Practice Mutes have become accepted as a necessary evil for brass players. They are not an ideal way of preparing yourself, however there are times where we all accept that you just need to practice or warm-up quietly. Listed below are a number of mutes currently available that will all do the job. They will all have different strengths though, so I have tried to demystify them somewhat with this ‘Buying Guide’.
NB. The prices listed here are meant as a guide and are subject to change.
I have put this at the top because it is by far the best practice aid that I have come across. A great mute that does not allow you to overflow while practising, and also has a built-in mouthpiece buzzing aid. Around $80, worth every penny!
A really great lightweight and responsive mute. The intonation is pretty good across the range. Low C and below tends to be slightly sharp as with pretty much all practice mutes, however this is better than most. Priced at just $50, this is a really good all-rounder.
As with the other Sshhmutes, this has very low resistance and a nice quick response. The Whisper Mute has a lovely soft tone that can also be used in a section where a real muted pianissimo is required. Again, a good buy at $50.
This is not the quietest practice mute on the market, however it is one of the most even and allows you to blow pretty honestly. This is a great hotel room tool! $60 for this one.
This is extremely decent especially considering its modest price tag of $35. Back pressure is pretty low, cutting down on over-blowing, and intonation as also surprisingly good for the price point.
This is an excellent compact mute that only just protrudes from the bell. You do not get a feeling of ‘battling’ this mute as it feels really natural. It is quieter than most and also has decent intonation. $94.99
This is a plastic (and therefore lighter) version of Best Brass’ practice mutes. There are some small compromises in resistance and tuning compared to its big brother, however this is reflected in the lower price of $54.99, and it is still a darn good mute!
Like the Lyric Stealth, this has a nice even response across all registers and dynamics. It is softer however, so inevitably has slightly more resistance. $45
This lightweight neoprene will fit easily in any case and is great for travelling. There are a number of sponge ring inserts so that you can adjust the volume and resistance levels. It also doubles up as a very compact bucket mute by hanging it over the bell of your horn. Even if you already have a preferred general practice or warm-up mute, this is something a little different that will always have a use. $39.99
Let’s face it, all of us have probably had one of these classics at some point! A good solid all-rounder that allows for a quiet warm-up. The intonation is perhaps not quite as good as some of the newer designs on the market, however still a good mute for the price. $42.95
The Silent Brass system has been around for a while now, and the latest pickup mute is very good indeed. Now fitting completely into the bell for storage, the intonation, response and quiet volume are all very good. Even at the price of $189.99, the sharpness in the lower register has not been completely eliminated, however the digital technology that comes packed inside the Personal Studio, and the acoustic environment that it creates are exceptional.
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Marvin Stamm is a colossus of the music world, having performed and recorded with many jazz legends throughout his illustrious career. At 79-years-young, he is still going strong and has many interesting thoughts here on adapting to change, both musically and physiologically over the years. There is sound and compelling advice here for musicians of all instruments and of all ages!
What first drew you to the trumpet?
Upon reaching the seventh grade in the school I attended in Memphis, Tennessee, every student was required to participate in a form of the arts—either become part of the band or sing in the chorus and take art. I had no talent for art nor any interest in singing in a chorus, so I chose instrumental music, which at my school was the standard concert band instrumentation. Part of my decision also rested upon the fact that I was rather shy at that age, and thought I could hide within a larger organization and not be noticed. The reason I chose the trumpet was because my older brother, an avid record collector, had a recording by Clyde McCoy entitled “The Sugar Blues” with which he employed the Harmon mute with the stem to produce wa-wa effects, growling, and flutter-tongue. This was quite impressive to me, and this is why I chose the trumpet.
Were there any particular early influences or musicians that you admired?
There were many early influences upon me, and they would have great consequence on the path I chose. Among the important people who first influenced me were my two wonderful band directors during my school years in Memphis; they gave me great training in the basics of music, playing in their concert bands. Another was my afore-mentioned brother, Gordon. My interest in jazz came about very early in my musical experience because hegave me access to his complete jazz collection, allowing me to play along with his records pretty much from the genesis of my musical endeavors. This gave me early exposure to this music and hadgreat impact on me. I was so enthralled with playing music that I decided after only two years—at age fourteen—this would be my path in life.
Another person exerting great influence during my high school years in Memphis was my trumpet teacher, Perry Wilson. Perry helped me build my musical foundation. He took me through Arban’s, St. Jacome, Schossberg, and Klose, also spending a great deal of time playing duets with me in order to teach me how to work, phrase and blend with other players. At the end of each lesson, he took me into one of the piano rooms and played tunes with me to help me broaden my improvisational skills, learn new material—and, so very important—develop my ear. He also was instrumental in my working in Memphis dance bands from age sixteen. I was very fortunate to have fine and dedicated teachers from the very beginning who prepared me well for my chosen career.
Through every phase of my musical and personal life there have been people willing to offer encouragement and help. There were several very fine musicians form my growing up in Memphis, many of the professional players the Dallas/Ft. Worth area and at the university during my years at North Texas State (now the University of North Texas). The years with Stan Kenton and Woody Herman were of immense value to my growing and developing as a player as well as the two years doing show work in Reno, Nevada. And then throughout all my years working in New York and beyond.
It would be impossible to list all the musicians with whom I have worked and who personally influenced me, but among the trumpet players whom most of our colleagues would recognize would be Mannie Klein, Bernie Glow, Ernie Royal, Snooky Young, Thad Jones, Ray Crisara, Burt Collins, and Kenny Wheeler. And this lists just a few of the many who were of enormous significance to my music and my life. Someone once said to me that I had achieved a marvelous career and I had done all on my own efforts. I laughed and told him he could not be more mistaken. I had help every step of the way and experience this still to this day—from friends and musical colleagues alike.
As a young player, what was it like joining Stan Kenton?
I joined the Stan Kenton Orchestra as his jazz trumpet soloist immediately upon graduation from the University of North Texas in 1961. However, my relationship with Stan pre-dated that occasion because the North Texas band was kind of a house band at the 1960 Indiana University Kenton Clinics, serving as his band for that week. He conducted us in nightly concerts and became quite familiar with my playing, In November of that year Stan asked me to complete the last three and a half weeks of the 1960 tour because Sam Noto had been offered a steady gig at the Latin Quarter in New York City and needed to leave the band. This was really my baptism of fire with the band.
I joined fully after graduating from North Texas and toured with him for two years, recording five albums with the band. The orchestra, during my tenure, toured only in the U.S. and Canada, mostly playing one-nighters. I gained a good bit of national recognition and exposure touring with the band and especially through my being featured extensively on the recordings.
Working for Stan Kenton was great—he was very much a father figure, quite a special person, and very dedicated and inspiring to one such as myself. He was also very patient with me during my time with the band. I underwent a bit of an embouchure change because I was playing low onto the top lip, that is, onto the red tissue of the lip. Because the band played so hard, and most times quite loud, this caused me to cut my lip. With the help of John Haynie, my trumpet teacher from the University of North Texas, I moved the mouthpiece up on the top lip a good bit, providing more vibrating surface for playing and more muscle tissue, more “meat”, for the mouthpiece to rest upon. This was quite a drastic move for me and took a long time for me to adjust to, causing me a great deal of stress. During this whole period of adjustment, Stan was very patient and encouraging to me, showing how much concern and care he had for the people who played in his band.
My time on the Kenton band provided great experience in that it gave me a clear view of “life on the road.” I received a lot of solo exposure and met many people who contributed much to my growth and life experience. Some became friends for life. This playing experience was especially invaluable because you had to be at the top of your form every night in spite of being weary or sometimes ill; or many times playing where acoustics were less than perfect with tired or hurt “chops” and always being on the move. This instilled the concept that when it was time to perform, it didn’t matter how you felt—you were expected to be at your best at all times, under all sorts of conditions. And the one who expected the most from you was you yourself!
During your period as a busy studio player, what were the main things that you concentrated on in practice sessions to keep yourself in good shape and ready for anything?
Fundamentals, fundamentals, fundamentals! I wanted to keep my embouchure strong, but flexible and my technique accurate. We almost never knew what we would be playing from session to session until our arrival at the date. And some days we would be playing three or four different sessions, all of a different musical style. I might be playing lead trumpet on one session, flugelhorn on another, and piccolo trumpet on a third. Our musicality depended upon our exposure to many styles of music and the interpretation thereof. But the ability to go into number of different musical environments, having the flexibility and stamina to perform to the highest standards day in and day out was the foundation of such a career. I found that keepingmy“instrumental”side in it’s best working order was the best way to be prepared for this kind of functionality. That meant stressing fundamentals.
What prompted your move away from the studio work to concentrate on your own jazz projects?
In the late ‘80s I realized I was feeling musically unfulfilled by the work I was doing. For the first 17 years or so of my studio period, while doing a lot of commercials and such, I still was also involved with a lot of musical recording projects, many of which were in the jazz genre. In the early ‘80s, the shift in work was more to commercials, and the recordings were mostly R&R recordings. There was little creative input being asked of the players, and I was feeling like just a journeyman musician, like “cog in the wheel” of most projects.
In addition, the technology aspect of the music was growing and many of the keyboardists and synthesizer players involved in projects were also being asked to write the arrangements for these projects—few with any knowledge of or skills in orchestration. We became the sources for informing them of what possibilities there were for various instruments, sometimes teaching them the most rudimentary things such as what was the lowest note on a trombone and the highest note playable by a typical saxophonist. It was very frustrating to most of us who had worked for years to become educated, masterful musicians.
