Tag

FONT – Festival of New Trumpet Music

September 9, 2015

Catching Up with FONT Music 2015 Artist: Thomas Bergeron

tom 1Thomas 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 meanttom 2 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 soundtom 3 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.Betts Family, March 1, 2014,Bedford Ma

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?

tom 4I 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:

Thomas Bergeron’s Bio: A trumpeter, composer, producer, and educator known for excelling in both the jazz and classical realms, Thomas Bergeron exemplifies a new breed of 21st century artists. In addition to his own hybrid jazz chamber ensemble, Thomas performs as a sideman with many jazz groups in NYC, is member of the Atlantic Brass Quintet and principal trumpet with the Springfield Symphony. He recently concluded a 2-year residency at Carnegie Hall with Ensemble ACJW, and has performed with Vampire WeekendThe Danish National Symphony Orchestra, The American Symphony, The Temptations, Idina Menzel, Judy Collins, Jon IrabagonArlo Guthrie, Ernie Watts, and the Radio City Christmas Orchestra, among others. His network television appearances include Saturday Night Live, Jimmy Kimmel Live, and CBS This Morning.As an educator, Thomas is dedicated to sharing music in communities that would not otherwise be able to access it.  He currently teaches inmates at Sing Sing Maximum Security Correctional Facility through Musicambia, and is an educational consultant for The Harmony Program in New York City. Thomas has held teaching positions at Williams College, Bennington College, Yale, and Amherst College.  He holds two advanced degrees from Yale, where he won the Woolsey Hall Concerto Competition and received the John Swallow Award for excellence in brass playing.  He also holds a business management degree from UMass Amherst.Thomas is a Conn-Selmer Artist, performing on Bach Artisan Stradivarius Bb and Eb/D trumpets, the Bach Stradivarius Chicago C trumpet, and the Conn Vintage One flugelhorn.

August 24, 2015

Catching Up with FONT Music 2015 Artist: Chad McCullough


chad 2
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:

Thanks for chatting with us today Chad – tell us about your involvement with FONT Music over the years:
I’ve been lucky enough to be involved with FONT since 2010. I started just making some small web banner graphics, and now do most all of the graphic design for the festival. I was able to perform in 2013, and will be back this year!

Give us a quick snapshot of your past and what you’ve been up to over the years?
I live in Chicago, and am very happy to be a part of this town’s vibrant jazz scene. I grew up in Seattle, learning from many of thechad 1 great musicians in the Pacific Northwest. I’ve been in the midwest for about 2.5 years, and teach at DePaul University in the jazz studies department.
 

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 Pacificchad 3 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”:

August 7, 2015

Catching up with FONT Music 2015 Artist: Jesse Neuman & Blast of Brass

Trumpeter/Educator,5709641 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 t-2o 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-1 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”:

Music Works NYC from Sasha Santiago on Vimeo.

August 5, 2015

Catching Up with Nadje Noordhuis: On Life and Laurie

Nadje Noordhuis Laugh- Blue
Nadje Noordhuis

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.

unnamed-2
Nadje performing with her quintet with Sara Caswell at 2014 FONT Music in NYC.

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 Frink
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:Nadje live action

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

September 8, 2013

FONT PREVIEW WEEK: Q&A with FONT Co-Founder, Director and Co-Curator Dave Douglas

FONT logo_final

Dave Douglas

Q&A with Dave Douglas,
Co-Founder & Director of FONT 2013;
Curator of St. Peter’s Church Programming

Denver-Based Trumpeter Hugh Ragin Makes Rare NYC Appearance
Sept. 22 Leading Jazz Vespers at St. Peter’s Church
Featuring Trumpeters Lew Soloff, James Zollar, Nate Wooley

Douglas’ Own Sextet Sept. 23, Featuring Jon Irabagon, Josh Roseman,
Matt Mitchell, Linda Oh, Rudy Royston & Special Guest Vocalist Heather Masse,
Celebrating Release of New Sextet CD, Pathways, Part of DD|50 Box

Check Out Exclusive FONT Interview with 2013 FONT Honoree 
Marcus Belgrave, Conducted by Trumpeter Greg Glassman

Q: How did you become a trumpet player? Did you play other instruments before the trumpet?

DD: Even though trumpet was one of my earliest instruments after piano and trombone, I always naturally thought of myself as a musician. It didn’t occur to me that I was a trumpet player until it was way too late, which is one of the reasons for this festival. It’s to celebrate the trumpet as a piece of equipment in the hands of musicians of every variety, to counter the idea of the trumpeter as a music jock, a sort of athlete of the high notes and proponent of the showiest, brassiest sounds regardless of what the music calls for. We celebrate the Music first. Then the Trumpet, then the New. This is a Festival for music and musicians involved in some of the most compelling, expressive, protean, challenging, and fun music around.

