Tag

trumpet

November 29, 2014

Interview with Taylor Ho Bynum

A special edition of the Spanish Jazz radio show Club de Jazz where we conducted an interview with Taylor Ho Bynum.

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Source: http://www.elclubdejazz.com/vocesdejazz/taylor_ho_bynum_11_2014_eng.html

July 29, 2014

Taylor Haskins’ ‘Fuzzy Logic’

Great interview on NCPR for Taylor Haskins’ new recording ‘Fuzzy Logic’

http://www.northcountrypublicradio.org/news/story/25583/20140719/trumpeter-taylor-haskins-plays-music-from-his-new-cd-in-westport-july-22nd

March 12, 2014

FONT Canada preview: Nigel Taylor

Sunday, March 16, ”Trumpet Generations”
(Doors open at 8, Music starts at 830pm)
185 avenue Van Horne
(for venue info contact )

 

Teachers: Unfortunately I didn’t get the chance to study with Laurie, but I did study with Jon McNeil who is a long time friend and colleague of hers.  He would sometimes mention her and her pedagogy.  My other trumpet teachers include Lou Ranger during my time at UVIC and Miles Newman from Saskatchewan before that.  More recently I studied with Anthony Coleman, Joe Morris, and several other NEC faculty during my time in Boston.

 

Influences: Greg Kelley, Nate Wooley, Peter Evans, Axel Doerner, Don Cherry, Kevin Drumm, Merzbow, Morton Feldman, …I think this list might get long now that I’ve exited from trumpet players so I’ll stop there.

 

Current Projects: I’ve been on tour in the States for a few weeks now playing with several different people and I’m leaving on another mini Canadian tour right after the CFONT festival.  These dates have all been free improv.  When I’m finally at home for awhile in April I’m going to spend some time writing for a group of Boston musicians I’m bringing up to Montreal for a recording session in May.  I also have a collaborative project with electro acoustic artists Max Alexander and Eric Powell that I’m hoping to spend more time on when I get back to Montreal.

 

On the Side/Hobbies: I have an 11 month old son, so most hobbies these days are baby related ones.  We like to spend time in the parks in Montreal, which when the weather is nice are really beautiful and lively with people.

 

I knew I wanted to play the trumpet when:  My older brother plays the trumpet and my father used to.  I think when I was little I just wanted to be able to do what they did so I started playing it pretty early in my life.  I always liked playing it when I was younger…I think me and the trumpet argue with each other more these days then we did then.
Performance Highlight: It’s hard to pick just one, so many gigs are rewarding but unique.  A recent highlight was playing at a house show in Boston with guitarist Chris Cretella.  We played right after Joe Morris and Patrick Kuehn.  Was one of those nights that the music just seems to go all the right places without you having to force it anywhere, and the audience was really listening and got that it was good.  It’s really a great feeling when the whole experience of the performance is good and not just some elements of it.

 

Dream Band: hmmmmm, thats a tough one!  I’m tempted to put people from radically different genres or times together but who knows if that would make a fruitful venture so…….I’m going to leave this one alone!

 

Fun Fact: I used to be really into juggling.  I was once Ben Mulroney’s stunt double on a Canadian TV show called “Corner Gas”.  If you ever see Ben juggling torches while riding a unicycle…

 

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March 11, 2014

FONT Canda preview: Lina Allemano

Friday, March 14 ”Trumpet Cultures”
(Doors open at 830, Music starts at 9pm)
Cafe Resonance 5175a avenue. du parc

Lina Allemano – Toronto: Lina Allemano trumpet, Brody West alto saxophone, Andrew Downing bass, Nick Fraser drums 

Teachers: Axel Dörner (Berlin), Laurie Frink (New York City), Kevin Turcotte
(Toronto), Bill Dimmer (Edmonton)

Current Projects: What are you working on? Arrangements, techniques
you’re practicing, other projects

As a leader, I have two active groups: my longtime project Lina Allemano Four, and my new group Titanium Riot.  I’ve just written new music for Lina Allemano Four that we’ll be playing in Toronto, Montreal, Ottawa, and during our upcoming Europe tour in April. We’re hoping to record our 5th album later this year. Titanium Riot is just working on putting out our first album in the fall. I also play in various other creative projects as a side person as well as play a lot of improvised music.  I’m particularly looking forward to collaborating with some great European improvisers, Achim Kaufmann and Christian Weber, in Germany and Austria at the end of March. Trumpet-wise, I’m currently honing my circular breathing as well as other extended techniques that I’ve been checking out recently, and I’ve also been attempting to make my own mutes.