In 1987, Lew Soloff introduced me to Swiss composer and and band leader George Gruntz, who was looking for someone to replace Lew for an upcoming tour, as Lew was already booked at that period of time. George invited me to join his group of U.S. and European musicians and I accepted, beginning what was to be a twenty-three year association with his Concert Jazz Band.
The musicians for this tour included Americans Lee Konitz, Claudio Roditi, Larry Schneider, Mike Richmond. Adam Nussbaum, Ray Anderson, Art Barron, David Taylor, Joe Henderson and others. Among the Europeans were trumpeters Palle Mikkelbourg, Manfred Schoof, and alto saxophonist Luten Petrovsky. There were straight-ahead players, BeBop players, and avant-garde players, all coming from across the musical spectrum. Moming from a more traditional big band background, I was initially taken aback by it all, but by the end of the tour, I was inspired. I felt that it might just be possible to move away from being a studio musician to become a jazz musician.
The thought was, at first, frightening. I remember one night discussing what I intended with drummer Ed Soph, wondering aloud how I was going to make this happen. Ed told me not to worry, it would definitely happen. Of course, I also talked all this over with my wife, who felt I should go for it. From this, my decision was made. For the next three years, i put myself out there, and if there was a choice between a recording session or a jazz gig or a tour, I took the jazz gig and turned down the session. Eventually, it became obvious to those in the business and they started calling others for studio dates. As well, my work as a jazz player was growing, so over time, one replaced the other. This began the most creative period of my musical life, and I never looked back.
As the years have gone by, would you say that your approach towards practice, preparation and performance has changed? If so, is it something that has had to change?
I certainly feel my approach has changed over time. It is true physically as well as musically. People tend to change physically as they age, even from their 30’s into their 40’s. and again from their 40’s into their 50’s and so on. This is just a physiological fact. Understanding when one’s practice and approach to the instrument needs to be altered—even if only slightly—from time to time to meet these circumstances is a great challenge. No one wants to change from what has worked successfully for a long time. But sometimes change is necessary, particularly when the problem may be physiological. I have seen many examples of players who don’t understand when their physiology changes and are so stymied by this that they don’t recover. They keep trying to approach everything the same way they have done for years, and yet, it doesn’t work anymore. Having a teacher or outside coach can help when one feels frustrated. A coach or teacher one trusts may see things looking from outside our faces than we don’t perceive on the inside. I sought help several times from the late Laurie Frink, a most wonderful teacher and player, who helped me to understand and work through my own problems.
Musical circumstances can also require a player take a different approach to practice. It all depends upon the kind of music and performance one is being asked to play, especially if one is working as a free-lance player. One example would be someone playing a show night after night that requires a hard blow, but then being asked to play a week in a small chamber orchestra where the music is softer and requires a different sound. The practice necessary to prepare for this kind of change would be quite different than the preparation for a difficult show. Practicing fundamentals to keep one’s embouchure flexible to play in any circumstance is necessary and certainly helps one to overcome many of the changes one must go through.
Every player experiencing physical or musical changes in their playing must be mindful of finding his own solutions to whatever challenges might arise. This will involve being flexible in his thinking and approach to these challenges going through the various stages of their careers. There has never been one answer for everyone; each of us must find our own. This is a challenge we all face.
What equipment do you use?
My trumpet is a Bach Model 72 Lightweight that the great lead player Bernie Glow picked out for me in 1969. My mouthpiece is a Najoom 7M (for medium). I play two flugelhorns, an old Cousnon I bought used in 1964, probably made in the 1950’s, and a French Besson, made under the auspices of Boosey and Hawkes by Zig Kanstul, at the urging of me and Guido Basso,the great Canadian trumpeter. I use either a GR custom mouthpiece (close to a 62M) or a very old Bach 10 1/2 C flugelhorn mouthpiece.
What do you think the priorities are for young aspiring players to keep in mind to give themselves the best shot at a long and successful career as a trumpeter?
There are a number of priorities to developing a long and successful career, each being a key basis of the other. Mastery of one’s instrument is certainly the foundation of any successful career, and practice of the fundamentals is the basis of that foundation. Part of this is also understanding the importance of developing a good sound because one’s sound is his voice, who he is musically. And while mastering etudes, solos, and excerpts are important, listening to and performing in many areas of music is the key to becoming a versatile player—and versatility is central to being a busy, working musician. There are those who are able to develop a career as a specialist in a given field, but they are rare birds in the equation. Being able to answer any work call and performing whatever that call requires is the key to having a successful career as a working musician. And that means having a working knowledge of many kinds of music.
What are your proudest career moments?
Over many years of playing music, I believe the thing I am most proud of is all the years of playing in the company of so many great musicians and being accepted as one of them. I had the great privilege of playing with my heroes, and to this day, I still feel that I am trying to play up to the level of musicianship that they set. But I don’t feel this as an element ofpride; I actually feel great humility at this acceptance and being a part of so many wonderful musical moments. I had the privilege of living my dream, fulfilling my musical fantasies.
What are your most enjoyable career moments?
There have been so many that it is difficult to pick one or two special experiences because there have been so many. Sitting a the trumpet section with people like Bernie Glow, Ernie Royal, Snooky Young, Ray Crisara, Randy Brecker, and so many others was always special. Reaching to achieve the highest level of performance in the company of many great musicians was constantly thrilling. Words can’t really express the feelings this generated, day after day, performance after performance. I guess the most important thing to take away from what I am trying to express is that music is never about “me,” but about “we.” Community, everyone striving to bring the best to each musical moment, is the most fulfilling element of great musicians playing together. And I was most fortunate to be some part of so many of those experiences.
What projects have you got coming up?
I am going to be doing a project in the UK next summer with Matt Gough and Andy Bush, both excellent trumpeters and composers. Andy and I met in the mid-1980’sand have been dear friends ever since. Matt is a new friend and the composer of a magnificent multi-medium suite, “The Forgotten Fairground.” I’m sure you’ll be hearing a lot about this project soon.
I’ve also been privileged to be a part of several projects by pianist and composer Michael Holober. We’ve become very close friends dating back to when he conducted the Westchester Jazz Orchestra of which I was a member. I have been a part of four of his projects in the past four or five years, and he has mentioned two or three future projects that he is working on. Michael is also a musical partner in my quartet along with drummer Dennis Mackrel and bassist Mike McGuirk.
And I continue to perform as a guest soloist in various settings. I appeared at the Guildhall this past July, performing two of the Miles Davis/Gil Evans suites, “Miles Ahead” and “Sketches of Spain,” with Scott Stroman conducting. Working under Scott’s baton is always exhilarating! I shared the solo chores with UK trumpeter Robbie Robson, and if any of your readers are unfamiliar with Robbie’s music, please do become familiar with it. Robbie is extraordinarily creative and gifted musician. I enjoyed so much sharing this program with him.
In closing, let me say that in light of all I have been so fortunate to do in music, I am happy any time I can be in the company of extraordinary and like-minded musicians, people I can enjoy playing with, listening to, and learning from. To me, that’s what it’s all about!
Please click here to read about Marvin’s time studying with Carmine Caruso
You can see and hear lots of great clips of Marvin playing on his website
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When I left music college (nearly) 20 years ago, the approach to building a healthy portfolio of freelance work as a trumpeter was rather different to now: Face-to-face networking; Being in “the right place at the right time” with the right people; Backing up any opportunities by being a “good guy to have around” and a good player. This was the limit to one’s self-marketing.
It struck me at the time that even when things were busy, and the diary was booked up a couple of months ahead, there was never a feeling of being in control and having ‘ownership’ (this seems to be the buzz word) of your career. This is what led me to start to explore other things that I could do alongside the trumpet-playing that could bring me more of a sense of control over my own career.
Speaking to younger professionals now, I see quite a different picture. The opportunities that the internet has brought are vast, and musicians are quickly learning how to maximise what it has to offer. Players now have limitless control over their own image and career. This series looks at this in more detail:
Next up in ‘Part 2’ to help me look at this in more depth is Kate Amrine. Kate is a trumpet player and educator based in New York City. She currently freelances in many different genres from Orchestra to Broadway, and also is an active soloist, currently working on her second album. Music entrepreneurship has always been an interest and she recently presented her “Designing your Career in Music” masterclass at New York University where Kate has been an Adjunct Professor since 2013.
How did you find the transition from college to working as a trumpet player?
When I first moved to NYC 8 years ago to start my undergraduate degree at New York University, I remember being so enamoured by being able to play so many different styles and seeing so many opportunities to play everywhere I looked. The sense of wonder and amazement hasn’t diminished but now it is accompanied with the knowledge of knowing how much work everything requires and knowing that sometimes things just don’t work out, no matter how much work goes into it. Since I moved here, I have recorded a solo album, started recording my second album, became a composer, performed 2 concertos as a soloist with orchestra, given countless recitals, played on Broadway, and many more things. It is an exciting time to be a musician, yet I know that it is very different than it was even as little as ten years ago. I currently teach all ages from elementary school to college students at NYU and I really enjoy helping musicians find their path and purpose. I have written many posts about how I started freelancing in New York and other various aspects of being a musician on my blog. Check them out here: http://kateamrine.com/blog
I knew pretty early on when I moved here that my reputation started immediately – both as a person and as a musician. Even when I was a student and still learning, I knew that every time someone worked with me and heard me play that it was an opportunity that could further my career – no matter how small the gig, how much it paid, or what kind of music it was. I still have that mindset that anyone and everyone is always listening, and I think it is one of the most valuable things to keep in mind when building a career as a musician.
