet was also my first time playing with Fountain City at the US Open Brass Band Championships in . I was immediately drawn to the sound of the instrument and have been playing it regularly ever since. Ward: I began playing at the age of seven under the tutelage of my father. In fact, he was my only teacher until I attended the Royal Northern College of Music for my undergraduate degree. Appleby-Wineberg: Who were/are your cornet influences? Oliverio: I listen to brass band daily, because I find it incredibly valuable in developing my sound concept on the instrument. Some of the cornet players I am influenced by include Tom Hutchinson, Richard Marshall, Roger Webster, Phillip McCann, and Professor David King. Ward: Growing up in East Yorkshire, uk, I was fed a diet of the Black Dyke Mills Band and so, of course, listening to the great cornet soloist James Shepherd. When I moved to New York, I had the privilege of playing under Derek Smith and learned a great deal under his leadership, especially about phrasing and shaping a melody— something he excelled at as a cornetist. Appleby-Wineberg: Can you point out the most important events surrounding your time with your band? Oliverio: Three of the most important events with fcbb would have to be my first time competing in the US Open Championships in ; Bryan Appleby-Wineberg competing in and attending the Brass in Concert which I found really comfortable. This choice for a trumpet Championships in Gateshead, uk, for the first time; and this mouthpiece did not sit well with my professor, and eventually past year’s  North American Brass Band Championships. I made the switch to a Bach 1¼C—the mouthpiece of choice The US Open was the first time I performed in a brass band I found at that time. and the first time I heard any other brass band. When we comAppleby-Wineberg: Please talk about peted in Brass in Concert, I had the teaching you do or have done. the chance to listen to some of the Oliverio: I am currently visiting “I had the privilege of playing top brass bands in the world, instructor of brass at Missouri Western under Derek Smith and learned a including Cory, Brighouse and State University and the conductor of Rastrick, Eikanger, and Fodens. the Fountain City Youth Band, as well great deal under his leadership, This past North American Brass as on faculty for the National Youth especially about phrasing and Band Championships featured Brass Band of America. I previously some highly exposed solo cornet worked at umkc as adjunct instructor shaping a melody—something playing, and I felt as though this of trumpet and maintain a private was where I experienced a great he excelled at as a cornetist.” trumpet studio in the Kansas City area. deal of growth as a player and Ward: Straight out of the Royal worked to hone my sound concept. Northern, I taught brass for a few years and conducted various Ward: As with all Salvation Army bands, the ministry aspect ensembles. Moving to the usa and becoming director of music of all we do is very important, and I have had some memorable 56 ITG Journal / March 2020

CONTENTS

moments related to that. For musical events, there are so many. I have been fortunate to play on five continents, and each has given me life-long memories. Early on, playing in the Sydney Opera House comes to mind, followed a few years later playing a solo at Buckingham Palace. It has also been very humbling to have notable composers write solos for me—Brian Bowen, Stephen Bulla, Bill Broughton, David Catherwood, Terry Camsey, and Peter Graham. Appleby-Wineberg: What does the future hold for you? Oliverio: I look forward to continued growth and consistency as a cornetist and would like to continue my work as a brass band clinician and cornet/flugelhorn soloist across the country. I also deeply enjoy my role in the Fountain City Brass Band and am excited to continue contributing to this incredible organization. Ward: Having recently moved to Southeast Michigan, I find myself involved with three brass bands: the Royal Oak and Eastern Michigan Salvation Army bands and also the Five Lakes Silver Band (flsb), where I am band president. flsb is a first-section band that is making great strides both musically and organizationally, and I am happy to be a part of that. The Jen Oliverio geographical area in which I now reside has quite a number of brass bands, and that is a very encouraging sign for the brass improvements in technical skill and flexibility on both cornet banding movement in the usa. and trumpet. I think in order to be successful on the cornet, Appleby-Wineberg: What does your daily practice look like? it is vital to know what you want to sound like. Many trumOliverio: As someone who also plays pet players approach the cornet trumpet, I work hard to balance my “Many trumpet players approach with a trumpet sound in mind, practice sessions so both instruments but embracing the color of the are attended to. On cornet I incorpo- the cornet with a trumpet sound cornet means that you want it to rate many of the same exercises into my in mind, but embracing the sound like a completely different routine that I would on the trumpet, instrument. Being a member of a though with a different sound concept color of the cornet means that brass band is also so much more in mind. My routine includes things you want it to sound like a com- than just the performance aspect. like long tones, lip slurs, flexibility, finfcbb is my family in Kansas City, ger technique, range, and articulation; pletely different instrument.” and there is such a strong commuand I work on exercises out of the nity aspect to being a member of Arban, Stamp, Clarke, Vizzutti, Cichowicz, and Irons books this type of ensemble. I think that is one of the things that regularly. I also work on traditional cornet solos like Bride of makes playing in this group even more worthwhile—the the Waves, The Debutante, and Fantaisie Brillante and include ability to contribute to a performance among some of the upcoming competition pieces into my practice. These are referred to as “test pieces” and contain some of the most difficult playing I have had to do on any instrument. Ward: I still try to have the mouthpiece on my lips every single day, and if I do miss, it certainly lets me know. Apart from the challenge of repertoire from three different groups, which takes up a lot of the practice time—especially now in the contesting scene—I still rely on flexibility studies for warmups and always have a lyrical study book available. Growing up with my father teaching, it was the Arban study book, and I still find myself bringing it out occasionally. Appleby-Wineberg: What do you think ITG readers need to know about cornet playing, your en semble(s), and what it takes to be a cornet player on your level? Oliverio: British brass band cornet playing is an incredibly rewarding performance style. By spending such a significant portion of my practice and Gordon Ward performance on cornet, I have experienced vast © 2020 International Trumpet Guild

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March 2020 / ITG Journal 57

Gordon Ward

musicians and people I care about most. Ward: In my opinion, one of the most important aspects of cornet playing is developing sound. Yes, the technique aspects in today’s repertoire are certainly important, but sound is right up there. Once the sound is there, then being able to play a melody and shape it is critical. I find that in today’s demand for more notes and speed, this can be overlooked. I believe I found my own sound early on and then tried to focus on the other aspects of cornet playing, including technique, and also lots of sight reading. The conservatory setting certainly laid a foundation, but the experiences I have had through many years helped and still helps me to be the player I am. Being the principal cornet of the nysb had its challenges. The section below you, although

“Being a member of a brass band is also so much more than just the performance aspect. There is such a strong community aspect to being a member of this type of ensemble.” made up of individual players, must bow down to certain aspects of your playing so as to perform as a section and not a bunch of individual players. This is achieved with everyone in the section knowing their place and role within the whole. I have certainly experienced both ends of this, but when it works well, it enhances everything musically and is very satisfying. About the author: Dr. Bryan Appleby-Wineberg is in his eighteenth year as professor of trumpet and head of brass at Rowan University in Southern New Jersey. He holds degrees from the Oberlin Conservatory of Music, the Cleveland Institute of Music, and the Mason Gross School of Music at Rutgers University. He is the principal cornet and assistant conductor of the three-time national champion Atlantic Brass Band (ensemble in residence at Rowan University), a founding member of the professional trumpet ensemble Tromba Mundi, and principal trumpet of the Bay-Atlantic Symphony.

Jen Oliverio

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INSIDE THE ORCHESTRA SECTION DAVID BILGER, COLUMN EDITOR Inside the Orchestra Section seeks topics of interest to the orchestral musician. Ideas and suggestions should be directed to: David Bilger, c/o Philadelphia Orchestra, One South Broad St, 14th Floor, Philadelphia PA 19107; orchestra@trumpetguild.org

ORCHESTRAL POPS BY DENNIS NAJOOM

ops performance has become a mainstay for most Bring someone in professional orchestras and needs to be taken seriI would like to caution that for a successful pops performously. Orchestras need all the help they can get in ance, it is important to bring in a seasoned lead trumpet order to survive, so it is imperative to “look good and player who can fit into the orchestra. Not too many can do play good.” this. You can’t just bring in any player with a good high range. Orchestral players need to take these pops concerts seriously This can spell big, big trouble. I mean no disrespect to these and make sure they do not come off as if these concerts are many excellent trumpet players, but it is a fine and special“beneath” them. You have a job to do and ized art to be able to play lead trumpet are getting paid. If you don’t want to “Orchestras need all the help in a symphony orchestra. The best can give it , don’t take the gig. If you balance well within the context of the have a permanent gig, remember that they can get in order to sur- symphony orchestra and understand this is what being a professional is all vive, so it is imperative to the many different pop and jazz styles about. Pops programming can help the (e.g., the difference between Basie, organization survive. Play the gig! ‘look good and play good.’” Kenton, Harry James, etc.). This is a Frowns, bad posture, and condescending very tough job. To perform with a great attitude will only disturb the audience, the donors, and guest lead player is a thrill and an educational experience, so performers. Be as cool as you can. embrace and enjoy the ride. Also, if you have a guest lead trumpet player, at least bring a B-flat trumpet, if only for show, but use it if you can and absolutely follow their lead in How to approach jazz (from an orchestral point of view) style, note lengths, dynamics, etc. Approach jazz rhythms more idiomatically than you would with a purely classical approach. The jazz rhythms need to be stylized and interpreted, rather than played strictly—but still Jazz solos with stylized uniformity and precision for good ensemble. If you have to play a jazz-style solo in the orchestra and are When you are swinging the dottednot really used to playing in a jazz eighth-sixteenth rhythm, do not play the go easy and don’t try to do “Play it safe and don’t sound style, dotted eighth note short, unless you are too much. Play it safe and don’t doing a Lawrence Welk retrospective show. like a drunken clown—no dis- sound like a drunken clown—no Depending on the style, you might just disrespect to clowns intended! accent the upbeat a bit on even eighth notes. respect to clowns intended!” Unless you are really good at The best thing you can do is to listen to varimprovising, write it out or call in ious jazz artists and legendary big bands. a local jazz expert. They will be happy to get the call, and the If you have to play lead or fairly high parts in the jazz idiom, performance will benefit. don’t be afraid to put away your bored-out #1 mouthpiece. You might be able to play the parts, but it won’t sound right, Some basic tips to help survive the big band setting and you will have to work harder than necessary. Find a setup within the orchestra that will give you the sound needed with appropriate brilliance Vibrato can make or break you in any style. For the most in the upper register. For much of the time when I was Pops part, don’t use vibrato, especially if you are playing within the principal, I used my #1 screw rim and fit to it backbores and section. If you are playing a solo, you might try a slower vibracups with different depths and shapes. I also changed trumpets to or start without vibrato on a long note and then carefully occasionally. The #1 rim I used is a pre 1X from the early add some. Listen to Chet Baker. s. The 1X is the closest to the #1 of long ago. Today, the Learn to do a shake. Play the lower starting note on the high #1 mouthpiece is very different. I also have used a variety of side and shake the horn lightly back and forth while also the most excellent gr mouthpieces. Finding the best equipincreasing air speed. Try not to hurt your chops. You might ment can be costly and time consuming, but it is well worth also try working on a slower lip trill. Listen to how the great the effort. big band players do the shake. © 2020 International Trumpet Guild

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Practice some different syllables such as “Du,” “Dot,” “Dut,” “Dit,” “Daah,” “Daht,” very short “Da,” or “Duh.” Listen to some of the great big bands. An excellent example is Li’l Darlin’ by the Count Basie Band. Every big band has its own style, so it would take a lifetime to learn all the subtleties of each one. Just try to get into the ballpark. Learn the basic blues progression and practice improvising over it. When playing the twelve-bar blues, think four bars of question, four bars of question, and four bars of answer. This can really come in handy. Forget Coltrane’s Giant Steps for now. Listen and play along with the great jazz artists. Streaming stations like Pandora and Spotify are a fine resource for this kind of practice.