I knew I wanted to be play trumpet when…
I noticed it only had 3 buttons.  How hard could it be?

Dream Band: My long-time project, Lina Allemano Four.  8 years going and still
full of surprises!

Did you know? I have a balloon phobia.

March 9, 2014

FONT Canada preview: Bill Mahar

Friday, March 14 ”Trumpet Cultures”
(Doors open at 830, Music starts at 9pm)
Cafe Resonance 5175a avenue. du parc

Bill Mahar Quintet (Montreal): Bill Mahar trumpet, Jennifer Bell alto/soprano saxophone, John Sadowy piano, Clinton Ryder bass, Michel Berthiaume drums.

Teachers:
Some of my favorite teachers over the years have been:

(McGill) – Kevin Dean, Jim Thompson, Ted Griffith, Jan Jarzyk

(Banff) – Kenny Wheeler, Dave Holland, Don Thompson, Dave Liebman,
Muhal-Richard Abrams, Cecil Taylor, George Russell
Influences:
As a trumpet player, I would say the chronological history of trumpet players
Louis Armstrong, Dizzy Gillespie, Clark Terry, Miles Davis, Kenny
Dorham, Lee Morgan, Freddie Hubbard, Randy Brecker, Wynton Marsalis.
I would also like to add, as a sideline, Don Cherry, Booker Little,
and Kenny Wheeler.

As a jazz composer/arranger a few of my main influences are: Duke Ellington,
Kenny Wheeler, Dave Holland, Gil Evans, Charles Mingus

Current Projects: What are you working on? Arrangements, techniques
you’re practicing, other projects
I am currently working on projects for my big band, The Altsys Jazz
Orchestra. Over the years we have produced many concerts of my
compositions and have done projects with Kenny Wheeler, Donny
McCaslin, Tim Hagans, Ray Anderson, to name a few. In the fall of
2014, we will be doing a project with british / canadian expat
composer John Warren. A canadian premier preformance of his large work
Tales Of The Algonquin.
I am also busy writing arrangements for concert band, brass quintet
and brass band.

On the Side: any other hobbies, other interests…
On the non-music side of things, I enjoy the outdoors though cycling,
sailing, cross-country skiing, and hiking.
I knew I wanted to be play trumpet when… after hearing a live
dixieland band made up of group of amatures who played with some great
energy. It really connected with me as an 11 year old. I started the
trumpet the next year.

A Performance Highlight:
My first indoor gig at the 1987 Montreal International Jazz Festival,
with the Vic Vogel Big Band at Place des Arts. Dizzy Gillespie was
the guest and we played music from his big band book. Dizzy played
trumpet, percussion, conducted, told a few jokes, and got me to do a
solo on his piece, Manteca. I felt like I had known Dizzy all my life
It was an up lifting experience for me at such a young age (and it
paid pretty good also).

Dream Band:
I play in several dream bands made up of Montreal musicians. I just
wish we were able to play more often together.

Did you know? A short story about some fun fact people wouldn’t
necessarily know about you.
I also play electric bass, ukelele, and a bit of thermin. I’m ready
for gigs on the bass and uke, but the thermin still needs a bit of
work.

September 8, 2013

Q&A with Stephanie Richards Vice-President of FONT 2013

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Festival of New Trumpet Music (FONT) Preview Week

Q&A with Stephanie Richards
Vice-President of FONT 2013 

Click here for the full 2013 FONT  Program

How did you become a trumpet player? Did you play other instruments before the trumpet? If so, did those instruments inform how you played trumpet? Or did your view of how music is played change once becoming a trumpeter?

Choosing the trumpet seems quite happenstance when I think how it ended up influencing my life so massively.  I remember liking many different styles of music, and trumpet seemed the most flexible instrument musically and stylistically.  My band instructor, however,  assigned me to play french horn (then later allowed me to switch to trumpet) but I like to imagine how different my life would have been!  FONF (Festival of New French Horn) just doesn’t have the same ring to it….

Before picking up the trumpet in jr. high, I grew up playing piano as well as tenor drum in a Scottish pipe & drum band.   There is likely some sort of correlation between the theatrics and choreography involved with playing the tenor drum (where drumming involves fancily choreographed stick swings and flourishes) and my present interest in theatrics and movement with trumpet playing somewhere in there.  The trumpet has such flexibility of movement and sound, and I believe there is much yet to discover.

