2015 Festival in Review Video!

Click here to check out our YOUTUBE Page here – be sure to SUBSCRIBE so you’ll see all the new extended video we’ll be unveiling over the next few months!

Here is a “Festival in Review” of Festival of New Trumpet Music’s events located all around NYC from Sept 24-29, 2015. Over the six days, FONT Music presented 23 different trumpeters at nine of NYC top music venues and presenting four new works (two of which were commissioned by FONT Music). Award of Recognition was given to Dr. Eddie Henderson – which included a panel discussion, public masterclass and a featured concert. Join us for next year’s festival slatted for Sept 19-25, 2016.

Featuring Trumpeters: Dave Douglas, Dr. Eddie Henderson, Marquis Hill, Randy Brecker, Brandon Lewis, John Blevins, Jaimie Branch, Chad McCullough, Joe Moffett, Jonathan Powell, Jesse Neuman, Leo Hardman-Hill, Thomas Bergeron, Josh Evans, Phillip Dizack, Keyon Harrold, Billy Buss, Ingrid Jensen, Aaron Shragge, Stephanie Richards, CJ Camerieri, Brandon Ridenour, Sam Jones

Venues: Rockwood Music Hall, The DiMenna Center for Classical Music, The Jazz Gallery, Brooklyn Children’s Museum, Downtown Music Gallery, The New School, The Blue Note

FONT Music 2015 Executive Board:
Dave Douglas – President
Stephanie Richards – Vice President
Aaron Shragge – Secretary
Suzannah Kincannon
Susan Ryan – Board Chair
Benje Daneman – Administrator

FONT Music 2015 Team:
Benje Daneman, Taylor Barnett, John Blevins – Videographer
Benje Daneman – Video Editing
Chad McCullough – Graphics and Design
Kate Amrine – Administrator
Nate Wooley, Jeremy Pelt, CJ Camerieri, Stephanie Richards, Dave Douglas, Marquis Hill – Curators

The Festival of New Trumpet Music is made possible in part through the generous support of Chamber Music America, the Doris Duke Charitable Foundation, New York State Council on the Arts, Meet the Composer’s Cary New Music Performance Fund, The Brooklyn Music School, Manhattan School of Music, the Bill Dixon Music Fund, New Music USA, and its individual donors and volunteer board.

Catching Up with FONT Music Alum: David Smith

David-Smith-sofa We are delighted to present a very insightful chat with NYC based trumpeter, David Smith. A heavy presence on the NYC creative music and jazz scene, David is the whole package – composer, band leader, educator, performer, father, husband and all around great guy!  It’s a pleasure to dig into some heavy subjects with him on the trumpet, NYC’s current scene, recording and life – be sure to check out his group at ShapeShifter Lab on February 9th!  


Thanks for chatting with us today, David!  Talk to us a little bit about your past – where are you from?  What was your music experience like growing up and how did you end up in NYC?

I’m from Toronto, Canada, though I began playing trumpet in 4th-grade band when my family was living overseas in Riyadh, Saudi Arabia (!) for a number of years.  I was really late coming to jazz, I had relatively little exposure to it until late in high school but an inspiring music teacher named Brian Turnbull and a rapid sequence of events led me to switch from an engineering track and pursue trumpet performance seriously.  Once I started down that road I got deep into it and spent some years in school and playing professionally in Toronto.  I wound up in New York with the encouragement of a great drum guru up there named Jim Blackley that never played in public but had sessions at his house two or three days a week, as well as my close friend Kenji Omae who was my roommate for many years and is an outstanding tenor player that lived here for a few years but now lives in Seoul, Korea.  Fortunately for me, I’m a born dual-citizen so making the move was as simple as putting my stuff in a truck and making the drive, and extra fortunate for me, I received a grant from the Canada Council to study with Laurie Frink for my first year here.  Over the years in New York I’ve been lucky to have a lot of opportunities to play great music with great musicians, and it’s been one long, continuous lesson. 

Remind the readers, when did you perform last with FONT Music?

I played at Douglass Street Music Collective (RIP) in 2013 with my band, Rich Johnson was kind enough to invite me.  I wrote some new music premiered on the gig and that ended up being part of my most recent record, Impetus.

(check out “Halloween Song” from his FONT Music 13 Performance below at Douglass Street Music Collective)

There is a large “Canadian Born” jazz scene here in NYC, which you are obviously a part of.  Can you speak into that?  Do you still have a strong connection to Canada?

Yes there is and that’s a great thing.  In 2000 when I moved here I don’t think it was quite the same case, though there were definitely some notable players like Seamus Blake, Ingrid Jensen, Grant Stewart and John Stetch.  It seems to me that in the last ten years or so the number of players coming down to study has increased a lot, and a reasonable percentage of them stay so now the community is fairly large.  I still have a connection to Canada, most notably I think in my general mindset and of course my formative years as a jazz trumpet player were informed by the scene there.  I haven’t played up there as often as I’d like recently, my parents moved a good distance away from Toronto some years back and so trips up to visit them don’t generally coincide with connecting with the scene.  It always feels like a breath of fresh air when I go though!

You’ve been in NYC for many years and have become a strong member of the creative jazz community here.  Would love any of your insights and observations as to how that community has evolved and changed over the years and the direction it is going.  

david smith playingI have to say there are some parts of New York living that I could do without, but the jazz community here is incredible.  There is a comradery and sense of shared purpose that I think makes for a productive atmosphere in the broad sense.  I’ve noticed changes over the years, but I think the scene today is very healthy despite the usual practical challenges that are requisite of being a jazz musician.  I think chief among them is the rising cost of living in NYC, not that it was ever cheap or easy, but it’s risen pretty dramatically in the last several years.  Having said that, I recall in a lesson with Laurie Frink in 2000 she said to me, “I don’t know how anyone makes a living any more as a musician…”, so perhaps I’m just that much older!  There are still neighborhoods around with high concentrations of musicians, but the more the gentrification process happens the more spread out everyone becomes and it runs the risk of eroding the community aspect of the scene.  One other change I’ve seen is the relative explosion of the large ensemble scene.  I think this is really positive and a distinct source of creative energy in jazz right now.  I’ve been very fortunate to play in a lot of different bands, and it still boggles my mind to think of how many there are.  It’s very inspiring to hear so many different and great approaches and I find my (small group) music is often impacted by experiences I’ve had in one large ensemble or another.

Give us your insights into being an educator.  I know you’re on staff at CUNY and have done other clinic based work, but how do you see being an educator interwoven into your musical life?  How much of your “work” is in the education side?