“If you want to dig, you got to dig. You dig?” These tips are just a very basic, but doable, starting point. Don’t shy away from embracing this style, as it can help your overall musicianship and playing. Embrace and enjoy. As the great Thelonious Monk said, “If you want to dig, you got to dig. You dig?” About the author: Dennis Najoom grew up in Pittsﬁeld, Massachusetts, and studied trumpet with his Uncle George Fulginiti until it was time to go to The Hartt College of Music. At Hartt, his trumpet teachers were Ronald Kutik, Robert Nagel, and Roger Murtha. Other teachers include Roger Voisin, Armando Ghitalla, Seymour Rosenfeld, Mel Broiles, Marvin Stamm, and Arnold Jacobs. Najoom played with the Hartford Symphony for ﬁve years until joining the Milwaukee Symphony for  years. In the mso, the titles he held longest were coprincipal and Pops principal, and he was also a frequent soloist. In  and , he was a fellow at the Tanglewood Music Festival. He still performs with the mso occasionally and in  formed a sevenpiece traditional jazz band, the Little Lake Stompers, which performs frequently in a local club and also does educational concerts for the Milwaukee Symphony ace program. Najoom is also known for Najoom Music Products leadpipes and other things, including a new book soon to be published. Dennis Najoom

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ORCHESTRA SECTION PROFILE JASON BERGMAN, COLUMN EDITOR Orchestra Section Profile is a “snapshot” of an orchestral player or section at a specific time in history. The column seeks to include sections from all levels of orchestras. Ideas and suggestions should be directed to Jason Bergman; orchproﬁle@trumpetguild.org

JEFF LUKE, ASSOCIATE PRINCIPAL TRUMPET, UTAH SYMPHONY BY JASON BERGMAN

native of Oklahoma City, Jeﬀ Luke holds a Bachelor of Arts degree from Oklahoma City University and a Master of Arts degree from the New England Conservatory in Boston, where he studied trumpet with Timothy Morrison and was a member of the honors brass quintet. Upon graduation, Luke joined the renowned Atlantic Brass Quintet, which allowed him to tour  states, as well fourteen countries in Europe, Asia, Central America, and the Middle East during his thirteen-year tenure. His teaching has included residencies at the Boston Conservatory, Boston University, the University of Massachusetts at Amherst, and

the Tanglewood Institute. He has conducted masterclasses at Louisiana State University, Oklahoma City University, the University of Maryland, Harvard University, and the Royal College of Music in Manchester, England, among others. Luke has also been a fellow of the Tanglewood Music Center Orchestra and has performed with the Boston Symphony and Boston Pops Orchestras, as well as an appearance as guest principal trumpet with the Louisville Orchestra. An avid arranger, Jeff’s creations can be heard in the concerts and recordings of the Atlantic Brass Quintet and Seraph Brass. He has been a member of the Utah Symphony since . Bergman: Would you share with us some of your most influential musical experiences from your youth? What impacted you the most? Luke: That’s easy! My father was the most influential musical figure of my youth, and just growing up in the same house with him has impacted me to this day. He was a successful composer and educator, with a doctorate in music theory and composition from the Eastman School of Music. He taught me a lot about theory, which I later used in arranging. He also had a tremendous work ethic, which he passed down to me. As a composer, he was awarded a Rockefeller Foundation award, and he won the Premier Prix in the Queen Elisabeth of Belgium International Composition Competition. He always taught me that if he could achieve his dream, so could I. “Why not me?” was the philosophy he instilled in me. He was also my first trumpet teacher. Bergman: Who were your important mentors and teachers, and what were the most impactful lessons they taught you?

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gram, first as an assistant to the Empire Brass and eventually Luke: Jim Pandolfi was the first big-time player I worked running the program with the Atlantic Brass. During that with. He was in Oklahoma City at the time, before he won decade at Tanglewood, I listened to the bso rehearse or perhis job with the Metropolitan Opera Orchestra. He gave me form almost every day. I also got to hear Rolf Smedvig and Jeff a crash course on orchestral repertoire, transposition, and picCurnow, (and, of course, Sam Pilafian, Eric Ruske, and Scott colo trumpet playing. I played for Roger Voisin several times Hartman of Empire Brass) play daily for several of those years. a year for about ten years. He taught me the importance of I would find myself sitting in on an Empire rehearsal every soft playing and sight reading and showed me some fastnow and then, playing with either Rolf or Jeff, or sometimes I tonguing tricks. Tim Morrison was my teacher at nec. He was would be called to sub in the bso. Roger Voisin was always a the most influential teacher I ever had regarding concept of sound. I still listen to his sound when I want to be inspired. fixture there, teaching us all and inviting us to dinner at his summer home. Laurie Frink taught me how the chops work from a physical Bergman: Before your successful orchestral career, and as you perspective. Steve Emery worked with me tirelessly on learnhave mentioned, you spent significant time as a member of the ing the audition repertoire. Ben Wright helped me turn my very mechanical and uninteresting excerpt playing into music. Atlantic Brass Quintet. Can you share how that experience impacted you and possibly how it prepared you for a career as an And Tom Rolfs helped me the most when I was advancing in orchestral musician? auditions and was really close to winning a job. He believed Luke: Yes. I was with the Atlantic Brass Quintet for thirteen in me and helped me to believe in myself. He made me one years; those were some great years for me. Those guys are great of the first-call substitutes for the Boston Symphony Orchesplayers and great friends as well. I still get the chance to play tra, and I really began to get a feel for what it was like to perwith them occasionally. Touring with that group is really how form with an elite group. When I won the Utah Symphony I learned what it means to play every job, Tom sent me a nice congratulatory note that I still keep with my most “I learned that it didn’t matter day. On the road with them, I learned that it didn’t matter how prized memorabilia! Bergman: Can you describe what how your chops felt, if you had- your chops felt, if you hadn’t slept or if you didn’t get in a great your educational experience was like at n’t slept enough, or if you didn’t enough, warmup; when the light came on, Oklahoma City University and then at New England Conservatory? get in a great warmup; when the you performed. I got my chops together during those years—and Luke: Oklahoma City University was a great place for me. My father light came on, you performed.” my mental focus as well. I saw the world: most of the states, and fourwas a professor there; I met my Kim there, whom I later married; and I made many lifelong friends. teen different countries. While with the Atlantic Brass, I also gained some teaching experience with residencies at Boston Also, ocu was where I really learned to practice. My teacher Conservatory and Boston University, where we ran the brass there, Helen Hindman, assigned me a ton of music and exerchamber music program, taught private students, and percises, and she expected a lot from me, so I tried not to let her formed regularly. Because of the nature of brass quintet playing, down. However, I was one of the top players there, and when when I began playing in the orchestra, I moved to Boston to attend nec, it was very eye opening! I felt like the worst “I felt like the worst player there was never a passage that was too fast for me! Also, since each player in a player there, so I locked myself in a practice room, taped paper over the window, there, so I locked myself in a quintet is often playing a solo, being exposed with a touchy solo in the and began working really hard. Tim Morrison was a great teacher for me. He practice room, taped paper orchestra made me feel right at home, understood where I was and where I over the window, and began instead of nervous or worried. My quintet experience was great preparation for needed to get. He also helped me to realorchestra life. ly improve my sound. Eventually there working really hard.” Bergman: How did you cope with such was an opening in the honors brass quinsignificant amounts of time on the road? Do you have tips for practet, and I ended up winning that spot. Playing with those great ticing while traveling? How were you able to find balance between players really helped me to learn quickly, and I began to fit into performing on the road and building a family? the nec landscape. I began auditioning for summer institutes Luke: For the first years, I loved being on the road and perand soon found myself at Tanglewood. forming daily. We played really difficult concerts—at least for Bergman: What was your experience like at Tanglewood? me they were difficult—so I didn’t have the chops to practice Luke: Tanglewood was a very important place for me peras much as I normally did. But I had a rule sonally and for my development as a player. I I would practice before I left the hotel spent the better part of ten summers there. In “My quintet experience that each day, no matter what time. If we had a , I won a spot as a fellow in the TMC Orchestra. Roger Voisin saw something in me was great preparation : a.m. flight, I would be warming up at : a.m. (don’t worry, I had a practice and went out of his way to help me a lot. It mute!). We would go out for three to six was a great group of players, and we worked for orchestra life.” weeks, usually, so I was home quite a bit as with amazing conductors, including Seiji well, and I would train hard during those times. We won a Ozawa and Leonard Bernstein. It was an incredibly inspiring competition in France that really put us on the map and startatmosphere! Then, from  to , as a member of the ed our international traveling. But, when Kim and I started a Atlantic Brass Quintet, I taught in the buti brass quintet pro62 ITG Journal / March 2020

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principal at the time, Nick Norton, was kind enough to give me some great parts to play. In January of , Nick suffered an injury, and I began to play all the principal parts, and that September I was named acting principal until Travis Peterson’s arrival in January of . During that time, I am not sure there was anything I didn’t get to play—Alpine Symphony, Also Sprach, Mahler symphonies, Shos takovich Piano Concerto, the Beethoven Symphony cycle—you name it. It was difficult to watch a colleague suffer an injury, but those four years also provided invaluable experience for me. Bergman: What are some of your favorite works to perform in the orchestra? Luke: I like playing Strauss, Mahler, Shostakovich, and Bartok—like all brass players—but I also really enjoy the variety of music we play here in the Utah Symphony. We play opera, pops, films, standard orchestral works, and some not-so-standard works. I have a special affinity for some of the modern works we play, maybe because my father was a composer or family, it became more difficult, and that’s when I started takmaybe because the Atlantic Brass commissioned works and ing auditioning more seriously. championed new music. Andrew Norman has been a composBergman: You have had a distinguished career with the Utah er in residence for us the past few years, and I really enjoy playSymphony. What was your audition and early experience like with ing his works. John Adams has some fun and difficult works— the symphony? Messiaen as well. I enjoy putting in the work and learning the Luke: I remember feeling like my new pieces. I also really enjoy offaudition window was closing. My son stage playing. I have gotten to play was two years old, we had had a new- “I had a rule that I would practice Mahler 3’s posthorn solo and the offborn daughter, and I needed to get before I left the hotel each day, stage parts of Mahler 2, John Adams’ off the road. I had already spent thirTransmigration of Souls, Pines of Rome, teen years with the quintet, and sta- no matter what time. If we had a and Leonore 3. There is something tistically I was a little old to win a big 6:00 A . M . flight, I would be fun about roaming the halls and playorchestra job. Maybe it was that desing from a different spot than on peration that made me fight hard in a warming up at 3:00 A.M. (don’t stage. I also love playing the piccolo very strenuous final round! I was told parts: Handel’s Music for the Royal afterward that the committee had worry, I had a practice mute!).” Fireworks, Bolero, The Rite of Spring, asked someone if they could play Penny Lane, etc. something again, and the player simply said, “No, sorry,” and Bergman: Can you describe how you approach your role as one other player just left the building after he played the final associate principal trumpet? How do you approach the many difround, because he said it was all over for him. The final round ferent roles involved in your job? was a bloodbath! I was glad there was no more playing. I Luke: Associate principal trumpet is a unique job. I play first remember also being tested right away as a non-tenured memon most of the concerti. I play third on most of the big works. ber of the orchestra, playing principal on Copland 3 and BritSometimes I split the concert with Travis if there are multiple ten’s opera Midsummer Night’s Dream, after which I was grantlarge works. Sometimes I play lead on a pops show or film. ed tenure. Sometimes I assist. Once Brandenburg 2 and Copland 3 were Bergman: What are some of your fondest memories from your programmed on the same concert, and Travis chose Bach, so I time in the Utah Symphony? played principal on Copland. I have played principal on ScheLuke: I have had a lot of opportunities to play big parts as herazade and a Harry Potter film on no notice due to injury or associate principal trumpet. Some highlights include playing sickness. Sometimes the job calls for me to play offstage. Bach’s Brandenburg Concerto No. 2 and the Haydn Trumpet Sometimes I find myself in the lounge waiting all day to play Concerto. We were playing a lot of big repertoire, and our for five minutes. You just never know, and that’s what I love © 2020 International Trumpet Guild

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start to arrange by deciding who gets what, keeping in mind about it. I have found that the best approach for me is to the range and rest necessary for each player. remain flexible. Part of me is always prepared to fill in at prinBergman: The Utah Symphony has recently had some turnover cipal, just in case. That has only happened twice in the sixteen due to retirements after years of consistency in the trumpet section. or so seasons I have played here, but it is still part of my job. I What advice would you share for those almost always have to play something touchy or otherwise awkward—usually “Maybe you can’t control the preparing for a career as an orchestral musician? Do you have specific suggestions reon a concerto or smaller piece. I often need to play high, often low. Therefore, I amount of talent you were garding auditions and preparation? Luke: There is an old baseball saying: have learned to be a situational practicer. born with, but you can con“If you didn’t hit off the tee today, someIn general, I try to keep up all my playone else did.” My message would be to ing techniques, but I also look ahead in trol how hard you work.” work hard—every day. There are young the calendar and see what extremes I men and women around every corner who can play, who need to be working on. Is there a high piccolo piece coming up work hard, and who deserve jobs. Maybe you can’t control the for me? Is there something really low in the next couple of amount of talent you were born with, but you can control weeks? Maybe a very fast passage? Or something that stays on how hard you work. I think I could be described as an average the face for longer than usual? And I train for those specific sittalent who flat outworked others around me. As far as audiuations, as opposed to training for everything all the time. tions are concerned, I could spend a lot of time talking about Bergman: You are also an accomplished arranger. How did you my philosophies, tricks, techniques, and training; but my get into arranging, and do you have any tips for those interested in favorite trick is to decide the reason each excerpt is on the list, developing that ability? find the pitfall, and be the one Luke: I began arranging out of necessity. In the Atlantic Brass, if we weren’t “My overall message would be player who doesn’t fall in. Also, play for people. For me, the adrenplaying a brass quintet composition, we would arrange all our own music. We all to try and be a good person and aline needs to increase in small inhad different jobs, and mine became colleague every day. In the end, crements between the time you begin practicing for an audition and arranging. My father was a great arranger, and he helped me quite a bit in that is what matters to people— the audition itself. There is too much difference in the amount of the beginning. My initial arranging sugadrenaline you experience in the gestions would be to always choose a not if you missed the high C.” comfort of your practice room to piece you really like and learn it well so the amount you experience during the actual audition. Lastly, you can keep the intentions of the composer intact. Next incorporate space and time. For me, waiting to play is the would be to make it playable. Most of it should be in each hardest part of audition day. It takes most of a day to play player’s comfort zone, and if virtuosity is necessary, a very small multiple rounds. Simulate an audition the best you can, portion should be super high or difficult. I might get some including inexact playing times and waiting in a room with a arguments from Atlantic Brass or Seraph Brass on whether or book or recordings, as opposed to going about your business not I actually abide by this idea, but when you have great playduring a typical day. ers to write for, you have more possibilities! Technically, I like Bergman: What have you learned after having change in your to sketch out the bass line and melody of the whole piece first, section personnel? fill in the obvious harmonies as much as possible, and then Luke: I am very fortunate to be surrounded by great players all the time. I have learned that there is not a shortage of great players in the world and that I had better keep up! It is fun to OUNG RTIST WARD learn from others’ experiences with different teachers in differto provide recognition for developing young trumpeters ent cities and orchestras. I feel like these changes have only made me better. Music teachers and private instructors are invited to Bergman: If you could share one thing with ITG members, nominate high school students (age 18 or younger at what would it be? the date of nomination). Luke: Roger Voisin once told me a story of how he badly Letters of recommendation must include mailing missed the high C in Also Sprach Zarathustra one day. He was addresses, phone/fax numbers, and email addresses of so upset, and when he came home furious and confided in his the teacher and nominee. wife, Martha, she said, “Sorry honey. Well, what would you Winners will receive a one-year membership to ITG like for dinner?” My overall message would be to try and be a and will be featured in the ITG Journal. good person and colleague every day. In the end, that is what matters to people—not if you missed the high C.

