Brass ArtistsMUSE 250

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Table Of Contents

Name/Group Page

Canadian Brass …………………………………………………………………………………………….3

Christopher Martin……………………………………………………………………………………….5

Chuck Mangione……………………………………………………………………………………………8

Curtis Fuller………………………………………………………………………………………………..10

Genghis Barbie……………………………………………………………………………………………13

Glenn Miller………………………………………………………………………………………………...17

In the Mood…………………………………………………………………………………………………21

J.J. Johnson………………………………………………………………………………………………….23

Maynard Ferguson……………………………………………………………………………………...26

Philip Farkas……………………………………………………………………………………………….29

Philip Jones Brass Ensemble………………………………………………………………………..33

Stiletto Brass………………………………………………………………………………………………37

Tommy Johnson………………………………………………………………………………………….42

Wynton Marsalis…………………………………………………………………………………………48

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Brass Artist ProjectCanadian Brass

Canadian Brass is a brass quintet, which was originally formed in 1970 by

Chuck Daellenbach and Gene Watts. The members of Canadian Brass consist of

founding member Chuck Daellenbach (tuba), Christopher Coletti and Caleb

Hudson (trumpets), Achilles Liarmakopoulos (trombone) and Bernhard Scully

(horn). Though, brass quintets were not new at the time, Canadian Brass was the

first to achieve a successful career has achieved over the last 40 something years.

Their concerts usually have a wide range of repertoire from trademark Baroque to

Dixieland tunes to new compositions. Their presentation of their music also has a

wide range. They present music in ways such as formal classical presentations to

music with dialogue and theatrical effects.

The Canadian Brass ensemble has produced over 130 albums and has toured

all over the world. They were the first brass ensemble from the West to perform in

the People’s Republic of China as well as the first brass ensemble to take the stage in

Carnegie Hall. The varied Canadian Brass repertoire features brass standards as

well as a ranging library of original arrangements. These include the works from the

Renaissance, Baroque, and Classical eras, marches, holiday tunes, ragtime, Dixieland,

Latin, Jazz, Big band, Broadway and Christian music, as well as pop songs.

Music performed by the Canadian Brass ensemble can be found on youtube,

itunes, as well as their many albums. Below are some samples of some of their most

popular pieces.

Canon in D: https://www.youtube.com/watch?v=Ut_vq0eN1WA

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Fugue in g minor, Bach: https://www.youtube.com/watch?v=Qvc4955x_W8

Flight of the Bumblebee: https://www.youtube.com/watch?v=xZO5KTJTwhE

Bad Romance: https://www.youtube.com/watch?v=9Cy3tjg1tVw

Beale Street Blues: https://www.youtube.com/watch?v=AXMLuiPBIao

The Canadian Brass, even with all of their touring around the world, the

members will often teach master classes and are happy to teach young students and

audiences. They also have outreach programs through their involvement at various

schools including the Eastman School of Music as well as being exclusive artists for

Conn-Selmer Musical Instruments.

Sources

Canadian Brass Website: http://www.canadianbrass.com/

Youtube: https://www.youtube.com/

iTunes

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Christopher Martin

Brass Artist Research Project

Christopher Martin is the principal trumpet of the Chicago Symphony Orchestra

since 2005. Prior to that, he served as principal trumpet of the Atlanta Symphony

Orchestra and associate principal trumpet of the Philadelphia Symphony Orchestra. He

studied under Barbara Butler and Charles Geyer, esteemed trumpet pedagogues, at the

Eastman School of Music, earning a BM with performer’s certificate. He has been on

faculty at Northwestern University (Chicago Symphony Orchestra).

He grew up in Marietta, Georgia alongside his brother Michael Martin, another

famed trumpet player. Michael Martin is currently serves as Third/Utility Trumpet of the

Boston Symphony Orchestra. He also studied under Barbara Butler and Charles Geyer at

Northwestern University following their tenure at Eastman (Boston Symphony

Orchestra). In both brothers’ younger years, they participated in Drum Corps

International. Michael Martin played and now works with the Cavaliers, and Chris Martin

played with the Spirit of Atlanta.

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Christopher Martin’s career is primarily cited in the orchestral world; however, he

does perform as a soloist occasionally with major orchestras. Most notably, he performed

as a soloist with the National Symphony Orchestra under the composer John Williams for

the soundtrack for the major motion picture, Lincoln on “With Malice Toward None”

(Williams). Another notable experience of Chris Martin’s solo career was his

performance of the premier of “A Tribute to Adolph ‘Bud’ Herseth” written by Jim

Stevenson at the International Trumpet Guild Conference in 2013. Most recently, he

performed the world premier of “Heimdall’s Trumpet,” a concerto commissioned for him

in 2012 (Chicago Symphony Orchestra).

Since Mr. Martin’s solo career is limited, there are limited recordings that feature

him primarily; however, there are numerous recordings that feature the brass section of

the Chicago Symphony Orchestra. These include “Chicago Symphony Orchestra Brass

Live” from 2011 and “Prokofiev: Suite from Romeo and Juliet” from 2014. In addition to

these, the “Gabrielli – National Brass Ensemble” recording from 2015 is a fantastic

demonstration of extraordinary brass playing that includes Christopher Martin. Lastly, the

“Lincoln” soundtrack from 2012 best exemplifies the amazing sound that Mr. Martin

holds (Chicago Symphony Orchestra).

The most fascinating and very recent news regarding Chris Martin was released

only days ago. According to Last Row Music, Chris will be taking a leave of absence

from his position in Chicago to temporarily fill the first chair of the New York

Philharmonic. In a personal conversation with Ethan Bensdorf, the acting associate

principal trumpet in New York, Chris was rumored to have been moving from Chicago to

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New York. If he moves, he will be one of two trumpet players ever to be a member of the

CSO and the New York Philharmonic. The other is Phil Smith (Last Row Music).

In my personal time spent listening to Chris’s playing as a soloist and an

orchestral principal player, I have deduced that he is my model for sound. Particularly in

his solo work, his vibrato and and sweet cornet-like tone have set him apart from

hundreds of other candidates for his job. In addition to his sound, his ease in playing, a

common trait among students of Barbara Butler and Charles Geyer, distinguish him as a

true master of his instrument.

Discography is listed in the top paragraph of page 2.

Works Cited

"| Boston Symphony Orchestra | Bso.org." | Boston Symphony Orchestra | Bso.org. N.p., n.d. Web. 25 Apr. 2016.

"Brass Arranger, Brass Caption Head." Cavaliers Drum and Bugle Corps. The Cavaliers Drum

and Bugle Corps, n.d. Web. 25 Apr. 2016.

