< Previous88 ITG Journal / January 2021 © 2021 International Trumpet Guild O RCHESTRA S ECTION P ROFILE J ASON B ERGMAN , C OLUMN E DITOR Matzen: Thank you so much for sitting down with me for this interview. Could you describe a few of your earliest musical influ- ences? Kikumoto: I have an older sister who played clarinet in jun- ior high band. In Japan, there is very special attention and care given to wind orchestra, which includes competitions. There were many wind orchestra concerts and contests, and I have clear memories of being in attendance. They were all very inspiring for me. Matzen: Could you talk about the NHK Symphony audition process? Kikumoto: The preliminaries had only eight players. The repertoire was Haydn’s Concerto and Honegger’s Intrada. There were also many of the standard excerpts. Everyone had to prepare about twenty pieces in total. From this group, they advanced three players. Each of these players was then given a trial in the orchestra. The tri- als lasted for six months in total, and then the trumpet section put forth a vote. Matzen: For the entire orch - estra? Kikumoto: Yes. I had to per form Haydn, Bach’s Christ- mas Oratorio, the posthorn solo from Mahler’s Third Sym- phony, and the “Ballerina’s Dance” from Petroushka. After I was selected, I was required to play an entire-year trial with the orchestra as an intern. Matzen: After your time as an intern, was there a commit- tee vote of some kind? Kikumoto: After the trial year had passed, the entire orchestra voted. In order to Orchestra Section Profile is a “snapshot” of an orchestral player or section at a specific time in history. The column seeks to include sections from all levels of orchestras. Ideas and suggestions should be directed to Jason Bergman; orchprofile@trumpetguild.org K AZUAKI K IKUMOTO , P RINCIPAL T RUMPET , NHK S YMPHONY O RCHESTRA BY M AX M ATZEN K azuaki Kikumoto graduated with a bachelor’s degree from Kyoto City University of Arts, with honors, and also studied at Freiburg University of x Music and Karlsruhe University of Music (Ger - many). He was a member of the Kyoto City Symphony Orchestra for seven years and has been principal trumpet of the NHK Symphony Orchestra in Tokyo since . Select domestic honors include first place in the nineteenth Japan Wind and Percussion Competition, first place in the nd Japan Music Competition, and recipient of the Masuzawa Award and the E. Nakamichi Award. Inter nat - ional honors include second place at the Jeju Brass Com - petition (Korea), second place in the Ellsworth Smith Inter - national Trumpet Solo Competition (usa), and recipient of the Chosen Vale Award in . He was a featured recitalist at the ITG Conference in Anaheim, California, and is also a member of the Kyoto trumpet group Summer Breeze, the Kyoto Brass Quintet, Japan Brass Collection, and Izumi Sinfonietta Osaka. He is a lecturer at Tokyo University of the Arts and lives with his family in Yokohama, Japan.© 2021 International Trumpet Guild January 2021 / ITG Journal 89 win a permanent position, I needed to get percent of the vote. The NHK Symphony is a ninety-person-plus orchestra. It was all a very tiring experience! Matzen: Who are your principal trumpet teachers? Kikumoto: This is a very difficult question for me. I respect and have learned from all of my teachers. Matzen: Of course. Kikumoto: I am an honors student (laughing). I have stud- ied with ten different teachers, but if I had to select just one teacher to mention right now, it would be my first teacher, Mr. Hiroaki Hayasaka. He was a trumpeter in the Kyoto Sympho- ny Orchestra and the one that started me off. At the University level, I began studying with Mr. Sumiaki Arima, who was also a former member of the Kyoto Symphony Orchestra. Matzen: Could you share about your time studying with Mr. Arima? Kikumoto: The university I attended was the Kyoto City University of Arts, where Mr. Arima was the primary instruc- tor. One of his principal sayings was “as you like.” For example, during my first examination I asked him about which pieces I should prepare for examinations. His reply was “anything.” I was so confused! I chose to perform Glazunov’s Albumblatt. After the performance, I was shocked to learn that I received the lowest points in all wind instruments. Our examination was supposed to be seven minutes, but the Glazunov was just about five minutes. The other teachers on the committee were very strict about my time not meeting the requirement and gave me a failing grade. Afterward, when I approached Mr. Arima about this, he simply told me I should “learn from failure.” This is very important! Espe- cially at the university level, we can fail many times, but failure can be a very good teacher. Mr. Arima helped me very much with this. At the high school level, I think it is perfectly fine for teachers to give or say everything they can to help the student. However, once the student reach- es college, it is very important for them to take over and seek the best way to learn. Matzen: Would you mind sharing your experiences at Chosen Vale? Kikumoto: I participated in about half of one of the semi- nars in . I was invited to play a recital, because in I participated in the ITG Solo Competition and Ellsworth Smith, where I won second place. Stephen Burns invited me to come to Chosen Vale, and he actually paid for my flight from Japan! Matzen: That’s very nice of him! What repertoire did you per- form for the recital? Kikumoto: The major work I decided to play was the Sonata by Jan Krzywicki. Matzen: That is a very difficult piece! Kikumoto: Yes, it is very, very difficult (laughing). The pianist for the recital was my wife’s cousin, who is an active pianist in the Boston area. I believe Chosen Vale has a YouTube channel where you can still see some of this perform- ance. [https://tinyurl.com/itg2102y] The experience of per- forming there was difficult as well, because Mark Gould