What did you expect working life to be like when you were at college? Were you given any career development guidance? Was the reality of working life different to how you imagined it?
I had huge preconceptions of what music school was like – most of which were tied to what I thought I needed to know upon graduation. For example, I assumed that I was supposed to learn all of the brass quintet repertoire in college and I didn’t want to be unprepared when I graduated if I was called for something, so I put together a group and ended up learning a good majority of the brass quintet rep by performing it in the subway. I was so concerned about being behind and unprepared when I graduated that I over prepared and tried to do as much as possible to get ready for life after graduation. I took some music business classes at school but quickly realized that a lot of what I was expecting to learn about “the real world” I was going to have to learn myself. I constantly met with other musicians to learn from them over coffee. I listened to many music entrepreneurship podcasts. I read many of the books designed to help students figure out what’s next. I was always fascinated with how musicians build their careers from their own personal interests, what pays the bills, navigating admin and teaching jobs and more. I had some admin experience during school: working for trumpeter Jeremy Pelt as his assistant, working for the Festival of New Trumpet Music, and assisting John Rojak the head of the Brass Dept at NYU. I was incredibly grateful for these experiences because I learned so much about life, being a musician, how to put projects together, and more – all of which prepared me so much for everything I do today.
Despite everything I did to be in the best possible situation when I graduated, in my third year at NYU I found out I was going to be graduating a year early so I had to accelerate my plans and get my career plans in order. Even here in NYC, I felt like being in school can be such an uncomfortable bubble where your whole world is determined by the people around you and it can be hard to break out of that. Some of my colleagues didn’t always have the best attitudes and weren’t inspiring positive influences to be around, and that was sometimes difficult to try to ignore. Fortunately, the majority of my colleagues were great, and I was excited to be in ensembles outside of required orchestra – playing new music, recording for films, and more. I knew that things would be different after I graduated but there were so many things that I couldn’t have realized or prepared for when I was still stuck in the “bubble” of school. I subsequently learned so much more in that year out of school than I had in my last year of undergrad because I figured out how good I really needed to be to be a working musician, how to master time management and be the most productive, and so many more things that weren’t quite possible to really grasp when I was in school.
The biggest difference I felt after I graduated was that I wasn’t being seen as much as I had been while in school at NYU. I would see other musicians in the practice rooms, in class, in rehearsal, and around campus and then they would think of me as someone to work with for upcoming projects. However, when I graduated and spent more time practicing at home and playing occasional gigs, I didn’t see as many people who I could potentially work with as I had been at school, and I remember feeling a sudden shift and dip in my gig income where I soon realised I needed to figure out a new plan. I figured out that I needed to make more of a conscious attempt to be seen – both online and in person at gigs. I had to talk with people, get to know them and what they were involved in and be more personally engaged in being a more direct part of other people’s projects and the community. Only after this mindset shift and a drastic improvement in my playing did I start to see some big changes in the year after I finished my undergraduate degree.
Do you think that educational institutions need to look again at how they prepare students for a career in music?
I do think that educational institutions need to revisit the way they prepare students for a career in music, but I think it will be a long time before the change is made. For example, I knew that my income after school would be combining what I earned from any admin or teaching jobs with what I earned performing. However, I never took any classes on teaching in my undergraduate degree because they never fit with my schedule as a performance major. There are also so many “area specific” things that I think are harder to teach on a national level, particularly how to get started freelancing in a scene like New York where there are already so many accomplished and talented people everywhere. I also remember hearing stories about the old days where someone graduates, and they are immediately handed a Broadway show, or they take their first ever orchestra audition and get the job. These kinds of things don’t happen too often anymore, and I think schools should prepare their students more for building a diverse income of multiple streams not from one position or even particular style of music.
Another thing that I think is important to mention is that we don’t have to do this alone. When we are looking to get better at a certain type of music or area of our practice, we take a lesson. If you are looking to get more in shape, then you hire a personal trainer. Last year I was looking to get more organized in my career and I started working with a coach. Having someone who isn’t a friend, or your parents listen to your dreams, goals, and help push you in the right direction is such an invaluable experience and I definitely recommend it. I think someone graduating college and thinking “what do I do now??” is probably the clearest example of someone who would benefit from working with a career coach but that isn’t the only type of person who would benefit from being focused and introspective. I consider myself to be very organized and self-aware yet the process of talking to someone who isn’t personally invested in my own projects has been extremely helpful in figuring out exactly what I want to be doing and how to get there.
You have a number of varied and interesting projects that you have put together. Can you tell us a little about them?
Currently I am working on a bunch of different projects and I feel so lucky and inspired to be a part of them. My newest one is eGALitarian – a brass ensemble comprised of women playing music by women composers. Our goal is to inspire women in the community and make a difference for the women around us. In addition to our standard concerts, we are collaborating with different organizations in the community to make an impact. With my colleague Becca Epstein-Boley, I run the Brass Chicks Blog where we publish interviews with prominent female brass players and feature a weekly Five Things Friday post written by a member of the community. We curate the content and plan the social media as well. I also recently joined Wavefield, a new music ensemble where we will be doing some teaching and performing a few concerts at Carnegie Hall. My friend Kate Barmotina and I have been collaborating as a duo (Kate squared) and putting together concerts featuring women performers and women composers. Outside of these projects, I have been doing a bit more composing and am getting pieces and recordings together for my second album featuring new music inspired by politics and social concepts. I recently put together a solo show of this music and it was reviewed here: https://nationalsawdust.org/thelog/2018/08/24/in-review-kate-amrine/
I notice that you are involved in a number of all-female groups and music blogs etc. Would you say that things are better now for female brass players? There are certainly a larger number of high-profile female brass soloists now. Would you say that this reflected on the freelance scene in NYC?
There are certainly a higher number of female brass soloists than there were, and it is very exciting. I always try to show my students examples of both men and women performing. Growing up I didn’t really see too many examples of prominent female brass players, although my first two trumpet teachers were women in the military bands in DC. In terms of the general treatment of female musicians, it is hard to say if things are necessarily “better now” than they were 20 – 30 years ago… especially since I was very young then. With the rise of social media, there is certainly a greater access to education about the wide variety of brass players out there, but it hasn’t necessarily made its way into pop culture as much. I still occasionally get comments from audience members and non-musicians asking about my lung capacity as a woman and commenting on how my gender is pretty rare as a brass player. As awful as it is, I think that the ‘Me Too’ era has been a great thing for interactions with people of all genders and sexualities. There is a serious reckoning in the arts world (from classical organizations like NY Phil, the Met, NY City Ballet to movies and more) and people are realizing that certain behaviour should no longer be tolerated and passed over. This will create more respectful environments for all musicians and it is very exciting.
I do think the New York City freelance scene is much more diverse now than several years ago. Usually I am not the only female musician in the brass section, but there are some subsets of NYC freelancing, like Broadway for example, that could certainly be a bit more diverse. On the other hand, a vast majority of my performances this month in September have been with all female ensembles so there are many women around who are collaborating to create new and interesting musical experiences.
How differently do you approach “just promoting yourself”, to promoting a particular project? I like your “Trumpet Tips Tuesday”!
Thank you! I’ve been having a great time with the Trumpet Tips Tuesday videos and it has been a fun thing to work on. If you haven’t checked out any of the Trumpet Tips videos, please check out my Instagram @katetrumpet or search for #TrumpetTipsTuesday . I think of promoting myself as highlighting everything about me, from sharing a selfie, what I like to eat (donuts), the commute to a recent rehearsal, and more. Promoting ME is basically a complete package of this is the kind of person I am; this is what it would be like to study with me, work with me, and/or interact with me. Promoting a project is a lot more calculated and planned out based on the release date, who else is involved, and more. The most successful project that I promoted (other than Brass Chicks, which is continuous and ongoing) was my album As I Am. The funds for my debut album were raised through crowdfunding on Indiegogo’s Generosity platform and all of the posting and contacting people about it in the months before the recording sessions was a very involved process. I ended up raising about 80% of what was needed, which equated to $6500, and was unbelievably helpful to the completion of the album.
How do you keep track of your promotional activities? Do you draw up a plan/strategy for each project, or is it more instinctive?
I keep track of marketing and promotion by making a calendar with a note for what I’m posting on each day. Since I mostly post the same things on each platform like Facebook and Instagram, it is generally pretty easy to keep track. Having a whole week or month planned out is perfect for seeing the trajectory of what I’m posting. I can plan to highlight different upcoming gigs, time out promotion for a show just right, and make sure I don’t share too many of one kind of post too often. I don’t usually post different things on each account, but some things are better on Instagram than Facebook. For example, if I am advertising a new blog post then I’ll either screenshot it (for Instagram) or post the link and a description on Facebook. Similarly, sharing relevant NY stories or political things is definitely better for Facebook and I use the Instagram story feature to show little highlights throughout my day. I also always try to keep track of my audience. Personally, my audience on my Facebook personal page and even my artist page is mostly comprised of fellow freelancers and people I know in New York City while my Instagram is more connected internationally to trumpet players and artists everywhere.
