< Previous114 Cliffwood Court Greer, SC 29650 Scientifically developed by a Chemical/Lubrication Engineer to provide: •Fast valve action •Staying power to minimize need for lubrication •Excellent protection against mold and bacterial growth •Used by both pros and beginners alike Ask for it at your local music store.International Trumpet Guild ® J OURNAL to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet Vol. 45, No. 4 Peter Wood, Editor June 2021 THE INTERNATIONAL TRUMPET GUILD JOURNAL (ISSN 0363-2845) is published four times per year (October, January, March, June) by the Inter national Trumpet Guild (ITG), P.O. Box 2688, Davenport, IA 52809-2688. POSTMASTER: Send address changes to the same address. Regina Harris Baiocchi page 59 Bob Merrill page 50 Beth Cooper Malovance page 70 Ellen Seeling page 18 F EATURE A RTICLES C OLUMNS R EVIEWS 84 Product/App Reviews 86 Recording Reviews 91 Music Reviews 95 Book Reviews A DMINISTRATIVE 69 Index of Journal Advertisers 107 ITG Legacy Endowment Information ITG Journal Advertisement Information (inside back cover) 3 From the President 4 From the Editor 5 ITG Calendar 37 His torical Instruments Window: Trumpet in F by Alphonse Sax, Paris, ca. 1862 38 ITG Profile: Vladislav Lavrik 39 ITG Young Artist Award: Hunter Story 40 Clinic: Dysfunctional Embouchures by Frank Gabriel Campos 43 Pedagogical Topics: Introduction to Mariachi Trumpet Pedagogy, Part II by Elliott Johnston, Alejandra Johnston, and Agustín Sandoval 46 The Student Corner: A for Attitude: Success with Positivity by Rebecca Walenz 47 Editor’s Corner: Eclectic Existentialist: Warren Webster Vaché, Jr. by Don Petersen 48 Jazz Corner: Any Questions on… The Blues? by Chase Sanborn 50 Studio/Commercial Scene: The Songs, Sounds, and Swinging Are You: An Interview with Bob Merrill by Nick Mondello 56 Cham ber Music Connection: The Evolution of the American Brass Quintet’s Brass Quintet Database by Louis Hanzlik and Joel Brennan 59 Repertoire Corner: Regina Harris Baiocchi: Making Lemonade from Lemons by Amy Schendel and Ashley Killam 63 Trumpet in the Wind Band: Ryan Brewer: Putting Himself Out There by Marc Reed 66 Marching Arts Corner: John Meehan, Brass Arranger and Co-Caption Head of the Blue Devils by Will Koehler 70 Cornet in the Brass Band: On a Mission and Leading: Beth Cooper Malovance by Bryan Appleby-Wineberg 76 Inside the Orchestra Section: DataFrame.Trumpet by Andrew Harms 79 Orchestra Section Profile: Paul Torrisi, Second Trumpet, Utah Symphony by Jason Bergman 97 News from the Trumpet World 6 Leading the Way: The Role of Jazz Improvisation in Developing Stylistic Lead Trumpet Playing by Bryce Call 14 Xavier Napoléon Aimé Teste: The Reason We Use C Trumpets in the Orchestra by Ralph Henssen 18 Ellen Seeling: Not Putting Up with the Status Quo by Tom Erdmann 28 Creating a Colorful Program, Part II by Ashley Killam 32 Do you suffer from OPBES? by Peter Bellino 33 Jazz Basics: The Bebop Scales by Barry Rachin M AIN M ENU S EARCH J UNE 2021 ITG J OURNAL T ABLE OF C ONTENTS2 ITG Journal / June 2021 © 2021 International Trumpet Guild 2019 – 2021 Board of Directors Executive Committee President: Grant Peters, Missouri State University; president@trumpetguild.org Vice-President/President-Elect: Jason Bergman, Brigham Young University; vicepresident@trumpetguild.org Secretary: Elisa Koehler, Winthrop University; secretary@trumpetguild.org Treasurer: Dixie Burress; treasurer@trumpetguild.org Past President: Cathy Leach, University of Tennessee; pastpresident@trumpetguild.org Directors Michael Anderson, Oklahoma City University; Alexis Morales Barrientos, University of Costa Rica; André Bonnici, Les Trompettes de Lyon, France; Joseph Bowman, Mahidol University, Thailand; Jennifer Dearden, Allegheny College; Jason Dovel, University of Kentucky; Tina Erickson, University of Tennessee; John Foster, Australian Baroque Brass; Ryan Gardner, University of Colorado; Christopher Moore, Florida State University; Nadje Noordhuis, New York, NY; Raquel Rodriquez Samayoa, University of North Texas; Chen Rui, Tianjin Conservatory of Music; Chase Sanborn, University of Toronto; Amy Schendel, University of Iowa; Mary Thornton, Texas A&M University – Corpus Christi; Brian Walker, Tarleton State University; Peter Wood, University of South Alabama Executive Staff Affiliate Chapter Coordinator: Cynthia Carrell, Harding University; chapters@trumpetguild.org Conference Coordinator: Jean-Christophe Dobrzelewski, West Chester University; confcoordinator@trumpetguild.org General Counsel: Robert R. Carl, Baker Donelson ITG Archives Director: Robert Murray, Columbus State University; archives@trumpetguild.org ITG Journal Staff Publications Editor: Peter Wood Department of Music, 1150 Laidlaw Performing Arts Center, University of South Alabama, Mobile, AL 36688; editor@trumpetguild.org Assistant Editor/Principal Proofreader: Jodi Graham Wood Advertising Manager: Jodi Graham Wood; ads@trumpetguild.org Book Reviews Editor: Eric Millard Department of Music, 9201 University City Blvd, Charlotte, NC 28223; bookreviews@trumpetguild.org Calendar Editor: Al Lilly, Marian University; calendar@trumpetguild.org Chamber Music Connection Editor: Marc Reese, Lynn University; chamber@trumpetguild.org Clinic Editor: Frank G. Campos, Ithaca College; clinic@trumpetguild.org Cornet in the Brass Band Editor: Bryan Appleby-Wineberg, Rowan University; cornet@trumpetguild.org Historical Instruments Window Editor: Sabine K. Klaus, National Music Museum; historicinstruments@trumpetguild.org Inside the Orchestra Section Editor: David Bilger, Philadelphia Orchestra; orchestra@trumpetguild.org Index Editor: Kelly Deklinski, The Senri and Osaka International Schools of Kwansei Gakuin; index@trumpetguild.org ITG Profile Editor: Joel Treybig, Belmont University; profile@trumpetguild.org Jazz Corner Editor: Chase Sanborn, University of Toronto; jazzcorner@trumpetguild.org Jazz Editor: Tom Erdmann, Elon University; jazz@trumpetguild.org Layout and Production Manager: Joseph Walters, Albuquerque Philharmonic Orchestra; layout@trumpetguild.org Marching Arts Corner Editor: Aaron Witek, Ithaca College; marchingarts@trumpetguild.org Music Reviews Editor: Luis Engelke Department of Music, Towson University, 8000 York Rd, Towson, MD 21252; musicreviews@trumpetguild.org News from the Trumpet World Editor: Jason Dovel, University of Kentucky; news@trumpetguild.org Orchestra Section Profile Editor: Jason Bergman, Brigham Young University; orchprofile@trumpetguild.org Pedagogical Topics Editor: Jon Burgess, Texas Christian University; pedagogy@trumpetguild.org Product/App Reviews Editor: Brittany Hendricks, Jonesboro, Arkansas; productreviews@trumpetguild.org Recording Reviews Editor: Daniel Kelly, Texas A&M University- Commerce, 830 Windham Dr, Rockwall, TX 75087; cdreviews@trumpetguild.org Repertoire Corner Editor: Bryan Proksch, Lamar University; repertoire@trumpetguild.org The Student Corner Editor: Rebecca Walenz, Tallahassee, Florida; studentcorner@trumpetguild.org Studio/Commercial Scene Editor: Nick Mondello; studio@trumpetguild.org Trumpet in the Wind Band Editor: Marc Reed, University of Akron; windband@trumpetguild.org Young Artist Award Committee: Anne McNamara (chair), Illinois State University; Matthew Frederick, Emory & Henry College; Ed Jakuboski, Eastern University; Sarah Herbert, University of Wyoming; yaaward@trumpetguild.org Journal Printer: Modern Litho, Jefferson City, MO Proofreading: Jodi Graham Wood, Rebecca Sheppard ITG Website – http://www.trumpetguild.org Director: Michael Anderson, Oklahoma City University; website@trumpetguild.org ITG Editorial Committee Peter Wood, editor, University of South Alabama; David Bohnert, Wayne State University; Joseph Bowman, Mahidol University; Kris Chesky, University of North Texas; Jennifer Dearden, Allegheny College; Kim Dunnick, Ithaca College; James Ford, III, California State University, Los Angeles; Thomas Moore, Rollins College; James Olcott, Minneapolis, Minnesota; Bryan Proksch, Lamar University; Nancy Taylor, University of Texas at El Paso; Mary Thornton, Texas A&M – Corpus Christi Ideas and opinions expressed in this issue are those of individual writ- ers, and are not necessarily those of the editors or of the ITG. Deadlines for receiving information to be published: May 15 (October Journal), August 15 (January Journal), October 15 (March Journal), January 15 (June Journal). ITG Membership Information All ITG memberships run from July 1 to June 30 and include four ITG Journals and annual cd or dvd. The ITG Journal is published each October, January, March and June. Join by visiting www.trumpetguild.org/join/join.htm or using the form at the back of this Journal. Membership Dues: Regular Print, us; Regular Electronic, us; Student or Senior Print, us; Student or Senior Electronic, us. Pay- ment in us dollars may be made