and John Wallace were in the audience. I was so nervous, but I was able to play my best. I also participated in some masterclasses with Stephen Burns and Mark Gould. Matzen: It sounds like it was a fantastic experience. Kikumoto: Chosen Vale was a very wonderful and impor- tant experience for me, but one of the most important memo- ries of this time for me was the presence of Mr. Kenzo Kawasa- ki, the legendary trumpet maker for Yamaha. He traveled to America from Japan to hear my performance. This made a great impression on me that I will never forget. Matzen: Have you ever spent any time studying abroad? Kikumoto: Yes. I studied in Freiburg, Germany, as an exchange student for three months. There I was able to study with both Anthony Plog and Ewald Anthony, trumpet player from the Freiburg Theater Orchestra. This was in . I returned to Germany in to study at the Hochschule für Musik Karlsruhe with Reinhold Friedrich, as well as Edward H. Tarr, Klaus Bräker and Laura Vukobratović. I stayed there for one year. Matzen: Were your lessons and classes in German? Kikumoto: Yes. Ich spreche Deutsch (laughing). Matzen: Would you mind sharing some of your experience with Dr. Tarr? Kikumoto: We spent our time exploring Baroque and nat- ural trumpeting. What really stuck with me was his attention to musical detail. Particularly with the music of Bach, he talked about issues concerning basic Baroque articulation and general performance practice. Matzen: What type of Baroque trumpet are you currently using? Kikumoto: I use an Egger three-hole trumpet with the Haas bell. I bought this particular instrument while in Switzerland. Matzen: While in Germany, I assume you were spending most of your time on rotary trumpets? Kikumoto: I was actually doing a good deal of playing on both piston and rotary instruments. Matzen: How was your time studying with Mr. Friedrich? Kikumoto: This time for me was very special. Every day was so special; it is hard for me to put into words. We explored trumpet technique, pedagogy, and music. He said to me, “Music is lively and natural. Not mechanical.” Matzen: Please describe your trumpet gear (trumpets, mouth- pieces). Kikumoto: I am currently playing Yamaha Xeno B- flat and C trumpets. I did, however, have some alter- ations made with these instruments at the Yamaha Atelier Tokyo. Matzen: Could you describe the type of work that was complet- ed? Kikumoto: The NHK Symphony tunes to a=, so I had Mr. Aoyagi (technician from Yamaha Atelier Tokyo) remove about one centimeter from the bow of the bell. This helps keep things closer to pitch with the symphony. So, the bell is normal, but just a little bit shorter. Also, I had them drill a small vent hole in the bottom of the third valve in order to prevent the slide from sticking due to compression. Matzen: Do you have a preference now for either rotary or pis- ton? Kikumoto: In the NHK Symphony, we play a great deal of German and Austrian music. For this repertoire, our prefer- ence is to use rotary instruments. However, we still play pis- tons frequently. “Music is lively and nat- ural. Not mechanical.” “Learn from failure.”90 ITG Journal / January 2021 © 2021 International Trumpet Guild Matzen: Mouthpieces? Kikumoto: I like the Parke Orchestral models for my piston, or American, horns. However, my current mouthpieces are made by Yamaha. The rim size is comparable to a Bach 1x, but the depth of the cup is about a Bach 1c. I also have mouth- pieces of comparable sizes made by Warburton. Matzen: How about rotary trumpets? Kikumoto: I currently use three different rotary trumpets. My main B-flat and C are made by Weimann. Another C trumpet I have is a Schagerl, the Vienna model. About half of our work in nhk is performed on rotary instruments. Matzen: How about mouthpieces for rotary trumpets? Kikumoto: I play a two-piece mouthpiece for my rotary instruments. The tops are made by Toshi Kameyama, and the backbore is made by Breslmair. Matzen: Could you describe your process for preparing for audi- tions or orchestral performances? Kikumoto: Ah, yes (laughing). This question is so dif- ficult for me. There are a great number of orchestral pieces that feature the trumpet in a vari- ety of ways. Sometimes, this can be a challenge for trumpeters who are used to performing solo pieces and melodies. One of my strategies was to do a great deal of listening, as well as performing the trumpet parts along with the recording. For example, during my preparation of Mahler’s Fifth Symphony, I focused on five different orchestras. I would listen to and play along with these recordings. By doing so, I felt like I had gained a great deal of confidence and experience with the piece. Matzen: Very interesting. Is there anything else that you prioritize in your preparation? Kikumoto: I think that it is very important for trumpeters to spend time reading complete scores and learning how to play with other instruments. For example, take the lyrical passage from Don Juan by Strauss. Many trumpeters may treat this passage as a solo; however, at this time the trumpet is in unison with violins. Also, with the Carmen prelude, this passage is in unison with the celli, clarinet, and bas- soons. So, I like to read scores and consider all the information I can. A trumpeter must consider all aspects of the orchestra during per- formance. Matzen: The NHK Symphony has a long list of famous conductors, one of whom is Charles Dutoit. Do you have any memories you would like to share about your time performing with him? Kikumoto: Ah! The first piece I was scheduled to play with him was Stravinsky’s Song of the Nightingale. I was so nervous! However, he was very encouraging. I also was scheduled to perform Mahler’s Third Symphony when the person who was performing the posthorn solo became ill. Under Dutoit, I per- formed both principal and the posthorn solo—American style. Again, he was very kind and sup- portive. Matzen: What