With your crystal ball, how do you think things will change further for musicians looking to promote themselves, and find & engage new audiences?
I honestly think it is a very exciting time for musicians looking to promote themselves and expand their audiences because anything can happen. There are some seriously creative chamber ensembles out there, like the Melodica Men, Too Many Zooz, Two Cellos, and more where musicians have found their own artistic voice and are able to make money performing. In a way this puts a different kind of pressure on young musicians because it is almost not enough anymore to graduate with a good take on orchestral excerpts and standard solo repertoire – expecting to be employed. The most successful musicians today are the ones who can book their own performances, network with other musicians, and have a strong musical vision for the kind of music they want to perform.
After visiting the Arena in the beautiful city of Verona some 20 years ago, I have been fascinated by not only its history but its use today as one of the most spectacular opera venues that you will ever visit. Built nearly 2,000 years ago, this outdoor amphitheatre could accommodate over 30,000 spectators, attracting audiences from across the Roman Empire.
What would it be like to work here as Principal Trumpet with its resident orchestra? Well Massimo Longhi knows! He has held this position for 25 years now and has kindly shared his thoughts with us.
What got you started on trumpet?
The trumpet came into my life at 10, my grandfather and my uncle played in my family in the village band.
Who and what were your biggest early musical influences?
Certainly, Maurice Andre was decisive, and then the opera, which still fascinates me and stimulates me, and has opened me up to an incredible world and has influenced my way of playing.
Which trumpeters today do you enjoy listening to?
The one and only… Wynton Marsalis
How did joining the ‘Arena di Verona Orchestra’ come about?
The Verona Arena Orchestra is a full-time orchestra that carries out the summer festival in the Arena from May to September and the rest of the year is produced in the beautiful Teatro Filarmonico of the city (18th century theatre) with operas, concerts and ballets.
In 1993 I won the competition for the position of the first trumpet, and have been there ever since.
The Arena in Verona is one of my favourite places to visit! Was it difficult to adjust to playing outdoors instead of a traditional concert hall environment? Are there any things that you do different technically on the trumpet when playing outdoors?
Every year when we start work in the Arena we need a little bit of acoustic adjustment, the ear has to get used to it. Technically we think we are playing better, rather than stronger, the best thing is to imitate the voice of the singers and to think of projecting the sound. The less force use, the more the sound projects and sings. I do not need use any different equipment for playing in this environment.
Are there any favourite memories or highlights from your time so far in the orchestra, that you would like to share?
Today, just as 24 years ago, when I started working in the Arena, the most incredible thing is the moment of silence that precedes the director’s gesture that starts the show and I can assure you that the silence of 15,000 people is magical!
What projects have you got going on at the moment?
In addition to the orchestra, I have been a conductor for some time. Here is an association that organises my master class concerts and competitions – www.associazionemusicalepozzoli.com
What are the most important things for young aspiring trumpet players to remember?
That the study and the continuous work on the instrument will give the best results, playing an instrument on a professional level means dedicating oneself to it every day. It’s a bit like trying to fill a bucket with a hole in it!
What gear are you playing on?
I am a Yamaha artist and I use their trumpets but the mouthpiece for the trumpet player is incredibly important! I play Frate Precision mouthpieces.
What are the benefits that you have found after changing to your Frate Precision mouthpieces?
The first time I tried them I was struck by how they responded to my ideal sound. It may seem strange but since I use it I have not had any problems with my lips. I also liked having the opportunity to develop some ideas with Dario and I must say that today I am extremely pleased!
Can you tell us a little about the process involved with selecting your mouthpiece?
Choosing a mouthpiece is not simple but if we base the choice mainly on the sound we want, it is easier to achieve. Personally, I have to be satisfied with the sound first, and then later I looked for variations on the edge of the rim and the throat that help me to smooth out any imperfections.
When I left music college (nearly) 20 years ago, the approach to building a healthy portfolio of freelance work as a trumpeter was rather different to now: Face-to-face networking; Being in “the right place at the right time” with the right people; Backing up any opportunities by being a “good guy to have around” and a good player. This was pretty much the limit to one’s self-marketing.
It struck me at the time that even when things were busy, and the diary was booked up a couple of months ahead, there was never a feeling of being in control and having ‘ownership’ (this seems to be the buzz word) of your career. This is what led me to start to explore other things that I could do alongside the trumpet-playing that could bring me more of a sense of control over my own career.
Speaking to younger professionals now, I see quite a different picture. The opportunities that the internet has brought are vast, and musicians are quickly learning how to maximise what it has to offer. Players now have limitless control over their own image and career. This series looks at this in more detail:
First up in ‘Part 1’ to help me look at this in more depth is Becca Toft. Becca is a London based freelance trumpet player and founder of the musician’s online marketing website DIY Musician. She is currently lead trumpet of the Jazz Jamaica All Stars Big Band and the Prince tribute band, New Purple Celebration. Becca is a part for the trumpet quartet Bella Tromba where she also acts as their in-house arranger. Becca’s career has developed with the help of social media, leading to a strong following on both her freelance trumpeter page and her ensembles pages. She has developed DIY Musician to help others understand the benefits of social media and personal websites.
What led you to take up the trumpet?
I learned how to read music before I could read words and growing up I played a number of instruments, but when I was 10 I joined a marching band, and they needed trumpets, so I was given a trumpet and was told to learn it. So, I did and it soon took over my life!
What did you expect working life to be like when you were at college? Were you given any specific career development guidance?
I had a lot of friends who were leaving college when I was starting, so I got a first-hand look at what was to come. I saw people doing amazing things, and I saw people struggling to pay the bills.
College focused on two things: auditioning to get into an orchestra, and teaching skills. I knew that I wanted to do projects and learn skills that weren’t on my degree course syllabus, so I looked elsewhere to pick up the skills I wanted.
How was reality different to the theory? Do you think that educational institutions need to look again at how they prepare students for a career in music?
Having a career in music is extremely broad and it is hard for institutions to cater for every pathway of a music career, but I do think they should be teaching core self-employed skills, self-promotion and marketing.
You have a number of varied and interesting projects that you are involved with, can you tell us a little about them?
As you might expect, as a freelance trumpeter I am in a number of different ensembles and bands of different genres. My trumpet quartet, Bella Tromba, focuses on classical recitals, concert society and festival dates. I am in a jazz collective called the Nu Civilisation Orchestra which is an arts council funded group that perform nationwide projects. I play for a thrash brass band (Brass Funkeys), a Prince tribute band (New Purple Celebration) and a local function band (Soul Calibre).
When I get involved with a project, I find it hard not to get involved with the marketing/promotional side. I love taking photos anyway and I am always happy to share footage with the others involved.
Do you find that there are particular marketing outlets that work better for different kinds of projects, whether it be an album release, or live solo performances etc? For instance, would you hit YouTube, FaceBook, Twitter, Instagram, Blogs, your email-outs in a similar way, or do certain platforms work better for different projects?
You have to work with what you are comfortable with and on a platform that you know you can maintain. Each platform has its positives and negatives, yes, but there is no point using twitter if you hate writing or using Instagram if you only have grainy photos. If you can do 4 things (website, email-outs + 2 social media platforms) then that is enough. If you spread yourself too thin then you can miss out on the benefits of each platform.
How differently do you approach “just promoting yourself”, to promoting a particular project?
I have a clear objective for each account I have. My trumpet Instagram @horn_identity is almost like my own online CV. It shows an overview of what I do as a trumpet player, adds a bit of personality and it connects me with other musicians doing similar things. Each ensemble has its own Instagram with its own character, theme and audience objectives. For these, I am attracting fans of the music and engaging with people who are potential audience members.
What would you say have been your most successful and also least-successful ways that you have tried to promote particular projects?
For 2 years in a row now my trumpet quartet has received packed out audiences in our London concert. This audience is different to our usual audience when we tour more rural areas of the country and can be communicated with through a mixture of Facebook, Instagram and our mail out. These gigs are much easier to have control over as you can see the response there and then. When we go to concert societies, they always comment on how bright and appealing our pictures are and have a big impact on the awareness of the concert.
Sticking an event or page up on Facebook and hoping people will flock towards it is probably the thing I have found least useful. It is good for awareness and so people can see that you are working, but normally people do not attend on that basis alone.
How do you keep track of your promotional activities? Do you draw up a plan/strategy for each project, or is it more instinctive?
I love a plan, and I believe for any project a plan is a good starting place. I have an initial plan outlining post and engagement qualities and then review it every month or so to see what is working and what is not. It is very important to have a goal in mind. For example; increase engagement by 20% in the next month or increase audience by 100 in the next week. Although these goals are small, they all help you get to the end result with greater ease. I believe using many smaller goals instead of a single end goal allows for an element of flexibility.
With your crystal ball, how do you think things will change further for musicians looking to promote themselves, and find & engage new audiences?
The people I see with the most success treat their ensembles like a business. They look at how they can sell their product and how best to market themselves. This is hard as musicians often think this will restrict their musical freedom and allow less creativity and fun. But this should not be the case! It is just letting the world know what you are about and finding those people in the world that love what you do!
Do you have any further advice for fellow musicians?