through the ITG Website, by check payable to ITG drawn on a us bank or foreign bank with a us branch, money order, visa, MasterCard, or American Express. Change of Address and Membership Inquiries: Dixie Burress, Treasurer International Trumpet Guild P.O. Box 2688 Davenport, IA 52809-2688 membership@trumpetguild.org or treasurer@trumpetguild.org Phone (563) 676-2435 • Fax (413) 403-8899 ITG J OURNAL S TAFF© 2021 International Trumpet Guild June 2021 / ITG Journal 3 CONTENTS F ROM THE P RESIDENT G RANT P ETERS munity through free Journals and selected articles, or filling the void of our cancelled ITG Conference by providing a diverse collection of online video content through Listen & Learn, ITG remains the standard for print, online, and confer- ence resources for our profession. The successes in an organization like ITG are reliant on the many individuals who dedicate their time and talent to serve our membership. In addition to our board of directors who continually monitor our path to fulfilling our mission, there is a smaller group of people on whom I rely daily and who deserve my sincere gratitude. Vice-President/President-Elect Jason Bergman, Secretary Elisa Koehler, Treasurer Dixie Bur- ress, Past-President Cathy Leach, Publications Editor Peter Wood, Website Director Michael Anderson, and Conference Director JC Dobrzelewski. I thank each of them for their sup- port and encouragement and for their honesty and ability to disagree with me when necessary. ITG has given me so much personally and professionally, and it has been a pleasure to serve as your president. I t seems hard to believe that this is my final opportunity to address the ITG membership before my term as your president concludes on October 1. The past two years were far different than I had imagined they would be with the major challenges we all encountered with the covid- pan- demic. Welcoming colleagues and friends to an in-person con- ference was something I had long looked forward to. The dis- appointment in canceling the Columbus and Ana- heim conferences provided many in ITG the opportunity to adapt and continue to provide alternative enriching experi- ences that our members expect and enjoy each summer. By the time you read this column, the Virtual Confer- ence will most likely be underway, scheduled to begin on June 1. Conference Director JC Dobrzelewski, Conference Artist Chair Ryan Gardner, and their committee have assem- bled a truly international slate of some of the most inspiring artists and presenters in the trumpet world, with many pre- senting in their native language for five unforgettable days. Remember, in an effort to provide flexibility and the ability to enjoy all the content on your schedule, registered attendees can enjoy this event for a full sixty days! We are excited for the time when we can greet you again in person at the Conference at the Hyatt Regency San Antonio, Texas, next year, May – June . Don’t forget about our two premier international competi- tions coming this fall within weeks of each other! First will be the Ellsworth Smith International Solo Trumpet Competition (https://www.2020ellsworthsmith.com) September – . The Columbus Foundation is a major supporter of this fantas- tic event, which will feature a collection of incredible young soloists at Brigham Young University, hosted by Jason Berg - man. Only a few weeks later, Al Hood will be hosting the Car - mine Caruso International Jazz Trumpet Solo Competition (https://tinyurl.com/itg2106a) at the Lamont School of Music on the campus of the University of Denver on October – . Special thanks to the Herb Alpert Foundation for supporting this exciting gathering of jazz greats, young and old. Throughout these unique two years, my priority has been to promote and improve those benefits that ITG provides to members. Whether it was the creation of the valuable ITG Journal Archive on our website, sharing content with the com- C ALL FOR N ON -P RO P LAYER A RTICLES ITG members are called upon to submit either a topic proposal or completed article for poten- tial publication in the ITG Journal and/or the Non-Pro Player (npp) section of the ITG Website (https://tinyurl.com/itgnonpro). Additionally, the author may be invited to present the article at a future ITG Conference. The topic of any submission should be of inter- est to the typical npp or specific sub-group. The ITG definition of “npp” is any trumpet player