ITG Y

Please submit nominations to: Anne McNamara, Chair ITG Young Artist Award Committee yaaward@trumpetguild.org

64 ITG Journal / March 2020

About the author: Jason Bergman is associate professor of trumpet at his alma mater, Brigham Young University. He serves as a member of the ITG board of directors and will host the  Ellsworth Smith Competition at byu. He previously taught at the University of North Texas and The University of Southern Mississippi. He is a Bach Artist. © 2020 International Trumpet Guild

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PRODUCT/APP REVIEWS BRITTANY HENDRICKS, COLUMN EDITOR This column exists to provide an unbiased assessment of the many products and apps available to ITG members. The staff makes every effort to provide reviews by ITG members who are unaffiliated with the products they test. Reviews reflect the opinions of the individual reviewers and not those of the editor or the International Trumpet Guild. Developers and manufacturers wishing to submit items for review are expected to provide a complimentary sample of the product or app in question, and not all submitted items will be reviewed. Reviewers and products/apps will be selected at the editor’s discretion, and samples will not be returned. To recommend an item for review or to request to join the review staff, contact Brittany Hendricks (productreviews@trumpetguild.org). Asper Trumpet Mouthpiece Visualizer US$69.95 silver plated; US$114.95 gold plated Pickett Brass & Blackburn Trumpets, 308 North Ashland Avenue, Lexington KY 40502; info@pickettblackburn.com; http://www.pickettblackburn.com; 661-772-7277 The Asper Mouthpiece Visualizer is manufactured by Pickett Blackburn and intended as a diagnostic and warm-up tool for teachers, students, and professionals. The visualizer is made from a cutaway mouthpiece, leaving the shank and rim intact while removing most of the cup in order to allow the user to see the embouchure inside the rim while buzzing in front of a mirror or camera. The visualizers come in rim sizes , ., ., , , , and  and can be gold plated for an extra fee. As with the traditional mouthpiece visualizer, this version allows a player or teacher to see the embouchure as it appears inside the mouthpiece when the player is buzzing. In addition to its diagnostic uses, it can also be used as a buzzing aid during a warm-up/fundamentals session. Unlike traditional visualizers, the Asper Visualizer allows the user to hold the cutaway by its shank, simulating the feeling of mouthpiece buzzing. The visualizer can also be inserted into a trumpet to simulate the feeling of playing, although it can be difficult to get close enough to a mirror while using the instrument for the visualizer to be fully effective. Because the visualizer includes the shank of the mouthpiece (which is only partially drilled out), the user can clearly hear whether the airstream is aimed directly into the shank or angled in another direction. While air direction can also be detected on a traditional visualizer, it is much more obvious when using the Asper version. While the presence of the mouthpiece shank has its advantages, it can be slightly more difficult to see the embouchure through the visualizer, and the user may have to try several different angles before finding one that is both natural for playing and clearly visible. Lynn Asper has published a free resource on his website (https://www.trumpetbook.com/asper-pickett-visualizer.html) with a brief guide and several exercises for use on a visualizer.

During this review, Asper’s writing proved a valuable resource in order to maximize the beneﬁt of using the visualizer, as well as suggesting a general approach to mouthpiece buzzing. (Andrew Stadler, graduate brass quintet fellow, University of Missouri – Kansas City Conservatory of Music and Dance, Kansas City, MO) Modacity US$0 – US$8.99/month, iOS hello@modacity.co; http://www.modacity.co The practice app Modacity has been a welcome addition to this reviewer’s personal practice, in addition to its use within the trumpet studio at the University of Central Arkansas. Modacity offers a suite of features that help the user build a practice log, develop goals, record practice, and track progress. For a de tailed description of its features, please see David Dash’s informative article, “The Apps: Practice with Purpose” in the March  issue of the ITG Journal, page . This review will discuss Modacity within the context of studio-wide implementation. Thus utilized, Modacity provides a consistent platform for each student to organize practice and track progress. By requesting screen shots of student usage, the instructor can assess both the accumulated practice time and the students’ organizational and practice habits in a standardized format that is easy to use. At the studio level, Modacity allows the instructor to set standardized metrics of expectations. By generating specific “Practice Lists” for fundamentals exercises, repertoire, or other assignments, instructors can keep track of individual practice requirements on specific assignments. Obviously, the time a student spends on an assignment is not always an indicator of mastery, but the same amount of time spent within the organizational structure of Modacity may lead to a higher level of success and more eﬃcient sessions in the practice room. If certain improvements were made to Modacity, group implementation might be easier. Integration with existing educational software such as Blackboard, Canvas, and Google Classroom might allow practice data to be aggregated and shared studio-wide so students could have the ability to collaborate; see how total time in the practice room translates to

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RECORDING REVIEWS DANIEL KELLY, COLUMN EDITOR Recently released recordings of music for solo trumpet, trumpet ensemble, brass ensemble, jazz ensemble, or other groups that feature the trumpet may be submitted by the artist, agent, recording company, or distributor. Reviewers and items for review are selected by editor, and recordings will not be returned. Journal publication deadlines require that reviews of selected items appear at least six months after they are received. Qualified ITG members are invited to review recordings submitted based on their area of expertise (e.g., solo trumpet, brass quintet, jazz). Copies of the discs will be forwarded to selected reviewers. Reviews reflect the opinions of individual reviewers and not those of the International Trumpet Guild. The editor strives to present unbiased reviews written by musicians not affiliated with the recording artists. To submit a recording for review consideration or to request to join the review staff, please contact: Dr. Daniel Kelly, Recording Reviews Editor, 830 Windham Dr, Rockwall TX 75087 USA, 972-375-1482 (cdreviews@trumpetguild.org). Avishai Cohen and Yonathan Avishai—Playing the Room Avishai Cohen, trumpet; Yonathan Avishai, piano ECM 2641 (CD); ECM Records, Edition Zeitgenössische Musik GmbH, Postfach 600 331, D-81203 München; ecmrecords@ecmrecords.com; http://ecmrecords.com; 49 089 851048; fax 49 089 8545652 Cohen: The Opening; Avishai: Two Lines; Coltrane: Crescent; Ellington: Azalea; Ibrahim: Kofifi Blue; Coleman: Dee Dee; Jackson: Ralph’s New Blues; Wonder: Sir Duke; Alterman/Argov: Shir Eres (Lullaby). Playing the Room showcases a level of musical intimacy that can come only from a long relationship between performers. Trumpeter Avishai Cohen and pianist Yonathan Avishai first played together during their teen years in Tel Aviv, and their continued collaboration has yielded something very special in this duo recording. The pair kicks off this outing with one original composition each. Cohen’s aptly titled The Opening establishes a sense of warmth, lyricism, and sincerity that continues throughout the rest of the album. The theme of The Opening begins with a phrase borrowed from Guy Wood’s oftrecorded standard My One and Only Love and blossoms into something clearly brand new, yet also somehow familiar. With consummate phrasing and a sound ranging from vulnerable to declamatory, from breathy to bold, Cohen demonstrates what an expressive master of the trumpet he is. During an extended piano interlude, Avishai displays similar breadth, with a touch reminiscent of Fred Hersch. Avishai’s Two Lines, constructed largely of modal sections with sporadic moments of more rapid harmonic rhythm, brings out the best in Cohen as an improviser. Whether patiently developing motifs through sequencing and rhythmic variation or delivering expressionistic flurries with peaks in the extreme upper register or simply sustaining or repeating a tone, his playing is engaging at all times. Moreover, it is virtually never marred by extraneous filler, instead characterized by a high degree of compositional integrity and absolute commitment. These qualities are heard in the seven additional selections by John Coltrane, Duke Ellington, and Ornette Coleman, among others. It is hoped that this duo will continue to record together, as they clearly have much to share. (Nikola Tomić, artist-teacher of jazz trumpet and contempo66 ITG Journal / March 2020

rary improvisation, Longy School of Music of Bard College, Cambridge, MA) Augie Haas—Dream a Little Dream Augie Haas, trumpet and vocals; Carmen Staaf, piano, organ, and vocals; Jared Schonig, drums, percussion, and vocals; Dick Sarpola, upright bass, double bass, and vocals; Suzanne Ornstein, Janey Choi, Sasha Margolis, Katie Kresek, Kiwon Nahm, Sean Carney, Kiku Enomoto, Naho Parrin, and Joel Lambdin, violins; Eddy Malave, Jason Mellow, and Chris Souyuza, violas; Robert Burkhart and Eliot Bailen, cellos; Andrew Neesley, vocals 888295914086 (CD); Playtime Music LLC; playtimemusicllc@gmail.com; http://augiehaas.com All compositions arranged by Neesley: Andre/Schwandt/Kahn: Dream a Little Dream of Me; Lennon/McCartney: Blackbird; Malneck: Goody Goody; Carmichael/Gorrell: Georgia on My Mind; King/Goffin: Will You Still Love Me Tomorrow?; Warren: I Only Have Eyes For You; Poulton: Love Me Tender; King/Leiber/Stoller: Stand by Me; Belvin/Hodge/Williams/Williams: Earth Angel; Vincent: Ooh Child; Williams: Stay (Just a Little Bit Longer). When an artist covers originals well, one result is that listeners may hear things they missed previously. While the tune is familiar, an effective cover can make a song or part of it seem new. That is the case repeatedly in this collection of pop and jazz standards from New York City-based trumpeter and educator Augie Haas. For the most part, Haas slows tempi and/or lowers the volume on classics ranging from Georgia on My Mind to Will You Still Love Me Tomorrow? and Stay ( Just a Little Bit Longer). As a result, many of the songs’ lyrics seem more prominent than they were in their original recordings. Making his debut as a vocalist, Haas seems to be reaching for the vocal style of Chet Baker. While lacking Baker’s cool, Haas lays down smooth vocals with excellent instrumental accompaniment. Though most of the album features slow offerings, Haas picks up the pace on Love Me Tender, offering the Elvis Presley ballad as an instrumental in a moderate jazz © 2020 International Trumpet Guild

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swing. Another upbeat tune is the standard Goody Goody, with Haas offering his most effective crooning over a tasty jazz trio of pianist Carmen Staaf, percussionist Jared Schonig, and bassist Dick Sarpola. While vocals dominate this album, Haas’s trumpet playing is solid—his fills on pop tunes in particular. A nice touch is the choice to employ a fifteen-piece string section throughout. Andrew Neesley’s string arrangements are not complicated, but the results are luxurious and sometimes witty; listen especially to the intro for Earth Angel. Since this disc pairs strings with trumpet, Neesley’s writing acknowledges arrangements of the great Neal Hefti on the  classic Clifford Brown with Strings. (Seth Arenstein, trumpet teacher, Washington, DC)

than soloistic muscle, sets this work apart from the others in this collection. Not unlike a great film, every twist and turn is a surprise, and yet the meticulous planning is evident when one peers below the surface. The final work, Caminhos Cruzados, is represented twice: as a full-throated composition as well as a shortened radio edit that trims developmental material and jumps straight to the brilliant coda. Both showcase the prowess of flugelhorn soloist Marvin Stamm. Holober and the musicians of The Gotham Jazz Orchestra, as well as the production team, engineers, and other artists who assembled this wonderful collection, deserve hearty congratulations for this forceful addition to ’s jazz tapestry. (Andrew Harms, teacher and performer, Boston, MA)