"Chicago Principal Trumpet to Take Leave of Absence." Last Row Music. N.p., 21 Apr. 2016. Web. 25 Apr. 2016.

"CHICAGO SYMPHONY ORCHESTRA: TRUMPET." Chicago Symphony Orchestra. N.p., n.d. Web. 19 Apr. 2016.

Williams, John. WILLIAMS, J.: Lincoln (Original Motion Picture Soundtrack) (Chicago Symphony Chorus and Orchestra, J. Williams). Chicago Symphony Orchestra.

Naxos Digital Services US Inc., 2013. CD.

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Chuck Mangione

For over five decades, the music of Chuck Mangione has provided energy and

joy to music lovers across the world. Chuck Mangione is an American flugelhorn

player, trumpeter, and composer. Chuck Mangione achieved international success in

1977 with his most popular piece “Feels So Good”. He has released thirty more

albums since 1960.

Chuck Mangione was born on November 29, 1940 in Rochester, New York.

Both he and his brother Gaspare Mangione started music at a very young age. Chuck

Mangione attended Eastman School of Music from 1958-1963, and afterwards he

joined Art Blakey’s Jazz ensemble where he played trumpet. Later, he served as

director of the Eastman Jazz ensemble from 1968-1972. This teaching position led

to Chuck Mangione earning a major recording contract with Mercury records. He

also earned a Grammy nomination during his time with the Eastman Jazz ensemble.

Chuck Mangione won his first Grammy Award in 1977 in the Best

Instrumental Category. During this time, Mangione worked closely with

saxophonist Gerry Niewood. The two recorded many albums together including the

Grammy winning album “Feels So Good”. His music was also used at the 1976

summer Olympics in Montreal, Quebec and at the 1980 winter Olympics in Lake

Placid, New York. He preformed live at both closing ceremonies for the 1976 and

1980 Olympic games.

Chuck Mangione won his second Grammy in 1979 for his soundtrack on the

film The Children of Sanchez. The Grammy was won in the Best Pop instrumental

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performance category. Mangione continued to compose for other movie

soundtracks in the future.

The 1980’s were a big time for Chuck Mangione. He signed with Columbia

records and released many more albums. He was also busy with many interviews

and performances during these years. In 1989, Chuck Mangione released two

albums. Following these releases and playing 25 years of one-night events around

the world, Chuck Mangione stopped playing music.

Chuck Mangione disappeared form the music industry for many years. It was

not until 1994 that he resurfaced with a new drive and passion for music. Many

attribute the death of Dizzy Gillespie to his resurface in the music industry. During

1994, Chuck Mangione recorded two new albums and also numerous nightclub

performances.

Chuck Mangione is a Jazz legend as well as a Grammy winner who changed

the landscape of Jazz in the 1970’s and 1980’s. In 2012, Chuck Mangione was

inducted into the Rochester Music Hall of Fame. His dedication to Jazz, music

education, and music in general shaped the way a whole generation listed to Jazz

music.

Resource list and Discography

http://www.chuckmangione.com

Recording can be found on his website as well as tour dates

Miller, Frederic P., Agnes F. Vandome, and John McBrewster. Chuck Mangione.

VDM, 2010. Print.

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Curtis Fuller: A brief biography and selected Discography

Curtis Fuller is an American Jazz Trombonist. When looking at his

discography it is readily apparent that he is the real deal. Curtis Fuller has

worked with pretty much all of the Jazz greats. He’s worked with Miles Davis,

Cannonball Adderley, John Coltrane, Wayne Shorter, Lee Morgan, Paul

Chambers, Dizzy Gillespie, Count Basie, and was the sixth member of Art

Blakey’s Jazz Messengers. He is famed for his graceful and virtuosic style of

playing. He took what could be an awkward instrument and made it sound very

fluid. His signature move on trombone were octave jumps in his solos and his

overall virtuosity.

Curtis Fuller was born on December 15th, 1934 in Detroit. Fuller’s parents

died while he was still very young so Fuller was raised in an orphanage. Fuller

was raise in the orphanage for ten years. Fuller’s interest in Jazz is credited to

when a nun to him to see Illinois Jacquet’s band which featured JJ Johnson on

the Trombone. While going to school Fuller became friends with the legendary

bass player Paul Chambers. High School was when Fuller began to study music.

Fuller started playing the baritone in High School but eventually made the fateful

switch to trombone at the age of 16. After High School Fuller played in one of the

Army Bands. This was were Fuller would really develop as a musician. While in

the army band Fuller met and played alongside Cannonball Adderley. Fuller

played in the Army for 2 years and then returned to Detroit. After returning to

Detroit Fuller played in the Yusef Lateef Quintet before the quintet moved to New

York in 1957 and recorded several records.

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After the move to New York Fuller seemed to never stop being busy. It

was at this time that Fuller started to play with Miles Davis. An executive from

Blue Note Records saw Fuller performing with Miles Davis and then signed him

as a Blue Note artist. Following this Fuller played on Blue Train by John Coltrane,

which is likely Fuller’s most listened to work. In 1961 Curtis Fuller turned Art

Blakey’s Jazz Messengers into a sextet and created what many consider to be

one of the most exciting bands of the Hard Bop genre. Fuller played with the

Jazz Messengers for four years until 1965.

In 1968 Fuller toured throughout Europe with Dizzy Gillespie. After

returning to America Fuller did several sessions in New York. In the 1970s fuller

experimented quite a bit. Fuller played in a band which played hard bop

arrangements with electronic instruments. Fuller headed the group along with

guitar player Bill Washer and bassist Stanley Clarke. Following this period of

experimentation Fuller toured with Count Basie. He toured with Count Basie from

1975-1977. Fuller has done many projects since then and has worked with many

of the great jazz artists.

In more recent years Curtis Fuller has turn more towards education and is

an in demand clinician. Curtis Fuller has done clinics at many prestigious

universities. Curtis Fuller also holds an honorary Doctorate from Berklee College

of Music.

Selected Discography

Blues-ette, Savoy, 1956

Art Blakey and the Jazz Messengers, Ugetsu, Riverside/OJC, 1963

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Crankin', MRL, 1973

The Jazztet, Real Time, Contemporary, 1986

Keep It Simple, Savant, 2003

Reference list

"Curtis Fuller." : The Hard Bop Homepage. Web. 24 Apr. 2016.

"NEA Jazz Masters." Home. Web. 24 Apr. 2016.

“The Opener” Curtis Fuller. Blue Note, 1957. CD.

