Saturday, September 26, 2015
“Signatures in Brass”
Jazz Gallery (1160 Broadway, New York, NY)
7:30 & 9:30 PM – $22
World Premiere by: FONT Music Roy Campbell Jr. Commissioning Grant recipient, Kendall Moore: Signature in Brass
From the Curator:
“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.
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:
Thomas Bergeron is one of those trumpeters who does it all – and really well! As comfortable in the jazz world as he is in the classical world and in the creative contemporary music world, he continues to blur the line of what these genres might even mean to someone. This is why we are big fans of him here at FONT Music.
He will be presenting music from his latest project “Sacred Feast” at The Dimenna Center (Benzaquen Hall) on Sept 25th for FONT Music 2015. We are seeing this as a DO NOT MISS performance (buy your ticket here). Not only is he a great artist, trumpeter and composer – he’s also a great guy and we had a blast chatting with him today. Here’s what he had to say…
Hey Thomas, thanks for chatting with us a bit today, we’re really excited to experience your show in couple weeks at The Dimenna Center – we’re so glad to have you on the program this year. I was surprised to hear this is your first time presenting with us. You are a great example of a “Crossing Genre Artist” we like here at FONT Music. We’ve found that FONT Music means different things to different people and artists, what does it mean to you?
I’ve been an admirer of FONT Music for years, and has become an important and influential force in the creative trumpet community, and I’m thrilled to be a part of it. To me, FONT Music is one of the most forward-thinking “New Music” festivals because it recognizes and embraces the many forms and genres that should fall under the heading of “New Music”, and focuses on the post-academic paradigm where performers are composers and vice-versa.
Right, that’s a great point about the performer being the composer and vice versa. In our community, you rarely are seeing the sole “composers”, but more so the performer is writing for themselves and others they are closely related to. In some ways, it becomes a bit more personal that way I suppose.
Among the many accolades for your new album “Sacred Feast”, the head honcho here at FONT Music Dave Douglas has said some pretty awesome stuff about your new project. “A really fine, beautiful statement. Subtle and rich … I can’t think of another player anywhere that could pull this off”. That’s pretty awesome…
Because Dave is such a model for me as an artist, as soon as “Sacred Feast” was finished, I sent the tracks over to him. I assumed that I was one of dozens of artists sending him material every week, so didn’texpect a response. He not only listened to it, but wrote me an email from the airport with his thoughts! How cool is that? This meant so much to me, and again shows how committed Dave is to supporting young artists and trumpeters. I was obviously thrilled when he asked me to perform at FONT Music this year. I hope that in time I can pay it forward by supporting future generations of FONT Music artists.
Dave Douglas has long been a huge creative and professional inspiration to me, and this Festival is a perfect example of why that is. On top of being a prolific creative force, stunning improviser, and virtuosic trumpeter, Dave is devoted to furthering the art form by supporting other creative artists, especially trumpeters.
Yeah, Dave’s a pretty amazing guy! So, for those of us new to Thomas Bergeron, can you give us a brief history? What have we missed thusfar?
This is a loaded question! I spent a good portion of my early years working in the classical world, both orchestra and chamber music. During this time I was mostly focused on honing my trumpet playing. Because I was taking orchestra auditions (and every freelance gig felt like an audition), I became obsessed with developing my sound and perfecting my technique. I soon realized that sound development and technical work would be never-ending pursuits.
It wasn’t long before I grew hungry for more creative outlets. I had played jazz for as long as I was a trumpet player, but after college I became more intensely interested in improvising and composing (and their intersections). It wasn’t until I arrived at Yale for graduate school that this became a career focus. Yale is primarily focused on classical chamber music, but there were a few fantastic jazz musicians in the program (and luckily for me they were rhythm section players :)). We put together a small jazz group, which provided an oasis of creativity for me. I wanted to convince the school that jazz performance practice had a place within their established chamber music curriculum. My strategy was to arrange jazz versions (written for jazz players) of the music of classical composers like Debussy, Villa Lobos, Chopin, and Ravel.
I love it – change the system from the inside out! Including your musical history and interests creating something unique. And this brought you to your first album?
My first jazz album interpreted the music of Claude Debussy (“The First of All My Dreams“). I was encouraged by the response to the music, especially when we performed live. We would constantly hear jazz fans saying they didn’t realize how cool Debussy was, and classical fans saying they never thought they’d enjoy a jazz show so much. While I was working on this creative outlet in the jazz realm, my classical career continued to have a life of its own.