Mike Holober and The Gotham Jazz Orchestra—Hiding Out Mike Holober, conductor, leader, piano, and Fender Rhodes; Billy Drewes, Jon Gordon, Dave Pietro, Ben Kono, Adam Kolker, Jason Rigby, Charles Pillow, Steve Kenyon, and Carl Maraghi, woodwinds; Tony Kadleck, Liesl Whitaker, James De La Garza, Marvin Stamm, and Scott Wendholt, trumpets; Tim Albright, Mark Patterson, Alan Ferber, Bruce Eidem, Pete McGuinness, and Nathan Durham, trombones; Steve Cardenas, Jesse Lewis, and Jay Azzolina, guitars; John Hebertrums, bass; Mark Ferber and Jared Schonig, drums; Rogerio Boccato, percussion ZM 201906 (CD); ZOHO Music, 431 Saw Mill River Road, Millwood, NY 10546; http://zohomusic.com; (914) 762-2329 All compositions by Mike Holober: Jumble; Flow; Hiding Out; Caminhos Cruzados; Caminhos Cruzados (Radio Edit). A listener might be overcome by the aural and physical heft of this double-cd set, but she would be quick to discover that, though long in its runtime of 1 hour,  minutes, this collection composed by Holober and performed by The Gotham Jazz Orchestra amounts to only three distinct works. Each represents a compelling foray into the much-celebrated mind of Holober, augmented by the tremendous musicianship of this star-studded ensemble. The opening track, Jumble, is anything but; it is a striking introductory salvo that establishes the powerful language and chemistry at play supporting Holober, Jon Gordon, and Jesse Lewis as soloists. From this point, the collection delves into two works of impressive, even orchestral, tonalities. Flow takes the listener through a collection of movements meant to evoke the tone poem form found throughout classical music, complete with a contemplative interlude with a notable penny whistle solo by Ben Kono. Perhaps most stunning is the final movement, Harlem, which takes the listener through a stunning array of soloists and styles reﬂective of its namesake. Opening disc two, Hiding Out deftly captures a natural aesthetic strongly reminiscent of such works as Copland’s Appalachian Spring; it could almost be said to embody the spirit of this classical counterpart. Tight compositional language and ensemble scoring, rather

Ethan Iverson Quartet with Tom Harrell—Common Practice Ethan Iverson, piano; Tom Harrell, trumpet; Ben Street, double bass; Eric McPherson, drums ECM 2643 (CD); ECM Records, Edition Zeitgenössische Musik GmbH, Postfach 600 331, D-81203 München; ecmrecords@ecmrecords.com; http://ecmrecords.com; 49 089 851048; fax 49 089 8545652 Gershwin: The Man I Love; Iverson: Philadelphia Creamer; Best: Wee; Duke/Gershwin: I Can’t Get Started; Green/ Brown/Homer: Sentimental Journey; Green/Heyman: Out of Nowhere; van Heusen/Burke: Polka Dots and Moonbeams; Kern/Hammerstein: All the Things You Are; Iverson: Jed From Teaneck; Bassman/Washington: I’m Getting Sentimental Over You; Schertzinger/Mercer: I Remember You. Pianist Ethan Iverson invites trumpet legend Tom Harrell to join his trio in a live performance recorded at New York City’s famed Village Vanguard. Featuring Harrell on a set of straight-ahead standards and blues is not a new concept, but it shows the regard with which many in the younger generation of jazz musicians hold the legendary trumpeter. On the first track, The Man I Love, Harrell’s deceptively fragile approach is pure lyricism, simply stating the plaintive melody rather starkly with little embellishment and Iverson improvising for the first half of the second chorus. On Creamer, Harrell is crackling off the bat, proving that he is as sharp as ever with an attack that at times evokes Art Farmer (another great Harrell collaborator). Iverson’s inventive opening morphs into swinging blues, leading back to the head. On Wee, Harrell’s deft harmonic sense burns up rhythm changes while Iverson’s highly chromatic rhapsodic choruses shine. Drummer Eric McPherson and bassist Ben Street are solid and supportive throughout this live set and more than willing to “go there” when Iverson departs from the ordinary straight-ahead vibe. Iverson’s inventive and quirky concepts are evident throughout, such as his beginning to the hoary big-band standard Sentimental Journey, which seems like an odd pick for this set but turns into a swinging vehicle for Harrell and the trio. Of note are the fine bass solo by Street on Out of Nowhere and the subtle, but swinging, drumming of McPherson throughout. Channeling Charles Ives, Iversen shows his eclectic nature in

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the introduction to Polka Dots and Moonbeams, and Harrell’s playing is inspired. Throughout this recording, one is amazed and inspired by the timeless creativity of Tom Harrell and left grateful to Ethan Iverson for sharing his trio to make this wonderful recording. (Michael Hackett, assistant professor of jazz and commercial music, University of Wisconsin—Whitewater, Whitewater, WI) Lyric Brass Quintet—Luther 501 Zachary Lyman and Edward Castro, trumpets; Gina Gillie, horn; Rebecca Ford, trombone; Paul Evans, tuba PLUCD (CD); Pacific Lutheran University, 12180 Park Avenue S., Tacoma, WA 98447; http://plu.edu; (253) 535-7411 Bach: Contrapunctus I; Bach: Contrapunctus IV; Bach: Contrapunctus IX; Bach: My Spirit Be Joyful; Kracht: Luther: Seven Scenes for Brass Quintet. The Lyric Brass Quintet offers a unique, thematic recording that celebrates Martin Luther and the Reformation by incorporating works from the past and present. The first three selections highlight Bach’s Art of Fugue, all of which include material from the same fugue subject. The ensemble’s performance is thoughtful with careful balance between principal themes and countersubjects and excellent intonation throughout. The trumpeters’ articulation on Contrapunctus IX is light and crisp and accentuates the persistent eighth-note lines. Kracht’s Luther: Seven Scenes for Brass Quintet demands stylistic changes from flowing Gregorian chants to depictions of raucous thunderstorms. It is a truly programmatic work, and the thorough liner notes are beneficial in understanding the seven movements that portray specific experiences in Martin Luther’s life. Many hymn melodies are incorporated into this work, and moments of beautiful homophony are contrasted with pointed statements from individual players. The tumultuous scene in Præambulum, Storm and Vow is particularly symbolic, and the ensemble vividly depicts a storm with sharp articulations, dissonant harmonies, and angular passages. Finale, Hymn, and Dance highlights material from each of the movements, but the middle section is particularly dance-like. Rapid passages from the trumpets are sparkling clear and emerge gracefully from the overall texture. Luther 501 was recorded at Trinity Lutheran Church in Parkland, Washington, and the reverberant acoustics are heavily evident. A cathedral is superb for such a musical homage, and the Lyric Brass resonates beautifully in the space. (Brett Long, assistant professor of trumpet, East Tennessee State University, Johnson City, TN) Joe Montelione—Eros: A Concert with Words Joe Montelione, trumpet; Kyle Mattingly, Chris Rottmayer, and Tali Tadmor, piano; Mark Neuenschwander, bass; Gerald Law II, drums; Tony Steve, alto saxophone; Tom Dietz, baritone saxophone; Matt Vance, Matthew Monroe, and Aaron Brask, horns; Tom Brantley, trombone; Josh Parsons, tuba; Alexander Stevens, Rebecca Mosloff, and Jennifer Lynn, violins; Derek Mosloff, viola; Grace Gavin, cello 68 ITG Journal / March 2020

Self-released (CD); Monte Music Services; http://www.montemusicservices.com Montelione: World of Hope; Montelione: Red Herring; Montelione: Solace; Taylor (Au): I Wish I Knew How It Would Feel to Be Free; Montelione (Au): Trivial Pursuits; Monterde (Au): Virgin de la Macarena; Newman (Au): When She Loved Me; Stephenson (Montelione): L’espirit de la Trompette; Stephenson (Montelione): Reflections; Lowermilk (Schaer): One Last Prayer; Richter (Montelione): Mercy; Montelione: Take a Chance; Montelione: All Good Things. Joe Montelione’s new album, Eros, A Concert with Words, is mostly a jazz recording, but categorizing it simply as “jazz” misses the mark. Montelione describes it this way: “Similar in vein to the idea of a concept album in which its tracks encompass a larger purpose collectively than they do individually, ‘a concert with words’ can be understood through the music alone. [It is] an inversion of a typical ‘play with music’ [and is instead a] ‘concert with words.’” In between the various tracks of music, Montelione includes short segments of spoken acting that tell a story. Most of the music was composed and performed by Montelione, but he also incorporates other pieces into the story, including “legit” pieces like Jim Stephenson’s L’Esprit de la Trompette and Reﬂections. The recording contains only the audio and so misses out on the natural acting that one would see in a live performance with spoken word. While Montelione delivers smooth trumpet playing throughout, the backing ensemble could have been tighter and more in tune in spots. Still, this is a unique concept for an album with strong voice acting, and Montelione pulls triple duty, writing the spoken word segments, composing much of the music, and performing as soloist. (Scott Hagarty, assistant professor of trumpet, Tennessee Tech University, Cookeville, TN) Zachary Ploeger—Ploeger Plays Ploeger Zachary Ploeger, trumpet; Miriam Hickman, piano; Christiano Rodrigues, violin Self-released (CD); http://zacharyploeger.com All compositions by Ploeger: Proclamation for Trumpet and Piano; Sonata for Trumpet and Piano; Sonatina for Piccolo Trumpet and Piano; Psalm for Trumpet and Piano; Miniatures for Trumpet and Piano; Trio for Trumpet, Violin, and Piano. As the title implies, Zachary Ploeger’s Ploeger Plays Ploeger is a collection of new works for trumpet performed by the composer. Ploeger’s compositional style is both broad and angular, often pairing declamatory statements from the trumpet with more densely packed rhythmic and harmonic statements from the piano. The album begins with Proclamation for Trumpet and Piano, described by the composer as a “truly new take on the proclaiming nature of the trumpet.” The work con© 2020 International Trumpet Guild

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sists of a series of fanfare gestures that progress toward a serene and quite unexpected finish to the piece. The program notes describe the next work, Sonata for Trumpet and Piano, as “a departure from musical norms [that] expands the canon, and represents a definitive new sound unlike any other work in the repertoire.” The first movement begins with a slow piano introduction before launching into a vigorous and rhythmically engaging Allegro. Ploeger demonstrates his skill as a performer, navigating the extensive challenges of his music with great security. Also worthy of special mention is the fourth movement of Miniatures for Trumpet and Piano. The calm, lyric quality of both the composition and the performance creates a very effective and welcome contrast with the surrounding material. The contrast created between the end of the fourth movement and the low piano ostinato to open the fifth movement is particularly effective. This album represents an important contribution to the trumpet repertoire from a composer and performer with a bright future. ( Jason Crafton, associate professor of trumpet, Virginia Tech, Blacksburg, VA) Enrico Rava and Joe Lovano—Roma Enrico Rava, flugelhorn; Joe Lovano, tenor saxophone and tarogato; Giovanni Guidi, piano, Dezron Douglas, double bass; Gerald Cleaver, drums ECM 2654 (CD); ECM Records, Edition Zeitgenössische Musik GmbH, Postfach 600 331, D-81203 München; ecmrecords@ecmrecords.com; http://ecmrecords.com; 49 089 851048; fax 49 089 8545652 Rava: Interiors; Rava: Secrets; Lovano: Fort Worth; Lovano: Divine Timing; Lovano: Drum Song; Coltrane: Spiritual; Arlen (Harburg): Over the Rainbow. Italian trumpeter Enrico Rava joined legendary saxophonist Joe Lovano for a concert-recorded album in the fall of . Rounding out the cast are three stellar musicians: Giovanni Guidi on piano, Dezron Douglas on double bass, and Gerald Cleaver on drums. The album contains five original compositions by Rava and Lovano, and the fifth track dovetails into John Coltrane’s Spiritual and the classic standard Over the Rainbow. The two Rava compositions, Interiors and Secrets, are free and open, highly improvised throughout. In both tunes, Rava demonstrates excellent tonal ideas and episodic expressions highlighted by his beautiful flugelhorn sound. Notably, when the ensemble becomes enthralled in highly improvisatory moments, the excellent communication between bass and drums provides a sense of stability that really catches the listener. The high-energy Lovano composition Fort Worth gives the audience a nice mid-concert lift, while remaining quite free, like the other compositions. The culminating Drum Song—Spiritual— Over the Rainbow is brilliant programming and ranges from edge-of-seat, full-textured drives to hauntingly beautiful moments. The production quality of the album is first rate and truly up to the ecm standard. The live essence of the recorded concert does not distract, but, rather, makes this project more personal. Roma is a gem, a fantastic showcase of these formidable musicians and their art. (Adam Hayes, associate professor of trumpet, Berry College, Rome, GA)