who does not derive the major portion of their income from performing or teaching trumpet. As such, a npp’s playing expertise may lie anywhere from beginner to that of a highly competent pro- fessional player. Submission guidelines and formatting sugges- tions are available on the ITG Website (http://trumpetguild.org/files/itgjinfopack.pdf). Please submit articles or topic proposals to: Dan Hallock Chair, Non-Pro Players Committee dhallock@pacbell.net P EDAGOGICAL R ESOURCES A VAILABLE The Pedagogy page on the ITG Website (http://trumpetguild.org/resources/pedagogy-ii) is a treasure trove of materials designed to help devel- oping trumpet players of all ages. The page con- tains masterclass articles, solo reviews, routines and exercises, full arch ives of past “itg journal, jr.” articles, jazz solo transcriptions, information on summer camps, and much more. Check it out!4 ITG Journal / June 2021 © 2021 International Trumpet Guild F ROM THE E DITOR P ETER W OOD CONTENTS W ith this issue, the th season of the ITG Journal comes to a close. At the time of writing (mid- March), vaccines are being distributed, and many are feeling cautiously optimistic that the worst of the covid- pandemic may be behind us. History will certainly teach us what we need to know about what has just happened and is still happening. Innumerable things have changed in the world since late , and the trumpet sector is no exception. It will be interesting to see in ten years which of our adjustments go away and which continue. Stay tuned! One adaptation that ITG has made is this year’s truly inter- national ITG Virtual Conference, which looks to be an incred- ible lineup of artists, presentations, concerts, and activities, all available online for the next sixty days. For a very reasonable, low fee, you can see, hear, and learn from some of the greatest trumpet artists from all over the world—with many in their own languages. Please join us! This issue marks the final “Orchestra Section Profile” col- umn for Jason Bergman, who will become ITG president on October 1. Jason has done an exceptional job as column editor for the last eight years, and while we will miss his insightful questions in his interviews, he and his optimistic outlook will not be far away. Nairam Simões has graciously agreed to suc- ceed Jason as editor of this column, which we will rename “Orchestral Spotlight.” Nairam is a longtime supporter of ITG, and I am confident the column will be in good hands under his leadership. We present another well-rounded collection of informative articles in this issue. Our “lead” feature article is Bryce Call’s extremely interesting piece, offering a unique outlook on the jazz skills needed to be a lead trumpet player at the highest level. Another gem in Frank Campos’s long series of Clinic articles is his writing about how to teach students with dys- functional embouchures. Ashley Killam delivers the second part in her series about concrete ways to incorporate great works by diverse composers into actual recital and concert pro- grams. The Netherlands’ Ralph Henssen enlightens us about the life and career of Xavier Teste, the innovative French trum- peter who was one of the first to use a C trumpet in French orchestras in the late nineteenth century. We learn about the American Brass Quintet’s highly useful new Brass Quintet Data base from Louis Hanzlik and Joel Brennan; and the Ped- agogy column features the second part in the series by Alejan- dra Johnston, Elliot Johnston, and Agustín Sandoval on the teaching of Mariachi trumpet playing. We also get to know another great bunch of interesting peo- ple in this issue. In the Repertoire column, composer/poet/ author Regina Harris Baiocchi talks about her life as a compos- er of some fantastic music for trumpet. From the jazz and stu- dio realm, we meet the barrier-breaking Ellen Seeling and the multi-dimensional Bob Merrill. From the orchestral world, we meet the Utah Symphony’s Paul Torrisi. We also get to know Beth Cooper Malovance, who has been a mainstay in the Chicago brass band scene. Marc Reed introduces us to Staff Sergeant Ryan Brewer from The US Army Band “Pershing’s Own,” and we learn all about John Meehan, the brass arranger and co-caption head of the Blue Devils, as well as a recent inductee into the DCI Hall of Fame. We should all be grateful to the many column editors and authors who donate their time and expertise to deliver the