do you think makes a great orchestral trumpet player? Kikumoto: Flexibility. Not only lip flexibility, I mean (laughing). Matzen: Of course. Kikumoto: An orchestra is a group—not a solo situation. When I play difficult pieces, like maybe by Strauss, it is very important to listen to other play- ers. There needs to be balance between being a part of the general orchestral texture and knowing when it is time to “There needs to be balance between being a part of the general orchestral texture and knowing when it is time to show my ability, or ego.” Continued on Page 102 © 2021 International Trumpet Guild January 2021 / ITG Journal 91 P RODUCT /A PP R EVIEWS B RITTANY H ENDRICKS , C OLUMN E DITOR Discord US$0 iOS/Mac or Android/PC http://discord.com Since last March, studio teachers have urgently sought solutions for distance learning, teaching, collaboration, and community building. Though Zoom has become the default video conferencing tool, this reviewer believes that the free app Discord boasts better streaming quality, customizable privacy, and a superior community-building platform that helps to fulfill critical socialization needs within institutions of learning. Available for Mac/PC and iOS/Android, Discord is a voice- over ip (VoIP), text messaging, and video conferencing app - lication that has been widely marketed in connection with online gaming. Designed to facilitate communication during play, Discord shines in its ability to build an organized com - munity. Administrators first establish a main server for the com munity with any number of text or voice “channels” (similar to chat rooms) to share files, links, and ideas. Thus, a trumpet professor could establish a text channel for official business (i.e., announcements or important documents) and likewise a channel for less serious conversation (inspiring or silly content). Privacy is simple; Discord’s default setting restricts access to servers to invitation-only, giving the administrator complete control of the server’s membership. In this reviewer’s experience, an equal appraisal of Discord compared to Zoom finds that where internet connectivity is equal, Discord streams are smoother and less prone to freezing or dropping and generally facilitate a more natural con ver - sation. Discord’s video streams are initiated with a button located in the private peer-to-peer text chat feed with another user, much like a Facebook Messenger conversation. Group conferences are just as simple; the server administrator starts a live stream where members join, much like watching Facebook Live with the added capability of audio/video dialogue with other participants. Discord, of course, is not perfect. Unlike Zoom, screen- capture recording requires a third-party application. This is a feature Discord would benefit from adding. While Discord’s main clientele is the gaming community, this change would appeal to teachers, professionals, and other institutions seeking business-focused software. This reviewer urges readers to look past this drawback and consider what Discord has to offer. Discord does a great deal to solve the problem of remote instruction, learning, collaboration, and community-building when face-to-face interaction is not an option. (Ross Ahlhorn, assistant professor of trumpet, University of Central Arkansas, Conway, AR) Flic Smart Button US$29.99 (single) – US$179.94 (six-pack) iOS or Android http://flic.io The Flic Smart Button is a Bluetooth-enabled device that can be synced to a tablet or smart home device. With the Flic app, a user can pair the button with a variety of other apps and devices. This review focuses on its use as a wireless page- turning device with music reader apps such as ForScore. The Flic is easy to set up—simply download the Flic app and follow the instructions to sync the button with a device via Bluetooth. Once synced, the user can either choose from the wide range of apps for which Flic is optimized (such as ForScore) or operate an alternate app through general device controls. The button supports up to three commands per app, so the user can turn pages both forward and backward. The Flic holds up well when used with a trumpet. Each Flic has an adhesive backing that can stick to the bell or valve block for easy reach; after several months of use, the adhesive continued to hold, and removing the button caused no damage to the finish; for this review, buttons were tested with silver- and lacquer-plated instruments. After removal, the adhesive remained strong enough to reattach the button to a different surface without difficulty. As a page-turning device, Flic works well. Commands can be programmed to a single press, double press, and sustained press. There is a small delay that is easily accounted for. The Flic is small and unobtrusive, unlikely to be noticed in a group, though the clicking sound it produces could be distracting in a quiet setting. This column exists to provide an unbiased assessment of the many products and apps available to ITG members. The staff makes every effort to provide reviews by ITG members who are unaffiliated with the products they test. Reviews reflect the opinions of the individual reviewers and not those of the editor or the International Trumpet Guild. Developers and manufacturers wishing to submit items for review are expected to provide a complimentary sample of the product or app in question, and not all submitted items will be reviewed. Reviewers and products/apps will be selected at the editor’s discretion, and samples will not be returned. To recommend an item for review or to request to join the review staff, contact Brittany Hendricks (productreviews@trumpetguild.org).92 ITG Journal / January 2021 © 2021 International Trumpet Guild Compared to Bluetooth foot-pedal devices, the Flic has both advantages and disadvantages. For those uncomfortable using their feet or who struggle to use a pedal while standing, the Flic can