Doc Severinsen—The Lost Tapes Vol. I and II Doc Severinsen, trumpet; Plano High School and Robert E. Lee High School Bands, Charles Forque, director Self-released; http://docseverinsen.com Werle: Concerto No. 3 for Trumpet and Band; Chance: Concerto for Trumpet and Band; Crane: Bill; Werle: Concerto No. 4 for Trumpet and Band; Bencriscutto: Concerto for Trumpet and Band; Nelhybel: De Profundis. Doc Severinsen performed as soloist in over forty concerts with Charles Forque’s high school bands from Baytown and Plano, Texas, in the s and ’s. The Lost Tapes Vol. I and II contains live tracks from those concerts and presents six compositions by noted composers, written especially for Severinsen. The album is titled The Lost Tapes, because Severinsen was not aware the concerts were being recorded, and a sonic restoration process was required to repair the aged tapes. Floyd Werle’s Concerto No. 3 for Trumpet and Band travels through different countries with its movements: Mexicana, Caribeaba, and Brasiliana. Severinsen’s full tone and effortless upper register are heard here and on all the works. Bill was composed by pianist Fred Crane in honor of Bill Cunningham, a boy who suffered from an incurable disease and was able to attend the work’s first performances and listen to Severinsen demonstrate mastery of smooth and technical jazz. Vaclav Nelhybel’s De Profundis is a darker, more dissonant work that highlights the accompanying band and Severinsen’s technique and power. Despite some occasional tuning discrepancies, the high school bands from Baytown and Plano perform maturely and beyond their years. The Lost Tapes Vol. I and II is a dazzling display of one of the world’s great trumpet soloists playing lesser-known works for trumpet and band. (Christopher A. Heldt, freelance trumpeter and brass teacher, Fort Worth, TX) The Vaughn Nark Quintet—Back in the Day Vaughn Nark, trumpet, flugelhorn, and valve trombone; Pete Barenbregge, tenor saxophone, alto saxophone, baritone saxophone, and flute; Stef Scaggiari, acoustic and electric piano; Marc Copland, piano; Tom Williams, acoustic and electric bass; Dave Palamar and Keith Killgo, drums DCD 752 (CD); Summit Records, P.O. Box 26850, Tempe, AZ 85285-6850; sales@summitrecords.com; http://summitrecords.com; (480) 491-6430 Nark: Cutting Through; Brisker: Runaway; Gillespie/Papareli: A Night in Tunisia; Mulligan: Line for Lyons; Shew: Counting Down; Nark: Alone; Walrath: Blues in the Guts; Tizol/Ellington: Caravan; Arlen/Harburg: Over the Rainbow; Parker: Donna Lee; Shew: Cloudcroft; Mercer/ Prevert/Kosma: Autumn Leaves; Nark: Hidden Promise; Williams: No Cause for Concern; Harmon: El Tigre. Back in the Day presents most of the tracks from two hardto-find lps from the early s—Cutting Through and El Tigre. Vaughn Nark captures the listener’s attention from the first sounds on the disc with a flurry of notes at a blistering tempo. His pure tone, along with a virtuosic display of technique and

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MUSIC REVIEWS LUIS ENGELKE, COLUMN EDITOR Music Reviews appear regularly in each issue of the ITG Journal. ITG members are invited to participate in the column as reviewers. Please contact the Music Reviews editor and state your qualiﬁcations and area of interest (Baroque, contemporary, jazz, brass quintet, etc.). Items for review and reviewers are selected at the discretion of the Music Reviews editor. Unsolicited reviews will not be accepted. Publishers are encouraged to submit serious publications and pedagogical materials for trumpet. Because of an extremely high volume of submissions and limited journal space, only the music deemed as the most interesting to ITG’s members can be reviewed and will receive priority. In general, music disseminated through various means, including electronically, is being accepted; however, to be considered for review the music must be published and available to the ITG membership. Please send all new publications and correspondences to: Luis Engelke, Department of Music, Towson University, 8000 York Rd, Towson MD 21252, USA; fax (410) 704-2841; musicreviews@trumpetguild.org

Bridgewater, Tony. Sonata for Trumpet and Piano. Forton Music, 2016. Written for trumpeter Greg McEwan and premiered in , Tony Bridgewater’s three-movement Sonata for Trumpet and Piano is an exciting new addition to the solo repertoire. Bridgewater states that his intention for this work is to be “a showpiece for the trumpeter and pianist and to appeal to the audience through a melodic style and exciting interplay between the piano and soloist.” The ﬁrst movement is vivacious. The trumpet opens with a strong, syncopated, fanfare motif, accompanied by a light texture in the piano that clearly demonstrates jazz inﬂuence. As both parts develop, the trumpet modulates, and the piano begins to play lyrical sixteenth-note runs. The middle of this movement is slow and beautiful, and the rhythm employed is an augmentation of the opening motive. The movement ends with a return to the opening theme. Bridgewater describes the second movement as “very still and enigmatic.” This slow movement opens with clustered fourths in the right hand of the piano and a simple ostinato pattern heard throughout the entirety of the movement. There is ample oppor-

SMARTMUSIC ITG members have the option to purchase annual student or non-educator subscriptions to the popular SmartMusic software at a substantial discount. Please send an email to ITG Member Services at membership@trumpetguild.org to receive your individual promotional code. To receive the discount, ITG members should go to the SmartMusic website (http://www.smartmusic.com), buy a student subscription, and then enter the promotional code when prompted. 70 ITG Journal / March 2020

tunity for the trumpet to play lyrically, and the movement concludes effectively with a soft, serene ending. Written in a 10/8 meter, the last movement is brisk and lively. The piece comes to an exciting conclusion with its climactic tempo and dynamic. Approximately twelve minutes in length, Tony Bridgewater’s Sonata for Trumpet and Piano is an enjoyable new piece for both trumpeters and pianists. Notated in B-flat, the trumpet part requires excellent time, superb articulations, solid dynamic control, excellent style and interpretive skills, good technique, effective dynamic control, and a two-octave range (from a below the staff to a'' above the staff). This would be a fantastic piece for a professional recital, but it could be terrific for advanced high school and college students as well. (Ryan Gardner, associate professor of trumpet, University of Colorado – Boulder). Fregoso, Eric. Celestial. Six Trumpets and Flugelhorn. Triplo Press, 2019. Composer Eric Fregoso is currently a double major in music composition and geology at California State University at Fullerton. His portfolio contains over one hundred works for band, orchestra, brass ensembles, piano, voice, video game, and modern popular music. His compositional influences include Gustav Holst, John Williams, Eric Ewazen, and Yanni. Celestial represents Fregoso’s first composition published by an established publisher, Triplo Press. Celestial is a piece scored for six B-flat trumpets and one Bflat flugelhorn. This easy- to intermediate-level work is appropriate for high school or undergraduate-level ensembles. The first section introduces the primary fanfare theme, and sweeping melodic motives combine to create a majestic and playful character with rich harmonies. The middle section presents a change in style and texture with greater use of lyrical motives in a reflective and uplifting character. In this section, the lyrical flugelhorn solo helps smooth the ensemble color, contrasting the textures presented earlier. Toward the end of this solo, muted trumpets reintroduce the fanfare motive with a gradual accelerando into the final section. The fanfare and melodic material returns in the final section with greater presence, building to an exciting conclusion. Many of the textures and motives throughout Celestial highlight the influence of Ewazen—in particular, his treatment of melodic gestures and rhythmic drones. © 2020 International Trumpet Guild

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For musicians new to the trumpet ensemble genre, Celestial introduces such advanced artistic and ensemble characteristics as rhythmic and melodic interplay, contrasting styles, mutes, and blending mixed instrumentation in an approachable manner. This reviewer notes that while the seventh part is labeled as “flugelhorn,” the player is directed to switch to flugelhorn for only measures  to ; most of the part is for B-flat trumpet. Celestial is a valuable addition to the trumpet ensemble repertoire and an exciting work that can function well on an undergraduate trumpet ensemble recital or as a contest piece for an advanced high school trumpet ensemble. ( John Kilgore, instructor of trumpet, Kansas State University, Manhattan, KS) Friedman, Stanley. SKIDROCOCO. Flugelhorn and Piano. Asher Rose Music, 2014. Stanley Friedman is widely known for his brass music, which has been premiered by ensembles, soloists, and festivals around the world. He has received many awards and commissions and has won honors for his solo cd, The Lyric Trumpet. SKIDROCOCO is a composition for flugelhorn or corno da caccia and piano. The corno da caccia, Italian for “hunting horn,” is a seventeenth-century brass instrument that resembles the French horn but plays more like the natural trumpet. Friedman noted that SKIDROCOCO is “a collision between early Classical style and the blues,” written for the late historical trumpet master and University of Louisville trumpet professor Michael Tunnell ( – ), who recorded a spirited rendition of this piece on his album Nevolution. Marked Allegro, SKIDROCOCO begins with the trumpet introducing a heavily accented melody, featuring dottedeighth-sixteenth-note patterns built around the F major triad and creating a regal sound and character. Friedman cleverly inserts numerous ornamental devices, including trills and turns, as well as accents and cadenzas, to showcase the soloist. A Lento cadenza and a slow blues section that includes triplets and glissandi are among the work’s highlights. Following these sections is a return to the straight Allegro feel for the coda. Prior to the piece’s tonal ending in F major, Friedman once again switches characters and inserts a four-measure, swing, half-time-feeling section featuring eighth notes that contrast the straight sixteenth notes from the previous section. SKIDROCOCO in many ways resembles the Classical pieces by Haydn and Hummel, but includes fresh twists that give it an identity of its own. SKIDROCOCO is an excellent piece for anyone from a college student looking for a new flugelhorn feature to a more advanced player wanting to display his or her skills on the corno da caccia. The piece is written in a very accessible range from g to c''' and includes only a few short sections in which multiple tonguing may need to be employed. SKIDROCOCO is a very playable six-minute composition that could be prepared in a couple of rehearsals and would be suitable for various applications from college recitals to chamber music concerts or even as background music for special events. (Christopher Braun, adjunct trumpet instructor, Sinclair Community College, Dayton, OH) Holst, Gustav. March from Second Suite in F. Arranged by Mark DeGoti. Eight Trumpets with Percussion. Triplo Press, 2018.

Mark DeGoti’s arrangement of Gustav Holst’s March from Second Suite in F is a welcome addition to the trumpet ensemble repertoire. Holst’s March, based on folksong melodies collected by the composer, was originally composed for military band in  and published in . DeGoti’s arrangement for eight B-flat trumpets and optional percussion follows the original form with the opening light, simple, and ascending five-note motif being split between the lower and middle trumpet parts. Following, textures similar to the original version are utilized, including quarter-notes on beats one and three in the opening and longer, more sustained accompaniments during the alternating themes. In both the A and B sections, the melody is divided effectively among several parts, with the accompaniment alternating between sustained notes or shorter notes on downbeats. There is ample opportunity for the trumpet ensemble to work on different colors and articulations to add musical interest. DeGoti’s arrangement is excellent. All the parts are playable, with a range from g below the staff to c''' above the staff, though only the first trumpet is required to play above a''. Each player must utilize a light and precise articulation, great style, good intonation, and a beautiful sound. It is also worth mentioning that the players of the lower parts should possess a gorgeous, agile lower register, particularly for the euphonium solo. With a performance time of approximately four and a half minutes, DeGoti’s arrangement would be well suited for high school or college students and professional players. (William Landon, graduate assistant, University of Colorado – Boulder) Jarvis, Rebecca (Arranger). Classics for Trumpet Quartet. Kendor Music, 2018. This outstanding compendium of ten trumpet ensemble arrangements is well suited for advanced middle school to early high school ensembles. Each selection ranges from approximately one minute to three and a half minutes in duration. Rebecca Jarvis’s extensive experience as a middle school and high school teacher for more than  years, as well as a veteran arranger for this level, is well reflected in the idiomatic nature of these quartets. All of the parts have interest, and the adaptations serve as an excellent pedagogical resource. Four of the quartets included in the collection are listed as Grade —March Pontificale by Gounod, Sing We and Chant It by Thomas Morley, The Fiddler (from Six Songs and Romances) by Brahms, and Fantasy on Scarborough Fair (traditional). One pedagogical example includes the opening phrase of March Pontificale, in which work on balance and blend can be undertaken as the four parts quickly switch from unison to four-part harmony. The Fiddler is useful for working on independence of lines. Albert Ellmenreich’s Spinning Song and Morley’s Now Is the Month of Maying are listed as Grade +, with the addition of sixteenth notes in common time or eighth notes alla breve. Lastly, four Grade  quartets complete the set: Clementi’s Sonatina, Charpentier’s Te Deum, Offenbach’s Can Can, and Rag, an original composition by Jarvis. In particular, phrasing and sound concepts can be developed in the lyrical Morley selections, and rhythm and subdivision can be developed with the entire ensemble playing the dotted-eighth-sixteenth-note rhythm together in the Can Can. Ornaments and articulations are abundant in the final selections, so style and interpretation can be addressed as well.