I have always done quite a bit of teaching, pretty much since day one of arriving here.  It’s been a source of stability and it’s also something I enjoy a great deal and feel a certain aptitude for.  It helps me connect with my own musical inspirations, as I draw on those to communicate to and inspire students, but of course I’m also inspired by the experiences of working with students. There’s a “community service” side to it where I think music has taken a real hit in modern times in terms of the general public’s awareness and some of what I do is working with people that are not necessarily active musicians.  It’s always a challenge balancing the teaching and playing, I’ve always thought of myself as a player first and foremost, but teaching requires commitment to do it well and it’s a constant challenge to find the right balance.

Can you talk into your progression as a trumpeter since moving to NYC? 

As I alluded to earlier it’s been one long lesson since I got here, and thankfully I’m still growing.  Probably the best part of New York is the *constant* kick in the ass from players around me, and it continues to push me to grow.  When I was young I was never a particularly strong player in the physical sense but there are so many players around that are and so that has demanded a significant chunk of my practice time over the last fifteen years.  I’ll think I’m making some good progress and then I’ll be at a rehearsal and hear Jonathan Powell warm up… 

Jonathan is scary great and inspiring as a trumpeter, for sure!  How about your progression as a composer?

Certainly a significant factor in my development was the decision to spend more time writing and start a band, a little over ten years ago.  I had dabbled in composition prior to that, but once I spent more time on it and tried to figure out what it is I wanted to say I discovered that composition is a very important part of my musical life and one that I’m proud of.  It also helped me focus my artistic identity and the process of recording and booking gigs opened up a whole other world of things to learn.  As a dual-citizen that spent a good chunk of my early youth in Saudi Arabia, my “roots” are somewhat scattered and it was a challenge digging down to find out who I am and what I want to say, but pursuing my own music has allowed that to come into much clearer focus.  You mentioned family, I have a couple of kids now and that has become an important part of my life.  It has also forced me to grow as a person, and along the way some of the emotions have provided good material for music. 

david smith playing 2You have recorded many times with different labels.  Where do you stand on the importance of recording and documenting your work? 

Hmm, well first in the spirit of full-disclosure I think I should mention that in the last few years I’ve become involved with Brooklyn Jazz Underground Records, a small (but growing) independent label.  I definitely think recording is a different thing than performing, as it is producing a product that is a formal artistic statement and is released to the world as a documentation of that artistic statement.  I think it’s so important to do it and get it out there, however one chooses to, and also to make an effort to get it heard.  In today’s digital world with YouTube clips and countless other “snippets” of players, albums still stand in stark contrast as formal documentation, and it requires a different consideration of the conception than playing a tune on a gig that someone caught part of with an iPhone.  In terms of how things are released, there are more options today than there ever have been, and each has possibilities.  Major record labels still play a role, independent record labels play a role and many people put out fantastic records entirely themselves, they all can work.  There are reasons to go each way and not to go each way, I think I’d recommend to anyone to explore each and start with the possibilities, and then from there consider the options and what best fits what they want to do with the recording.

You are such a strong and agile trumpeter – what are some consistent things you regularly do to both maintain and grow as a trumpeter?  Has that changed over the years?  If so, how?

Well, that’s kind of you!  Like most trumpet players dealing with the instrument is a constant challenge/battle/source of humility for me but I have to say the sadist in me enjoys the struggle.  Not only that, as I’m now entering my third decade of professional playing, it is extremely satisfying to continue to make progress where bit by bit that struggle pays off in small little chunks.  I’ve never really been a “routine” trumpet player in terms of long-term dedication to a specific set of exercises, but at any given time there are a few things that I try to do consistently.  These days I feel like I have more of a conception of exactly what should be happening when I play, and that tends to direct my practice more than the other way around where completing a given set of exercises is the focus.  I’d say earlier on I was doing more of the latter, and there have been periods of several months or even a couple of years where a particular routine was working well for me and I did them religiously (for example when studying with Laurie Frink).  The demands of working as a trumpet player are particularly (mostly?) physical and so I do put a fair amount of effort into becoming a “stronger” player, and of course that often is accomplished by relaxing and working *less* hard physically while playing.  But to be a bit more specific, I’ve always worked on intervallic things like triads and other chords and opening them up, as well as opening up pentatonic scales to explore the intervals within.  I’ve also been fairly consistent about working on classical stuff, whether it’s etudes or solos or playing duets with friends.  About twenty years ago I heard Brad Turner play in Toronto, hearing him freaked me out, and when I talked to him his advice was to play lots and lots of Charlier, something I took to heart.

Your vocabulary as an improviser and composer is pretty unique.  Where have you gotten your inspiration?  Have you seen an evolution of that over the years? 

One of the first players I got into in college was Clifford Brown, and for a couple of years I did nothing but listen to records of him, learn his solos, learn his tunes, etc.  This was great for learning how to play changes, but at some point I came to realize that the “typical” trumpet vocabulary just wasn’t me, it never felt genuine.  Toward the end of college I had the opportunity to study with Charles Tolliver, and I think that experience was the beginning of what set me on a different path that ultimately felt much more genuine.  He turned me onto Booker Little and that really opened my eyes to some different trumpet language and the pursuit of it, I remember “Milestones” and “You Stepped Out of  A Dream” were a couple of solos that I learned that really impacted me.  Once I started down that path there was Tom Harrell and Woody Shaw, but around that time I started living with the aforementioned Kenji Omae and another great tenor player Trevor Hogg for what was ended up being a number of years and I was really heavily influenced by the saxophone approach/language.  So I was learning Steve Grossman licks and Coltrane solos and later on Joel Frahm and Chris Potter and Mark Turner, and seeing how it worked to apply that stuff to the trumpet. At some point in there I also started listening a lot to classical music, a lot of Mahler, Bartok and Bach and that was having a significant impact on my artistic mindset.  This later led to studying counterpoint and harmony with a great teacher named Donna Doyle, and that really opened my eyes to a lot of stuff and let me to hear music a different way. When I started spending more time on my own compositions I would occasionally find something that felt very “me” and so then I would pursue that a little further.  More recently with my creative involvement in the creative big band music scene I’ve gotten to hear a lot of different approaches, and among other things I think that experience has allowed me to get more in touch with the 12 year-old me that was listening to a lot of rock music.  Guys like Darcy James Argue and Nathan Parker Smith have showed me how those influences can work in a jazz context, where previously I think I always felt those musical roots I had were at odds with my jazz and creative adult self, and that’s something that’s involuntarily showing up more in my music.

(Check out David as a featured soloist with Darcy James Argue’s Secret Society at The Kennedy Center in 2011 with fellow FONT Music Alums in the section Matt Holman & Nadje Noordhuis)

You have truly crafted a career as a unique creative trumpet artist – in this day and age that’s a rare thing, especially with a family and in a society that doesn’t always compensate an artist at the level s/he should be.  How have you been able to keep the focus and create that career longterm?