interesting and enlightening content that we enjoy in this and every issue. The members of the ITG Editorial Committee work hard to analyze and evaluate the more scholarly articles in the ITG Journal, and our proofreading staff spends many hours poring over every word in our publication. In addition, our layout manager works almost constantly to ensure that we release the most professional visual product possible. Putting together this publication is truly a team effort, and all these people deserve thanks for all the great work they do. Please take a look at the entire list on page and thank them when you get a chance. It is my ongoing pleasure and honor to serve as publications editor for this great organization. I am grateful for the oppor- tunity and look forward to offering content that is interesting, innovative, and inspiring for years to come. I have been a mem- ber of the International Trumpet Guild for years now and sincerely hope you find membership in this organization to be as enjoyable and rewarding for you as it has been for me. I’ll see you in October. Take care and stay well! ITG J OURNAL A RCHIVES N OW O NLINE We are proud to offer all ITG members a new benefit: free online access to the full archives of all past issues of the ITG Journal, ITG Newsletter, itg journal jr., Recent Programs, and music and text supplements. This resource can be accessed at any time under the “Journal” menu on the ITG Website (https://trumpetguild.org). We hope you enjoy this valuable offering!© 2021 International Trumpet Guild June 2021 / ITG Journal 5 June 1 – 5, 2021: 45th Annual International Trumpet Guild Conference, to be held virtually. With the uncertainty resulting from the covid- pandemic, ITG has made the decision to move forward with a virtual Conference for this year. We are extremely excited about the opportunity to con- nect with so many members of the trumpet community throughout the world and look forward to putting together an inspiring and informative experience for all. ITG Confer- ences have been praised for their sense of community and camaraderie, positive learning environments, and inspira- tional performances. Through this year’s virtual experience, we will be focusing on uniting and engaging the trumpet community from around the globe. We will remove the lan- guage barrier by offering events in the native language of each artist and presenter. A virtual ITG Conference will eliminate the financial burdens of travel, lodging, and other costs, making our event accessible to all. During the five days of the Conference, you will be able to join daily warmups, yoga and health sessions, masterclasses, recitals, roundtable discussions, virtual networking, virtual meetings with exhibitors, competitions, q&a sessions with your favorite artists, and much more. Even though we are geographically far apart, we are excited to spend time together as a trumpet community. Additional details are available on the ITG Web- site (http://trumpetguild.org). June 7 – 10, 2021: University of Kentucky Summer Trumpet Institute. Over fifteen trumpet faculty from around the world visit Lexington, Kentucky, for four days of intensive trumpet study. We are planning for an in-person event but will monitor conditions and offer an online event as we did in if nec- essary. Registration deadline is May , . Registration and full information can be found on the institute website (http://www.KentuckyTrumpet.com). June 24 – 29, 2021: 15th Velika Gorica Brass Festival, to be held in Velika Gorica, Croatia, eu. Concerts, workshops, and other events are planned. For additional details, check the fes- tival website (http://www.vgbrass.com). Faculty includes trumpeters Andrei Ikov, Sergei Nakariakov, Luis Martello, Almost 6, Jure Gradisnik, tubist Roland Szentpali, hornist Viktor Kircenkov, trombonist Alan Bosnjak, and the Golden Brass Quintet. August 2 – 6 and August 9 – 13, 2021: Fourteenth Annual Trumpet Program at SummerKeys (weeks one and two as sep- arate events), held in Lubec, Maine (usa). Adult trumpet play- ers of all levels and interests are invited and can attend either of the two weeks. Avocational and “comeback” players are especially welcome. Participants will receive a daily group class, a daily one-hour private lesson, practice time and space, and the opportunity to rehearse and perform with a faculty pianist and other musicians. In addition, there is time to enjoy a