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Of note, the quartets have been recorded by the St. Olaf College trumpet studio, under the direction of Martin Hodel. These ﬁne renditions serve as an excellent resource and can be accessed online (http://www.kendormusic.com). Band directors and trumpet instructors looking for a superb collection of quartets to read and/or perform need search no further. (Luis C. Engelke, Music Reviews editor, professor of trumpet, Towson University, Towson, MD) Plog, Anthony. Tribute Fanfare. Trumpet Sextet. Hickman Music Editions, 2018. American trumpeter and composer Anthony Plog’s music is familiar to most. In his latest work, Plog has created a fanfare to honor his friend and colleague, David Hickman, on the occasion of Hickman’s receiving the ITG Honorary Award at the  ITG Conference in Hershey, Pennsylvania. The premiere performance was given at a tribute concert honoring Hickman, featuring thirty of his former students, current students, and colleagues. According to the composer’s notes, the original working title of the piece was Dave’s Fanfare, and the opening four notes had the syllables “David Hick-man” penciled under them in the score, as did the final four notes of the piece. The work itself is approximately one minute long and is scored for six trumpets (two piccolo trumpets in B-flat and four C trumpets). Perfect for a college-level ensemble or professional group, the work features complex harmonies throughout, with driving rhythms that sustain the musical excitement. With a strong opening theme, the piece quickly decrescendos and then gradually increases in rhythmic intensity, culminating in a brilliant return of the opening theme. Range is accessible for the advanced performer— with the first piccolo topping out at a c''' and the first C trumpet at an a'''. An exciting work, perfect for any concert opening, the Tribute Fanfare by Anthony Plog is a welcome addition to the trumpet ensemble repertoire. ( Joseph Bowman, assistant professor of trumpet, Mahidol University, Bangkok, Thailand) Sanders, Bernard Wayne. Rhapsodie Nr. 3. Trumpet and Organ. Verlag Dohr, Köln, 2017. Composer and organist Bernard Wayne Sanders is a native of DePere, Wisconsin. His musical studies began at St. Norbert College, with graduate studies in organ and composition at Wichita State University and the Hochschule für Musik in Hamburg. Since , he has served as music director for the parishes of St. Gallup and Mary Queen of Heaven in Tuttlingen, Germany, and in , he joined the faculty of the Hochschule für Musik Trossingen. Rhapsodie Nr. 3 is a work in two alternating parts: ababa. The A section is marked Andante and has a lyrical, meditative character. While the fundamental pulse stays constant throughout the section, there are frequent meter changes that give the melody room to expand and contract. The B section is moderately faster, but with recurring changes in compound meter, a spirited mood is present. Despite the meter changes, the counterpoint between the instruments is complementary, making for an easy time assembling the work for performance. The trumpet lines tend to be written in linear motion, with few intervals wider than a third and frequently sitting atop those of the organ. 72 ITG Journal / March 2020

The trumpet range extends from b-flat to b-flat'' on C trumpet. The part is printed front and back with B-flat and C trumpet parts. Suitable rest is provided throughout, making it accessible for a variety of performance opportunities. Due to the rhythmic intricacies of the B section, it is important for all players to be self-sufficient subdividers. There is also room for great lyricism in the A sections, and performers must be able to see the larger phrase and look past the bar lines in order to find musical satisfaction. Of note, all of Sanders’ Rhapsodie compositions have been written for a primary solo instrument, as well as other alternative solo instruments. This work was composed for trumpet, but it could also be performed on clarinet and is sold as a separate purchase for clarinet and organ. (Kyle Millsap, associate professor of trumpet and jazz, Texas A&M University – Kingsville) Stravinsky, Igor. Pulcinella Suite. Arranged by Daniel-Ben Pienaar. Edited by Jonathan Freeman-Attwood. Trumpet and Piano. Boosey & Hawkes, 2019. International pianist and recording artist Daniel-Ben Pienaar, along with trumpet player, recording producer, and president of London’s Royal Academy of Music Jonathan FreemanAttwood, have created a bold, daring arrangement for trumpet and piano of Stravinsky’s beloved Pulcinella Suite. The arrangement is an exciting and imaginative example of how older works can be adapted to fit the capabilities of trumpet playing in the st century. Through Freeman-Attwood’s beautifully written preface and performance note, both pianist and trumpet player are implored to consult Stravinsky’s original score in order to make the most informed musical decisions. The result is a score that is relatively free of articulation and expression markings; the intention is that the trumpeter can use any combination of instruments or mutes to bring their version of Stravinsky’s work to life. Preparing this arrangement of Stravinsky’s Pulcinella Suite will surely give any trumpet player a new perspective the next time they perform it in the original orchestral setting. Pienaar’s arrangement requires great musical care, consideration, and conviction in order to do justice to Stravinsky’s original conception. Aside from the evident musical challenges, the work is a very significant test of range, endurance, and dexterity. Freeman-Attwood’s recording of Pulcinella Suite on his cd, The Neoclassical Trumpet (Linn ), appears to be mostly, if not entirely, performed on piccolo trumpet—which others may want to consider for endurance reasons, especially if they intend to perform this on a recital. Of course, this would also present the challenge of finding a way to achieve the same palette of colors and sounds that are generally more easily accessible on larger horns. If one is looking for this arrangement to leave the two main trumpet excerpts intact, they might be in for a bit of a surprise. The Toccata remains relatively unchanged, as it is somewhat consistent with the original scoring, but the end of the Finale is scored as more of a conglomerate of the trumpet and other orchestral parts. The rest of this arrangement is a mix of beautiful writing paired with many acrobatic elements that defy the idiomatic tendencies of the trumpet. If approached diligently and correctly (as evidenced by Freeman-Attwood’s excellent recording), this work represents a compelling addition to the solo trumpet repertoire. (Luke Spence, doctoral student, University of Maryland, College Park) © 2020 International Trumpet Guild

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BOOK REVIEWS ERIC MILLARD, COLUMN EDITOR Please send correspondence, review copies of books, dissertations, videos, and requests to join the review staff to: Eric Millard, ITG Book Reviews Editor, Department of Music, 9201 University City Blvd., Charlotte, NC 28223; bookreviews@trumpetguild.org Hilleke, Manuel. Groove Trumpet. Vienna, Austria: Universal Edition, 2018. Softcover, 52 pp. Manuel Hilleke is a freelance trumpet player, bandleader, arranger, and composer based in Mainz, Germany. He teaches at the Peter Cornelius Conservatory in Mainz and is also the artistic head of the Marshall Cooper Band. His book, Groove Trumpet, presents a thorough and clear approach to performing various styles ranging from New Orleans jazz to mariachi. Groove Trumpet features eleven different tunes, each with a page of information that is divided into four categories on how to approach preparation and performance of the work. The first category is “Theme, Section, & Technique,” which covers how to perform the melody with proper style, both as a soloist and as a section player. The second section is a guide to improvising over each tune, while the third section, “Exercises,” suggests different ideas on how to practice each of the elements discussed in the first two sections. In the final section, “Basics,” Hilleke suggests artists to listen to as a reference for style, improvisation, and general performance advice. Hilleke also includes a page of suggested scales, riffs, and a harmonic layout of the tune. A unique feature that accompanies Groove Trumpet is a play-along cd that has multiple different tracks for each tune. The cd includes separate tracks for every tune with all trumpet parts muted, only the lower trumpet parts muted, only the first trumpet muted, and no parts muted. All of these recordings are by the Marshall Cooper Band. Hilleke also includes some auxiliary materials covering topics such as articulation, ornaments and gimmicks, and jazz/pop phrasing.

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Groove Trumpet is a thoughtful and comprehensive approach to learning various musical styles. It provides valuable performance insights and the opportunity to play along with professionals, making it an exceptional resource for any trumpet player wishing to improve their understanding and ability to perform and improvise in a variety of popular styles. (William Landon, graduate student, University of Colorado – Boulder) Hultmark, Torbjörn. The Torbjörn Hultmark Trumpet Method: Exercises for Tone Control on the Trumpet. London: Composers Edition (http://www.composersedition.com), 2017. Softcover, 66 pp. Torbjörn Hultmark’s method book presents a range of techniques on the trumpet, from fundamentals to extended techniques. The method is divided into five major sections: Breath, Flexibility, Articulation, Practice Patterns, and Twelve Etudes. Hultmark gives clear instructions throughout, explaining the correct approach to each exercise. The first three sections are focused on the fundamental components of playing. These sections contain materials that range from wellthought-out exercises on common themes to extended techniques. Trills, breath attacks, pitch bends, and use of the first and third valve slides are all covered. The first part of the book also touches on more advanced skills, including pedal tones, circular breathing, and multiphonics. Hultmark takes care to cover any technique that the modern trumpeter might face, even covering flutter tonguing and ti-ri tonguing. Sections four and five contain longer exercises. Section four presents practice patterns based on pre-existing materials: Herbert L. Clarke’s Technical Studies, Stravinsky’s A Soldier’s Tale, and peals (eighth-note groupings based on patterns from traditional handbell methods). All are presented in a variety of tonalities and rhythmic patterns. Section five contains twelve etudes by Hultmark. The first eleven etudes focus on ideas and patterns introduced earlier in the book, each clearly marked

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with the applicable section for reference. The final etude, to be played at a lively tempo, contains the advice “Good luck!” and serves as a fun culmination of the method’s exercises. Hultmark has created a method book that covers common techniques that every player will find useful, as well as many more advanced extended techniques in an easily understandable and concise manner. Modern music has forced musicians to expand their skillset beyond what is presented in traditional trumpet methods, and Torbjörn Hultmark has successfully addressed these demands. This method should be a welcome addition to any trumpet player’s library across all ability levels. Beginners to seasoned professionals alike will find materials to expand their technical and musical prowess. (Elijah Pugh, instrumental music director, Shelton State Community College, Tuscaloosa, AL) Lyman, Zachary. Practical Daily Warm-ups for Trumpet, Second Edition. McMinnville: Keveli Music, 2019. Softcover, 92 pp. Practical Daily WarmUps for Trumpet, Second Edition by Zachary Lyman (associate professor of music at Pacific Lu th eran University) of f ers a detailed and comprehensive warmup routine for intermediate to advanced trum pet players. The book is divided into several sections: mouthpiece buzzing, first exercises, scales, arpeggios, lip-slurs, single and double tonguing, triple tonguing, long patterns, and pedal tones. It also includes a well-written and informative introduction that establishes and identifies the common elements of a good warm-up routine. Lyman suggests that “each warmup should be as unique as the player,” thereby encouraging each player to find the routine that suits them best. In the last paragraph of the introduction, Lyman gives several critical pieces of advice: “No dynamics or tempi have been assigned to the exercises in this book. Begin slowly and at a relaxed, medium dynamic level. Progress faster and louder only when you can play each exercise from a very relaxed stance. Vary the speed and dynamics of your warmup as another way of mixing up your routine.” He then concludes the introduction by reminding students to “challenge yourself, stay relaxed, and have fun.” Each of the sections that follow are preceded by short written explanations of the exercise and offers physical and mental concepts that will help make the exercises more beneficial. These concepts are very useful and will help the player maximize the warm-up exercises found in this book. Scales (major, minor, chromatic, whole-tone) and arpeggios dominate the first half of the book. For each scale and arpeggio, Lyman offers several different permutations and exercises to develop maximum fluidity. 74 ITG Journal / March 2020

Zachary Lyman’s Practical Daily Warm-Ups for Trumpet, Second Edition is a well-constructed document that will challenge and motivate intermediate and advanced trumpet players by offering them a detailed set of exercise and concepts. High school, college, and professional players should seek out this book and incorporate these exercises into their warm-up routines. ( Jacob Walburn, assistant professor of trumpet, Stephen F. Austin State University, Nacogdoches, TX.) Proksch, Bryan, ed. A Sousa Reader: Essays, Interviews, and Clippings. Chicago: GIA Publications, 2017. Softcover, 185 pp. One cannot speak of American musical culture without acknowledging the legacy of John Philip Sousa. In his day, Sousa was not just a composer; he was a national icon whose words and opinions held sway on multitudes. Sousa freely shared both knowledgeable and witty opinions on topics ranging from the role of government in the arts and prohibition to the newly invented Edison phonograph. Many Sousa enthusiasts are well aware of Sousa’s autobiography, Marching Along; yet, to some musicologists, including Bryan Proksch (the editor of this book), Sousa’s end-of-career retrospective is not as insightful as his reﬂections written in the moment. A Sousa Reader includes selected extracts from the Sousa press books residing in the University of Illinois’s Sousa Archives and Center for American Music. According to Proksch, these rarely viewed press books contain more than , items “gathered by Sousa’s press agents” throughout Sousa’s professional life. A Sousa Reader is organized into six periods of Sousa’s career, the earliest excerpts taken from the late s to the most contemporary from the s. Between these bookends, the reader learns of Sousa’s opinions on such disparate subjects as how to choose an American anthem, why the trio of a march should be in the subdominant key, the importance of the women’s suﬀrage movement, the role of jazz in society, and the joys of trap shooting. Throughout A Sousa Reader, Proksch prefaces some of the lesser-known subjects of Sousa’s writing with much needed background information. These italicized vignettes bring important historical perspective to the readings and allow for a more thorough understanding of the topic at hand. A Sousa Reader is a delightful look into Sousa’s life, the country he so dearly loved, and the musical industry in which he actively participated for over sixty years. With the success of this project, one would hope for additional volumes to come, as there appears to be a vast treasury of material waiting to be rediscovered. (David Reynolds, director, School of Performing Arts, South Dakota State University, Brookings, SD) © 2020 International Trumpet Guild

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NEWS

FROM THE TRUMPET

WORLD

JASON DOVEL, COLUMN EDITOR ITG members are encouraged to send correspondence, inquiries, and trumpet-related news to Jason Dovel, News Editor (news@trumpetguild.org). ITG strives to present news items of an objective nature only, and all items will be edited for clarity and brevity. For more detailed information on many of the news items included in this column or for additional stories omitted due to space restrictions, visit the ITG Website (http://www.trumpetguild.org/news).