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Brass Artist Research Project

This all female French horn quartet that began in 2010, considers themselves the

“most innovative and energizing chamber ensemble of its generation.” The members of

Genghis Barbie (Freedom Barbie, Cosmic Barbie, Velvet Barbie and Attila the Horn) all

vowed that every performance will be “distinctive, interactive, and personal.”

The name Genghis Barbie came from, as member Danielle Kuhlmann (Velvet

Barbie) says, from one of her dad’s friend’s daughter who just learned about Genghis

Kahn in school and played with Barbie since she was about five years old. This little girl

drew up a comic strip for school called Genghis Barbie and Kuhlmann told all her friends

that if she was to start a band she would call it Genghis Barbie. When the group came up

with the idea of the horn quartet they had a couple of names, some “that were slightly

more inappropriate” than others, so they just decided to stick with Genghis Barbie.

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Genghis Barbie was actually formed at one of the quartet member’s bachelorette

party. These women had already been friends and just happened to all do the same thing,

play French horn. At the time they were all freelancers, but the idea just popped into their

heads to start a horn quartet and play pop music that they loved.

Before the group was formed each individual had their own work that they were

previously devoted. Danielle Kuhlmann, aka Velvet Barbie, volunteered for the group

Culture in Harmony, a New York based NGO that promotes cultural diplomacy through

music. Kuhlmann also volunteered to teach music at the Afghanistan National Institute of

Music. Rachel Drehmann, aka Attila the Horn, performs a series of baroque horn

concertos, Banda de Los Muertos, the Chamber Orchestra of New York, and was also a

member of the indie rock band A Whisper In The Noise. Drehmann also performed, as a

soloist, with the Brooklyn Sumphony Orchestra, as well as the American Symphony

Orchestra, Albany Symphony, Princeton Symphony, Northeast Pennsylvania

Philharmonic, The Knights, and Metropolis Ensemble and numerous Broadway shows.

Alana Vegter, aka Freedom Barbie, played with The Chamber Music Society of Lincoln

Center, The New York Philharmonic, The Orchestra of St. Luke’s, The Knights Chamber

Orchestra, International Contemporary Ensemble, and City Music Cleveland. Vegter has

also performed in many orchestral and chamber music settings with the Spoleto Festival

USA, Pacific Music Festival, Chamber Music Northwest, Festspiele Mecklenburg-

Vorpommern, Bay Chamber Concerts, The Verbier Festival Orchestra, The Julliard

Orchestra, and The Aspen Music Festival. Then there is Leelanee Sterrett, aka Cosmic

Barbie, who is third horn in the New York Philharmonic, and is a member of the New

Haven Symphony, La Crosse and Fox Valley Symphony Orchestras.

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Genghis Barbie performs “arrangements of pop music from the 60’s, 70’s, 80’s,

90’s, 00’s and today, contemporary commissions, and classical works.” This group takes

pieces that they enjoy and rearranges the song into a quartet that could be played by

horns. Some of the time a piece does not work out because it does not sound right

between the four horns, but most of the time the piece comes out pretty successfully.

When rearranging the piece, the group tries and to give each individual the parts of the

song that they like the most, but if that cannot happen then they usually get first choice on

the next piece.

The group finds it absolutely “important that people see something out of the box

and people doing something they love.” The goal of the group is to inspire other people

to find what they love to do because that is why Genghis Barbie does what they do. They

say, “It’s not necessarily that what we are doing is unique or different, it’s that we care

about what we do.” This is because Genghis Barbie likes to have fun with each

performance and wants the audience to react however they want to; they are going to

continue to do what they do and have a good time with it and hope that their audience

does too.

Genghis Barbie just recently came out with a new CD making that a total of four

in the past couple of years. These recordings include “Genghis Barbie’s Debut,”

“Genghis Barbie- Home for the Holidays,” “Genghis Barbie- Songs for Noa,” and

“Genghis Barbie- Amp It Up!”

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Works Cited

Yeh, Molly. “Q&A With Genghis Barbie.” The Juilliard Journal. October (2012). Print.

Genghis Barbie. www.genghisbarbie.com. 2012. Web. 23 November 2014.

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Glenn Miller

Glenn Miller, an American, was born in Clarinda, Iowa, on March 1, 1904.

Glenn grew up playing the rather unusual mandolin, but eventually he got his hands

on a brass instrument and stuck with it. His family whisked him away to many

different cities throughout his schooling life. Glenn eventually found himself at Fort

Morgan, Colorado playing in the band there. He graduated high school in 1921 and

quickly joined the Boyd Senter’s orchestra afterwards. After two years of the

professional musician’s life, he quit to go to college at the University of Colorado.

College seemed to not suite Miller, though, and dropped out after a year of

attendance to return to the life of a musician. He soon moved out to Los Angeles

where he hopped into Ben Pollack’s band. After awhile, he decided to head on again

with another move; this time to New York City. For quite a few years, he freelanced

as a trombonist and arranger in the Big Apple. In 1934, he worked as a director for

a couple different bands including Tommy Dorsey’s band as well as the American

orchestra for a British bandleader Ray Noble. After a few years of soul searching,

trial and error, and a whole lot of instrumentalists later, Glenn got his own band off

the ground; the Glenn Miller Orchestra.

His band was struggling to gain popularity until he landed some gigs at the

Glen Island Casino in New Rochelle, New York. This opportunity, which occurred in

1939, gave the Miller name its fame. These gigs were broadcast on the radio,

spreading their sound far and wide. Later that year, Glenn composed his first big hit

named “Wishing (Will Make it So)” which put him even farther up the popularity

scale. One of the most famous of his ballades, “Moonlight Serenade,” was published

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soon afterwards gaining him top position in the charts. Miller’s Orchestra soon

became the most beloved swing band in America with the addition of popular hits

like “In the Mood,” “Pennsylvania 6-5000,” and “Tuxedo Junction.” All of these were

released in 1940 and can be found on such recordings such as “Glenn Miller’s

Original Recordings; Plays selections from the Glenn Miller Story and Other Hits.”

In the next few years he produced a couple of films featuring some of his new

hits including Sun Valley Serenade in 1941, and Orchestra Wives in 1942. Sun Valley

Serenade featured his song “Chattanooga Choo Choo.” After producing his second

film, Orchestra Wives, he was inducted into the U.S. Army to participate in the

Second World War. He later transferred into the Army Air Force and became part of

the Army Air Force Band, giving him the chance to avoid most of the dangers of war.

The world mysteriously lost the “King of Jazz” in 1944 when he received

word that he was to be moved to the newly liberated city of Paris for a performance.

He boarded a plane leaving ahead of the others to make early preparations.