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

Influential recordings also seem quite haphazard as my first recordings were things I seemed to stumble upon.  The earliest (no pun intended) influential trumpet recordings I experienced were of  Maurice Andre’s baroque piccolo recordings.  I remember grooving so hard them!  He had such a gorgeous tone, intensity of musicality and he really could swing.  That was my first experience recognizing a difference in players’ sense of time and “pocket” — Maurice had a good pocket, not matter that he was playing classical music.

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?

The trumpet demands a unique maintenance of it’s player, but for me, that habit a labor of love.  Is it the hardest instrument to play?  I don’t think so.  I do think that for anybody, any instrument, any musician, it’s playing something new–making new music, that is hard to do. That is why we need to stick together and support each other.  I appreciate FONT for that reason; bringing everyone together in support of music that is new, vulnerable, unheard or unknown.  It meant the world to me when I moved to town years ago and FONT asked me to play a show.  I want to pass that confidence and opportunity on to other players doing new things in the city.

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?

Of the many incredible musicians I’ve known so far, Butch Morris was a mentor I’ll always be grateful to have known. Moving to the city, Butch liberated me as a musician.  He opened up an intent, an intensity of sound, of improvisation and a way to communicate that was new and relevant.  This year at Roulette, we’re presenting a special performance in tribute to Butch and his language of Conduction.  The band will consist of some of the many musicians that were close to Butch, his language, and who believed in what he was trying to move forward.  The goal isn’t to “recreate” anything that Butch was already doing, but to keep speaking the innovative language of Conduction and moving it forward, letting it evolve as languages do.  As the guitarist Brandon Ross, who played with Butch in Conduction no. 1, mentioned to me, “…the search didn’t END with Butch, I believe he’d want it to grow – beyond him.  If we use it, it will.” His presence is missed by the many incredible musicians that he touched throughout all of the world and I’m thankful that FONT is presenting this very special performance.

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

Highlights of the festival for me will be the FONT run at Roulette (both evenings will be incredible!), and hearing Marcus Belgrave perform-his joyfulness of spirit sings through the horn every time he plays!

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September 8, 2013

Q&A with Aaron Shragge Curator of FONT 2013 Program at the Village Zendo

Festival of New Trumpet Music (FONT) Preview Week

Q&A with Aaron Shragge
Curator of FONT 2013 Program at the
Village Zendo

Click here for the full 2013 FONT  Program

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

The was something about the sound of the trumpet that sparked my interest around the time I was eleven years old. I had already played the violin and then briefly the accordion but without very much dedication or success.

The moment when I decided I was going to become a trumpet player was much later in high school when I had a transcendent experience improvising. The feeling I had while improvising on the horn seemed to instantly liberate me from all my worries and give my life new meaning and direction.

I also feel like really being a trumpet player is never becoming a trumpet player. It’s never arriving at any fixed destination. It’s to relentlessly and fearlessly grow towards what is limitless by continually bowing to the practice of an instrument that has an endless number lessons to teach us.

If so, did those instruments inform how you played the trumpet?

I find what most informs my trumpet playing is the practice of the Japanese Flute, the Shakuhachi and North Indian Vocals. Playing the Shakuhachi for the last nine years has changed the way I breath as well as the way I hear sound and space. From learning North Indian Vocals over the last seven years I’ve developed a greater awareness of my throat, which allows me to open my trumpet sound in different ways. The singing has also revolutionized the way I hear intonation and the space between each pitch. It’s from learning these musical traditions away from the trumpet that lead me to develop a custom horn with a seven position slide as well as valves, built by Josh Landress.

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

On of the recording that sticks out the most is Jon Hassell’s album Facsinoma. I remember hearing it at a record store in L.A and not realizing that what I was hearing was a trumpet. His sound had so much breath and the subtlety-flexibility of a voice. Later I would make the connection that the style of Indian vocals that I was learning had been the same that Jon Hassell has studied many years before.

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 trumpet that you wish people would realize?

I think the trumpet is as hard as we make it. Though I do feel that before I met Laurie Frink I didn’t stand a chance in every getting anywhere. I think once you find the right method/teacher it’s not as bad as everyone says. It is high maintenance but I see that as a blessing. The ritual of practicing the trumpet is what keeps me going through everything that I face in life.