APPOINTMENTS Marc Reed to University of Akron Marc Reed has been appointed director of the School of Music and the School of Dance, Theatre, and Arts Administration at the University of Akron. Prior to coming to Akron, Reed served on the faculty of Fort Lewis College in Durango, Colorado, where he was professor of music and chair of the Department of Music for seven years. Previous faculty appointments include positions at the University of Alabama at Birmingham, Waldorf College, Drake University, and the University of North Texas. Reed’s ﬁrst solo trumpet recording, Gone, But Not Forgotten, was released in  on the Mark Records label. He is the former principal trumpet of the San Juan Symphony Orchestra, third trumpet of the Music in the Mountains Festival Orchestra, solo cornet of the Great Western Rocky Mountain Brass Band, and a member of the University of North Texas Wind

Marc Reed

Symphony. He can be heard on recordings on the DJ Music, Mark, Klavier, and GIA Windworks labels, including the popular Teaching Music Through Performance in Band series with the UNT Wind Symphony. Reed currently serves as editor of the ITG Journal’s Trumpet in the Wind Band column, chair of the ITG Junior and Senior Youth Competitions, artist faculty member of the National Trumpet Competition, artist/clinician for the Bach Trumpet Division of the Conn-Selmer Corporation, and member of ITG’s Recording Production Committee. He has presented clinics at the Midwest Band and Orchestra Clinic; Minnesota, New Mexico, Kansas, Colorado, Florida, Texas, and Alabama Music Educators Association Conferences; Midwest Trumpet Festival; ITG Conference; and Iowa Bandmasters Association Conference. (Source: Marc Reed)

COMPETITIONS

AND

CONFERENCES

Brazilian Trumpet Conference From June  to , , Associação Brasileira de Trompetistas (abt—Brazilian Trumpet Guild), an ITG Aﬃliate Chapter, hosted its eleventh international trumpet conference, the XI Encontro Internacional de Trompetistas: O Trompete Sul-Americano at Campinas State University, presenting the trumpet in the South American context. Guest artists included Venezuelan trumpet player Pacho Flores; Argentine Valentin Garvie; Franco Carranza (principal trumpet of Orchestra Sinfonica Nacional de Peru); Juan Fernando Avendaño (principal trumpet of Orquesta Sinfónica Nacional de Colombia); and Brazilians Elieser Ribeiro (principal trumpet of Orquestra Sinfônica de Porto Alegre), Rubinho Antunes (soloist), and Moises Alves (Orquestra Sinfônica do Teatro Nacional Claudio Santoro). Over  trumpeters attended this year’s conference, including orchestral players and university professors from all over Brazil. In its five days, the conference featured workshops, masterclasses, recitals, and concerts. This event was held at the University of Campinas, which oﬀers excellent musical venues. They advertised the event on tv, social media, and press outlets. The conference exhibitors included Engelmann Mouthpieces, Grilo Musical, Adalto Brass, Warburton Music Products, Josh Music, and Marcus Bonna Cases. The closing concert of the abt  was presented in the concert hall of the Teatro Carlos Gomes. The concert started with Naber Mesquita conducting a trumpet ensemble prelude comprised of the conference’s participants. That night, Oscarindo Roque and Clovis Beltrami (trumpet professors and scholars from the Campinas area and mem-

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bers of the trumpet section of the Orquestra Sinfônica Municipal de Campinas) were also honored with a plaque for their contributions to the Brazilian trumpet community. The Campinas Symphony Orchestra accompanied soloists Valentin Garvie on his own composition, Cuatropiezas para trompeta y orquesta, followed by Pacho Flores performing Christian Lindberg’s Concerto Akbank Bunka and Efrain Oscher’s Mestizo. This conference was made possible by Brazilian higher education institutions, federal government sponsorships programs, and an ITG Affiliate Chapter grant. (Source: Maico Lopes, vice president of abt; English translation: Nairam Simões, Lamar University)

INDUSTRY NEWS Exonerated Five Member Kevin Richardson receives Yamaha trumpet and scholarship Yamaha Corporation of America and Syracuse University (su) came together to provide a brand-new trumpet to Kevin Richardson, a member of the Exonerated Five. The generous gift was presented at su’s Our Time Has Come beneﬁt reception at the Community Folk Art Center in Syracuse, New York, which honored Richardson for his perseverance in a time of struggle. Ian Wudyka of Yamaha presented the instrument to Richardson. Kevin Richardson, one of five men now known as the Exonerated Five, is the subject of the recent Netflix series When They See Us, which tells the story of the Central Park jogger case and the men who were wrongfully convicted of

rape and assault. In an interview with Oprah Winfrey, Richardson explained his excitement about playing the trumpet back in , as well as his goal to play at su—a goal he was never able to reach—which caught the attention of both su and Yamaha. “We were so taken by Kevin’s words to Oprah, and we wanted to support him with this contribution,” says Wudyka. “I hope Kevin is able to not only fulfill his own dreams in playing, but also share his passion and inspire others to make music.” While on su’s campus, Richardson was also honored with a scholarship in his name on behalf of the Our Time Has Come program. In addition to the trumpet presentation, Yamaha contributed , to the scholarship, which supports African American and Latino students through a variety of scholarships based on ﬁnancial need. (Source: Stephanie Talarico)

IN MEMORIAM Philip Biggs (1954 – 2019) Philip Biggs, respected publisher, performer, and promoter, passed away on September , , following a battle with cancer. Biggs grew up in the British brass band tradition and performed with English brass bands for over thirty years, including the Cambridge Cooperative Band. In , he teamed up with Richard Franklin to create the All-England Masters Championship, which attracted the best bands and resulted in the commission of a number of new works. In , he became the London Symphony Orchestra’s event manager for the  European Brass Band Championships. In ,

Kevin Richardson receives Yamaha trumpet.

76 ITG Journal / March 2020

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he founded The Brass Herald, a popular magazine that achieved nearly eighty editions. (Sources: Neville Young, 4Barsrest) Eugene Blee (1928 – 2018) Eugene Blee, the retired principal trumpet of the Cincinnati Symphony Orchestra and former faculty member at the University of Cincinnati College-Conservatory of Music, passed away on November , . Blee was born and raised in Beavertown, Pennsylvania. He began musical studies at age nine with Charles W. Coleman, the music director of the Beaver and Sunbury High Schools. His talent and passion for trumpet was quickly recognized, and at age sixteen, he began performing with the Harrisburg Symphony. Blee graduated from high school in  with honors and moved to Ohio to attend the Cincinnati Conservatory of Music. He graduated cum laude with a ba degree and later earned an ma degree. His primary teachers were Frank Simon and Henry Wohlgemuth. Following his studies at ccm, Blee served as a musician in the US Army Field Band from  to . After his service in the Army, Blee’s orchestral career began with the San Antonio Symphony on a one-year contract for the  –  season. In , Blee was appointed principal trumpet of the Cincinnati Symphony Orchestra, under the direction of Thor Johnson. Blee served as principal trumpet until  and remained in the section until his retirement from the orchestra in . Blee was a passionate educator and taught for  years at the Cincinnati Conservatory of Music and later at the University of Cincinnati College-Conservatory of Music. His positive impact as a teacher is captured by the success of his students, several of whom hold positions in major orchestras, including Mark Ridenour of the Chicago Symphony Orchestra, Michael Miller of the Cleveland Orchestra, Steven Pride and Marie Speziale (retired) of the Cincinnati Symphony Orchestra, and James Wilt of the Los Angeles Philharmonic, among others. As a result of his substantial contributions to the music profession, Blee was awarded an honorary Doctor of Music degree from Shenandoah University. In the mid-s, he moved to Palm Harbor, Florida, where he continued in retirement his passion for golf and enjoyed ﬁne dining with family and friends. (Source: John Kilgore) Freddy Grin (1925 – 2019) On September , , former trumpet player and principal cornet player of the Amsterdam Concertgebouw Orchestra Freddy Grin died at the age of . Grin came from a musical family. His father was the concertmaster of the avro radio orchestra, and his mother was a pianist. His maternal grandfather was a violinist in the Amsterdam Concertgebouw Orchestra. As a young boy, Freddy received violin lessons from his father and his ﬁrst trumpet lessons from Jan Eisenberger, trombone player with the avro orchestra. After six months with

Eisenberger, Willem Burbach, principal trumpet of the orchestra, became his teacher. Grin subsequently studied with Marinus Komst, principal trumpet of the Concertgebouw Orchestra. In , Grin was appointed trumpet player with the Wind Orchestra of the Dutch Radio. A year later, he became second trumpet with the opera orchestra of the Dutch Broadcasting Company. He was appointed ﬁrst trumpet player with the Dutch Chamber Opera on September , , and from November , , to April , , he was a member of the Dutch Radio Symphony Orchestra. After a successful audition, Grin joined the Concertgebouw Orchestra on June 1, . In addition to being one of the trumpet players of the orchestra, he also held the position of solo cornet player until his retirement in . In , he participated in the Concours d’Exécution musicale in Geneva, where he obtained third prize; a ﬁrst prize was not awarded that year.

Freddy Grin

Grin was a professor of trumpet at the conservatory in Amsterdam and the Arnhem Conservatory and was the founder of the brass department at the conservatory in Groningen. He made a number of recordings as a soloist and two records as a conductor of his ensemble, Brass United. The second album of this ensemble was awarded an Edison award in . He also remained active as a soloist after his retirement. He regularly performed with his wife, soprano Ina van Duyn. Grin was an active member of the International Trumpet Guild and was one of the co-founders of Euro-ITG. (Source: Ralph Henssen) Dexter Morrill (1938 – 2019) Dexter George Morrill, Charles A. Dana Professor of Music emeritus at Colgate University, passed away July , . Morrill was born June , , in North Adams, Massachusetts. He began trumpet lessons at age eight, and by nineteen, he studied with Dizzy Gillespie at the ﬁrst Lenox School of Jazz. At Colgate, Morrill studied composition with William Skelton

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posing for ensembles and conventional instruments and recording works with solo artists. His many important works for trumpet have included Ponzo (), Nine Pieces (), TARR (), Studies for Trumpet and Computer (), and Trumpet Concerto (). Morrill passed away of complications from Progressive Supra Nuclear Palsy (PSP). (Source: Obituary at Bangs Funeral Home) Recording Reviews continued from page 69

Dexter Morrill

and led a Dixieland jazz band, the Colgate Hi-Five. Morrill began graduate studies at the Leland Stanford Junior University and studied composition with Leonard Ratner and orchestration with Leland Smith, completing his ma in . From  to , he was a Ford Foundation Young Composer Fellow in Missouri and later taught at St. John’s University in New York, which commissioned his Three Lyric Pieces for violin, premiered by Ruggiero Ricci at Lincoln Center in . Morrill studied composition with Robert Palmer at Cornell University and received his dma in . Morrill returned to teach music at Colgate in  and established one of the ﬁrst mainframe computer studios in the world, with help from colleagues at Stanford. He studied computer music with John Chowning and Leland Smith at Stanford and conducted research on the analysis and synthesis of trumpet tones. Morrill was a guest researcher at ircam in Paris in  and received several composition grants from the New York State Arts Council and the National Endowment for the Arts. Morrill worked on a special jazz project for Wynton Marsalis and authored A Guide to the Big Band Recordings of Woody Herman and The American String Quartet—A Guide to the Recordings. In , Morrill received an nea grant to compose his most prominent work, Getz Variations. It was written for and premiered by saxophonist Stan Getz and incorporated jazz improvisation and computer-generated sounds. During the s, Morrill developed a midi trumpet instrument with engineer Perry Cook and performed in many concerts around the world. His compositions received performances in the United States, Canada, Australia, Argentina, Brazil, Great Britain, Poland, Czechoslovakia, and most West European countries. He wrote music for ensembles including the Northern Illinois Philharmonic and the Syracuse and Baltimore Symphonies. Throughout his career, Morrill was active in com78 ITG Journal / March 2020

range, foreshadows the excitement produced on the remaining tracks. Nark was a long-time member of the Airmen of Note, the premiere jazz ensemble of the United States Air Force, and sounds equally at home soaring over an ensemble in lead trumpet fashion as he does improvising over complex chord changes. Some highlights include Donna Lee and Autumn Leaves, in which the ensemble not only performs at a fiery pace but is also perfectly locked in together in terms of balance, blend, and style. The members of the quintet exude passion and communicate with one another throughout every solo section. The rhythm section consistently interacts with the soloists, rather than simply keeping time. Nark’s original compositions appear to be composed for a true ensemble of five musicians, rather than one or two soloists with accompaniment. Hidden Promise is a true masterpiece that showcases Nark’s sentimental and lyrical abilities. In the liner notes he writes, “My voice is in using my instruments to reveal all the moods of our human experience to paint a full portrait that captures the big picture.” He illustrates these moods through the variety of instruments he plays, the diversity of styles and tempos of pieces included on the album, and his own creativity. Congratulations to Vaughn Nark and his quintet for a fantastic album! (Steven Siegel, assistant professor of music, Western Colorado University, Gunnison, CO) University of Kentucky Trumpet Ensemble—Andromeda: New Music for Trumpet Ensemble Jeff Barrington, Sean Dunn, Keegin Elvidge, Ethan Ferguson, Bailey Goff, Neal Grindstaff, Taylor Gustad, Jessica Lambert, Samuel Lewis, Clinton Linkmyer, William Lovan, Alexandra McGan, Kyle Mitchell, Samuel Oliveri, Aaron Orr, Caleb Purdue, Drew Reynolds, Tyler Rosenkrantz, Coleman Scott, David Seder, Benjamin Siff, Abby Temple, David Vest, Dustin Voss, and Marisa Youngs, trumpets © 2020 International Trumpet Guild