Somewhere between England, the station just prior, and France, his plane

disappeared. No one to this day knows what happened to the plane; whether it

crashed, was shot down, or any other number of tragedies. His body was never

recovered, leaving behind his wife and two children. His band did not disband after

his death, and kept playing for a couple months after his disappearance. It was later

revived to honor the life and works of Glenn and still tours today.

Glenn Miller left the world with an amazing legacy. He even had a film

produced about his story in 1954 called The Glenn Miller Story! Some of the most

famous and popular big band jazz charts even in the modern age were composed by

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Miller. No big band jazz swing dance would be complete without a blaring, upbeat

“In the Mood,” or the classy and fun “Pennsylvania 6-5000.” He paved the way for

many other big band jazz groups, and helped spur the uprising of the swing era and

venue. Overall, America, and the world, was blessed by the brilliant ideas of the man

named Glenn Miller.

A few links to some Glenn Miller;

In The Mood: https://www.youtube.com/watch?v=xPXwkWVEIIw

Moonlight Serenade: https://www.youtube.com/watch?v=n92ATE3IgIs

Chattanooga Choo Choo: https://www.youtube.com/watch?v=-XQybKMXL-k

A String of Pearls: https://www.youtube.com/watch?v=8Qq2AV7Wx5w

Tuxedo Junction: https://www.youtube.com/watch?

v=iBTYcqtaOjg&index=5&list=RD8Qq2AV7Wx5w

Pennsylvania 6-5000: https://www.youtube.com/watch?

v=m_muFwwTSMs&list=RD8Qq2AV7Wx5w&index=7

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https://en.wikipedia.org/wiki/Glenn_Miller_Orchestra

http://ww2nation.com/event/music-the-glenn-miller-orchestra-at-the-

bridgewater-hall-manchester/

Citation

Biography.com Editors. "Glenn Miller." Bio.com. A&E Networks Television. Web. 25

Apr. 2016. <http://www.biography.com/people/glenn-miller-37990#king-of-

swing>.

Miller, Glenn. Glenn Miller Plays Selections from The Glenn Miller Story, and Other

Hits. RCA

Victor, 1956. Vinyl recording.

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A Little About “In the Mood” Productions

“In the Mood: A 1940’s Musical Revue” is a group of performers—singers,

dancers, and jazz band players—who celebrate the musical styles of the 1930s and

1940s, the “Big Band” era. This was the last time in our history as a country when all

Americans were listening and dancing to the same music—jazz. This group formed in

1993, when the USO appointed them the official entertainment for the 50th

commemoration of the second World War. The singers and dancers of the group dress

in clothes authentic to the time period and the choreography for their musical dances is

based on the dancing styles of the time. The thirteen piece “String of Pearls” Orchestra

(jazz band) plays authentic musical arrangements of the popular songs and works of that

time period. These famous performers of the 1940s were people like Glenn Miller,

Tommy Dorsey, Artie Shaw, Benny Goodman, Harry James, Erskine Hawkins, The

Andrews Sisters, and Frank Sinatra. The production as a whole covers the range of

emotions felt before World War Two and after it, waiting for loved ones to return. This

production has been touring the country for 22 years, and occasionally performing

outside the US, in New Zealand, Canada, the Netherlands, and Australia. While touring

in the US, they perform 30 or more shows in a two month time period, including the time

spent driving from one state to the next. This group has been recognized nationally and

has performed in commemorations for World War Two and for President Clinton’s

inaugural ball.

The performers that make up the group hail from very different parts of the

United States and a variety of backgrounds, like Washington. Most, if not all, performers

hold some type of degree in music and have a variety of field experience in musical

performance opportunities outside of “In the Mood”. Two of their current performers

graduated from Ball State University in the past, Scott Whitford and James Middleton.

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“In the Mood” Show on CD discography sample:

St. Louis Blues March (Handy)Yes, Indeed (Oliver)Well All Right (Faye, Kapp, Raye)In the Mood (Garland)Big Band MedleySwinging On A Star (Van Heusen, Burke)Jeepers Creepers (Warren, Mercer)That Old Feeling (Fain, Brown)Taking a Chance on Love (Duke, Latouche, Fetter) and Ain’t We Got Fun (Egan, Kahn, Whiting)Elmer’s Tune (Albrecht, Gallop, Jurgens) and Chattanooga Choo Choo (Warren, Gordon)Well, Git It! (Oliver)I’m Getting Sentimental Over You (Bassman) and Moonlight Serenade (Miller, Parish)Dream (Mercer)I Can’t Get Started (Duke, Gershwin)Begin the Beguine (Porter)Serenade In Blue (Warren, Gordon)Hey! Ba Ba Re Bop (Hamner, Hampton)Skylark (Carmichael, Mercer) and Mood Indigo ( Bigard, Mills, Ellington)Say That We’re Sweethearts Again (Brent) and Tuxedo Junction (Dash, Feyne, Hawkins, Johnson)

Resources: http://inthemoodlive.com--The website for the groupPaper program from one of their shows in 2015

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Brass Artist Research Project

This project focuses on both my current instrument (trombone) and my least

studied area of music (jazz). In the search for famous jazz trombonists, J.J. Johnson

appeared repeatedly. Often considered one of the greatest jazz trombonists of all time,

James Louis (J.J.) Johnson was born in Indianapolis on January 22nd, 1924. He ushered

in a new era of bebop music, working with renowned artists such as Dizzy Gillespie,

Miles Davis and Charlie Parker.

Johnson first began on piano, not moving to trombone until high school.

Ironically, he had wanted to play saxophone and did not originally want to play the

trombone. He first began performing with “territory” bands in the first half of the 1940s,

only four years after he had started playing trombone. He got opportunities to perform

with renowned jazz musicians, such as Benny Carter, Count Basie and Illinois Jacquet.

He began to perform his revolutionary bebop sound on trombone in the second half of the

decade, setting a completely new standard and genre for the jazz trombonist. His unique

style quickly gained him attention in the music world. He began composing in the early

1950s, followed by his joining with Danish trombonist Kai Winding. The group had a

rather unusual instrumentation of two trombones and a rhythm section. In 1956, Johnson

left the group to find a new musical challenge for himself.

Johnson began to focus more on composition, writing for brass ensembles and

even beginning to write for television and film scores in 1970. After parting with

Winding, he wrote several famous pieces: Poem for Brass, El Camino Real, and

Perceptions. He began to break into the film industry with music for Shaft, Cleopatra

Jones, and some television such as The Six Million Dollar Man. While he focused on

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composition at the time, he still made occasional jazz recordings. Johnson spent

seventeen years out in Hollywood with his family, writing for television and film scores.