provide a great alternative, although its noisiness could be distracting. Unlike a foot pedal designed specifically for use with a music reader app, the Flic Smart Button is a versatile device that can be used for a range of purposes that extend far beyond playing an instrument. (Andrew Stadler, trumpet instructor, Kansas City School of Music, Kansas City, MO) Audio Recording Equipment [Editor’s note: TJ Tesh co-owned a project recording studio during his years in Los Angeles as a freelance trumpeter and teacher and is now assistant professor of trumpet at The University of Southern Mississippi. Knowing that many of our readers have an immediate need for better audio recording equipment, we asked him to offer some recommendations.] With the onset of covid-, technologies such as Zoom and Teams have become commonplace in private studios. While these platforms have merit, substandard audio equipment can Microphones for Smart Phones/Tablets Zoom iQ6 (Lightning only) US$100 http://zoomcorp.com Saramonic SmartMic+ UC (USB-C only) US$75 http://saramonicusa.com Shure MV88+ (Lightning and USB-C) US$249 http://shure.com Entry-Level Microphones for Computers (USB) FIFine K669B US$46 http://fifinemicrophone.com Neat Bumblebee US$89 http:/neatmic.com Blue Yeti US$130 http://bluemic.com Audio-Technica AT2020USB+ US$149 http://audio-technica.com AKG Lyra US$149 http://akg.com Middle-Tier Microphones for Computers PreSonus PX-1 US$130 http://presonus.com Rode NT1-A US$229 http://rode.com AKG C214 US$399 http://akg.com High-End Microphones for Computers AKG C414 XLS US$1,074 http://akg.com Royer R-121 US$1,295 http://royerlabs.com Neumann U 87 Ai US$3,200 http://neumann.com Middle-Tier Audio Interfaces PreSonus AudioBox USB 96 US$99.95 http://presonus.com Focusrite Scarlett 2i2 US$160 http://focusrite.com Solid State Logic SSL2+ US$280 http://solidstatelogic.com High-End Audio Interfaces Apogee Duet US$649 http://apogeedigital.com Arturia AudioFuse US$699 http://arturia.com Universal Audio UAD Apollo Twin X Duo US$899 http://uaudio.com Entry-Level Headphones Tascam TH-MX2 US$30 http://tascam.com AKG K92 US$59 http://akg.com Audio-Technica ATH-M30x US$69 http://audio-technica.com Middle-Tier Headphones Sony MDR-7506 US$100 http://pro.sony.com Sennheiser HD 280 PRO US$100 http://sennheiser.com Beyerdynamic DT 770 Pro US$159 http://beyerdynamic.com High-End Headphones Sennheiser HD 600 US$299 http://sennheiser.com AKG K701 US$449 http://akg.com Beyerdynamic DT 1770 Pro US$599 http://beyerdynamic.com A R EPRESENTATIVE S AMPLING OF R ECOMMENDED A UDIO R ECORDING E QUIPMENT© 2021 International Trumpet Guild January 2021 / ITG Journal 93 hamper their use. Whether using a smart device or computer, it is imperative that some investment be made to upgrade both the input and output, as internal microphones were designed for the human voice, not the high sound pressure levels of the trumpet. Also, speakers (built-in or otherwise) can introduce noise and feedback, whereas proper headphones will not. Users on both ends must seek out these upgrades and learn to use them. High-end equipment will be rendered ineffective if the other user is employing a native microphone and speaker, has not configured the audio settings properly, or has slow connectivity. If an instructor or student is working through a smart device with a Lightning port, the Zoom iq boasts a high-quality stereo pair of condenser microphones and adjustable input volume. For those with usb-c ports, Saramonic’s SmartMic+ uc utilizes a broadcast-quality directional microphone. For those seeking a more professional-quality option, Shure’s motiv mv+ is a versatile condenser microphone with options for mono, figure-8, mid-side, and stereo recording, as well as cables for both Lightning and usb-c devices. All three microphones have built-in headphone jacks for direct monitoring and playback. For those with a computer, the user-friendly, plug-and-play option is a usb microphone. Audio-Technica’s atusb+ is a high-quality, large-diaphragm condenser with a built-in headphone jack and adjustable output volume/mix settings. Adapters will allow this and other usb microphones to connect to smart devices as well. Higher-quality options are available for those willing to purchase a slightly more expensive microphone, xlr cable, and an audio interface. A solid mid- range microphone is the akg c, a professional-quality, large-diaphragm cardioid condenser, and is viable for almost any size of teaching space. The c’s cousin, the c xls, is an industry-standard, large-diaphragm condenser with a variety of switchable settings that permit its use in almost any space or situation. Audio interfaces also vary in price and quality. The Focusrite Scarlett 2i2 is an easy-to-use option with high-quality preamps, two mic/line inputs, monitor and headphone outputs, and direct-monitoring capabilities. Universal Audio’s uad Apollo Twin X is the cutting edge of desktop audio interfaces, featuring best-in-class audio conversion, on-board processing to reduce cpu load, premium mic/line preamps, built-in plugins, and much more. The final element is headphones. Industry-standard options include Sony’s mdr- and Sennheiser’s hdpro. Both are professional quality, with an even frequency response, closed-back design, and durable construction. This reviewer recommends utilizing direct input monitoring or placing the headphones on one ear only in order to hear oneself clearly. Ear buds are not recom - mended, as they have a limited frequency response and can be easily dislodged. With these elements in place, instructors are on firm ground for both an improved online teaching experience and recording. A plethora of websites, blogs, and videos are available to help optimize each of these setups, and exploring them is vital to getting the most from any purchase. (Timothy J. Tesh, assistant professor of trumpet, The University of Southern Mississippi, Hattiesburg, MS) 