I do wish more people would realize that there are an abundance of different ways the trumpet can be played. So many times whether in school or in performance situations I get the sense that people still assume the trumpet is about being loud high and fast. That is why I think FONT is so amazing and important. I think it represents a very unique all inclusive trumpet culture that not nearly enough listeners of the instrument are aware of.

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

I’d say Laurie Frink, for simply proving to me that what I thought I’d never be able to do on the trumpet was possible.

Then I’d say my Indian vocal teacher Ustad Mashkoor Ali Khan. I feel that I’ve learned music from him as intimately as a child learns language from their parents. He also never gives up on pushing me way past where I think I can go.

Last, I’d have to list my flute teacher Ronnie Nyogetsu Seldin. He has a powerful compassionate presence that comes through his playing/teaching and it is something that I always think of when I play music.

How did you select the people you wanted to showcase in you particular curation? We’re these people you felt we’re deserving of wider recognition? We’re they people you felt shared a similar working aesthetic as you or came from someplace completely differently?

What attracted me to RPE duo is how Matt Postle’s trumpet seamlessly integrates with Radek Rudnick’s electronics. Listening to their music in a way reminds me of meditating at the Zendo. As we are on Broadway there can be some very intense city sounds that come up from the street and as you sit those sounds become a sonic landscape for seeing your mind. In a similar way Matt’s trumpet focuses the various musical textures of Radek’s soundscape. For that reason I thought they would be perfect for performing at the Village Zendo.

Douglas Detrick is the first person I talked to about bringing FONT to the Zendo and I’m extremely grateful for his guidance in the organization and curating process. I believe his music is a perfect fit for the Zendo because it maintains an incredible balance between being compositionally challenging and aesthetically pleasing to the listener. In a similar way the openness of the Zendo can be equally inviting and challenging to all those that enter the space to meditate.

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?

It’s hard to list one, but I’d have to say Kenny Wheeler, Angel Song.There is something about the depth of his sound and the sensitivity of his musical ideas that never ceases to amaze me.

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?

The Village Zendo has existed as a meditation center in lower Manhattan for over twenty five years. Since 2009, Village Zendo Arts has been presenting music, visual art, music film and theatre at the Zendo. In 2012, we began “Villagers and Trumpet” an ongoing series in collaboration FONT music that is inspired by a Zen parable in which villagers gain insight into their true nature through listening to a visitor play the trumpet.

People often say there is a real vibe or energy at the Zendo, which might be because there are people meditating there three times a day. Either way it’s a beautiful loft space with wonderful warm acoustics and it provides the listener with an extremely intimate way to experience creative music.

I hold the Village Zendo as a space and community close to my heart. I feel as though the community there is like my family and has allowed me to grow in ways that I never thought possible. It is for that reason that I’m all the more excited to share it with the trumpet/greater musical community.

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

What I find most inspiring about Marcus Belgrave is that beyond his huge contribution to wide range of musical styles he has also dedicated himself to mentoring and educating others. In an interview with Bret Primack Marcus said some of the best advice he can give his students is to “…Look inside yourself and see wherever you want to go…and follow your dream.” I feel these are powerful words to live by not only as a human being but especially as a trumpet player.

What even besides the events you curate are you most looking forward to checking out live?

Hard to pinpoint one but I think I’ll really enjoy the diversity represented at both Smoke and Douglass Street, though I hope to be at every concert!

September 8, 2013

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

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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.

August 13, 2012

Brooklyn Bridge Park Presents Jazzmobile with Jeremy Pelt

JAZZMOBILE PRESENTS JEREMY PELT AT BROOKLYN BRIDGE PARK ON TUESDAY, AUGUST 21ST
FREE CONCERT ON PIER 1’S HARBOR VIEW LAWN

Brooklyn Bridge Park is happy to announce that it will be hosting its 2nd annual Jazzmobile program, featuring one of the great jazz trumpeters on the scene today, Jeremy Pelt. The concert will take place at 7 pm on August 21st at the Harbor View Lawn at Pier 1.

“I am thrilled to welcome Jazzmobile back for its second season at Brooklyn Bridge Park,” said Regina Myer, President of Brooklyn Bridge Park. “Jazzmobile presents fantastic outdoor summer concerts around the city and we are proud to be hosting acclaimed jazz trumpeter Jeremy Pelt as their offering this year.”

Brooklyn Bridge Park on Facebook

Brooklyn Bridge Park on the web

Jeremy Pelt

 

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