I’m now going into my fourth season as principal trumpet with the Springfield Symphony, my third season with the Atlantic Brass Quintet, and I recently finished a two-year residency at Carnegie Hall with Ensemble ACJW. Working with these ensembles is of course immensely rewarding, not only because I get to perform alongside some of the worlds greatest players, but because I’m constantly exposed to some of the greatest music ever created. As a composer, jazz musician and improviser, I feed heavily off of the music that I’m exposed to in classical settings.
Wow – you’re ALL over the place musically, that’s so cool! And you’re drawing all areas of your musical interests into your creative playing and writing! So unique and personal! What can we expect next from you?
While promoting “Sacred Feast“, I’m always thinking about new material. I’m currently working on some ideas for smaller jazz groups (trios and quartets), and I’m also writing some new music for the Atlantic Brass Quintet. This is exciting to me because Atlantic is a traditional brass quintet made of up virtuoso players, but most of the players are also stellar improvisers with firm footing in the jazz world (like our trombonist Tim Albright, for example). The variety of skill sets in the ensemble opens up a lot of doors compositionally. I tend to pick a point on the horizon to sail towards, but allow the winds to blow me to a new course if they want to. So who knows, man? In general just trying to stay creative, stay healthy, and continue working hard to serve the world of music.
Yes… serving the world of music, that sounds about right. Do you have any big classical projects coming up?
As for nerve-wracking classical projects … there are a few coming up. Most notably, I’m performing the Haydn Trumpet Concerto, as well as Copland’s Quiet City with the Springfield Symphony in November (along with Handel’s Music for the Royal Fireworks … yes all on the same program … yikes).
So, Sacred Feast is your newest album out taking a “different” look at the music of Messiaen. Can you give us some insight?
I became captivated by the music of Olivier Messiaen when I was studying with one of his students, Joan Panetti, who teaches a course at Yale called “Hearing”. What struck me most was his ability to manipulate harmony and tone color to magical effects. Messiaen was known as a mystic, and perhaps more famously as a devout Roman Catholic (someone tell the Pope this concert is happening on the day he’s in NYC!).
Right! He’ll be a half mile away from you when you’re performing “Sacred Feast” – we’re seeing that as more providence than coincidence here. We’ll save him a seat.
Seriously … Tell the Pope this show is happening while he’s in town. He will love it. He probably already loves Olivier Messiaen’s music. If he hasn’t heard of Olivier Messiaen, he should. If ever there was a Pope in history who would enjoy a jazz Messiaen show, it’s Pope Francis.
We totally agree. We’ll see what we can do … Speaking of spiritualness of the music, how does the music affect you?
I am not a religious person per se, but Messiaen’s music takes me to a place that I can only describe as spiritual. That’s why I created this project. I wanted to expose people to his music who might not otherwise find it.
The band has only sunk deeper into the music through the numerous performances we’ve given since the recording sessions (I’ve often thought that bands should re-record their albums at the end of the tours that promote them. It could be like a musical version of one of those before/after pictures in weight-loss ads).
Ha! Yeah, the music evolves so much over time – that’s actually kind of a cool idea. The before and after musical shots… I’d be totally interested in hearing something like that. Tell us a little bit about what to expect on Sept 25th for your concert at The Dimenna Center (Benzaquen Hall) for the Festival?
This FONT Music performance has turned into quite a special affair, with the addition of a fantastic string section and the brilliant Becca Stevens (who sings a 3-part song cycle of Messiaen’s on the record, in addition to his Vocalise). The icing on the cake is that my friend and Pakistani tabla master Yousuf Kerai will be in town that weekend, so I’m re-arranging a number of our pieces to allow him to join us. I met Yousuf while visiting Karachi in January. Just a few days after meeting him, we put together a concert with some local musicians in which we combined Eastern and Western musical practices. Yousuf is the real deal when it comes to tabla. He grew up in Pakistan and studied with Ustad Khurshid Hussain. I remember him describing tabla as a “means of discourse”, which is a particularly apt description in the context of our collaboration.
It’s been such a pleasure talking with you, and we can’t wait to hear this pretty special concert!
Thank you for supporting contemporary music and people crazy enough to devote their lives to playing the trumpet. You’re making the world a better place.
We seem to think so too – glad you agree! Okay, so if we DO get a hold of The Pope, how can we entice him to stop by?
My suggestion, if you have his ear:“Excuse me Your Holiness, there is a concert happening across town tonight entitled ‘Sacrum Convivium’ (use the latin, trust me). Music inspired by the great Catholic composer Olivier Messiaen, including performers from Pakistan, Japan, and the US. Would you like to attend?”How could he say no?