2021 ITG Conference June 1 – 5, 2021 ITG’s first-ever V IRTUAL C ONFERENCE A celebration of International Trumpet Artistry like you have never experienced before—from the comfort of your own home! Details available soon on the ITG Website! www.trumpetguild.org #ITG2021 Visit the site frequently for updates.94 ITG Journal / January 2021 © 2021 International Trumpet Guild R ECORDING R EVIEWS D ANIEL K ELLY , C OLUMN E DITOR Gilmar Cavalcante—Gilmar Cavalcante Interprets Estudos Bem-Humorados Para Trompete Solo by Fernando Morais Self-released; gilbrass@gmail.com; available through virtual stores including Apple Music, Spotify, Deezer, and Tidal Morais: Estudo No. 1—Se Ernesto Tocasse Trompete; Estudo No. 2—Dilermando e o Trompete; Estudo No. 3—Um Trompete Callado; Estudo No. 6—Pattapiando no Trompete; Estudo No. 7—Tempo de Baião; Estudo No. 9—Chôro; Estudo No. 10—O Trompete de Anacleto; Estudo No. 12—O Trompete e a Rosa; Estudo No. 13—Um Trompete Carinhosa; Estudo No. 14— Trompetico no Fubá. Gilmar Cavalcante is cur- rently a doctoral candidate at Ball State University and has recorded ten etudes from Fer- nando Morais’s Estudos Bem- Humorados Para Trompete Solo. Fernando Morais is one of Brazil’s leading trumpet players and composers, having written a wide variety of compositions from solo works to orchestral compositions. Cavalcante has produced an excellent reference recording of these advanced concert etudes that capture ele- ments of popular Brazilian music. The level of these etudes would be comparable to Charlier’s 36 Etudes Transcendantes. Cavalcante’s recording demonstrates that these studies are not only for studio use, but can also be treated as unaccompanied solos for public performance. Cavalcante’s interpretation of these well-crafted etudes is to be commended. His technique and style are demonstrated throughout the recording, playing the most difficult passages with apparent ease. This is a valu- able resource for any trumpet teacher or advanced student who wants to perform these etudes. Cavalcante’s performance incor porates a variety of Brazilian folk music and Brazilian styles throughout the collection. (Jon Burgess, professor of trumpet, Texas Christian University, Fort Worth, TX) Dario Doronzo—Reimagining Opera Dario Savino Doronzo, flugelhorn; Pietro Gallo, piano; Michel Godard, serpent DCTT96 (CD); Digressione Music, Via Dante Alighieri 41, 70056 Molfetta, Italy; info@digressionemusic.it; http://digressionemusic.it; +39-349-578-0851 Verdi (Paternoster/Doronzo/Gallo): Overture [Otello]; Mon- teverdi (Giannatempo/Doronzo/Gallo): Sì dolce è’l tor- mento; Parisotti (Giannatempo/Doronzo/Gallo): Se tu m’ami; Puccini (Giannatempo/Doronzo/Gallo): Nessun dorma [Turandot]; Mascagni (Giannatempo/Doronzo/ Gallo): Intermezzo [Cavalleria Rusticana]; Giordani (Giannatempo/Doronzo/Gallo): Caro mio ben; Paisiel- lo (Giannatempo/Doronzo/Gallo): Nel cor più non mi sento [La molinara]; Godard: Fruccia d’ali. Dario Doronzo and Pietro Gallo of the Italian duo Re- Imagine make up a musical team that shares many com- mon goals. One such goal, honoring the past in order to have a dialogue with the pres- ent, helped guide the creation of Reimagining Opera. This album contains one new com- position inspired by opera and seven arrangements of arias that have been reinterpreted using European jazz language and Ital- ian lyricism. Doronzo mentions that arranging and performing this music is not meant to be disrespectful, but is merely exper- imentation toward achieving a common goal. Through the cre- ation and completion of Reimagining Opera, Doronzo and Gallo’s objective has been realized. The musical intent of each aria arrangement is still closely tied to the original meaning, but jazz language is utilized. Doronzo and Gallo expand melodies with inventive improvisations and stretch rhythms with nuance. This is heard clearly in Se tu m’ami, in which the two musicians evoke such emotions as love and determination. As the opening melodic line takes form, they alter rhythms slightly and include articulations indicative of jazz, but the sense of the original composition is present. After performing the aria, they move into a section where they highlight creative improvisations before returning to the initial melody and har- mony of the piece. Another way this duo connects the past and present is by including Michel Godard on serpent. This instru- ment brings a pleasantly unique bass sound to Sì dolce È’l tor- mento and Caro mio ben, where we hear the rare combination of flugelhorn, serpent, and piano. Reimagining Opera brings a fresh perspective to traditional opera. Doronzo, Gallo, and Godard perform with brilliant musicality while connecting repertoire of the past with modern jazz approaches. (Timothy Recently released recordings of music for solo trumpet, trumpet ensemble, brass ensemble, jazz ensemble, or other groups that feature the trumpet may be submitted by the artist, agent, recording company, or distributor. Reviewers and items for review are selected by editor, and recordings will not be returned. Journal publication deadlines require that reviews of selected items appear at least six months after they are received. Qualified ITG members are invited to review recordings submitted based on their area of expertise (e.g., solo trumpet, brass quintet, jazz). Copies of the discs will be forwarded to selected reviewers. Reviews reflect the opinions of individual reviewers and not those of the International Trumpet Guild. The editor strives to present unbiased reviews written by musicians not affiliated with the recording artists. To submit a recording for review con- sideration or to request to join the review staff, please contact: Dr. Daniel Kelly, Recording Reviews Editor, 830 Windham Dr, Rockwall TX 75087 USA, 972-375-1482 (cdreviews@trumpetguild.org).