Johnson then moved back to Indianapolis in 1987 to write more for jazz

ensembles once again and record jazz. After seventeen years, he came back to jazz full-

time. He worked with some ensembles, performing his last album, The Brass Orchestra,

in 1996. He retired from trombone performance in 1997, yet continued to work on his

compositions. Johnson began to suffer from prostate cancer, and committed suicide on

February 4th, 2001. He married twice during his lifetime, remarrying after his first wife’s

death. Johnson has two sons, Kevin and William, and a stepdaughter, Mikita.

Johnson’s work still lives on today, his performances serving as a model for jazz

trombonists worldwide. His rich, dark tone and ease of performance deceives the

listener’s ear, making his music sound natural and almost easy. His lyric, virtuosic

playing with such strong musical flow challenges even the best jazz trombonists today.

His ability to play with soul also made his performance as a jazz trombonist such an

iconic sound to jazz and bebop. One of Johnson’s most famous pieces is from 1957, and

it is called Blue Trombone. The instrumentation (other than J.J.) involves Tommy

Flanagan on piano, Paul Chambers on bass, and Max Roach on drums.

J.J. Johnson serves as an outstanding model for any type of trombonist, jazz or

not. His intonation quality and sensitivity to the music demonstrates qualities of any

strong musician. Johnson certainly made a significant splash in the world of jazz, and he

paved the way for jazz trombonists (particularly in the route of bebop). His virtuosic and

free-flowing performance, along with his challenging original compositions, will forever

earn him a name in the history of jazz.

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References

Bernotas, B. (n.d.). An Interview with J. J. Johnson. Retrieved April 24, 2016, from http://trombone.org/articles/library/jjjohnson-int.asp

ClassicalPlus - Jazz Artist - J.J. Johnson. (n.d.). Retrieved April 25, 2016, from http://www.gmn.com/artists/artist.asp?id=2040

J.J. Johnson - Blue Trombone 1957 [Advertisement]. (2014, January 18). Retrieved April 20, 2016, from https://www.youtube.com/watch?v=fvgf0yPAqGI

J. J. Johnson: 1924-2001. (n.d.). Retrieved April 22, 2016, from http://www.jazzhouse.org/gone/lastpost2.php3?edit=981455192

J.J. Johnson. (2005). J.J. Johnson: Thirteen Original Songs [CD]. Jamey Aebersold Jazz. Sullivan, L. T. (n.d.). Discography. Retrieved April 22, 2016, from

http://jjjohnson.jazzgiants.net/biography/discography/

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Maynard Ferguson was a Canadian trumpet player and bandleader for several jazz

big-band ensembles. Music was Ferguson’s life, his passion, and he immersed himself

into the discipline. Born in 1928 in Verdun, Quebec, his parents fostered his musical

experiences. In his early childhood, he learned to play the violin and piano at the age of

four. After receiving special training on the trumpet at the age of 9, Ferguson made his

debut as a soloist for the Canadian Broadcasting Company Orchestra at 11 years old.

When Ferguson dropped out of Montreal High School at the age of 15, he played

in a dance band led by his brother, Percy, and started his career as a professional

musician. A year later, Ferguson led his first jazz and dance band. At the age of 20, he

moved to the United States and played in Boyd Raeburn’s progressive band. In 1950,

Ferguson developed his reputation as a screeching upper-register trumpeter in Stan

Kenton’s brass ensemble. After playing with Kenton for a few years, he made a living as

a studio trumpeter for Paramount Pictures, recording film soundtracks. In 1955, Ferguson

performed the “Titans,” by William Russo, with the New York Philharmonic Orchestra

under the direction of Leonard Bernstein.

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Maynard Ferguson is best known for his formation of his big-band jazz

orchestras, of which he formed thirteen ensembles over the rest of his career after 1955.

He had several famous arrangers such as Don Sebesky, Don Menza, and Slide Hampton

contribute to his ensembles, catapulting the big-band sound to the mainstream pop charts.

One of his best hits, “Gonna Fly Now,” reached listeners across the United States in

1977. This chart was from the blockbuster hit, “Rocky.” This notoriety earned him the

title of the Number One Pop Instrumentalist in Billboard magazine. After the movie’s

successful run, Ferguson toured the United States over the next few decades playing with

one of his jazz orchestras and appearing as a featured soloist for different artists and

groups. Ferguson passed away in 2006 in Ventura, California, and had recorded an album

titled “The One and Only,” which was released in 2007 by Contemporary Records.

Ferguson recorded dozens of albums for studio musicians, as a soloist, and with

different jazz ensembles. His covers of songs such as “Gonna Fly Now,” “Birdland,” and

“Chameleon” are a few charts that helped him gain lots of attention in the national

spotlight. His most significant albums include his self-titled album accompanied by the

Kenton Orchestra, “The Hot Canary,” in 1950. Ferguson’s first big album with his Octet

Jazz Ensemble released their covers of “Autumn Leaves” and “Finger-Snappin’” in 1955.

In 1963, he released his album under Roulette Records titled “Maynard ‘63” where he

performed as a soloist with his jazz orchestra. In 1977, his performance of “Gonna Fly

Now” from the movie, Rocky, became one of his best singles.

References

27

Josephson, Sanford. Jazz Notes: Interviews across the Generations. Santa Barbara: Praeger, 2009. Print.

"Maynard Ferguson." Discogs. Web. 26 Apr. 2016. <https://www.discogs.com/artist/38207-Maynard-Ferguson?filter_anv=0>.

"MaynardFerguson.com - The Official Web Site of Maynard Ferguson." MaynardFerguson.com - The Official Web Site of Maynard Ferguson. Web. 26 Apr. 2016. <http://www.maynardferguson.com/>.

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Brass Artist Research Paper

With every instrument, there are role models that people look up to as a way to

gain motivation and get better. On the horn, Philip Farkas is the artist to look up to

because after years of experience he gained the proper knowledge to be an extraordinary

horn player. Born on March 4, 1914, Farkas had a wonderful musical career and offered

his knowledge to the world through books and consultation with refining the horn until

his death on December 21, 1992.

While most of the famous musicians begin learning their instrument at a young

age, Farkas was not one them. Farkas began his musical career on piano because his

mother insisted that he be involved in music. Farkas continued his musical career in boy

scouts by being the bugler player at the age of 12 and continued on the bulge until age 14.

Around this time, Farkas developed symptoms of asthma and his parents thought that

playing a wind instrument in school would help. Beginning with high school band at

Calumet High School, Farkas started on tuba but ran into a problem of carrying it back

and forth to school with the conductor on the streetcar that he took to get to school.