Well, if you didn’t convince him, you’ve convinced me! Thanks Thomas!
Get more info about Thomas at his website: http://www.thomasbergeronmusic.com
Here’s a great clip of “Porquoi” from the “Sacred Feast” recording session:
The ongoing question of “How do we save classical music?” has been looming for years it seems. Luckily, in the creative world, multiple ensembles are not just asking the question, they are finding unique ways to SOLVE it. FONT Music 2015’s opening concert “Without A Frame” will be held at Rockwood Music Hall on Thursday September 24 at 8:30 where we will be featuring three of contemporary classical music’s forward looking, genre bending “classical” ensembles – yMusic, Asphalt Orchestra and Founders. It’s hard to truly call them “classical” groups as they start in one camp and jump constantly around to countless others. We’ll be spotlighting these groups in the next few weeks to give you a sneak peek for this exciting evening.
Today we catch up with FONT Music, Canadian Brass and Juilliard alumni and all around great trumpeter, pianist and musician, Brandon Ridenour. What doesn’t he do? We’re still trying to figure that one out. His latest musical project brings together 5 classically trained musician in a more “Singer Songwriter” setting – bringing both covers of multiple genres and originals to listeners ears. If this is what the future holds for classical music, I think we’re in for a treat. Here’s what Brandon had to say to us!
The last FONT Music concert I recall being involved in was back in 2008. I played an arrangement of mine of Messiaen’s Quartet for the End of Time – written for trumpet w/ electronic effects, electric guitar, bass guitar, synthesizer, piano, and auxiliary percussion.On a Messiaen side note, Thomas Bergeron’s “Sacred Feast” features works of Messiaen reinterpreted on Sept 25 at The Dimenna Center this year (coincidence? Maybe…). This year you’re coming back to us with a whole new project – singer-songwriter meets classical. A match made in heaven, in my mind. Tell us a bit about this group.
Founders is the group I’ll be playing with at FONT Music this year. It’s a singing-songwriting group of classical musicians. I was told the working theme of this FONT Music event was something like “Indie Classical”. So yeah, you could call us that. We do some originals, some arrangements. Sometimes there are vocals, sometimes not. The other instruments are violin, viola, cello, bass. I alternate between trumpet and piano depending on what the song calls for. Like yMusic, we might appear to be a classical group, but we don’t necessarily sound classical. Better to experience it in concert than for me to keep rambling about it…Yeah, we’re looking forward to the experience, but we don’t mind your rambling. Give us a rundown as to what you’ve been up to over the years since your days at Juilliard.
I played with the Canadian Brass from 2006-13. My father and girlfriend are both professional pianists, and I play trumpet/piano
world to singer songwriters. The ensemble’s instrumentation is flexible, but always acoustic. Could be as small as 3 instruments, oras large as a 20 piece chamber orchestra. Our debut album “A Dream Within A Dream” uses the full ensemble, featuring a major mixture of musical minds. Melodies are intertwined from Debussy, Mahler, Glass, Radiohead, Pink Floyd, and current writers/singers Leila Adu, Elliot Cole and….me. It’s a fun project. Maybe FONT 2016??Doesn’t sound like a bad idea … we’re really looking forward to Sept 24th! Thanks for chatting with us!
Purchase tickets for FONT Music’s Opening Concert “Without A Frame” on Sept 24th at Rockwood Music Hall featuring Founders, yMusic and Asphalt Orchestra.
If you are at all involved in the jazz scene, you likely have heard the name Marquis Hill over the past couple years – he’s the definition of a “rising star” and “young lion” in the jazz trumpet world. While being a sought after unique voice in his native Chicago jazz scene for years now, Marquis began to get the national/international attention he’s deserved recently after winning the 2014 Thelonious Monk Jazz Trumpet Competition (and International Trumpet Guild Jazz Competition in 2012). We’re excited to have him on the FONT Music team this year as not only an artist, but a curator of the event at The Jazz Gallery on September 26th entitled Signatures in Brass (buy tickets here).
Thanks for being a part of the FONT Music team this year – we’re excited to have you on board. For the rest of the reading world, give them your history with FONT Music:
This is actually my first year involved with FONT; I discovered the effort about two years ago and have wanted to be involved with their good work ever since. I consider myself fortunate to be a part of it this year.