I would always advise keeping your personal life separate from your professional life online, create a separate artist page for gig and promo pics and leave your friends and family with all the pictures of you and your pet!
Also, think about the time of day you are posting. You might be up and online at 2am, but no one is going to see your post, so wait, put it in your drafts and save it for a more appropriate time!
Marc Geujon is Principal Trumpet of the Orchestre de l’Opéra National de Paris. As well being a Professor at the Conservatoire de Saint Maur des Fossés, he is growing in reputation as a soloist and educator. September 2018 will also see Marc take up a teaching position at the Conservatoire National Supérieur de Musique de Paris. I was delighted to be able to catch up with him and also to find out about his latest collaboration with Schilke.
What drew you to the trumpet as a child?
When I was 11, I asked my parents if I could learn music. After one year of learning theory and reading notes, I asked the music school if I could try trombone. The music school director answered, “There are no more trombones available, you will learn the trumpet…!”. I began with a non-professional teacher in my village. One year later, I passed an audition to enter the regional conservatory. The trumpet teacher didn’t want to take me in his class, because my sound and level were so terrible, and he told me to learn the tuba. I refused… He said, “Ok… stop playing during the summer and we will start at the beginning in September. Four years later, I graduated from the conservatory and joined Eric Aubier’s class for 1 and a half years. After, I entered the Paris Conservatoire.
Were there any particular early musical influences, or any musicians now that you particularly admire?
As with a lot of players, my first recordings were of Maurice André. And the CD which persuaded me to become a trumpeter was “Great French Trumpet Concertos” from Eric Aubier.
It was the reason why I asked to study with Aubier. He taught me a lot, especially on stage. When I was around 20, he asked me many times to play some baroque pieces for 2 trumpets or more with him (Vivaldi, Molter…) and also played the second part in Bach Masterpieces with him. It was an incredible experience for me.
Now, I’m a big fan of Reinhold Friedrich, Matthias Höfs, Pacho Flores… As orchestral players, I love Gábor Tarkövi, Peter Masseurs, Frits Damrow, David Bilger, Michael Sachs…
https://youtu.be/Tvua70Ctjfc
Do you have a set practise routine that works for everything, or do you have to change it drastically depending on what gigs you have in your diary? Does your practice change drastically from doing an operatic run, or a recital tour for example?
I have a practice routine that works for most of my days. Basics from Michael Sachs Daily Routine, Plog Program, Stamp, Arban, Clarke… It depends on the time I have to practice. I try to think the trumpet to be as natural and easy as possible… I work every day in that way. The only thing very important is that I need to practice in the morning, every day. I drive my kids to school every morning and begin my warm-up at 8:30am.
How does this change when you are travelling?
The problem is to play in the hotel room, with a practice mute. And also the jet lag… but I try to keep my routine and to do my best despite the hours, places and climate.
When you are teaching, have you found that your emphasis has changed over the years as your own experiences and playing develops and changes? Are there particular ‘schools of thought’ or strict ‘methods’ that you like to use with your students?
Yes, I have evolved a lot in my playing and teaching year after year. I try to be a student in my mind every day. I listen to a lot of music, I practice a lot of new things, I buy a lot of new books… so I try to share all my experiences with my students.
The most important thing I try to teach is “Trumpet playing must be easy”. I have the chance to see most of world’s best singers on stage every evening. The better they are, the easier they sing! It takes a lot of time and practice to play with easiness, but it’s so important and useful…
What are the key things that young aspiring players should concentrate on?
Sound, rhythm, music…and practice!
What has the process been like working on new Trumpets and Mouthpieces with Schilke? Can you tell us a little about how that relationship came about and what the design process was like?
Around 12 years ago, I was in a music shop in Paris to try a Schilke P5-4 piccolo for a colleague. Andrew Naumann, Schilke owner and president, and Phil Baughman, sales manager, were in the upper floors of the shop. They heard me playing the piccolo and offered me a Bb trumpet t try, a B1 anniversary model. I wasn’t a fan of that model, but I tested also a C trumpet (a C3) and it was so much easier to play compare to my Bach C. I bought it, and an X3 Bb one month later.
I met Andrew Naumann and his wife Julie several times after that, and I’m lucky to say that we are good friends now. I have played Schilke for 12 years now (C3, X3, E3L, G1L, P7-4, C5-4, XA-1…). When Schilke created their HD models, Andrew asked me to test them. They were good horns, but too stiff for me. We developed the C3HD, which was a little bit more flexible and brighter. It was better, but I was not completely satisfied for my playing style. Andrew and I discussed a completely new project. A new line which keep the standard qualities of the Schilke trumpets, but with a more orchestral instrument, with a beautiful rich sound, a lot of core, brilliance, and extremely flexible.
After 18 months of design and research, the Soloiste series was born. A new C and a new Bb trumpet, completely new… Not an assembly of existing parts, or small modifications on existing horns… And I can say that these trumpets are the best trumpets I have ever played.
In February, I was at the Schilke factory to finalize the Bb Soloiste with Andrew, and I asked Chris Jones, the Schilke mouthpiece production manager for a mouthpiece which fits perfectly with my Soloiste new trumpets. He made an incredible mouthpiece for me, and the Schilke Soloiste MG mouthpiece was born…
Most enjoyable project or gig?
I can say that it’s Christmas every day for me. I’m a lucky guy! I play in a wonderful orchestra, the Opera National de Paris orchestra, with a very nice and talented brass section. I play chamber music with the Opera brass quintet. I play regularly with piano or organ for recitals, and more and more with orchestra for solo concerts.
Every time I play, it is a good moment for me. And I love to meet other musicians from all over the world to play, discuss and share…
Proudest professional moment?
Perhaps ‘Pictures at an Exhibition’ in Vienna Musikverein with the Paris opera orchestra… a wonderful moment with my colleagues. It was a change from our usual work in the pit.
https://youtu.be/W0-lJVmsDXg
What have you got coming up that you are most looking forward to?
I would love to record CDs now. It would be a good time in my life to do that… and I would love to travel more to play and teach French trumpet repertoire.
Thanks for your time Marc, is there anything else that you would like to add?
I would just like to thank very much my family for all the love they give me, Andrew and Julie Naumann with all the Schilke team for all their support and kindness, all the musicians I have met who have taught me something extra, and also, thank you, John for asking me these questions! 😉
Please visit Thompson Music to find out more about the new Schilke Soloiste Trumpets on the links below:
Acclaimed trumpet soloist and respected educator Rex Richardson has been described as “one of the world’s most engaging and astonishingly versatile trumpeters” (Style Weekly), and “among the very best trumpet soloists in the world today” (ITG). I was delighted to be able to catch up with him and to find out more.
What drew you to the trumpet as a child?
I think it’s funny in retrospect, that I began playing the trumpet, only because I’m asthmatic. My family, into which I was adopted as 9-month old, was not the slightest bit musical, but my mother tells me that I was drawn to music from the very beginning. Early on, I joined church and school choirs, and quite surprisingly (to anyone who has heard my raspy speaking voice) I was often given solo parts, so I must have had a bit of an affinity for it. Then at the age of ten, the family doctor suggested joining the school band on a wind instrument to assist with my asthma. Because my best friend at the time played the trumpet, I thought I’d give it a go!
Were there any particular early musical influences, or any musicians now that you particularly admire?
One of my very first influences, before I even really “took” to the trumpet at age 14, was Maurice Murphy. I had the Star Wars soundtrack on vinyl, because as an eight-year old (when the film was released in 1977) I thought the film – and the music – were the best things ever! The London Symphony personnel were listed in the credits, which is how I discovered Maurice and the rest of that phenomenal brass section. Years later I’d be thrilled to play with him and to develop a wonderful friendship with him and his lovely wife Shirley.
I think it was seeing Doc Severinsen on the Tonight Show, as well as seeing the Boston Pops on TV – when the trumpet section included Tim Morrison – that nudged me in the direction of wanting to pursue the trumpet more seriously. From that point, I was spending my allowance on records: Maurice André, Rafael Mendez, Wynton Marsalis (whose first records were just being released), Miles Davis, Freddie Hubbard, Woody Shaw, Louis Armstrong, saxophonist Mike Brecker – these were the earliest influences, but the list started to expand rapidly.
To this day, the list of musicians that I admire continues to grow…to list all of them might be beyond the scope of this interview, ha-ha! I find inspiration in wildly varying sources, from trumpet artists of every stripe to jazz saxophonists, and from classical singers to rock bands. I’ve been blessed to share the stage with a number of my recent heroes (Trumpeters Pacho Flores, Sergei Nakariakov, Til Brönner, Wayne Bergeron; saxophonists Steve Wilson and Chris Potter); some I would love to play with are vocalists Jan DeGaetani, Dawn Upshaw and Inari George, as well as Beck and Radiohead.
I have spoken with a number of players for this blog, and one thing that keeps coming up is how players often get categorised or pigeonholed into one particular genre. This could be a tough one, but if you were pushed to have to categorise yourself into one particular musical genre, where would it be?