Farkas then “asked the conductor what case would be allowed and the conductor pointed

to a horn case” and switched to horn.1 As soon as Farkas began playing the horn, he fell

in love with the instrument and began perfecting his talent with it.

By 1927, Farkas decided to be a professional horn player and to help build his

technique, he began taking lessons from Earl Stricker. From these lessons, Farkas

learned and grew so much that he became the youngest horn player to be in the All

Chicago High School Orchestra. To continue growing, Farkas switched teachers and

1 Philip F. Farkas (1914-1992) - IHS Online. (n.d.). Retrieved April 23, 2016, from http://www.hornsociety.org/26-people/honorary/48-philip-f-farkas-1914-1992

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began studying privately with one of the greatest horn players of his time, Louis

Dufrasne. From Dufrasne, Farkas began playing with the Chicago Civic Orchestra and it

helped jumpstart his musical career. Soon after, Farkas began playing as first horn with

the Kansas City Philharmonic and moved on to Chicago, Boston, New York, Cleveland,

and Philadelphia. While playing with these orchestras, Farkas taught at Kansas City

Conservatory, Cleveland Institute, DePaul, Roosevelt, Northwestern, and Indiana

University. Also, Farkas worked at the Aspen Festival Orchestra and toured with the

American Woodwind Quintet.

Aside from his teaching and professional career, Farkas continued sharing his

ideas through writing and helped developed a horn that would help the player. One of his

most famous works is “The Art of Horn Playing” which includes knowledge of

techniques and exercises that he had used himself and the words of his teachers. To

many horn players it is referred to as the “Bible of Horn Playing” because it provides a

great reference to players on the proper embouchure, various breathing exercises, and

reasons behind techniques. For instance, Farkas states in his book that “no matter what

mouthpiece we may tempted to use, we must keep within the bounds of what’s good for

the instrument” offering the advice that players will want to find something that works

for them but they also need to look at what the instrument needs. 2 Not only did Farkas

provide a legacy of information, he also helped with consolations to improve the horn

itself. Working with Holton, Farkas exchanged many letters to him that included

improvements Farkas wished to be made on the horn such as adjustable little finger ring

2 The Art of French Horn Playing. (n.d.). Retrieved April 24, 2016, from https://books.google.com/books?id=sscaH7PJOx0C

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and a case that would have room to fit an emergency kit of tools to fix the horn.3 Farkas

continued to modify this instrument until his death at the age of 78.

Works Cited

The Art of French Horn Playing. (n.d.). Retrieved April 24, 2016, from

https://books.google.com/books?id=sscaH7PJOx0C

Philip F. Farkas (1914-1992) - IHS Online. (n.d.). Retrieved April 23, 2016, from

http://www.hornsociety.org/26-people/honorary/48-philip-f-farkas-1914-1992

Whatever Happened to the H-109 “Ultra-Farkas” Horn? (2010, August 18). Retrieved

April 24, 2016, from https://jamesboldin.com/2010/08/18/whatever-happened-to-the-h-

109-ultra-farkas-horn/

Discography

Solo piece: https://www.youtube.com/watch?v=x9Z4sy3gvkw

Orchestral piece with the Chicago Symphony: https://www.youtube.com/watch?

v=rebEG8nYlgg

Chamber Ensemble: https://www.youtube.com/watch?

v=Q45_SQJdYsE&list=PL2ck3S29Q6olICIV2O7Ymcc_AF2nge4Cp

3 Whatever Happened to the H-109 “Ultra-Farkas” Horn? (2010, August 18). Retrieved April 24, 2016, from https://jamesboldin.com/2010/08/18/whatever-happened-to-the-h-109-ultra-farkas-horn/

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Brass Artist Research Project

Philip Jones Brass Ensemble

London Brass

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Philip Jones founded the Philip Jones Brass Ensemble in 1951. This ensemble

has been known for performing in major concert halls and recording world-

renowned pieces of music. The group has also been a major influence for all brass

chamber groups through many different commissions and recordings of major

works. Philip Johns was a famous virtuoso trumpet player who had performed with

many well know groups such as the London Philharmonic and the BBC Symphony

Orchestra to name a few and was also known for his contributions to solo pieces and

solo performance. When Philip Jones left the group it lead to the renaming of the

ensemble to the London Brass and was founded from many of the members from

the Philip Jones Brass Ensemble in 1986. Both of the groups I found to be extremely

influential to the standards of chamber groups now and contributions to new music.

The Philip Jones Brass Ensemble started with two trumpets, a horn,

trombone, and tuba players. The group was committed to playing music from the

Renaissance, Baroque, Classical, Romanic, and Modern music that ranged from brass

trios to large ensembles. The PBJE has also commissioned and premiered seventy

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works for brass ensembles. Examples of these commissions are Lutoslawki’s Mini

Overture for brass quintet and Langord’s London Miniatures for tentet. This set the

tone for many of the famous brass quintets known today. Empire Brass, Canadian

Brass, and Dallas Brass all seem to follow the same type of playing standards of

performance.

When the group disbanded it lead to the renaming of the London Brass,

which is comprised of a ten-piece ensemble of four trumpets, one horn, four

trombones, and one tuba. This group is known for performing and promoting new

experimental pieces such as Jay Arden’s Bayo’s Way. Andrew Crowley has been a

member since 1987 and is the current manager of London Brass. He has been

featured on film tracks such as Gladiator, 007, Harry Potter, and Shrek. Gareth Small,

John Barclay, Dan Newell, Richard Bissill, Lindsay Shilling, Byron Fulcher, Richard

Edwards, David Stewart, and Oren Marshell have also made significant careers

playing in films, orchestras through out London, and have held teaching careers at

many different colleges for music and universities. Many of the members have also

made careers in solo performing across London and the United States.

Resources

Perkins, John Delbert, 1962. "The Historical Development and Influence

of the Philip Jones Brass Ensemble, Emphasizing Elgar Howarth and His

Music." Web.

Palmer, John. “London Brass.” AllMusic. All Media Network. Web.