You’re proudly from Chicago, which has a unique jazz scene. We just recently chatted with fellow Chicagoan, Chad McCullough last week who will also be performing at the festival. What are your thoughts about growing up in the Chicago jazz scene:
Born and raised in Chicago, I was fortunate enough to learn and grow well in the city’s energetic scene. It has long had a number of authentic voices and artist that see artistic vision. Though currently splitting time between Chicago and New York, I’m ever grateful for the rich opportunities my home town has, and continues to offer. To learn from and perform alongside some of the city’s great thinkers in the music – Willie Pickens, Von Freeman, Fred Anderson, Ken Chaney, Ernest Dawkins, and Bobby Broom – is a blessing.
Wow, a blessing for sure! Tell us about some of the professional stuff you’ve been up to.
I’ve been involved with some pretty fulfilling projects over the past few years. Matt Ulery’s “Loom,” Juan Pastor’s “Chinano,” Geof Bradifield’s “Our Roots” have each been uniquely fine opportunities in which I had the the oppurtonity to grow and contribute. As of late, my main focus has been my working group, The Marquis Hill Blacktet. We released our latest project, “Modern Flows vol. 1,” last fall; currently, we are preparing to go back into the studio and record the next project entitled “The Way We Play.”So what’s next for you?
Some great things are coming up; I’m energized to be playing the music from “Modern Flows Vol. 1” at the Chicago Jazz Festival, in September. Thrilled to be spending more time in New York – where I get opportunity to learn and grow with a number of compelling artists – I will also be doing a two-month European tour with the great bassist-composer-leader Marcus Miller, beginning in October. After that my focus will come back to the project to be released next spring (“The Way We Play”) Its an exciting and grateful time.
That’s fantastic! Can’t wait to hear about the Marcus Miller tour – you’ll have to give us a recap of that when you’re back! Luckily, before you split for that FONT Music gets you on September 16th at The Jazz Gallery. Can you tell us a little about how you’ve curated this event?
This is a project I call “SIGNATURES IN BRASS: The Personality-packed review of contemporary Jazz Trumpet.” It features Philip Dizack, Josh Evans, Keyon Harold, Ingrid Jensen, Billy Buss, and myself, on trumpets – as well as Theo Hill on Piano, Eric Wheeler on Bass, and Obed Calvaire on the kit. This is a great opportunity to feature a number of different and unique voices emerging under “Jazz Trumpet” umbrella. Featuring all-original music from the band as well as a commissioned piece – written by long time friend and fine composer, Kendall Moore. Should be a true fellowship!
Fellowship indeed! That’s what we’re all about here at FONT Music. We’re so glad to have you on board. Be sure to check out Marquis’ recent performance of his tune “White Shadows”at Tribeca Arts Center with his group Blacktet below:
Chad McCullough is no stranger to FONT Music, as over the past few years he’s been involved not only as a performer, but also behind the scenes as one of our graphic designers (see the web banner above – that’s him!). A diverse performer and composer, Chad is at the helm of the Chicago jazz scene and regularly is performing all across the world, in addition to teaching at DePaul University. Among his many music projects, his group Chicago based, Spin Quartet has just recently released their newest album, Starting From Zero.
He’ll be joining FONT Music 2015 at Downtown Music Gallery on Sunday Sept 27th at 7pm for our first night of the “Visionaries” Concerts, where he’ll play a duo set with New York pianist, Dan Cray (buy tickets here!). We touched base with Chad to see what he’s been up lately:
Give us a quick snapshot of your past and what you’ve been up to over the years?
I’ve been involved in some extremely rewarding long-term collaborative projects in the last few years. I’ve got a band with a great Belgian pianist, Bram Weijters, and we’ve been luckily enough to tour around the world. My band, The Spin Quartet has been an exciting group to work with and develop over the last few years as well. I also play with The Kora Band, a US-Canadian collaboration called Tunnel Six, and in Chicago am a member of a few very hip (I think!) bands; James Davis’ Beveled, Luke Malewicz’s Heritage Quartet; and just about anything else I can do to keep busy!
Wow! Sounds like you keep busy! Enough about the past, what’s on the horizon for you these days?
Lots on the horizon! In September I’m playing at the Chicago Jazz Festival and touring Canada, and a few days in the Pacific Northwest with The Spin Quartet in celebration of our newly released live record, The Kora Band is releasing a new album with a UK tour in October, and in November Bram Weijters and I will celebrate our latest album with a mid-west US tour. All good things! On top of all of that I’m very much looking forward to starting the upcoming school year, and working with the new students at DePaul.
You also will be joining us here in NYC in September for a set of duo music with NYC (and former Chicago) pianist, Dan Cray at FONT Music’s Visionaries Series (tickets here). Tell us a little about this setup and your history with Dan.