CONTENTS

SR1002 (CD); Sonitus Records; http://dovel.myartsonline.com; Jason.Dovel@uky.edu; (859) 257-7177 Baird: Gabriel’s Legion; Dovel: Andromeda; Mozart (Dovel): Act II Finale from the Marriage of Figaro; Liebermann (Dovel): Gargoyles Op. 29; Spafford (Dovel): When Peace, Like a River (It is Well); Rossini (Dovel): Largo al Factotum from Barber of Seville; Youngs: Commonwealth Fanfare; Dovel: Catacomb; Dovel: Giza Necropolis; Dovel: The Legend of Pandora. Andromeda: New Music for Trumpet Ensemble is an amazing aural presentation of delightful, captivating, and diverse music making. The title work is a fantastic showpiece that effectively displays the virtuosity of the members of the ensemble. The piece begins with an intricate motivic sequence that is rapidly developed into a cascading succession of notes. Without warning, “shock notes” in the extreme upper register pierce through the thick motivic texture. The piece continues with a contrasting foreboding lyrical melody that allows the members of the ensemble to display their rich and resonant tones throughout all registers. The piece closes with a mixture of fragments of new material and also thematic material previously heard at the beginning of the composition. Dovel’s arrangement of When Peace, Like a River (It is Well) is very accessible to trumpet ensembles with varied ranges of ability and personnel constraints. The careful use of an eighth-note motor underneath a soaring melody creates a light and plaintive collage of tonal colors that demonstrates the robust diversity of ability and artistic range found within the ensemble. The piece concludes with a continuation of the melody and added antiphonal fanfares from smaller choirs within the ensemble. Commonwealth Fanfare is a wonderful piece that would be ideal as a concert opener. The piece contains a powerful melody that is performed beautifully in the mid-upper register, which then immediately becomes thematic material that is then quickly developed. The piece concludes with a well-balanced display of both eighthand sixteenth-note triplet rhythmic motives. Giza Necropolis, the cornerstone of this album, is a work for an advanced trumpet ensemble. The piece begins with great intensity and energy, achieved by a lightning-paced opening tempo, coupled with the virtuosic slurring and double tonguing required to perform the individual lines effectively. This excitement shifts to a sorrowful minor melody that features the beautiful sound of the soloists in the ensemble. The piece concludes with an impressive buildup of complex motives that weave throughout all registers. Andromeda: New Music for Trumpet Ensemble is a must-have for all trumpet ensemble enthusiasts! (Demarr Woods, assistant professor of high brass and music theory, University of Arkansas at Pine Bluff) Product/App Reviews

continued from page 65

effective performance; share practice recordings; and create practice challenges. Educational software integration could also enable automated grading for the instructor, leaving more time for instructor-student interaction.

The ultimate exhibition of mastery is performance, and Modacity’s effectiveness on both individual and group levels is only as good as the seriousness of the students using it. However, this tool enables the instructor to better guide individual and group progress to build a culture of deliberate practice. At the time of this writing, Modacity is available only on ios devices, but the company’s website indicates intent to develop an Android version. (Ross Ahlhorn, assistant professor of trumpet, University of Central Arkansas, Conway, AR) Lip Renew Endurance Cream from Robinson’s Remedies US$9.99 – US$19.99 http://www.robinsonsremedies.com Robinson’s Remedies, a line of lip repair products from trumpeter Kenny Robinson, is easy to dismiss for its price t a g s . In i t i a l t e s t i n g seemed to confirm this bias; one dozen college trumpet students sampled the Lip Renew Endurance Cream, and although most liked the product, only a few showed inclination to purchase. At the end of the trial period, however, this reviewer sustained an impact injury that resulted in a cut on her inner top lip. This damage occurred ﬁve hours before the dress rehearsal for a disco-funk pops gig taking place the same evening. After treating the injury using nothing more than Robinson’s endurance cream and a few hours’ sleep, it is this reviewer’s opinion that Robinson’s product should be a staple in most players’ cases—for emergencies, if not everyday use. Robinson’s endurance cream comes in vanilla-mint ﬂavor with hints of rosemary. Its consistency is more syrup than cream, and a little goes a long way. Though it purports to counteract swelling and lactic acid buildup if applied during performance, certain student testers found the product “sticky” and did not like using it while playing. This light texture, however, represents a real advantage for an injured player, as most other restorative lip balms are too gummy to be applied onstage. The reviewer was able to manage four hours of playing by applying Robinson’s lip cream every thirty minutes, rendering it unnecessary to omit notes, reduce volume, or transpose octaves. Though the injury still stung, the top lip felt better during the evening performance than in the morning rehearsal, and by the following morning, the cut had nearly completely healed. Despite its having resulted from a collision, swelling was minimal to nonexistent. Student testers reported similar results after heavy playing; those who liked the cream all said they would use it in periods of recovery. Robinson’s line of products also includes the forthcoming Lip Renew Recovery, which will possess increased moisturizing capabilities, and the Lip Repair Anti-Viral Cream, targeting cold sores and fever blisters. If the anti-viral cream works as well as the endurance cream, this reviewer suspects that it, too, is well worth the investment. (Brittany Hendricks, adjunct instructor of trumpet, Arkansas State University, Jonesboro, AR)

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ITG HONORARY AWARD AND ITG AWARD OF MERIT The ITG Honorary Award is given to individuals who have made extraordinary contributions to the art of trumpet playing through performance, teaching, publishing, research, and/or composition. The tradition has been to present this award to persons toward the end of their careers. Honorary Award recipients include Herb Alpert, Maurice André, Ryan Anthony, Louis Armstrong, Mel Broiles, Clifford Brown, Vincent Cichowicz, Miles Davis, Roger Delmotte, Timofei Dokshizer, Maynard Ferguson, Armando Ghitalla, Dizzy Gillespie, Harry Glantz, Adolph Herseth, David Hickman, Gilbert Johnson, Philip Jones, Robert King, Clifford Lillya, Wynton Marsalis, Rafael Méndez, Fred Mills, Maurice Murphy, Robert Nagel, Uan Rasey, Ronald Romm, Renold Schilke, Charles Schlueter, Doc Severinsen, Bobby Shew, Susan Slaughter, Philip Smith, Marie Speziale, Edward Tarr, Clark Terry, William Vacchiano, Allen Vizzutti, and Roger Voisin. The ITG Award of Merit is given to those individuals who have made substantial contributions to the art of trumpet playing through performance, teaching, publishing, research, composition, and/or support of the goals of the International Trumpet Guild. Award of Merit recipients include William Adam, David Baldwin, Donald Bullock, Richard Burkart, Frank Gabriel Campos, Leonard Candelaria, Stephen Chenette, Charles Colin, Raymond Crisara, Joyce Davis, Vincent DiMartino, Kim Dunnick, Kevin Eisensmith, Bengt Eklund, Stephen Glover, Bryan Goff, Charles Gorham, Anne Hardin, John Haynie, David Hickman, Keith Johnson, Stephen Jones, Frank Kaderabek, Veniamin Margolin, Gordon Mathie, Rob Roy McGregor, Gilbert Mitchell, Gary Mortenson, James Olcott, William Pfund, Jeffrey Piper, Leon Rapier, Carole Dawn Reinhart, Dennis Schneider, Anatoly Selianin, Alan Siebert, Michael Tunnell, and Gordon Webb. To nominate someone who has made a signiﬁcant contribution to the trumpet world, send the nominee’s biography and a rationale for his/her nomination to ITG Secretary Elisa Koehler, Music Department, Winthrop University, 129 Conservatory of Music, Rock Hill, SC 29733 (USA) (secretary@trumpetguild.org). 88 ITG Journal / March 2020

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ÂŠ 2020 International Trumpet Guild

International Trumpet Guild

LEGACY ENDOWMENT Since the early years of ITG, endowed funds have been a longstanding tradition, supporting various ITG programs and initiatives. The most meaningful use of income from these funds has been to support a number of scholarships for graduate, college, and high school students to attend ITG conferences. The ITG Legacy Endowment was created to support additional conference scholarships for students and to significantly increase the amount of money used in affirming, enhancing, and supporting ITG’s mission “to improve the artistic level of performance, teaching, and literature associated with the trumpet.” Trustee ($10,000 and above) Toward this effort, projects may include, but are not limited to, commissions, Kim and Jane Dunnick competitions, book reprints, free recordings, financial aid to ITG local chapters, Stephen and Linda Jones and scholarships for students to attend ITG conferences. One half of all interest Patron ($5,000 and above) Col. Gilbert Mitchell in memory of his wife, Joyce and earned income received by the Legacy Endowment is returned to the prinAnthony L. Pasquarelli Fund of The Pittsburgh Foundation cipal amount to ensure the continued growth and stability of the fund. Supporter ($2,500 and above) ITG members are encouraged to give any size contribution, large or small, or to Stephen Chenette join one of the following Fanfare Society levels with a gift of at least $500. Paul Halliwell in memory of Anthony L. Pasquarelli $100,000 Benefactor $10,000 Trustee $1,000 Partner David and Rina Reynolds $25,000 Sponsor $5,000 Patron $500 Friend Partner ($1,000 and above) $2,500 Supporter Bill and Dixie Burress ITG is flexible to meet your gifting wishes by accepting Grants, Gifts in Kind, Ray Crisara Memorial Matching Gifts, Estate Planning and Gifting, and Specific Area Gifting that will Zhonghui Dai provide specific named areas or programs. ITG is set up to receive both stocks Allan Dean and cash donations, and gifts of appreciated stocks can maximize your gift both Irina and Anna Dokshizer to ITG and to yourself. Gifts of any size are encouraged and are cumulative. That Brian Evans Dan Hallock is, all gifts received from an individual (or individuals donating as a unit) are David and Jean Jones in memory of Dorothy and Elroy Norton and added together to achieve the levels above. Gifts to the ITG Legacy Fund are in honor of Carl and Jackie Jones fully tax-deductible to the extent allowed by law. ITG is a (c) organization. Delta Leeper in memory of Durward D. Leeper You will receive a confirmation of your gift by mail soon after its receipt by ITG. Gordon Mathie Those who serve on the ITG board in various capacities believe in ITG and Gary and Kristin Mortenson freely donate time and money for the support of this organization. All these James and Marcia Olcott individuals feel strongly that this organization is a precious resource that is a Philip Pfeiffer worldwide trumpet community that encourages young to old, amateur through William Pfund seasoned professional, teachers, performers, and music lovers of all styles and Jeff and Marsha Piper backgrounds. This organization has a history of many devoted individuals who Tara Radekevich in honor of John Walter Torbett, III have supported ITG and believe in sustaining it for future generations. Alan and Cathy Siebert ITG has a long “track record” of accountability and has survived some diffiTriplo Press cult economic times. This history, in addition to our financial transparency, Arthur Vanderhoeft Pam and Peter Voisin in memory of Roger and Martha Voisin should give the membership and potential donors ever more confidence in our Roger Voisin in memory of Rene and Marie Voisin continued sustainability and trustworthiness. Reverend Jan Pzn Warmerdam in memory of Hendrika Warmerdam For additional information about the ITG Legacy Endowment, please contact: Don Whitaker International Trumpet Guild George Winton in honor of Bramwell Smith Attn: Legacy Endowment Friend ($500 and above) P.O. Box 2688 Harold Hollander Davenport, IA 52809-2688 USA John Irish Phone 563-676-2435 • Fax 413-403-8899 Cathy Leach legacy@trumpetguild.org

FANFARE SOCIETY

INTERNATIONAL TRUMPET GUILD LEGACY ENDOWMENT Name________________________________________________________________________________________________ Address ______________________________________________________________________________________________ City ________________________________State ________Zip _______________Country ___________________________ Telephone (Home) __________________________________ (Office) ____________________________________________ I would like to make a gift to the International Trumpet Guild Legacy Endowment: n Benefactor $100,000 n Patron $5,000 n Friend $500 n Sponsor $25,000

n Supporter $2,500

n Other $ _________

n Trustee $10,000

n Partner $1,000 Please make checks payable to the “ITG Legacy Endowment” and return to: International Trumpet Guild, Attn: Legacy Endowment, P.O. Box 2688, Davenport, IA 52809-2688 USA

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March 2020 / ITG Journal 91

International Trumpet Guild

The International Trumpet Guild is an organization formed in 1974 to promote communication among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet.

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ITG Journal - March 2020

Articles inside

Jazz Calisthenics: Warm-up Routines for Trumpeters, Part 2

Table of Contents

Recording Reviews

Jeff Luke, Associate Principal Trumpet, Utah Symphony

The Future of Instrument Making: a Conversation with Craftsman Jérôme Wiss

Ralph Alessi: Kindred Spirit