<http://www.allmusic.com/artist/london-brass-mn0000938181/biogra

phy>

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Discography

Christmas with London Brass [sound recording]

COMPACT DISC 19672- Bracken, Lower Level West

O come all ye faithful / John F. Wade (2:46) -- Es ist ein Ros'

entsprungen : German traditional (2:01)

Ding dong! merrily on high : 16th-century French (2:14) –

Away in a manger / William J. Kirkpatrick (2:13) -- Veni, veni,

Emmanuel : 15th-century French (3:41) –

Quem pastores laudavere : preludium and fugue : 14th-century

German (5:37) –

Infant holy, infant lowly : Polish traditional (2:14) –

Shepherd's pipe carol / John Rutter (2:43) –

Coventry carol : 16th-century English (3:47) –

In dulci jubilo : German traditional (2:15) –

The first Nowell : English traditional (2:33) –

Stille Nacht, heilige Nacht / Franz Gruber (3:50) –

Gabriel's message : Basque traditional (2:02) –

Joy to the world / Lowell Mason (1:58) –

Winter from The four seasons, op. 8 no. 4 / Antonio Vivaldi (8:37) –

It came upon a midnight clear / Richard Storrs Willis (2:32) –

Festive cheer. Sleigh ride / Leroy Anderson ; Have yourself a merry

little Christmas / Hugh Martin, Ralph Blane ; Jingle bells / J. Pierpont ;

We wish you a merry Christmas (6:35).

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STILETTO BRASS QUINTET

Stiletto Brass was formed in 2010, and is comprised of five different women

brass players. These players’ careers range widely from orchestral, wind band, and

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brass chamber music. This group has played with Doc Severinson as well as the

Heartland Festival Orchestra. They have played at the International Women’s Brass

Conference, the International Trumpet Guild Conference, the National Trumpet

Competition, and the Great American Brass Band Festival. They have played

concerts in New York, New Hampshire, Illinois, Tennessee, Pennsylvania, West

Virginia, Ohio, and Oregon. Amy Gilreath and Cathy Leach play trumpet, Misty Tolle

plays French horn, Nicole Abissi plays trombone, and Velvet Brown plays tuba.

The group’s iconic signature is the bright red stiletto heels that they wear

whenever they do performances. Just like their look is out of the ordinary, their

programs are also very different than other brass quintets. The group strives to

include and program music that is composed by people of this time period, as well

as music all the way back to the Baroque period. Audiences never know what to

expect when attending a Stiletto Brass concert; concerts are often serious, fun,

emotionally intense, and heart-warming.

Amy Gilreath is one of the trumpet players in the Stiletto Brass. She attended

Eastern Kentucky University in order to receive her Bachelor’s degree, and then she

attended the University of Illinois in order to receive her Master’s and Doctorate

degrees. Gilreath is the Principal Trumpet with the Illinois Symphony Orchestra, the

Peoria Symphony Orchestra, the Illinois Chamber Orchestra, the Sugar Creek

Symphony, and Song Orchestra. She also plays as an extra sub with the Saint Louis

Symphony Orchestra. She serves as the brass faculty for the Orvieto Musica

Chamber Music Festival in Orvieto, Italy. She joined faculty at the School of Music at

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Illinois State University in 1990. She plays in the Monarch Brass as well, which is

another all-women brass group.

Cathy Leach is the other trumpet player in the Stiletto Brass. She played

Principal Trumpet with the Knoxville Symphony and the Knoxville Symphony

Chamber Orchestras for thirty-one years. She retired in 2013 in order to work on

her solo career, teaching, chamber work, and publishing her own music. She is the

Professor of Trumpet at the University of Tennessee as well as on the Board of

Directors for the International Trumpet Guild. She is the president and cofounder of

her own chapter of the International Trumpet Guild, called the Smokey Mountain

Trumpet Guild.

Misty Tolle is the French horn player in the Stiletto Brass. She has performed

with major Broadway Orchestras (such as Phantom of the Opera, Wicked, and Les

Miserables), the Orchestra of St. Lukes, Albany Symphony, with Il Divo at the

Emmys, many popular ensembles at Radio City Music, and many more. She also

records a lot of music. Misty Tolle currently teaches at Centre College, Interlochen

Arts Camp, and the University of Kentucky.

Nicole Abissi is the trombone player in the Stiletto Brass. She received her

Bachelor of Music at Julliard. She has played second trombone for the Alabama

Symphony, acting Principal Trombonist for the Colorado Symphony, and acting

Principal Trombonist for the Macon Symphony. She also performed with the Atlanta

Symphony Orchestra, National Symphony Orchestra, Saint Louis Symphony, Qatar

Philharmonic Orchestra, and Huntsville Symphony Orchestra.

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Velvet Brown is the tuba player in the Stiletto Brass. She has taught at

Bowling Green University, Ball State University, Boston University, and now teaches

at Pennsylvania State University. She was the secretary of the International Tuba

and Euphonium Association, as well as founding member of the International

Women’s Brass Conference. She is a founding as well as a current member of the

Monarch Brass Quintet and Ensemble, the Junction Tuba Quartet, and the

Pennsylvania Brassworks. She also has a career as an international soloist, chamber

ensemble performer, recording artist, conductor, and orchestral player.

Discography

Stiletto Brass

Stiletto Brass Quintet http://www.cdbaby.com/cd/stilettobrassquintet

Amy Gilreath

Forbes plays Koetsier http://www.cduniverse.com/productinfo.asp?

pid=7241873&style=music

Enescu: Impressions from Childhood; Chamber Symphony, Quartet No. 2

http://www.cduniverse.com/productinfo.asp?pid=7847139&style=music

Cathy Leach

The Galliard Brass Ensemble https://www.discogs.com/Galliard-Brass-

Ensemble-Carols-For-Brass-Volume-2/release/3335027

Greater Vision- the King Came Down https://www.discogs.com/Greater-

Vision-The-King-Came-Down/release/8279251

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Electro-Acoustic Music by Kenneth Jacobs

https://www.discogs.com/Kenneth-Jacobs-Electro-Acoustic-Music-By-

Kenneth-Jacobs/release/2174752

Velvet Brown

Coolest Love http://www.allmusic.com/album/coolest-love-

mw0000496202

Perspectives: Sound and Rhythm

http://www.allmusic.com/album/perspectives-sound-and-rhythm-

mw0001504908

Velvet Brown, Tuba http://www.allmusic.com/album/velvet-brown-tuba-

mw0001849183

Simply Velvet http://www.potenzamusic.com/simply-velvet-119723.cfm

Other Resources (besides CD’s)

http://www.stilettobrass.com/#!home/c21a5

https://www.facebook.com/Stiletto-Brass-Quintet-181425271909167/

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Brass Artist Report

Tommy Johnson was born January 7th 1935 and died October 16th 2006. He

was born in Los Angeles, California and had musical influence from his father who

sung as a baritone soloist at the Angelus Temple in Echo Park. Johnson went to the

University of Southern California Thornton School of Music, where he studied tuba

under Robert Marsteller. A couple years after graduating in 56’ he played in his first

film score for the movie, Al Capone. After that he became Hollywood’s first call for a

tuba player and played in more than 2,000 film soundtracks. He played in many of

soundtracks for John Williams, and Johnson also played in tracks with Elvis Presley,

Frank Sinatra, and even “Weird Al” Yankovic.