Interesting question. I think that everyone finds it convenient to label things & people, but I don’t think it’s so easy to do that for most players anymore. Someone might “live” in a particular genre but make strong statements in another…take Pacho Flores, who is renowned as a classical soloist but whose latest amazing recording features folk arrangements for trumpet and guitar. Or take Mark Inouye, one of the U.S.’s very best orchestral players, who is also a dynamite jazz improviser. In my case, it’s tough because I pretty much split my time and energy as a classical soloist and a jazz musician. I suppose I’d categorise myself as living in “new music,” if that can be considered a genre, because I specialize in post-bop as a jazzer and often premiere solo works on the classical side. However, my last recording featured “old” music – our famous concertos by Haydn, Hummel, Telemann, Albinoni and Tartini (albeit, played on modern rather than period instruments), and I often play tributes to Louis Armstrong or other “older” jazz trumpet legends.
So, I don’t really know! I used to be more concerned with musicians trying to “limit” me with a label, but I don’t really care anymore; I just play music that I enjoy.
You are renowned for your skill as an all-round musician playing a wide variety of settings and styles. Mentally, is there a big shift from going from say a concerto with orchestra to the next night, playing a jazz set?
In a word: YES! The bigger challenge for me is that I often need to shift in the middle of performances; that is, I might do a pops show with orchestra that features concertos in the first half and jazz in the second. But truly, the challenge for me is less about making the shift itself, than it is about being physically and mentally conditioned to play whatever I have to…I find that, if I get out of shape, it tends to be my physical conditioning on the classical side (mostly with regards to delicate attacks, pristine articulation, details like those) and my mentalconditioning on the jazz side (losing my sense of “flow” when improvising, getting rusty in certain keys, etc.).
How do you keep that level of versatility in your playing? Do you have a set routine that works for everything or do you have to change it drastically depending on what gigs you have in your diary?
I’ve found that a balance of disciplined routine and flexible adaptability works best for me. I have certain fundamentals that I love and tend to hit every day: Stamp bending exercises, Clarke Technical Studies with every form of articulation (including jazz), and flexibility. I have a quite elaborate routine with the Clarke book in particular; too complicated to detail here! But working jazz articulation into the mix with along my single, K-, double- and triple-tonguing helps me to feel that it’s natural to switch styles, like switching accents if you’re bilingual.
I also tend to do an elaborate workout on certain harmonically “dense” tunes, playing modes, arpeggios and bass lines, as well as improvising at different tempos, to keep my improvisation skills in shape. I still listen and transcribe too (mostly stealing licks from Chris Potter or other saxophonists I admire!).
Beyond this though, my practicing tends to be based on what I need: What’s the repertoire for the next concert? Am I rusty in some area; e.g., is my single tonguing getting clumsy, fingers stiff, flexibility need a touch up? I have ways of dealing with any area of my playing that may be slipping.
I guess your teaching is pretty important to you? You have been at VCU since 2002 and also a visiting professor at the RNCM – have you found that your teaching methods and emphases have changed a lot over the years?
Yes, while I feel most comfortable and confident in my work as a performer/composer, I really enjoy teaching and feel that I have drawn tremendous personal and musical benefit from working with students, as well as from my long tenure at VCU and my association with other schools. I was International Tutor in Trumpet at the RNCM from 2012-2015 and have been back several times since, to teach and to perform. I really love that place! It’s bristling with musical energy.
For sure, things have changed over the years. When I started teaching, I understood almost nothing about the mechanics of playing; I have always simply found exercises that allowed me to develop skills without considering what I was doing with my lips, tongue, breathing etc. To this day, I feel that this is still a bit of a blind spot for me; I don’t entirely understand “how” I play but I can tell you which I exercises I practiced to get there! So, virtually everything I know about the mechanics of playing the trumpet is through teaching, not through my own playing. On the other hand, I feel I’m pretty good at teaching people how to structure a practice routine.
I still find that I can’t always diagnose student embouchure issues with perfect confidence, so I turn to some of my colleagues, in particular Taylor Barnett and Kevin Maloney at VCU, to help with that. I don’t pretend to be a “master” teacher and don’t tout my students’ accomplishments, which I feel are wholly their own; I simply want to help every musician that I can, and am very happy to enlist the assistance of wiser pedagogues whenever I feel that will benefit a particular student.
What are the key things that young aspiring players should concentrate on?
Get your fundamentals together and be a good musician.
That is, spend the time to acquire the skills required of every trumpeter (healthy/efficient sound production, flexibility in every register, articulation, fingers, etc.), then commit wholly to becoming the best interpreter of music that you can, whether you want to play in an orchestra, improvise, play with rock/pop/folk groups, or any combination of any genres. Remember that people should feelsomething in response to our performances, so as you learn to play expressively – and to master the nuances of what that means in any particular context – you have to stay tuned in to your own emotional connection with music as a listener. I don’t care about my own feelings while I perform; indeed, I always play best when my heart and mind are quiet. However, I want to play in such a fashion that the listenercan have a special experience, will feel moved, or uplifted from hearing the music. If that doesn’t happen, then all my practicing is for naught.
I learned this by simply observing my own emotions when I listen. Being overwhelmed while listening to Mahler’s Das Lied von der Erde,or just by the sound of Coltrane’s saxophone or Inari George’s voice…this is a powerful thing, and I want to my make my own small contributions to music lovers’ experiences.
Most enjoyable project?
Actually, this is a Manchester story! I’ve had a myriad of enjoyable projects of course but playing at Band on the Wall in 2012 with the jazz bands from Chetham’s School of Music really stands out for me. It was the perfect night…the kids were astonishing, as they always seem to be at Chet’s, and we were all – performers and audience alike – completely swept up in the excitement, indeed the magic, of sharing that music. Yes, performing with young students turned out to be one of the most musically satisfying experiences of my career!
Proudest professional moment?
I’d have to say that’s quite recent: I played with Doc Severinsen and the Indiana Wind Symphony in mid-March. Doc heard me play a new concerto by Allen Vizzutti the night before on a different concert, then another new concerto (by the RNCM’s own Andy Scott) on the concert we shared…and we played together too. Doc had incredibly kind words about my playing; I was stunned and humbled by his reaction. It was deeply validating!
What have you got coming up that you are most looking forward to?
These are busy times! Tomorrow morning, I fly to Minnesota to play as soloist with the Adam Meckler Jazz Orchestra, and then on to Wisconsin for a residency at Lawrence Conservatoire. This will be followed by a concert with the Motor City Brass Band in Detroit, then a residency in Austria, doing several jazz concerts (including a trumpet summit with Austrian virtuosos Thomas Gansch and Daniel Nösig); then back to Michigan to work with the Brass Band of Battle Creek, and then off to perform a couple of concertos at the ITG Conference in San Antonio. So….that gets me to the end of May!
My big news is that I’ve got a new CD coming out in mid-May: Freedom of Movement: 21stCentury Trumpet Concertos, featuring the aforementioned works by Vizzutti and Andy Scott, as well as Tony Plog’s Concerto for Trumpet and Brass Band and Jim Stephenson’s “Rextreme” Concerto. That was a lot of work for a multitude of people (recorded in four cites on three continents), and I’m very excited about it!
Thanks for this Rex, and I am looking forward to seeing you at the ITG Conference next month! Is there anything else that you would like to add?
Just wanted to thank you wholeheartedly for thinking about me, John!
For further information about Rex including upcoming concerts and projects, please visit rexrichardson.net
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I met up with Markus Stockhausen on a (typically) rainy day at the Royal Northern College of Music in Manchester, UK on 23rd March 2018. He is a trumpeter at the cutting edge of modern performance, and as I was to find out during the course of this interview, a fascinating one at that!
JH: Thank you for meeting me here in Manchester Markus! You are in the middle of a tour at the moment I believe?
MS: Yes, last week I was touring with Florian Weber, we had 4 concerts in the UK. And here in Manchester I have a guest professorship at the RNCM, so I come here once or twice a year to either teach or do concerts. This time around I am doing a concert of my compositions with Big Band and String Orchestra. There are some smaller scale pieces in the first half with different instrumentation and lots of different elements including free improvisation. The second half is a piece called “Tanzendes Licht” [Dancing Light], a work that I wrote around 10 years ago for the Swiss Jazz Orchestra together with the Camerata Bern. That was a commission to bring those two ensembles together. I also later adapted it slightly to perform with the Metropole Orkest under Jules Buckley. This is the version that we are performing now in Manchester. I am very happy to come here, and the students, particularly the rhythm section, are excellent. I was so astonished to find such good players here, and all so young too!
Festival Time in Jazz, August 2017 in Ozieri, Sardegna, Italy. Photo: Gerhard Richter
JH: Can I take you back to the beginning of your trumpet experience and ask you what made you choose the trumpet?
MS: My father [Composer, Karlheinz Stockhausen] brought me a small post horn back from England when I was about 8 or 9. I had a blow on that one a few times and somehow, I felt drawn to the trumpet players of the brass section whenever I would go along to hear my father’s works in rehearsals and concerts. I don’t know why, I just found this fascinating! I started on piano when I was age 6, but when I was 12 we had to choose a second instrument at school. I tried the trumpet, and although I don’t think that I was especially gifted at that stage, I loved the sound and also the possibilities of being able to play with other players in small ensembles, wind bands, big bands, dance music, on weddings, funerals! … everything that you can think of! We had a band at school, we started to improvise, I had a small motorbike and with the trumpet on my back I was travelling all over the place going from one rehearsal to another. School wasn’t really that important to me, it was more about making music.
When I was around 15 or 16 we had a lot of good teachers. Jiggs Whigham lived near my home and leant me some important LPs. He also came down to teach our school big band sometimes which was great.