Dan and I have been friends for a while, and have played and talked a lot about music. This duo project will focus on our original music. As far as pianist in that setting, I really can’t think of anyone I’d rather play with! I’m really looking forward to this show.
Great! We’re looking forward to hearing that next month. Anything else you want to leave the trumpet world with til next time?
I’m around at any time to talk embouchures, valve oil, vintage horns, or just get together and play some long-tones with.
Check out this live video from Spin Quartet’s recent album release “Starting from Zero”:
Trumpeter/Educator, Jesse Neuman is not a new name to the FONT Music community – he’s back again this year by popular demand with his creative, energetic and fun children’s (of all ages!) brass program Blast of Brass! We got a bit more in depth last year with him with an interview (read here), but we wanted to take a few minutes this year to see what he’s been up to and talk a bit more about Blast of Brass. Be sure to catch his new video of the group at the bottom of the article!
Mark your calendars to bring your children (or your inner child):
Sunday, Sept 27 – 12pm
Brooklyn Children’s Museum – FREE event!
What have you been up to recently:
I just spent an amazing two weeks in Cuba with a group of high school music students. Naturally folks think of Salsa when you mention the Caribbean, but I was lucky enough to witness several “Rumba” performances. Not to be confused with the Perez Prado “Rhumba” craze, traditional Afrocuban Rumba involves several cross-rhythmic percussion parts (cowbell and woodblocks, shakers and scrapers), a lead vocalist and chorus, a trio of bata drummers (playing the very same Iya/mother, Itotole/father, and Okonkolo/baby drums used in Santeria rituals), and of course the dancers, whose dramatic antics play out in front of a hollering crowd. Of course the biggest lesson I learned was that I have so much STILL to learn, but it’s a journey I’m looking forward to taking.
Tell us about Blast of Brass:
Luckily, the drummer in our Blast of Brass Band (multi-percussionist Brian Adler) is just as much a fan of Afrocuban music as I am. Along with trombonist Elizabeth Frascoia and tubist Joe Exley, we are looking forward to returning to the Brooklyn Children’s Museum. It’s a great forum for my teaching non-profit, Musicworks, to connect with young kids about the science (and silliness!) of brass instruments, dancing and singing, and creating an overall commotion. We love getting to set up so close to the audience, and always have several curious customers come up and ask questions and try out the instruments afterwards…though Joe does have a rule: If you are small enough to fit inside the tuba, you probably shouldn’t try to pick it up on your own! Luckily, my pocket trumpet is available.
Find out more information about Jesse here: http://jesseneumaninfo.weebly.com/
Here’s where you can hear Jesse’s music: www.JesseNeuman.Bandcamp.com
Check out a video about “Blast of Brass”:
Since moving to New York City from Australia 12 years ago, trumpeter/educator Nadje Noordhuis has taken the jazz trumpet world by storm. After attending Manhattan School of Music, Nadje quickly became a sought after voice on the New York jazz scene for her unique sound, musicality and technique. During her time at Manhattan School of Music, she formed a strong friendship to master trumpeter and educator, Laurie Frink, who passed away in 2013. After her passing, Nadje began to continue to carry Laurie’s torch by helping to coordinate The Laurie Frink Brass Summit and deeply involved with The Laurie Frink Career Grant. Nadje has also been an imperative part of the FONT Music leadership team, in addition to being a performer for the festival many times over the past few years. We recently caught up with Nadje about her music, life and Laurie – here’s what came out…
Thanks for answering some questions for us Nadje – We know you have a long history with FONT Music, give us the rundown for our readers as to what you’ve done with FONT Music in the past:
As of this year, I’m a board member for FONT. I’m such a fan of this festival and have checked out performances every year since I moved to New York in 2003, and it’s incredible that now I’m in a position to help achieve the goals of this organization.
I first performed in 2009 as the FONT commissioned artist for that year – that was an unexpected honor for me. It was first time I performed with a small group in New York under my own name, and it helped me solidify what I wanted to do in terms of my own music. It was also at the 2012 FONT festival that I performed for the first time with vibraphonist James Shipp – we have been playing regularly ever since and are headed into the recording studio soon. I performed in 2013 as part of Henry Brant’s 52 trumpets extravaganza, and again in 2014 with my quintet as part of the series curated by Jeremy Pelt.