Q: Were there recordings in the beginning and even years into learning the instrument that drew you into the trumpet’s sound and possibilities?

DD: When I finally realized and accepted that I was a trumpeter I was drawn to unique sounding players like Miles Davis, Thad Jones, Lester Bowie, Woody Shaw, Herb Robertson, and of course all the other giant spirits of jazz. I also listened to great classical players like Gerard Schwarz and Raymond Mase, more recently Alison Balsam and Hakan Hardenberger. But I am really a sucker for Macedonian and Mexican brass bands. When the trumpet itself makes people dance how can you not smile?

Q: People often talk about how the trumpet is the hardest instrument to play. Do you feel this is true? What doesn’t the general public understand about playing the trumpet that you wish people would realize?

DD: They say the trumpet is the hardest instrument to play. I’m not sure I agree — they are probably all equally hard. But the trumpet is exposed and personal, like the human voice. You have to figure out how to get a part of your body to effortlessly vibrate at extremely high velocities. This is why trumpet sounds range from the most vulnerable to the most brazen and powerful.

Q: If you had to identify with one or two gurus, trumpeters or otherwise, who had the greatest impact on your musical journey to date, whom would they be?

DD: Aside from all those trumpeters I’ve loved, John McNeil, Carmine Caruso, and Laurie Frink have had the biggest impact on my life as a musician-trumpeter. No question, without them I would not be where I am today. We would likely not be doing this festival. I met co-founder Roy Campbell when I first came to New York in 1984 and at that time I was studying with Carmine. Roy and I heard each other a lot around that time. In starting this festival we both had the same sense that a booster organization for creative trumpeter/composers was an essential job that needed to be done.

Q: How did you select the people you wanted to showcase in your particular curation? Were these people you felt were deserving of wider recognition? Were they people you felt shared a similar working aesthetic as you or came from someplace completely different?

DD: Every year we try to cast as broad a net as we can. We try to support recent arrivals to the scene. We try to celebrate creative pioneers who have pointed the way. And yet, no matter how broad the net, we are always discovering new players and new sounds. We always leave people out, unintentionally! This is one of the richest periods ever as far as new music goes.

Q: Who is your favorite trumpeter today (as in today, the day you are writing this email) and what recorded song available to the public best exemplifies why this trumpeter is so badass?

DD: I practiced a lot today, so if you ask me who is my favorite trumpeter today I am going to say that I am my favorite trumpeter today. How about that? We are all out here practicing to make music and life better. And we all doing it together one note at a time. I love so many players these days and the Festival of New Trumpet Music is a way of celebrating that.

Q: Talk a bit about the venue you chose to curate in? Why is it special to you? Why do you want people to experience that particular venue? Or was it the most hospitable venue available for what you wanted to do?

DD: For the past few years I have been involved in music and spirituality, through recording hymns and spirituals, and through exploring the essence of making music in the moment. Hugh Ragin is a trumpeter who shares that pursuit. When the concert hall at St. Peter’s Church became available for this festival I knew right away that I wanted to present my suite Pathways there. And I knew I would try to get Hugh Ragin to do something. He surpassed my wildest imagination by creating music for the vespers service itself! I cannot wait to hear it.

Q: Can you all share an anecdote about this year’s honoree Marcus Belgrave and what bearing, if any, he has had on your life as a listener, trumpet player, student, or appreciator of creative music?

DD: As I listen to this year’s honoree Marcus Belgrave what amazes me most is how he pulls notes out from all around the horn, the embouchure, and the room. Watching him play is like watching popcorn pop — you never know where the next movement is going to come from. He has one of the most amazing techniques I have ever seen. We are proud to bring him to New York with his own group to honor him with our Award of Recognition.

Q: What event besides the events you curated are you most looking forward to checking out live?

DD: The Henry Brant Flight Over A Global Map for 52 trumpets!!! and percussion is our pièce de resistance this season. I’ve never been involved in anything like this. So many great trumpeters are coming forward to play. It has been a supreme piece of work to organize and I know it is going to be an amazing thrill that will not be repeated any time soon.

Q: Any other thoughts about this year’s festival?

DD: Festival of New Trumpet Music enters its 11th season stronger than ever. New board members, new players, new venues. As a 501(c)3 public nonprofit we appreciate all the support we have had and encourage interested parties to visit our site and consider donating. Thank you.