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Johnson was most notable for playing in many of Television soundtracks also.

He played in television commercials, and television series such as The Flintstones.

Other film tracks that Johnson played for, but Williams didn’t write, include The

Godfather series, Star Trek series, The Lion King, Titanic, The Matrix, Cats and Dogs,

Forrest Gump, Air Force One, Back to the Future series, A Bug’s Life, and Lethal

Weapon.

Everyone will forever be able to list to Johnson’s tuba solo in the Jaws Theme

for the movie soundtrack. The music was written in the higher register for the tuba,

but Williams wanted a more threatening sound so he scored for the tuba solo. After

Johnson passed, Williams stated that Johnson was one the greatest instrumentalist

of his generation.

As part of playing in film scores, Johnson also played as a tuba soloist in the

Los Angeles Philharmonic Orchestra, the Pasadena Symphony, the San Fernando

Valley Symphony, L.A. Pops Orchestra, the Henry Mancini Orchestra, the Hollywood

Bowl Orchestra, the Academy Awards Orchestra, the USC Wind Ensemble and the

Los Angeles Tuba Quartet.

In addition to being a tuba performer, he was also a tuba educator. He taught

junior high school music in the Los Angeles Unified School District for nearly 20

years. Johnson also taught advanced tuba players at USC and UCLA. Many of his tuba

students are in the top orchestras in the world including New York Philharmonic,

the Chicago Symphony Orchestra, and the Detroit Symphony Orchestra.

Instead of doing a traditional funeral for Johnson, his family and friends

hosted a musical tribute for him at the University of Southern California. For this

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tribute the family made and extended program which includes a detailed biography

and shared memories with photos. This program can be found by going to the

tribute website, tommyjohnsontuba.com.

Discography:

Themes to;

The Addams Family

Air Force One

Al Capone

Alien

Armageddon

Austin Powers: The Spy Who Shagged Me

The Babe

Back to the Future Part I, Part II and Part III

Batman Forever

Batman Returns

Beethoven

Beethoven's 2nd

Beetlejuice

The Bodyguard

A Bug's Life

Constantine

Cars

Cats & Dogs

Chain Reaction

Close Encounters of the Third Kind

Con Air

Contact

Crimson Tide

Death Becomes Her

Deep Rising

Die Hard

Die Hard 2

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Dracula

The Edge

Enemy of the State

Evolution

Executive Decision

Extreme Measures

Father of the Bride Part II

A Few Good Men

First Wives Club

The Flintstones

Flubber

Forrest Gump

Frequency

The Frighteners

The General's Daughter

The Godfather Part I, Part II and Part III

Godzilla

Grumpier Old Men

The Haunting

Honey

Honeymoon in Vegas

The Incredibles

Independence Day

Indiana Jones and the Last Crusade

Instinct

Jaws

Jaws 2

Jaws 3-D

Jaws: The Revenge

The Karate Kid

The Karate Kid, Part II

The Karate Kid, Part III

The Last of the Mohicans

A League of Their Own

Lethal Weapon

Lethal Weapon 2

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Lethal Weapon 3

Lethal Weapon 4

The Lion King

The Matrix

Maverick

Men in Black

Monsters, Inc.

MouseHunt

Mr. Magoo

Mulan

Mystery, Alaska

The Natural

The Nutty Professor

The Odd Couple II

The Parent Trap

Planet of the Apes

Pleasantville

Police Academy

Police Academy 2: Their First Assignment

Police Academy 3: Back in Training

Police Academy 4: Citizens on Patrol

Police Academy 5: Assignment Miami Beach

The Quick and the Dead

Raiders of the Lost Ark

The Rainmaker

Reindeer Games

Richie Rich

Robin Hood

Scream 2

Scream 3

Seven

Silverado

Small Soldiers

Snow Day

Starship Troopers

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Star Trek: The Motion Picture

Star Trek II: The Wrath of Khan

Star Trek III: The Search for Spock

Star Trek IV: The Voyage Home

Star Trek V: The Final Frontier

Star Trek VI: The Undiscovered Country

Star Trek: First Contact

Star Trek: Insurrection

Star Trek: Nemesis

Tarzan

The Thin Red Line

The Thomas Crown Affair

The Tigger Movie

Tin Cup

Titanic

Toy Story

Toy Story 2

True Lies

Twister

U-571

Under Siege

Under Siege 2: Dark Territory

Unforgiven

US Marshals

Waiting to Exhale

The Waterboy

Wild Wild West

Wyatt Earp

Resources

Biography:

http://articles.latimes.com/2006/oct/25/local/me-johnson25

http://www.lastudiomusicians.info/tommyjohnson.htm

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Picture:

http://musicians.allaboutjazz.com/tommyjohnson

Discography:

https://en.wikipedia.org/wiki/Tommy_Johnson_(tubist)

Wynton Marsalis

Marsalis at the Oskar Schindler Performing Arts Center (OSPAC) Seventh Annual Jazz

Festival in West Orange, New Jersey

Wynton Marsalis is a professional jazz, and classical trumpet player born on

October 18, 1961 in New Orleans, Louisiana. He is a composer, teacher, music

educator, and artist director of Jazz at the Lincoln Center in New York City. In his

lifetime, Marsalis has won a total of nine Grammys in both the classical and jazz

genres. In the 1986 super bowl, Wynton performed the national anthem to an

audience of more than 100,000 people. When Masalis was young, eight years old to

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be exact, he performed traditional New Orleans music in his hometown’s Baptist

Church band led by banjoist Danny Barker, and at the young age of 14, he performed

on trumpet with the New Orleans Philharmonic. While in High School Wynton

performed in many ensembles for jazz. Those ensembles include the New Orleans

Symphony Brass Quintet, New Orleans community concert band, New Orleans Youth

Orchestra, New Orleans Symphony, and various jazz and funk bands one including

the Creators. Wynton had quite the resume at such a young age it makes sense that

he is at the current level he is at now.

Wynton Marsalis has won many awards for his involvement in Jazz. His

album entitled; Blood on the Fields was the first jazz composition in the world to win

a Pulitzer Prize for Music. Most critics agree when they say that Wynton has brought

respect back to the Jazz genre as a whole.

Works Cited

"Wynton Marsalis." Wikipedia. Wikimedia Foundation, n.d. Web. 20 Apr. 2016.

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