Well, it’s very tough of course as I imagine most people reading this can identify with.  But over the years I’ve had to figure out ways to make money and keep that going, but none of that would make any sense if I wasn’t pursuing my own music and career.  Doing so keeps me in a healthy mindset that for the most part has kept bitterness at bay, and there’s a symbiosis there.  The artistic endeavors satisfy the artist in me, and the financial endeavors allow me to continue to pursue the artistic endeavors.  On very rare occasions the two meet and those are very good days. 

DavidSmith back poseHow have you found the balance between having a family and continuing an ongoing and growing musical career?

It’s tough in terms of the time demands of a family, but then I feel that the kind of personal growth that I’ve experienced as a result of having a family has really positively benefited me as an artist. I’ve also been very fortunate to have a wonderful wife that fully supports me and at times has heavy lifting at home while I’m working on some writing or have a gig that requires a lot of preparation or even playing sessions.  I of course have to keep that in balance too but she understands why I need to pursue my artistic career, and I’m just lucky she’s been so staunchly behind me.

Are there any projects we can spotlight for you coming up or even in the works down the road.  Big gigs? Recordings? Tours?

I have a gig coming up on February 9th that I’m looking forward to.  My band will play ahead of John Yao’s 17-Piece Instrument at Shapeshifter Lab and we’ll continue working on some new tunes that are in the development stages I suppose.  I also have another gig with my band in the afternoon on March 1st at the College of Staten Island where I’m an adjunct, though I know that’s a bridge too far for some…  I just did a couple of different big band recordings that are both going to be excellent.  One was with Frank Carlberg and the other was with Andrew Rathbun, I’m looking forward to hearing the final product with those, both were great experiences.  I have a number of sideman gigs coming up, one in particular that I’m looking forward to is getting to play with Matt Wilson for the first time on February 24th at Barbes with Andy Biskin’s 16 Tons (clarinet, three trumpets -!- and drums).  If I can plug my website it’s www.davesmithtrumpet.com and from there people can check out my schedule to see what’s coming up.

David, thank you so much for chatting with us – always very insightful to talk with you!  All the best to you!

(Below is David’s composition Charade from his performance last year at Cornelia Street Cafe)

Three Sets Featuring Three FONT Music Alums – Dec. 15th!

While NYC is chock full of countless great jazz events every night, it’s not every night you get three sets of three great trumpeters in one place (outside of the actual Festival we put on every September!).  But next Tuesday, Dec 15, at ShapeShifter Lab in Brooklyn will be JUST that – and even better, all three trumpeters are FONT Music Alums!  Nadje Noordhuis (Four Time FONT Music performer, FONT Music Commission Awardee (2009) and Current Board Member), Josh Deutsch (FONT 2011/2012) and Riley Mulherkar (FONT 2013/2014 & 2014 and Laurie Frink Career Grant Recipient).

Here’s what we’re in for:

“Music for Brass & Strings” – Tues Dec 15th – $10 for ALL three sets
ShapeShifter Lab (18 Whitwell Pl, Brooklyn, NY 11215)

7pm – Nadje Noorduis Quintet
8:15pm – Josh Deutsch’s Pannonia

9:30pm – Andy Clausen’s Wishbone Project (w/ Riley Mulherkar)

That should be enough to get you out, but if it’s not here’s more info from the trumpet sources themselves!:

7pm Set
Nadje Noordhuis Quintet

Nadje Noordhuis says:
Nadje Noordhuis antique“I’ll be leading my quintet with Sara Caswell – violin, Vitor Goncalves – piano and accordion, Matt Aronoff – bass, and new to the band on drums, Ritchie Barshay. We’ve been playing together since 2010 or so – usually multiple times a year at the 55 Bar, as for performances at universities and festivals (including FONT Music) around the US. We like to play pretty melodies. But don’t be fooled – we also like to perform tunes that are described as “epic”, so you should be able to stay awake! We’re on first at 7pm, so that will help. My band is made up of ridiculously talented musicians, and I try to write to showcase their talents. Great sound, lyricism, and storytelling are on menu for our performance.”

Nadje Noordhuis Quintet features:

Nadje Noordhuis – Trumpet
Sara Caswell – Violin
Vitor Goncalves – Piano
Matt Aronoff – Bass
Richie Barshay – Drums

Can’t make the night, catch another event of Nadje’s:

Nadje & Sara Caswell performing at FONT Music 2014.

“I’ve been pretty busy playing with Darcy James Argue’s Secret Society, Rudy Royston’s 303, the DIVA Jazz Orchestra, as well as freelancing with a bunch of bands around town. I also perform with my own quintet, and have a duo with vibraphonist James Shipp. I teach trumpet and piano privately as well as in a couple of schools, and record for jingles and random projects. I should get around to writing some more of my own music at some point, but time has really gotten away with me lately. Having said that, I released an album with pianist Luke Howard (it’s called Ten Sails) earlier this year. In my spare time, I help to administrate the Laurie Frink Career Grant, and the Laurie Frink Brass Summit, which were established as a legacy to the late FONT board member and teacher extraordinaire. I run my own record label, which is releasing a new album or two next year, and I like to knit and drink whisky, preferably at the same time.”

More info on Nadje: http://www.nadjenoordhuis.com/
Link to her new album “Ten Sails”: http://music.lukehoward.com/album/ten-sails

8:15pm Set
Josh Deutsch Pannonia

Josh Deutsch says:
Josh Deutsch's Pannonia (with Josh Deutsch, Zach Brock, Ryan Keberle, Gary Wang, and Ronen Itzik): Queens Jazz OverGround 2015 Spring Jazz Festival at Flushing Town Hall 04-25-15

Photo Credit: Scott Friedlander

“The idea of curating this night was to feature bands that use brass and string instruments as the primary sounds.  Since I started my band Pannonia, other projects with similar instrumentation have been catching my ear, and these are two of my favorites, so I’m really excited to be sharing the evening with them.”

Pannonia features:
Josh Deutsch – trumpet

Zach Brock – violin
Ryan Keberle – trombone
Edward Perez – bass
Ronen Itzik – percussion


josh deutsch

Photo Credit: Jesse Winter

Can’t make the night, catch another event of Josh’s:

Josh leads a new project, called the “No Chairs Ensembles” inspired by the music of New Orleans and other danceable instrumental music traditions. He will be at Terraza 7 Friday Dec. 18 playing duo with guitarist Nico Soffiato (http://joshdeutsch.net/duo.html) released 2nd record “Reverse Angle” in 2015.