© 2021 International Trumpet Guild January 2021 / ITG Journal 95 Winfield, associate professor of music, Westminster College, New Wilmington, PA) Jason Dovel—New Unaccompanied Music for Trumpet and Flugelhorn Jason Dovel, trumpet and flugelhorn Self-released (CD); Sonitus Records; http://www.jasondovel.com Hightower: A Long Ride in a Slow Machine; van Duuren: Aurae; Dovel: Et Planetarum; Youngs: Eclipse; Veverka: Solo Ascent; Shepherd (Dovel): A Song for Elton; Dovel: Quarantine. Regarded as a leading per- former, educator, composer, and entrepreneur, Jason Do - vel’s recently released solo al - bum, New Unaccompanied Mu sic for Trumpet and Flugel- horn, brings seven new works into the unaccompanied trum- pet repertoire. In addition to his original compositions (Et Planetarum and Quarantine) and arrangement (A Song for Elton), four additional artists composed for this project, creating a highly collaborative and artistically diverse collection of new works. The album opens with Matthew Hightower’s A Long Ride in a Slow Machine, an attention-grabbing programmatic work fully demonstrating Dovel’s virtuosic control and clean technique. At sixteen min- utes in length, Dovel’s Et Planetarum is musically diverse and extensive, demanding a high level of imagination and nuance. The nine movements/planets are each ascribed a specific style and instrument, rotating between piccolo, B-flat trumpet, and flugelhorn, thus creating distinct musical textures reflective of the solar system. Contrasting in length and style, Dovel dra- matically presents Marissa Youngs’s Eclipse, highlighting his beautiful tone and singing lyricism. Throughout the entire album, Dovel demonstrates a wide variety of artistic abilities and confidently captures the spirit within each work. His per- formance flexibility on various instruments, mutes, and extended techniques are noteworthy. From beginning to end, New Unaccompanied Music for Trumpet and Flugelhorn is a wel- come addition. Furthermore, it is important to mention the spirit of this album and project—to promote the cause of new music. To that end, the composers provide the music for free and ask only to be notified of a performance. The album, downloadable pdfs of the solos, and program notes are avail- able on the performer’s website. (John Kilgore, instructor of trumpet, Kansas State University, Manhattan, KS) J.C. Hopkins Biggish Band—New York Moment Drew Vanderwinckle, tenor sax; Jason Marshall, baritone sax; Julian Pressley, alto sax; Beserat Tafesse, trombone; Wal- ter Cano, trumpet; Alicyn Yaffe, guitar and vocals; Kaisa Mäensivu, upright bass; Evan Hyde, drums; Wignall Ismel, percussion; J.C. Hopkins and Jesse Gelber, piano; Nico Sarbanes, vocals and trumpet; Joy Hanson, Vanisha-Arleen Gould, and Shawn Whitehorn, vocals Twee-Jazz Records (CD): Jazz Promo Services, 272 State Route 94 South #1, Warwick, NY 10990-3363; jim@jazzpromoservices.com; http://jchopkins.com; (917) 755-8960; fax (845) 986-1699 Hopkins (Vanderwinckle): Beguiled; Hopkins/Federer (Van- derwinckle): One of Those Days; Hopkins/Federer (Vanderwinckle): The Wonderful Things to Come; Hop kins/Sarbanes (Vanderwinckle): We Can Change the World; Hopkins (Tucker): Oh, Kitty; Mingus (Van- derwinckle): Better Git It in Your Soul; Hopkins (Van- derwinckle): Sublime Beauty; Hopkins (Vanderwinck- le): What Would You Say?; Hopkins (Tucker): Lulu; Hopkins (Vanderwinckle): Close Your Eyes; Hopkins (Marshall): The Children Will Lead Us. The latest recording by the J.C. Hopkins Biggish Band is a joyful collection of neo-swing originals and a classic tune by Charles Mingus. Hopkins is the pianist for the Biggish Band, which performs on Sat- urday nights at Minton’s Play- house in New York City. This recording is filled with Hop- kins’s swinging originals for band and vocalists that sound like standards for the st century. All the vocalists are terrific, but Vanisha Gould shines on One of Those Days and Sublime Beauty. Nico Sarbanes channels his inner Sinatra as vocalist on We Can Change the World and plays a well-crafted trumpet solo on Lulu. Joy Hanson delivers a convincing Close Your Eyes with a tasty, muted solo by Sarbanes. Guitarist Alicyn Yaffe plays and sings on The Children Will Lead Us, proving to be a double-threat performer of the highest caliber. This final tune on the disc is a blues romp that showcases the rhythm section’s talent in lay- ing down a funky groove. The lone instrumental number on the disc is Charles Mingus’s Better Git It in Your Soul. Alto sax- ophonist Julian Pressley soars in this bluesy, avant-garde mas- terpiece, delivering a burning solo that honors Mingus’s legacy. The only regrettable aspect of this tune is the fade-out ending, which makes the number seem incomplete. The instrumental soloists deliver on each cut, adding swinging responses to the vocalists’ performances. The rhythm section is first rate on every tune, supporting the wind players and vocalists with solid foundations over which to soar. The recording has a “live in the studio” feel, and the quality is quite good. This disc will make listeners long to attend a live performance by this fine band in New York City. (Douglas Lockard, professor of trum- pet, East Texas Baptist University, Marshall, TX) Andy Kozar—A Few Kites Andy Kozar, trumpet; Leah Asher, violin FCR262 (CD); New Focus Recordings, 340 East 105th Street #2b, New York, NY 10029; contactnewfocus@gmail.com; http://newfocusrecordings.com; (646) 590-9344 Collins: Blister; Matthusen: on the imagined relations of night sounds (and silent darkness); Ueno: Quentin: Benjy’s Song; Ueno: Quentin: Mausoleoum; Worthington: A Few Kites; Harrison: Flutter; Franzson: longitudinal study #1a; Gavett: Moving Target; Worthington: Still Life; Stebbins: Tracer; Beglarian: Osculati Fourniture. Andy Kozar is an active performer, composer, and educator based in New York City and Boston. A strong voice for new music, his technical skills on the trumpet allow for composers 96 ITG Journal / January 2021 © 2021 International Trumpet