There were 3 main strands to my music making in those early days: The 1st was my classical teacher who took me through the major repertoire – Haydn, Hummel, Telemann, Hindemith etc, and orchestral excerpts and studies. The 2nd was the jazz and improvising that I enjoyed doing. The 3rd was from when I was 17 when I started to work with my father who would take me into orchestras to sit in the trumpet section to play his pieces. And when I was around 18 or 19 I began to take solo roles in some of his projects. He wrote “Sirius” for me which was an incredibly musical and demanding piece, 96 minutes of music we had to perform from memory. I was just 19 at this point! Shortly after, in 1978 he wrote “Michaels Reise um die Erde” as a trumpet concerto for me, which – being part of the Opera cycle “Licht” – in 1981 had its opera premiere at La Scala di Milano.
The kind of training that I received through my father really exceeds anything that any other student could possibly have! It was so broad.
JH: With this incredibly broad training that you had, with so many different styles, did you identify mostly with and enjoy one particular kind of playing?
MS: At that age, no, I enjoyed everything. I was ambitious and wanted to develop everything. I entered solo competitions which opened the door for me to perform with orchestras. I was taken on by an agent who helped to develop this side with me. I lost count of the number of times that I performed the Haydn concerto… with my father’s cadenzas of course! I had requests from other composers to perform their works, which I did sometimes, but I favoured working and collaborating with my father.
People told me that I had to decide which direction to take. I also considered conducting which I enjoyed, but ultimately decided not to pursue that as my trumpet playing would suffer. That was a big decision. I made the decision NOT to choose between playing different styles, but to continue pushing myself with classical, jazz etc. It became hard sometimes when a concerto one night would be followed by a jazz club gig the next, followed by a project with my father! I tried to space things out but it was not always possible – it sometimes was difficult and stressful.
JH: And what about now? Do you find that it is difficult to prepare for so many different kinds of projects?
MS: Yes, but in 2001 I took the decision to stop the collaboration with my father and to concentrate more on my own projects. This gives me more space to contemplate and organise. I also no longer take on classical concertos, I think my last Haydn concerto was 2008. There are lots of people that can do that – I think that it is important that I concentrate on what I can do that is unique. I wanted to explore my creative side deeper, and since then I have started various projects, duos, trio, quartet, larger ensembles… I recently started 2 new ensembles with 7 musicians, one is called Wild Life, the other is called Eternal Voyage. Sometimes I composefor them, but Wild Life is completely improvised.
I do not write so much now for larger ensemble. My son is now 25, and when he started to get older I was writing a lot. But when my daughter arrived in 2009, I felt that my energy and time to compose reduced drastically. Part of that creative energy goes into a person rather than into compositions! And it has to be that way.
JH: And are you able now to manage your work schedule pretty much how you want it, around your family life? It is that age-old dilemma for working musicians isn’t it?!
MS: I get complaints from my family that I am not at home enough, but they get used to it of course. It is difficult, but we manage. But if you want to keep the trumpet up at a good level, you have to be performing constantly. So, it is an essential choice for me to be on the road a lot, and away from the family sometimes. You certainly get used to airports and train stations! I try to do mostof my organisational work while I am travelling so that when I am at home, I can be more present. The projects that I do now are all incredibly enjoyable and rewarding, and I am at least able to stay in control of my schedule from this point of view. Sometimes I go on tour with my wife Tara Bouman, our duo MOVING SOUNDS. Then the whole family travels, which is very nice too.
My duo with Florian Weber is particularly busy at the moment, I think as funding gets tighter, a duo is suddenly much more appealing to a promoter than a quartet! And we constantly change our performances and the pieces depending on how we feel. It is incredibly liberating to be able to follow your emotions and state of mind instantlyin a performance.
As an interpreter,preparing a concerto is completely different as you have to train yourself to replicate a state of mind that is particularly suitable to that repertoire. The mental preparation is often the biggest challenge with that. With improvised music, I can just follow my own intuition, emotion and energy levels. “Go with the flow” as you say in English, and ride on the wave of your energy. It is more natural in a way.
Markus Stockhausen in Starnberg, 2016. Photo: Thomas J. Krebs
JH: You talk and teach on the subjects of the emotional, mental and spiritualpreparations towards performance and music making. Do you think that this is an aspect that can be ignored with a lot of ‘traditional’ trumpet teaching?
MS: No, they are as important for traditional performance also. Yet, I would say that it is very personal. From a young age, I was interested in finding better ways for controlling my body, controlling my breathing, and found that yoga was very helpful. I still do it on a daily basis. When I am travelling I will go for a short run every day and also do some meditation which helps me to stay calm, centre myself, and also to connect to something that is much bigger than we are, I call it ‘The Source’. Everything that we are is a manifestation of something vaster than we can possibly comprehend. And yet every one of us is a representation of that, and if we can make that conscious link to that ‘source’, by reducing our mental activity to an open state, we can have access to a much greater wisdom and energy that we can use in our lives. It brings us forward, it inspires us, it gives us ideas, and also good health. It is nothing strange or foreign, it is our deeper nature. Just open up to it.
JH: Would you say that this outlook changes the way that you approach playing and practicing the trumpet?
MS: I just try to listen to my body when I practice, to see what it needs. There is still some ambition there to cover the full range and to play strongly. I usually do some flapping of the lips and a short mouthpiece warm-up to promote blood circulation. I then activate my breathing as I learnt under Carmine Caruso. I have a pdf available to download on my website of my version of some of these exercises, that I find really helpful, I call them “The Basic Caruso”. Then I proceed with gently soft low register exercises for a few minutes before I start to play whatever I want to.
Coming back to Caruso, I studied twice with him having been recommended to him by Marvin Stamm. I was initially irritated that he was not a trumpeter, and there was a sterile system of how to practice… but then I understood, and it opened up something in me and made me understand that activating your breathing is the MOST important thing. I added a little bit myself, where you exhale completely before inhaling. You are then full of breath which gives you much more energy, even to approach simple things. Teaching your body to work in this way takes a lot of the problems away from the lip.
Another thing is that when you play a difficult passage, of course there is tension in the body. The important thing is that once you no longer need the tension, you should release it and move past it. I learnt this from yoga. The balance between contraction and relaxation is key. We have this in trumpet playing all of the time.
Another piece of advice that I would like to offer is not to overdo the practice. Stop as you are beginning to feel tired, do not push on through. I made this mistake too many times in my youth, it is much better to play in smaller units and then take a break. I tend to do 2 or 3 sessions each day, around 40-45 minutes each time. I try to make sure that I really challenge myself in that time, but then take the time to relax afterwards. A lot of my practice involves improvisation, so I like to sometimes use a metronome to train my timing, as well as varying the spaces in which I play – sometimes a dry room, sometimes a big resonant space. It can feel physically very different playing in different rooms as you need to breathe much more deeply in a bigger space in order to fill it. The whole body vibrates differently, as well as your instrument of course. Sometimes I will also change my equipment depending on the space too.
JH: Do you tend to stick to a fairly set routine when practicing, or does it change a lot depending on what projects you are working on?
MS: It is pretty fluid really. The warm up is only 10 to 15 minutes and then I practice whatever I need to be working on, whether it be improvisation, pieces with my small groups, or something else. Usually there is a lot of organisational work to do along with lots of travelling so my practice time is limited. I have to really focus on what is coming up next and make the best possible use of my available practice time. My equipment changes depending on whether or not I will be miked up or not, so that also affects my practice.
Festival Time in Jazz, August 2017 in Ozieri, Sardegna, Italy. Photo: Gerhard Richter
JH: And what equipment are you using mostly?
MS: I mostly play Bb trumpet, Flugelhorns and Piccolo. These are the instruments that I generally travel with. I have a tuning bell, large bore Bach with a lightweight 72 bell. This is my oldest instrument and is the one that I fill has ‘my sound’. I also recently bought a Bach 43B (Mariachi) with a bronze bell. I love the sound of it and I am gradually getting used to having a bit more resistance. I also have an Olds Recording that has been customised, a Callichio with a Bach bell, a Schilke X3 with a beryllium bell and several others! Sometimes I don’t really feel like playing a particular trumpet on one day, so I will change things around and pick something else. On longer tours of course, I have to decide on an instrument to take with me. When I am going to a concert by car, sometimes I may take several instruments with me including perhaps 2 different flugelhorns – I have a very nice Van Laar flugelhorn which is quite heavy – great sound, great projection, but can get tiring playing for long performances. I also have a much lighter instrument, an Adams with a very light copper bell that was made for me by a local maker, Gaertner und Thul. It allows me to play very evenly and in tune in the whole register and does not tire me. I took off all excess weight including the triggers and the regular water-keysto make it as light as possible. At least with the flugelhorn, you can still get the water out quickly and easily by twisting and tipping the instrument. I am quite extreme in the way that I adjust and customise my instruments! My research on flugelhorns lasts about 4 years now …
I also am particular with mouthpieces. I have a wide variety of different styles, cup depths, apertures… but all with the same rim from JBS. These rims were unfortunately discontinued so I made sure that I bought a lot of them! I combine the rims and cups with different Warburton backbores. The difference a small adjustment to throat or backbore can make to the whole response and intonation of your instrument is phenomenal, and I like to experiment until it is as good as it can be.