More info on Josh: http://joshdeutsch.net/
More info on Pannonia: www.pannoniaband.com


9:30pm Set

Riley Mulherkar w/ Andy Clausen’s Wishbone Suite

Riley Mulherkar says:
Riley tpt Credit - Lauren Desberg

Photo Credit: Lauren Desberg

“I’ll be playing in Andy Clausen’s piece “The Wishbone Suite,” a chamber/jazz composition mixing folk elements with improvisational counterpoint. Andy and I have played music together since our days growing up in Seattle, and are co-founders of The Westerlies, so playing his music feels as natural as if it was my own! I’ve been a fan of this piece since he recorded it back in 2011, and now he has adapted it for a new instrumentation of trumpet, cello, trombone, piano, and drums. It has the perfect mix of through-composed material, free improvisation, and rock out jams; I love it!”

Andy Clausen’s Wishbone Suite features:
Riley Mulherkar – trumpet
Mitch Lyon – cello
Andy Clausen – trombone
Addison Frei – piano
Jason Burger – drums

Can’t make the night, catch another event of Riley’s:
riley cornelia 2014

Riley performing at FONT Music 2014

“The holidays are my favorite time of year, but also the busiest when it comes to shows around town! I’m excited to present a concert of holiday favorites with Wynton Marsalis next Wednesday at the Brooks Brothers Flagship Store as a benefit for St. Jude’s Hospital, and I’ll also be playing in a Holiday show at Dizzy’s Club Coca-Cola this weekend, Friday through Sunday. My band was recently featured in NPR’s Jazz Night in America (link here) in a piece documenting the family of musicians at Dizzy’s, and this show is a perfect representation of what we do, with a little added holiday flair!  In terms of more long-term projects, The Westerlies recorded our second album back in August and we’re currently mixing it – I can’t wait to get this music out into the world!”

More info on Riley: http://rileymulherkar.com/

We have much to be thankful for…

jazz_nov15_1We have much to be thankful for…

after an amazing festival in September which included 9 venues, 23 trumpeters, 14 bands, 4 new pieces of music, and over 500 people in attendance.  On this “Giving Tuesday” we humbly ask if you have a little more “Give” left in you to consider donating to FONT Music.  All proceeds go towards supporting new music by a diverse community of trumpet and brass players, and the presentation of their work to the public.

Thanks for all the love, support and music you all have given and supported,
We can’t wait to experience more with you all!

Dave Douglas Live Recording at The Jazz Standard – Nov 19-22

If you haven’t heard yet – FONT Music’s President, Dave
Douglas, is embarking on a what will likely be a historic 4 day, 8 set LIVE recording with his most recent Quintet Dave Live Recording(with Jon Irabagon, Matt Mitchell, Linda Oh and Rudy Royston) at The Jazz Standard in New York City, starting tomorrow November 19th until Sunday November 22nd.  They are fresh off a three continent tour with over four albums of Douglas’ music all memorized!  This will truly be a run you won’t want to miss.

There are a couple of ways to get involved:

    If you’re in the NYC area, take a train, bus, walk, hail a cab, dial an uber – whatever – just come on down and be a part of what will be a great recording session. This is your chance to be a part of that live audience on classic recordings – your applause might be the one that people listen to for ages!  Buy your tickets here
  2. PREORDER RECORDINGS OF THE WHOLE RUN OR SPECIFIC NIGHTS: Dave and Greenleaf Music has made a lot of options for you to either preorder all the sets, preorder individual nights (Thurs, Fri, Sat and Sun) or become a Greenleaf Music Level 3 Subscriber and get access to the whole series (and other great Greenleaf audio goodies).  Click here for more info on the recording from Greenleaf.

John Raymond & Pablo Masis – Interview Spotlight


Pablo Masis

John Raymond_PressPhoto2 (Photo credit Eric Ryan Anderson)

John Raymond





John Raymond
and Pablo Masis both moved to New York City in 2009 – since then they’ve spent a lot of their time creating a career in the ever evolving jazz world here.  They will be sharing the stage this Wednesday October 17th at Cornelia Street Cafe starting at 8pm with their respective bands.  Pablo will bring his quintet with a new set of music inspired by his residency in Kabul, Afghanistan and John Raymond will bring a new quartet featuring the music from his latest record “Foreign Territory”.  In preparation for what will be a great night of music, Benje Daneman of The FONT Music Team, sat down with John and Pablo to talk about the night at Cornelia Street, their adjustment to the music scene in NYC and their personal music:

Interested in listening to the recording of this interview? Here it is! 

B: Thank you John and Pablo for doing this interview with me today I appreciate it and looking forward to the concert this Wednesday at Cornelia Street Cafe.  I wanted to just talk with you guys about a few different things.  Right off the bat for everyone who is reading, how long have you guys known each other and can you give us a little background as to how you guys met, your history, as friends or colleagues?

P: I believe our connection was through a mutual friend.  Was it through Ben?

J: Yeah it was through Ben, yeah.  The saxophonist Ben Dobay – I know Ben because I went to school with him in Wisconsin.  And how do you know him Pablo?  I can’t remember.

P: I met Ben Dobay at The Banff Center a few years back when we were there together.

B: At some point I knew Ben too – he might be the common ground between all of us.

P: Yeah I remember Ben telling me not longer after I met him that summer that you John were moving to town.  I think we met officially at The 55 Bar at someone’s gig.

J: Oh yeah, I think I do remember that.

P: That’s kind of a vague memory and can’t be more specific, but I think that’s how it happened.  So it’s been a few years, John have I have known each for four years now.

B: Now you guys both moved to town about the same time.  When did you guys move to New York?

P: I moved to New York early 2009.

J: And I moved in later 2009.  Pretty much the same time.

B: John, you moved to New York to study at SUNY right?

J: Yep, at SUNY Purchase.

B: Pablo, what was your reason to move here other than it being an amazing city?

P: That I had a lot of friends that had moved here after school.  I went to school in New Orleans and after that a lot of my friends moved out here.  I had been living in the midwest and decided I needed to make the move.

B: This is a little offshoot since I have you both here, I like to talk to different people about this especially in our generation.  Making the move here (NYC) is very different than what it used to be years and years ago.  A lot of people, like John, come here to study and they create a community through that and then from there they go off into the world.  And Pablo is on the other side of that.  Can you guys talk to us quickly about your experiences in getting integrated into the scene here.

J: I went to SUNY Purchase which is outside of New York City.  But I was really intentional and kind of had my sights set on living in New York.  And actually a part of the reason I chose the program at Purchase is because at that time for me it was three days a week.  And I could commute up there via metronorth and so I could go up there three days a week and pretty much every night I went out and heard music and went to jam sessions and kind of did the historical thing that jazz musicians do when they move here.  So that’s kind of for me how I started to get into the scene.