Guild to write without limitations. This album explores the end- less textures that can be created by layering trumpet and elec- tronics. Each piece has a unique approach in the use of the trumpet. Some composers have chosen to explore a range of timbres by layering drones or slowly bending pitches, such as Scott Worthington’s A Few Kites, and others have chosen to take advantage of Kozar’s technical abilities by writing fast-paced patterns played in col- laboration with electronic recordings. For example, on Quinn Collins’s Blister, Kozar plays fast, repetitive patterns that leap throughout the range of the horn. The electronics are all metal or glass sounds that have been manipulated and turned into rhythmic material that joins and responds with the trumpet calls to create a dialogue. This album also takes advantage of the effects that extended techniques create. In Tyler Harrison’s Flutter, Kozar exhibits impressive flutter tonguing and multi- phonics while ripping out difficult musical ideas. The trumpet lines have been manipulated, looped, and echoed by electron- ics to create a soundscape that embellishes the textures created by Kozar’s trumpet playing. Every piece on this album explores the relationship between trumpet and electronics in new ways, and Kozar’s ability to mix virtuosic technique with new sounds and timbres creates a mesmerizing experience for the listener. (Paige Nelson, freelance teacher and performer, Philadelphia, PA) Northwest Passage Trumpet Trio—Expeditions Jennifer Dearden, Andrew Erb, and Timothy Winfield, trum- pets; Paula Kubik, organ and piano Self-released (CD); https://tinyurl.com/itg2102z Muczynski: Trumpet Trio, Op. 11, No. 1; Deddos: Nuvens de Junho; Gabrieli (Baldwin): Sonata No. 21 from Can- zoni e Sonate; Dubois: Cinq Bagatelles; Kimmel: Three Intradas; Gillingham: Fanfare Ecalant; Tomasi: Suite pour trois Trompettes en Ut ou en Si-flat; Piunno: Three Snapshots; Presser: Suite for Three Trumpets; Telemann (Marlatt): Concerto No. 3 for Three Trum- pets and Keyboard. The Northwest Passage Trumpet Trio was created when three collegiate trumpet professors in Western Pennsyl- vania collaborated in . Much like the explorers of the Northwest Passage, this trio is sailing in uncharted waters due to the scarcity of original works written for the instru- mentation. This debut album by the group consists of original, commissioned, and arranged works. Muczynski’s Trumpet Trio, Op. 11, No. 1 was written in and is comprised of five brief, rhythmic, and playful movements. Muczynski’s asymmetric meters, sudden dynamic shifts, and fanfare rhythms are well executed. Nuvens de Junho, or “June’s Clouds,” is an energetic work by Brazilian composer and euphonium soloist Fernando Deddos. The opening depicts floating clouds, while much of the work is infused with Brazilian rhythms and dance. David Gillingham’s Fanfare Ecalant includes a virtuosic organ part. The opening and clos- ing sections contain rolling organ lines with unison trumpet melodies, while the middle section is slower with independent, muted trumpet figures. Tomasi’s Suite pour trois Trompettes is full of varied colors and intervals that are well navigated by the performers. The opening movement is an unhurried habanera, while the closing movement is a dissonant, driving Bolivian dance. William Presser’s Suite for Three Trumpets allows the per- formers some fun with its light opening March and Scherzo. The slow, lyrical Lament is played with beauty and smoothness. Expeditions is an excellent addition to the library of trumpet ensemble recordings, and it helps promote music written or arranged for trumpet trio and trumpet trio with organ or piano. The Northwest Passage Trumpet Trio and Paula Kubik perform with maturity across different styles and periods. (Christopher Heldt, adjunct trumpet faculty, University of Mary Hardin-Baylor, Belton, TX) Jim Self—Flying Circus: Music for Brass Quintet Pacific Symphony Brass; Crown City Brass Quintet; Modern Brass Quintet; “The Five” Brass Quintet; Paul Kreibich, drums; John Magnussen, marimba and percussion PM1056 (CD); Potenza Music, 64 Longshore Drive, Anniston, AL 36206; sales@potenzamusic.com; http://potenzamusic.com; (800) 873-9798; fax (770) 749-9996 All compositions by Jim Self: Polarities; Polka.com; Bottoms Up; HoopLA; Peacockery; Mo’Ments; Flying Circus; Three 4 Five. Flying Circus is a collection of brilliant compositions by Jim Self, recorded by a variety of brass quintets from Los Angeles and Orange County, California. Self incorporates humor into his works through dissonance during playful melodies and parodies of famous works such as the Woody Woodpecker theme, Camptown Races, and Vehicle. The first track, Polarities, is a fantastic opener written for a double brass quintet. This piece begins with a fanfare, contains a multitude of antiphonal effects, and ends with a waltz. High- note lovers will enjoy the ending of this four-minute work. Bottoms Up was originally written for alto, tenor, bass, contra- bass trombones, and tuba, but has been adapted for brass quin- tet. Marissa Benedict is featured on this piece during a waltz in 6/8 time. She glides through a pointillistic melody with ease as her clear tone and delicate articulations are on full display. In addition to the traditional brass quintet instrumentation, Pea- cockery and Mo’Ments include percussionists to provide addi- tional textures to the ensemble. Peacockery is an exciting march featuring the piccolo trumpet as the peacock while Mo’Ments showcases John Magnussen on marimba and percussion. While Magnussen is highlighted through all three movements, specifically during a cadenza in the second movement, there is substantial interplay between him and the brass quintet, as well as numerous rhythmic complexities that spark the listen-© 2021 International Trumpet Guild January 2021 / ITG Journal 97 er’s interest. The title track, Flying Circus, is a