vaca- tion in this charming Down East coastal village and nearby Campobello Island. The instructor will be Dr. Robert Stibler, emeritus professor of music at the University of New Hamp- shire. For more information, check the SummerKeys website (http://www.summerkeys.com) or contact Robert Stibler by email (rstibler@unh.edu). September 22 – 25, 2021: Ellsworth Smith International Trumpet Competition, to be hosted by Jason Bergman at the BYU School of Music, Provo, Utah (usa). The dates are new, because the competition was postponed in . Full details, as well as the entry deadline, are available on the competition website (http://www.2020ellsworthsmith.com). October 1 – 2, 2021: Carmine Caruso International Jazz Trumpet Solo Competition, to be held in the Hamilton Recital Hall, Newman Center for the Performing Arts, Lam- ont School of Music, University of Denver, Denver, Colorado (usa). Full details can be found on the competition website (https://tinyurl.com/itg2106a) or on the ITG Competitions webpage (https://www.trumpetguild.org/events/competitions). May 24 – 28, 2022: International Women’s Brass Conference, to be held on the campus of the University of North Texas, Denton, Texas (usa). Each day will see a diverse schedule of recitals, workshops, and lectures, followed by evening concerts at : p.m., featuring some of the brightest stars of the brass world. There are competitions open to all genders and ages with over , in cash prizes. Hosted by Natalie Mannix, associate professor of trombone, and her colleagues, Raquel Rodriquez Samayoa and Stacie Mickens. Check the confer- ence website (https://www.myiwbc.org) for full details. There is also a Facebook page (https://tinyurl.com/itg2106b) that is updated frequently. May 31 – June 4, 2022: 46th Annual International Trumpet Guild Conference, to be held in San Antonio, Texas (usa). For additional details as they become available, check the ITG Website (https://www.trumpetguild.org). ITG C ALENDAR A LBERT L ILLY III, E DITOR CONTENTS To submit calendar items for the ITG Journal and ITG Website, contact Albert Lilly by email (calendar@trumpetguild.org). Please note that submission deadlines are generally more than days before publication, so information about calendar items must be submitted long in advance of the event date.6 ITG Journal / June 2021 © 2021 International Trumpet Guild CONTENTS L ead trumpet players play an important role in jazz music beyond merely leading a big band trumpet section. They also make stylistic decisions for the entire band, often . carry the melodic lines, and can be heard above the band during the highest musical peaks and the quietest, most intense moments. The lead trumpet players of today are a result of the innovations of early jazz trumpet soloists, including King Oliver, Louis Armstrong, Roy Eldridge, and Dizzy Gillespie. While it is common for young players to put their focus on playing flashy high notes, any aspiring lead trumpet player will eventually realize the importance of learning to play with the correct style as well. Understanding the relationship be - tween lead trumpet playing and jazz improvisation is critical in developing mature skills. This article aims to uncover the ways in which lead trumpet players have been influenced, both directly and indirectly, by the great soloists of the jazz idiom, emphasizing the need for the development of improvisational abilities. A Lead Trumpet Player’s Role The role of a lead player in any instrumental section of a jazz big band is rather self-explanatory; they lead the section by ensuring everyone plays in a unified way. However, the role of a lead trumpet player goes a bit further. Not only does the trumpet section look to the lead player for styl - istic guidance; members of the other sections, particularly the lead alto sax - ophone and lead trombone players, are expected to match their playing styles to that of the lead trumpet player. The lead trumpet player must also have a strong connection with the rhythm section, especially the drummer.1 For these reasons and others that will be discussed in more detail, it is essential for a lead trumpet player to be able to play the instrument well, be deeply rooted in the jazz tradition, and have a solid under - standing of jazz styles and improvisation. Speaking on this subject, Jon Faddis, the great lead trumpet player and protégé of Dizzy Gillespie, stated: If you want to play lead