B: Did you notice a big change once you graduated officially?  Did it open up a world for you or did you feel like you had already started making a presence?

J:  I feel like I had already started making some progress and establishing something even if it wasn’t much because I don’t think it was at that point.  But just to have a familiarity with the scene and to know some people and have some people know me and at least have a rough idea of how things work because I got out of school and already knew to some extent what I was getting into. Whereas I think some of my peers who maybe stayed on campus might not have that experience that I had.

B: Now Pablo, can you tell us how your process was getting in and compare it John maybe?

P: Yeah my process, I feel, might have taken a little bit longer than someone who came here for school maybe because I was trying to survive and support myself.  I was working odd jobs here and there.  I was working at a music store and a lot of my time was focused on just surviving initially.  So it was hard initially for me to go out and make all the jam sessions and see everyones gig that I would loved to have seen and I had moved here to see.  And as time got on I got a little bit more stable here which afforded me the opportunity to go out more and just you know have a presence, to use that from earlier.  It’s been a real interesting learning experience.  Like you said, this is New York City and learning to just live here is a school.

B: It’s a school in itself.  How long do you think it took for you to get over the initial hump of just surviving to get to that point?

P: Oh boy.  That’s a great question.  At least a year.  I was really bouncing around wondering, will I really live in New York?  For a while I was wondering if I’d move to the west coast because I didn’t really like the lifestyle here and then overtime things got more solid, but I would say that first year was really up in the air.

B: I did my masters at Manhattan School of Music and I remember Dave Liebman who was kind of running the masters program said you need to give it at least five years.  You have to be on the five year plan to give New York a chance.  First get integrated – even if you go to school, after school you have to give it a five year run.  You guys are just over that hump now and it seems like you both are finding your place and getting things happening.

We’ll come back to that to get more of your stories, but to get back to the Cornelia Street stuff.  You guys first shared a bill there in January, but John was with his trio, now called Real Feels.  What was the initial thing that brought you guys together for that and what was the thought process of doing it again?

J: Well for me it was from known Pablo for so long, I remember when we first got it together I think it was probably because we both approached the guy who books Cornelia Street about doing a gig there and if I’m not mistaken Pablo, you can correct me, I think he suggested us doing a night together and might first thought was, Yeah, totally!  I think it’s great to do shows with other people on your instrument.  We all kind of learn from each other.  I know for me over the years whenever I’ve heard Pablo or we’ve played together or something, I’m always trying to understand – Okay, what’s his concept?  How is he thinking about the trumpet and how is he thinking about his music and how is that different from mine or how can I learn from that?  For me that was definitely appealing just on that front alone.

B: Pablo, what are your thoughts on that.

P: I have a very vivid memory of hearing John play in a larger ensemble at The Tea Lounge before they closed their doors.  This was maybe a little over a year ago.  Remind me John, like a little big band maybe?  And John sounded so good and thought, man I’d like to do something where we could do something together and the opportunity came up with the Cornelia Street guy.  And I jumped on the chance.

J:  You have a different band this time than last time too, right?

P: Yeah and that is something I’m moving forward with, with this new suite of music I’ve been working on.

B:  Right and I want to talk about in a tiny bit – so maybe we can save that for second.  From a conversation we had earlier, maybe something to hit on a little deeper.  So you did that in January, this time did you approach Cornelia saying: Hey, we want to do this again? or was it more like them asking, Will you guys do this again?

P: Yeah, when I contacted the booker again just to stay in touch with him, I suggested that John and I had done this in January and it’d be really great if we could have another night sometime this year.  And that was how we found a place for that.

B: That’s great – and just to interject.  You guys were just hitting on what FONT Music is trying to integrate even more into the community which is supporting collaboration in the trumpet community and the new music community.  And i think what John was talking about when he was able to compare himself to other people on his own instrument he was able to look at different concepts and approaches and grow from that.  And I think that’s one thing that we as FONT Music are trying to really support and put out there. 

Really quick, this is slight offshoot, but because we’re here – within our community, what are some things your are seeing that are positive things – or what would you like to see more of?  You don’t need to go in too deep.  But that is something that as we’re the younger generation coming up, do feel that’s a strong thing or should be stronger?

J: Do you mean in regards to trumpet players?

B: It could go both ways.  It could be with trumpet or the music community you find yourself in.  Maybe just some commentary on what you’re noticing.

john at subculture

John Raymon performing with his quartet with Joe Martin (b) and Billy Hart (d) at SubCulture during his CD Release for “Foreign Territory” in April.

J: I guess something that I’ve noticed personally is that I get this sense that musicians in our generation are maybe sticking together in a different kind of unique way.  I don’t know if that’s similar or different than in past generations but I do know how it’s different in one sense and that is just how the industry has changed and how much, just for example, at this point most people in our generation are releasing records independently.  And many of us, especially horn players, haven’t gotten many opportunities to be sidemen with other musicians who can give us our “big break”.  And so I’ve felt personally that even in myself that a sense of wanting to stick together and support each other and wanting to just keep the community of musicians in our generation, at the very least, thriving.  Because I think when we all look at each other we see everyone’s doing cool stuff and unique stuff.  And we all know that we’re fighting hard to make it happen and there is a mutual respect for each other in that.  And that’s something that I think is unique and kind of cool.

B: Pablo, what are your thoughts?

P: Well, I was just nodding along with everything there.  That’s really great.  I just want to say to piggy back on that would be, to see people doing projects together and then watch over time, I’ve only been here for five years, but to watch over time and see how the projects and when certain people come together and have a chemistry together and then you hear when they’re on the bandstand you think, Holy cow! And you always go back and think, oh these two people working together again – this is great!  And just seeing that come out of this sort of mutual respect, we need to do something.  That’s just what I was thinking about while you were talking.

B: I think that’s really good and I think another aspect too, that you guys were talking about – John was saying our generation is a little bit different, I think social media has played a huge difference since we are able to track each other easier at all times and are able to get our music out too.  We’re a generation that, when you’re able to do that it kind of changes the game.  I think we can follow each other in a different way.

Jumping back to Cornelia Street.  You both are coming to this specific show with either different groups or different musical concepts.  I was hitting that John has a new trio “Real Feels”, but you’re going to bring your quartet, right?

J: Yep.

B: Tell us about that real quick.