So what’s new with your music and your career these days?:
This past year I have been increasing my teaching workload. I took a few years off from having students, but since her passing, have tried hard to expand my knowledge in how to teach brass through an individual tailored approach and by problem solving. I teach privately, for the Manhattan School of Music Precollege Program, and with the environmental arts group Bash The Trash. I’m also a teaching artist with the NY Pops, specifically working with school brass sections in middle and high schools. As well as gigging around the US and teaching masterclasses with my own quintet, I’ve also been busy with Darcy James Argue’s Secret Society, The DIVA Jazz Orchestra, Kyle Saulnier’s Awakening Orchestra, and Rudy Royston’s 303, among others.
Tell us a little bit about your history with Laurie Frink:
Laurie was my teacher while I studied at Manhattan School of Music from 2003-05. Most people who studied with her say this – her lessons were like an oasis from the troubles of the world. I would walk into her studio with the weight of the world on my shoulders and walk out with a big smile. We chatted a lot in lessons about life, our struggles in being women musicians in jazz, and about very important things like great coffee and chocolate. She was inspirational, rock steady, and so incredibly funny. I miss her a lot.
How did your time with Laurie affect you as a teacher:
I have been teaching several students that have had particular chop problems or unusual playing habits, and I’m trying to channel Laurie in these lessons to help them achieve their musical goals.
You are deeply involved in The Laurie Frink Career Grant and Brass Summit, can you tell us about these two awesome things:
The Laurie Frink Career Grant was founded in 2014 by her long-term partner, Lois Martin, to continue Laurie’s legacy in helping young brass players to achieve great things. The first $10K grant was awarded last year to trumpeter Riley Mulherkar, and applications will be open in 2016 for the next one. There’s a small team of us administrating the grant who were close to Laurie, and it feels wonderful to be a part of this life-changing project. The Laurie Frink Brass Summit is the result of an idea I had at the gym – probably the most effective workout I’ve ever had! It’s basically a bunch of around 25 musicians and a special celebrity brass expert, and we talk about top secret brass stuff. It’s great fun, and a wonderful way to foster the community in the way that Laurie always did.
For more information on these events, or to make a tax free donation, please check out www.lauriefrink.com or www.facebook.com/lauriefrinkcareergrant. You can also email to be put on our mailing list.
What’s on the horizon for you:
I’m currently plotting and planning my next quintet+guests record, trying to promote my latest album, “Ten Sails” with pianist Luke Howard, and working hard to become the best teacher and player that I can.
Check out this recording from her new album “Ten Sails” with Luke Howard:
Buy “Ten Sails” Here: http://music.lukehoward.com/album/ten-sails
Stay up to date with Nadje at her website: www.nadjenoordhuis.com
On September 28, the FONT Music Festival will be hosting one of two nights featuring three trumpet “Visionaries” on the jazz scene today including Joe Moffett, Jaimie Branch and Leo Hardman-Hill (more on them in coming blog posts) at Downtown Music Gallery (Purchase tickets here). Curating the evening is another leading voice in creative trumpet world, Nate Wooley. We wanted to give a quick spotlight on this unique voice in the trumpet world and hear his thoughts on his curatorial picks and his idea of “Visionary”:
A Note from Nate:
“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.”
More about Nate:
Nate Wooley was born in 1974 in Clatskanie, Oregon, a town of 2,000 people in the timber country of the Pacific Northwestern corner of the U.S. He began playing trumpet professionally with his father, a big band saxophonist, at the age of 13. He moved to New York in 2001, and has since become one of the most in-demand trumpet players in the burgeoning Brooklyn jazz, improv, noise, and new music scenes. He has performed regularly with such icons as John Zorn, Anthony Braxton, Eliane Radigue, Ken Vandermark, Fred Frith, Evan Parker, and Yoshi Wada, as well as being a collaborator with some of the brightest lights of his generation like Chris Corsano, C. Spencer Yeh, Peter Evans, and Mary Halvorson.
Wooley’s solo playing has often been cited as being a part of an international revolution in improvised trumpet. Along with Peter Evans and Greg Kelley, Wooley is considered one of the leading lights of the American movement to redefine the physical boundaries of the horn, as well as demolishing the way trumpet is perceived in a historical context still overshadowed by Louis Armstrong. A combination of vocalization, extreme extended technique, noise and drone aesthetics, amplification and feedback, and compositional rigor has led one reviewer to call his solo recordings “exquisitely hostile”.
To find out more about Nate, visit: http://natewooley.com/
Check out a video on Nate’s project with Ron Miles “Argonautica” here:
Be sure to check out the full schedule of 2015 FONT Music Festival Here!