I must say that in the last 20 years or so, the quality of mouthpiece manufacture around the world has drastically improved and there are so many makers that can produce consistent products. Even the Bach mouthpieces tend to be very consistent now! Thanks to the new digital technology.
Young players now have such an advantage having access to fantastic craftsmanship with instruments and mouthpieces. The only question is making sure that you have opportunities to try them.
JH: Would you say that things have changed in the past 20 or 30 years to make it even more important for students to be developing versatility in their playing and being open to trying lots of musical styles?
MS: The possibilities are there more than before, and maybe also the necessity to be a versatile player. I you go down the route of being a freelance player, I think that versatility is an absolute ‘must’. From early on I would encourage students to be good readers, to have orchestral experience, to have big band experience, and also some small group experience including improvisation.
But this is one answer only… The alternative answer to this question is, in the end you must realise yourself. Find out whatyou love, who you really are, and try to find situations which match your satisfaction and musical desires and instincts. Or else, you might be unhappy. In the end, we live our lives for ourselves, not for the money, not for anyone else. Through music we have incredible opportunities to express ourselves. It is worth saying that not many of us know at a young age exactly what we want to do, so perhaps a combination of both of these answers is the correct approach, try out many things and distillate your taste, style, abilities and thus find yourself.
JH: What are your plans looking ahead?
MS: Right now, I want to concentrate on the projects that I currently have going on, including my duo with Florian Weber called ‘Inside Out’, our CD ‘Alba’ on ECM has been doing really well. I have a new recording coming out in July with an ensemble that I have got going again called ‘Eternal Voyage’, on Sony Records. There are a lot more ‘world music’ elements in this and it is a bringing together of East and West. I like the name and concept of ‘one world music’ as a way of describing this group, but it is sometimes difficult to get engagements for this ensemble, because we are many players. I also have a new improvising group that includes my brother Simon again – we hadn’t worked together for about 15 years. The project is called Wild Life and we have just had a beautiful festival appearance, which has been filmed for the prestigious arte tv.
The ‘Moving Sounds’ duo with my wife Tara Bouman on clarinets also has some concerts coming up later in the year. We perform together since 2002 and have steadily developed our playing. It is maybe the most spiritual music of all my projects. My quartet ‘Quadrivium’ had a CD release with Sony last August that has been successful. Because of this recording I am nominated for the German ‘Echo Jazz Prize’. We will promote this group still further. We have to put a lot of energy into developing these projects, but I am pleased that we are getting a lot back now as a result of the hard work.
I am also continuing my seminars which give me occasional moments of rest from the touring and concerts. This is almost a second life in parallel with everything else, where everyone can come and participate. We do introspection, singing, voice improvisation and silence – this has the purpose of relaxing and finding your own centre in a more spiritual environment. I find that music is such a perfect means to dive into silence and meditation and expand yourself and relax. I found some beautiful places where I can run these seminars throughout the year and for me it is a really good mix.
MS: We are in a world with more possibilities than ever before, of course also with more competition. Have trust in yourself, don’t compare yourself in a judging way, follow your inner vocation, and if you pursue you ambitions, they willmaterialise. Follow your inner conviction and your desires, and in the long run you will succeed. And above all: enjoy your life. It is the only thing you have, and you will only ever live NOW.
JH: Thank you for your time Markus, and I am looking forward to hearing you perform at the ITG Conference in San Antonio, TX in May!
Italian readers will most likely need no introduction to Fabrizio Bosso. He is already a jazz superstar in his native Italy, and is now in demand on the international circuit with his various groups. Born in Turin in 1973, his fluency both musically and technically has brought him award upon award for his numerous albums, and Fabrizio’s post-bop style continues to develop to the delight of his listeners.
What made you want to learn the trumpet?
My father Gianni is an amateur trumpeter. He still plays in a big band, and it was him that guided me towards the trumpet, and also to jazz. I started to play at age 5, but I never had to be pushed, it was always my wish, and my family supported me from the beginning.
Who were your main musical influences?
I have two names in answering this question: Clifford Brown is the master that I look to in the past, and Wynton Marsalis is my favourite current player.
Are there any particular routines that you follow to keep yourself in shape for performance?
I play a lot of concerts each year and I am always travelling – this makes it difficult to find enough time to practice! Almost every day I work on basics including exercises and techniques from Clarke and Arban.
What do the next few months hold for you?
I am really happy that I am touring with my quartet, not just in Italy but also abroad. In June I will be in the USA – in Chicago, North Carolina, Washington and New York I very much hope that readers will come see us and listen to our music!
What can you tell us about choosing your Frate Precision mouthpiece?
I met Dario Frate some time and I have tested many of his mouthpieces over the years. Around one year ago, I found the perfect size for me that gives exactly the response that I want, and also gives me complete satisfaction in the sound quality in all ranges and all dynamics!
The full range of Frate Precision trumpet mouthpieces is available from our Online Store.
Frate Precision and Thompson Music will both be at the ITG Conference 2018 (San Antonio TX, 29th May-2nd June) where you can have the opportunity to try out a huge variety of mouthpieces. See you there!
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Jerry Hey is one of the most prolifically recorded trumpet players around. His style, sound and musicality made him the go-to guy on the LA scene, and as a horn arranger he is second to none. His collaborative projects with the great Quincy Jones are now legendary, and even now, after 40 years at the very top of the business, Jerry is still the man to go to for scintillating horns.
From a personal perspective, Jerry is the reason that I picked up a trumpet as a child after hearing those early Michael Jackson albums, so I was delighted that he could spare me some time to answer a few questions:
Jerry playing with Seawind in the ’70s
My reason for first picking up a trumpet was hearing you on those Michael Jackson tracks! What was yours?
My father was a trombone player and my 10-year older brother had a bugle he played in the Boy Scouts that I picked up as a child.
Who would you say was your biggest musical influence in those early days?
Clifford Brown – my father heard him live in Chicago and bought his first record.
Your time in Hawaii in the early days sounded huge in terms of your development as a player and arranger. How did that move to LA come about and how was that transition?
Hawaii was pivotal in my development with forming Seawind and meeting Gary Grant. Seawind moved to LA to record and Gary had moved from Hawaii a year earlier. Seawind played at the Baked Potato in North Hollywood at least once a week for a couple of years. A lot of musicians came to hear us so that helped get my start in the studio scene, but Gary Grant was instrumental in getting me on many sessions. Also, having met Chuck Findlay and Dalton Smith in Hawaii, they also recommended me for sessions.
Gary Grant, Jerry Hey, Bill Reichenbach, Larry Williams
Did you have any regular practise routines to keep you in shape during busy periods?
I did the daily routine that evolved under Mr. Adam’s teaching and that Larry Hall and I adapted.
What are the priorities for young and aspiring players hoping to have a long and successful career?
What trumpets and mouthpieces have you used over the years?
Bach 37 and Bach 3C were my standards throughout, but I played a Calicchio for a while and a had a Bob Reeves mouthpiece which was a copy of a NYC Bach 3C rim.
This is a guest question from Johnny Thirkell, who I interviewed a few weeks ago! [you can read it here] “In the lesson that you gave me, you had me blowing super loud through everything. Much louder than I would ordinarily practise. Is there a specific reason for that or is it just that I am a wimp?!”
It is mainly to get the sound concept that Mr. Adam was trying to impress upon us all. And also to keep the air moving at all times. But once that is established it doesn’t have to be at full volume all the time, like when playing Arban or Charlier for example.
Your horn sections have always had a trademark sound and style that have set the benchmark that producers and engineers now aspire to. Where did that rich, bright and intense sound come from?
It all starts with the players and everyone having a concept of how to make the section sound the best. Then the writing and engineering also play a big part in the sound. Fortunately, I started with Bruce Swedien and Quincy, who both knew exactly how the horn section should be recorded and what the section should sound like. It was a big learning experience for me with both of them.
Jerry with Quincy Jones
What are your favourite microphones for recording trumpet?
Bruce Swedien has an incredible array of mikes he used on us, and any mike he used was amazing. My general favourites are Neumann U47, Neumann KM54, Neumann FET47, Neumann U67, and most recently the Royer 121 and 122.
What are the horn sections that you like to listen to that you have not been involved with?!
Tower of Power, Brecker Brothers, Edgar Winter White Trash, Stevie Wonder, Snooky Young with Count Basie and Thad Jones.
Is there a particular project that you can say has been your most enjoyable?
Too many to single out just one! Any Quincy projects, Al Jarreau, Earth Wind and Fire, David Foster Projects, and George Duke.
Do you have proudest professional moment?
There are so many recordings that I am very proud of, but maybe the proudest moment was the first time I worked with my son, Andrew, when he recorded the horn section. We were doing our usual recording when I said, “Let’s double that!” Andrew talked back through the phones and said, “maybe we should do one more”. “Play that back for me Andrew. Wow, OK, you’re right. Let’s do one more take!” And from that very point on, I knew he had some really amazing ears and I go with his suggestion every time. I’m a proud father!”
Gary Grant, Wayne Bergeron, Andrew Hey, Jerry Hey, Bill Reichenbach, Dan Higgins
If you are interested to read more from Jerry, please give Michael Davis’ Hip-BoneMusic a visit. There is a great interview covering all sorts, from ‘Arranging Techniques’ to ‘Wine Recommendations’!
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