Quartet MN photo

John Raymond Quartet to appear at Cornelia Street Wed Oct 17 with Jay Sawyer (d), Sullivan Fortner (p) and Rick Rosato (b)

J: Well the particular group that I’m playing with – let me back up, I guess.  I released my last album in April which is a quartet record and right before it came out actually I had this cool opportunity to do a guest residency at a high school in Minneapolis where I’m from.  And so I kind of wanted to intentionally put  a band together.  A little bit different from the record and would involve people who would really good at connecting with these high school students.  And so I put a band together that includes Sullivan Fortner on piano, Rick Rosato on bass and Jay Sawyer on drums. All of them are incredible players but really great teachers.  It was a really special couple of days on and off the bandstand.  We had some really great conversations and times hanging together just the four of us and we had a great time teaching together.  And we had one set of music kind of for this special concert that happened at the end of our residency.  And it was one of the most gigs I’ve done in a long time and I think there was just this very special chemistry – and there is a special chemistry between all of us.  So I’ve been looking for opportunities to get that band back together to do a gig or just to do something because I felt like Pablo was alluding to – when you see people and projects that evolve and see who they’re collaborating with and you start to realize when certain things have some special chemistry.  You want to just go back to that again and again.  That’s just for me what was my goal in trying to put a gig together, so that’ll be the band that I’m playing with on Wednesday.

B: That’s exciting – that’s a really fantastic band they’re doing their own unique things as individuals players, but as you said, it’s different from the band you recorded with which is all a little bit more seasoned, been around the block a little longer – these are kind of the young lions of our time essentially, especially in the New York scene.  Sullivan is with Roy Hargrove all across the world, but Rick is doing all sorts of things and Jay is too.  They’re all kind of on the edge of it, which is really cool.  Are you guys going to be playing the music from “Foreign Territory”?

J: Yeah, well – I had hoped to write some new music, but as you know the new daddy life has made that very difficult.  So the desire was there, but the time was not.  So we are going to be playing music from that record, “Foreign Territory”.  I think one of the interesting things about it – at least when we played back in April – this particular group of musicians I think, I don’t know how to describe it in words, but it’s a much different feeling and vibe from the recording, but it’s still very – we’re still really listening and bringing the music into some unknown places…

B: Foreign Territory?

J: Exactly.  And that was kind of my goal from the beginning and it just started turning out very different with this band in kind of a unique way which is cool because I feel like I can play with these guys and I think it’s going to be a much different experience for the audience than what it would be with Billy Hart, Dan Tepfer and Joe Martin. 

B: Sure.  Pablo, talk to us about your music that you’ll be bringing on Wednesday and your band.

pablo at cornelia

Pablo Masis Quintet at Cornelia Street Cafe in January with Austin Walker (d), Andrew Gould (b) and Dylan Shamat (b)

P: The focus on my music this time will be a suite of music that I wrote earlier this year while I was teaching in Afghanistan and I’ve been sort of tinkering with the music that I wrote during my time there.  I think the band that I put together to explore this with me includes Andrew Gould on saxophone, Isaac Darche on guitar, Or Baraket on bass and Christian Coleman on drums.  What can I say about that time?  It’s really influenced my whole year.

B: Yeah, tell us about why were you in Afghanistan?  What brought you there?

P:  There’s a gentleman in Afghanistan that’s a trained musicologist and when the Taliban came to power he was forced out of the country.  And when they were removed or whatever it was, he was able to come back and start his dream of having a music school for the kids of Afghanistan.  That’s been going for five years. Every February they bring in guest teachers for the month to teach the kids more of a western musical perspective.  So I went over there and sent most of February living in Kabul in a hotel, which was foreign hotel – it was an interesting time.  I had a lot of down time – not much to do there.  So wrote a bunch of sketches and sort of spent the time fleshing that out and I’m pretty happy with the result.  This will be the first time this band has played this music publicly, so I’m a little hesitant in that sense but I’m hoping that if everything is – this is sort of what I’m planning for my next recording.

B: That’s exciting!  That’s enough to get folks out there a premier.  Do you have a title for this suite of music?  Did you say it was a suite of music?

P: Tentatively I’m calling it just “Kabul Suite”.  I need to think more of a name.

B: Well, Foreign Territory is already taken.

J: Yeah!

B: Is it influenced by the music you were hearing there or is it more of a different kind of introspective that still sounds like your other stuff?  Or what can we expect out of that?

P:  That’s a good question. I would say it’s a mix of the music that I was hearing at the school from the kids.  They teach of the traditional Afghani instruments – one I was hearing was called the Rubab (corrected from audio interview) which is like an Afghani sitar.  There was also a lot of singing because there is a lot of traditional singing taught in the school there.  And also during my downtime in the hotel there was a couple that was living in the room next to me that were also teaching at the school from India, and they were classical Indian musicians.  So every night they’d be working on their own music for their upcoming concerts so I’d hear them practicing classical indian music for hours everyday.  So that is also a sort of influence.  But then you know, it’s coming from my head so my own idiosyncrasies will be there.

B: Of course.  That sounds really exciting.  I think we could talk for hours – literally, about a lot of this stuff.  But maybe the conversation can just continue after the show on Wednesday.  I guess, maybe let’s do a closing statement for you guys.  Anything you’d want to get off your chest at this time?  If not then, then we’ll just call it, but I guess on my end thank you for being a part of this.  We’re really looking forward to checking your music out. Do you want to say anything?  Now’s your chance!

J: Oh boy… I don’t know what to say.  I probably exhausted all of my words at this point.  I am looking forward to it.  Last time was really fun doing this kind of a thing with Pablo.  It’ll be a great night.  I’m looking forward to it.

B: Pablo – do you have any last words?

P: This has been a fun little chat and hope that we can continue the conversation.  And it’d be great just to hear in the future if you decide to do a sort of FONT curated interview again.  I’d like to see this continue within the trumpet community.

B: That’s what we’re trying to expand on – so thanks for being our test subjects for this essentially our first double interview and podcasts.

The concert will be Wednesday October 17th at 8pm with John Raymond Quartet with Sullivan Fortner, Rick Rosato and Jay Sawyer.  It’s a $10 cover and $10 minimum.  Does that get you into both sets, or just one?

J: I believe it’s per set.

P: Yes, that’s what I’ve been told.

B: Awesome – and Pablo is on at 9:30 with his band.  Thank you guys so much for doing and looking forward to seeing you on Wednesday.  Tune in next week and we’ll do a little review of the concert.  Snap some shots and take some video for those of you that couldn’t make it out.  Is this being streamed online for those not living in New York City?

J: I’m not sure, we’ll look into that.

B: I think Cornelia Street usually does that for some of their stuff.  If they do, we’ll try to get a link up for people.  But if you’re in New York City you gotta be there – hear it live!  Thank you guys so much and hope you have a fantastic day and thanks for bringing your music.