trumpet, you have to listen to great lead trumpet players… Most young trumpet players will misinterpret that to mean only those who play lead trumpet in a big band. To me that is not where the term “lead trumpet” is derived. To me it is derived from the style set by soloists like Louis Armstrong, Roy Eldridge, and Dizzy. They really set the style for the phrasing that is used in big bands… When you hear the fast shakes that Snooky Young uses, you should be aware that those came from the solo style of Roy Eldridge and Louis Armstrong.2 Snooky Young played lead trum - pet for the Count Basie Band and the Thad Jones/Mel Lewis Orch - estra. Using Snooky as an example, Scotty Barnhart, a current member of the Count Basie trumpet section, explained that “Snooky’s solo on [Who Me] shows how his ability to improvise, especially on the blues, greatly enhanced his effectiveness as a lead trumpeter of the highest caliber.”3 Snooky used the same recognizable soloistic voice both when improvising and when playing the lead trumpet part. It was not his ability to hit high notes that made him a great lead player, but, rather, the style that seemed to be a natural part of his playing. It is no secret that many of the renowned lead trumpet players throughout the history of jazz have also been great jazz improvisers. For the purposes of this article, the term “lead trumpet player” will be defined as the first trumpeter in a jazz big band, similar to, but distinct from, the principal trumpet player in a symphony orchestra or wind band. The role of the lead trumpet in a big band setting grew out of small jazz ensembles and developed alongside the music. In order to gain a full understanding of this relationship, one must start at the beginning of jazz history to see how it has evolved over time. Although the early jazz trumpet soloists were not considered “lead” trumpet players, going as far back into the history of the music as Joe “King” Oliver is a necessary step in tracing the origins and evolution of lead trumpet playing. The Trumpet in Early Jazz When jazz was born around the turn of the twentieth century, bands did not have the standardized instrumentation that is recognized in contemporary big bands.4 In New Orleans, it was typical to find small bands consisting of L EADING THE W AY : T HE R OLE OF J AZZ I MPROVISATION IN D EVELOPING S TYLISTIC L EAD T RUMPET P LAYING B Y B RYCE C ALL FA1 This article was reviewed and approved for publication by the ITG Editorial Committee. “The lead trumpet players of today are a result of the innovations of early jazz trum - pet soloists, including King Oliver, Louis Armstrong, Roy Eldridge, and Dizzy Gillespie.” “It was not Snooky’s ability to hit high notes that made him a great lead player, but, rather, the style that seemed to be a natural part of his playing.”© 2021 International Trumpet Guild June 2021 / ITG Journal 7 trumpet, cornet, clarinet, trombone, and any grouping of rhythm section instruments. In the s, bandleaders like Fletcher Henderson and Don Redman introduced the sounds of New Orleans jazz to the larger dance bands of New York City, but these were still smaller than modern big bands. The “sweet music” played by Paul Whiteman and Guy Lombardo often included a string section, generally being more com - mercial and polite. It was not until years later that these ensembles evolved into something that more closely resembled a real big band. Even Duke Ellington started out with a small band in New York before growing into perhaps the best- known big band of the era. Trumpet soloists were often in the spotlight in these early groups, and it was from these small bands that the lead trumpet style developed. King Oliver is generally considered to be one of the fathers of jazz music, leading small bands in both New Orleans and Chicago in the early twentieth century. He had a direct influence on the legendary Louis Armstrong,5 who played in Oliver’s band for a number of years. However, Armstrong was not the only musician to find inspiration through King Oliver. James “Bubber” Miley, a trumpet player who joined Duke Ellington’s Washingtonians in , was also greatly influenced by King Oliver. According to composer and acclaimed jazz historian Gunther Schuller, “Miley heard King Oliver in Chicago… and began to use the growl and the plunger.”6 Some of the earliest examples of this innovative style CONTENTS Louis Armstrong “Bubber” MileyNext >