three-movement masterpiece. The first and third movements are energetic and feature each of the instruments in the quintet. The second movement presents an emotional ballad dedicated to the memory of the victims and heroes of September , . Daniel Rosenboom’s astonishing technique is on full display during a solo in 7/8 time in the final movement. Overall, this is a wonderful album, sure to entertain the listener. (Steven Siegel, assistant professor of music, Western Colorado Univer- sity, Gunnison, CO) Schapiro 17—New Shoes: Kind of Blue at 60 Jon Schapiro, conductor/composer/arranger; Bryan Davis, Andy Gravish, Eddie Allen, and Noyes Bartholomew, trumpets; Deborah Weisz, Alex Jeun, Nick Grinder, and Walter Harris, trombones; Rob Wilkerson, Ben Kono, Candace DeBartolo, Paul Carlon, Rob Middleton, and Matt Hong, saxophones; Roberta Piket, piano; Sebast- ian Noelle, guitar; Evan Gregor, bass; Jon Wikan, drums DCD 756 (CD); Summit Records, Inc., Box 26850, Tempe, AZ 85285; http://summitrecords.com; (800) 543-5156 Schapiro: Boiled Funk; Piket: Foiled Bunk; Davis: So What; Schapiro: Boiled Funk 2: Dark of Night; Davis: Blue in Green; Schapiro: Boiled Funk 3: Worth Your While; Davis: All Blues; Schapiro: Boiled Funk 4: Old Feet, New Shoes; Davis: Flamenco Sketches; Schapiro: Boiled Funk 5: Smile; Davis: Freddie Freeloader; Schapiro: Boiled Funk/Theme. Through the lens of Miles Davis’s Kind of Blue, Jon Schapiro and the Schapiro 17 embark on a thoroughly orig- inal journey with New Shoes: Kind of Blue at 60. Great musical creations forge a cre- ative path while nodding to the contributions of the past, and New Shoes offers this with a lively take on one of the most influential jazz albums to date. Though the two-disc album features familiar tunes like So What and Blue in Green, Schapiro’s arrangements sound distinct and modern. Cleverly serving as an anagram for Kind of Blue, the first track on the album sports the unusual name Boiled Funk. After insightful solos from Paul Carlon, Deborah Weisz, and Evan Gregor, Roberta Piket gently plucks out a fascinating melody in the second track, Foiled Bunk. In So What, Alex Jeun’s haunting trombone solo contrasts beautifully with Rob Wilkerson’s lighter, more play- ful contribution. Trumpet players listening to this album will be struck immediately by Andy Gravish’s solo that opens the second disc. His invocation of Davis’s declamatory style sets the tone for the second half of the record. To give this track a closer listen will no doubt be Worth Your While. The con- clusion of the album, Boiled Funk/Theme, ties the record together neatly with inspiring solos from Roberta Piket, Paul Carlon, Nick Grinder, and Andy Gravish. In all, New Shoes generates something fresh from a treasured album that will likely continue to inspire listeners for at least another sixty years. (Elijah Denecke, graduate teaching assistant, Florida State University, Tallahassee, FL) SHSU Jazz Ensemble—Shoreline Drive Nigel Yarbrough and Benjamin Duran, alto saxophones; Jesus Del Campo and Kevin Woodard, tenor saxophones; Haley Cook, baritone saxophone; Chris Cermak, Jonatan Gallegos, Steve Perez, and Andrew Wilson, trumpets; Raphael Laran, James Elam, Ashley Kropik, and Matthew Collier, trombones; Taylor Sharp, guitar; Brandon Thomas, piano and Fender Rhodes; Derek Lemons and Alex Collins, bass; Zion Fizer, drums; Will Artiga, drums and congas; Aric Schneller, director School of Music, College of Arts and Media (CD); SHSU, Box 2208, Huntsville, TX; schneller@shsu.edu Davis/Ramirez/Sherman (Cortner): Lover Man; Schneller (Zaremba): Blues For Lucille; Nestico: Shoreline Drive; Coltrane: Giant Steps; Nestico (Schneller): This is Love; Jackson: Billie Jean; Shorter (Taylor): Children of the Night; Ellington/Tizol (Cortner): Caravan. The Sam Houston State University Jazz Ensemble, dir - ected by Aric Schneller, record- ed this cd in May of at the Gaertner Performing Arts Center in Huntsville, Texas. The cd begins with Lover Man with a free and lushly voiced piano opening the track before lead trumpeter Cermak enters with a stylistic and bluesy interpretation of the melody. His sound is rich and thick and blends smoothly with the swells of the accompanying lines. Blues for Lucille, composed by the ensemble’s director, Aric Schneller, is a fun, high-energy tune that allows Cermak to play some punchy and rhythmic lines over the driving accom- paniment, which builds to some tight and intense moments. Cermak is also featured in the title track, Shoreline Drive. Here his lines dance around the funky rhythm section and add to the solid groove. This is a nice contrast to the thick and expres- sive harmonies provided by Thomas’s Fender Rhodes. Follow- ing a powerful guitar solo, the piece closes with some strong lead playing, soaring over the ensemble. The cd closes with Caravan, this time featuring a solo by trumpeter Wilson that displays an introspective feel for the Latin sections and lets loose during the swing sections. Overall, the mix of hard bop, pop, funk, and standards, along with some sophisticated solos and intense ensemble playing, make Shoreline Drive an inspir- ing and enjoyable experience. (Kurt Zemaitaitis, trumpeter, Navy Band Northeast, Newport, RI) Michael Thomas—Event Horizon Michael Thomas, alto saxophone; Jason Palmer, trumpet; Hans Glawischnig, bass; Johnathan Blake, drums GSA 005 (CD); Giant Steps Arts; http://giantstepsarts.org All compositions by Thomas: Distance; Drift; Bass Intro; Dr. Teeth; Framework; Sax Intro; Chant; Underground; Drum Intro; Event Horizon; Fox and Cat. Michael Thomas’s new live album, Event Horizon, is a mas- sive two-disc set with nearly two hours’ worth of modern combo jazz. It was recorded live in August at the Jazz Gallery in New York City, but if not for the crowd noise between and at the end of each tune, it would be difficult to tell, as the recording quality is very high for a live recording, Next >