Cornelia Street Cafe (29 Cornelia St) on Wednesday October 17th:
8pm w/ John Raymond Quartet
featuring Sullivan Fortner (p), Rick Rosato (b) and Jay Sawyer (d).
9:30pm w/ Pablo Masis Quintet
featuring Andrew Gould (s), Isaac Darche (g), Or Baraket (b) and Christian Coleman (d)

$10 cover & $10 minimum per set (cash only)

john 1John Raymond is an American jazz trumpeter, composer and educator living in New York City. Rooted in both traditional and modern forms, his music incorporates jazz, classical, folk, indie-rock and electronica influences. John has collaborated with musicians such as Billy Hart, Kurt Rosenwinkel, Orrin Evans, Linda Oh, Ethan Iverson, Dan Tepfer and Gilad Hekselman among others. In addition, he has recorded with Grammy-nominated singer Sara Bareilles, been a featured artist at the FONT Festival, and performed at events such as the Austin City Limits Music Festival and on NPR’s ‘Toast of the Nation.’

John’s latest album “Foreign Territory” was released in April 2015 to critical acclaim from the New York Times, Downbeat Magazine and others. Of note, his composition “Deeper” was chosen as a winner of the 2015 Herb Alpert Young Jazz Composer Award presented by ASCAP. John currently teaches at the United Nations International School, the New York Jazz Academy and various summer music workshops. In addition, he is an active guest artist and clinician at high schools and universities around the country.


headshotPablo Masis – Originally from Cleveland, Ohio, Pablo spent his childhood years in northern Arizona on the Navajo Indian Reservation before moving to Billings, Montana.  After graduating from High School, he studied classical trumpet with Robert Levy and received a Bachelor of Music degree from Lawrence University.  After pursuing a year of Graduate study in classical trumpet under Dennis Najoom at the University of Wisconsin-Milwaukee, he moved to New Orleans, where he studied with Terence Blanchard, Clyde Kerr Jr. and Ed Petersen, and received a Masters Degree in Jazz Studies from the University of New Orleans.

He has appeared across the United States and Europe including New York, Seattle, Portland, Omaha, New Orleans, Washington DC, Belgium, The Netherlands, and Poland. He has also performed with acts such as Michael Buble, Josh Groban, Gladys Knight, and the Temptations. He attended the Betty Carter Jazz Ahead Residency at the Kennedy Center in 2007 and also participated in the Banff Centre’s Workshop in Jazz and Creative Music in 2009, led by jazz icon Dave Douglas.
Since moving to New York City in early 2009 he has become an active freelancer and educator, and has performed at local venues including Joe’s Pub, The Blue Note, Arlene’s Grocery, the Bitter End, Kenny’s Castaways, The Baryshnikov Arts Center, Music Hall of Williamsburg, Irving Plaza, The Garage, and The Cornelia Street Cafe, among others.
Pablo’s 2012 release, “Intrinsic”, features several of New York’s finest players, including Chad Lefkowitz-Brown on Tenor Sax, Alex Brown on Piano, Linda Oh on Bass, and Jared Schonig on Drums.  His previous recording, “Half Past” (2009), was described as “a refreshing example of innovative jazz in our times.”
“Rubicon”, released June 30th, 2014 is a Kickstarter-funded project including five original compositions written for Trumpet/Bass/Drums.  Recorded in August 2013 at Peter Karl studios in Brooklyn, it features Aidan Carroll on Bass and Jared Schonig on Drums.
In February 2015 Pablo traveled to Kabul Afghanistan where he was a guest artist with the Afghanistan National Institute of Music for their Winter Academy.  While there he gave individual and group lessons to the school’s brass students, taught a series of introductory jazz classes, performed in recitals, and assisted with outreach for Afghanistan’s only music school.


FONT Music 2015 – THANK YOU!

4 trumpet banner

On behalf of ALL of The FONT Music Team we THANK YOU…
Please stay tuned for many pictures and videos taken throughout the festival as we unveil them over the next few months on our blog and social media.  Enjoy a sneak peek below of some of the highlights of the festival.

Thank you again for all that attended and all that supported through social media shout outs, donations and words of encouragement.  We couldn’t do it without you!

We welcome any and all feedback to how we can improve and grow FONT Music for next year – we’d love to hear from you!

Much Trumpet Love,
The FONT Music Team
Dave Douglas, Stephanie Richards, Aaron Shragge, Susan Ryan & Benje Daneman


Dave Douglas & Eddie Henderson in a masterclass at The New School


Visionary Night #1 Artists: Chad McCullough, Leo Hardman-Hill, John Blevins 


Visionary Night #2 Artists: Joe Moffett, Jaimie Branch, Brandon Lewis


Eddie Henderson Panel with David Adler, Eddie Henderson, Randy Brecker, Marquis Hill & Dave Douglas


Brandon Lewis at Downtown Music Gallery

Asphalt Orchestra

Asphalt Orchestra at Rockwood Music Hall

blast 1

Jesse Neuman & Blast of Brass at Brooklyn Children’s Museum

blue note 2

Jonathan Powell at The Blue Note

thomas B Ensemble

Thomas Bergeron Ensemble at Dimenna Center

trumpet summit 1

Signatures in Brass at The Jazz Gallery with Marquis Hill, Josh Evans, Philip Dizack, Keyon Harrold, Billy Buss and Ingrid Jensen.

FONT ’15 Preview – Sept. 29, 2015 – Eddie Henderson Panel, Award Ceremony & Concert

Tuesday, September 29th

  eddiehendersonn_wide-4eb67b2858a603ad4093a209f6e6fb9dd47773d4-s800-c85On our final day of FONT Music 2015, join us as The New School as we’ll be honoring and featuring a living trumpet and musical legend of our time, Dr. Eddie Henderson.  Please join us for what we are sure will be a truly special evening.

7pm – Panel Discussion About Eddie’s Work and Life
The New School
55 West 13th St. New York, NY
Hirshorn Suite, 2nd fl.

Eddie Henderson, Randy Brecker, Marquis Hill, Dave Douglas

Panel Moderator:
David Adler

8pm Eddie Henderson Concert & Award Ceremony
55 West 13th St. New York, NY 

Arnhold Hall, 2nd fl.

The Eddie Henderson Quartet
Eddie Henderson – Trumpet
George Cables – Piano
Doug Weiss – Bass
Billy Drummond – Drums

With Special Guests: 
Marquis Hill, Randy Brecker and Dave Douglas
marquis 2randy breckerdave douglas

Buy Tickets to Dr. Eddie Henderson Concert & Award Ceremony:

Full Festival Pass ($100 all ticketed events & VIP Reception):

FONT ’15 Preview – Sept. 28, 2015 – Eddie Henderson Masterclass & Visionaries (Night 2)

Monday, September 28, 2015

Public Master Class – Eddie Henderson
The New School
(55 West 13th Street  New York, NY)


“Visionaries – Night 2″
Downtown Music Gallery
(13 Monroe St, New York, NY)

Nate Wooley

nate wooleyFrom the Curator:

“The term “visionary” comes with a lot of baggage. Who is to say
which ways of thinking will prove to be visionary and which will be well intentioned ideas that never quite make it. For that very reason there are many that don’t take the opportunity to find their own musical and aesthetic limits, whether it is with the idea of staking a claim as a “visionary” or not. The three trumpet players I chose for this series are the ones that are taking the chance and are heavily engaged in an attempt to push beyond the already possible systems of playing to form a new one that is best suited to who they are and what they think.”

Buy Tickets to “Visionaries – Night 2”:

Full Festival Pass ($100 all ticketed events & VIP Reception):

7 pm
Jaimie Branch – trumpet
Anthony Pirog – guitar
Jason Nazary – drums

joe moffett 2 (rob miller)


Joe Moffett – Solo trumpet

Joe’s Website:

Joe’s FONT Blog Feature:

Brandon Lewis – trumpet
Ben Carr – bass
Kevin Theodore – keyboard
David Frazier Jr. – drums

Brandon’s Website:

FONT ’15 Preview – Sept. 27, 2015 – Jonathon Powell, Blast of Brass & Visionaries (Night 1)

Sunday, September 27, 2015
Five Bands,
Three Venues,
One Day

j powell 311:30am & 1:30pm
The Jonathan Powell
Latin Jazz Sextet

The Blue Note
(131 W 3rd St, New York, NY)
(Includes brunch & drink)

Music performed by:

Jonathan Powell – Trumpet
Louis Fouché – alto sax
Manuel Valera – piano
Ricky Rodriguez – bass
Henry Cole – drums
Mauricio Herrera – percussion
& Special Guest Jeremy Powell – tenor sax

j powell 1About The Jonathan Powell Latin Jazz Sextet:
The Festival of New Trumpet (FONT Music) and The Blue Note (NYC) present the debut of
Jonathan Powell’s new Latin Jazz Sextet featuring some of the brightest talent on the NYC Latin Music scene. Jonathan has been a mainstay of the New York Latin music scene since 2001 playing regularly with the ensembles of Eddie Palmieri, Arturo O’Farrill, Gregorio Uribe, Pedro Giraudo and many others.

What They Say About Jonathan Powell:
“Powell’s crackling range and the electricity of his imagination reminded me of the first time I heard Lee Morgan and Clifford Brown. His voice is his own.”
– Nat Hentoff, Jazz Times

Buy Tickets to “Jonathan Powell Latin Jazz Sextet”:

Full Festival Pass ($100 all ticketed events & VIP Reception):

Jonathan Powell’s Website:

FONT Music Blog Feature on Jonathan Powell:

jesse neuman shot
2 & 3pm
Blast of Brass
Brooklyn Children’s Museum
(145 Brooklyn Ave, Brooklyn, NY)

jesse w student
About Blast of Brass:

Jazz trumpeter and educator
Jesse Neuman presents a concert for the whole family. Learn about (and try out!) trumpets, trombones, tubas, and other instruments of the brass family. See how serious science meets serious swing, as the musicians perform and explain several styles of brass influence music, and give kids ages 5 to 12 an up close listen to these joyous instruments.

Music Performed By:
Aaron Shragge – Trumpet
Rob Jost – French Horn
Jesse Neuman – Baritone
Brian Adler – percussion

Jesse Neuman & Blast of Brass’ Website:

FONT Music Blog Feature on Jesse & Blast of Brass:

“Visionaries – Night 1”
Downtown Music Gallery
(13 Monroe St, New York, NY)

Aaron Shragge

From the Curator:
Aaron Shragge
“The term ‘visionary’ can be a difficult to define. For that reason I think it’s all the more important to search deeply and find a way to actualize its essence. The artists that I’ve chosen for this series are all wonderful examples of the unity and diversity of the trumpet. I feel they have each committed themselves to the visionary path by continuing to search for their own unique musical voice without being swayed by convention or novelty.”

Buy Tickets to “Visionaries – Night 1”:

Full Festival Pass ($100 all ticketed events & VIP Reception):

chad 2

Chad McCullough/Dan Cray Duo
Chad McCullough – Trumpet
Dan Cray – Keyboard

Chad’s Website:
Chad’s FONT Blog Feature:

John Blevins

John Blevins & MATTERHORN
John Blevins – Trumpet, Compositions
Jeff McLaughlin – Guitar
Marty Kenney – Bass
Nathan Ellman-Bell – Drums

John’s Website:

Leo Hardman-Hill Group
Leo Hardman-Hill – Trumpet
Katherine McShane – Cello
Zoe Christiansen – Accordion
Dennis Zurilovitch – Tenor Saxophone

FONT ’15 Preview – Sept. 26, 2015 “Signatures in Brass” @ The Jazz Gallery

Saturday, September 26, 2015
“Signatures in Brass”
Jazz Gallery (1160 Broadway, New York, NY)
7:30 & 9:30 PM – $22

marquis 1

Marquis Hill

Marquis Hill

Philip Dizack.

Phillip Dizack

sign - billy b

Billy Buss

sign - Josh Evans

Josh Evans

Music performed by:
Marquis Hill
Phillip Dizack
Keyon Harrold
Billy Buss
Josh Evans
Ingrid Jensen
Piano: Theo Hill
Bass: Eric Wheeler
Drums: Obed Calvaire

World Premiere by: FONT Music Roy Campbell Jr. Commissioning Grant recipient, Kendall Moore: Signature in Brass

sign - ingrid

Ingrid Jensen

From the Curator:
Marquis Hill
“This music presents the wide variety of sounds and styles that uniquely constitute contemporary jazz trumpet music. In earlier times, jazz was more easily associated with a singular specific sound. Today, we feel there is an immense increase in the stylistic breadth of jazz. Our goal is to demonstrate how diverse musical voices now authentically fall under the jazz umbrella. This program showcases these voices and personalities through a very special night of original compositions, both orchestrated and spontaneous. I’m happy to be working with the range of trumpeters and their musical visions in this collaborative effort.

sign - kendall moore

Kendall Moore

Buy Tickets to “Signatures in Brass”:

Full Festival Pass ($100 all ticketed events & VIP Reception): http://www.brownpapertickets.com/event/2125774

Marquis Hills’ Website:

FONT Music Blog Feature on Marquis Hill: