< 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. 46, No. 2Peter Wood, EditorJanuary 2022 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. Mark O’Keeffe page 51 Stanford Thompson page 19 Anne McAneney page 75 Tanya Darby page 6 F EATURE A RTICLES C OLUMNS R EVIEWS 80 Product/App Reviews 81 Media Reviews 89 Music Reviews 91 Book Reviews A DMINISTRATIVE 63 Index of Journal Advertisers 96 2022 ITG Conference Information 107 ITG Legacy Endowment Information ITG Journal Advertisement Information (inside back cover) 3 From the President 4 From the Editor 5 ITG Calendar 39 His torical Instruments Window: Baritone Sudrophone by François Sudre, Paris, ca. 1900 40 ITG Profile: Jorma Rautakoski 41 ITG Young Artist Award: Jack Towse 42 Clinic: Doc Severinsen on Working Out and Staying Young and Healthy by Cathy Leach 44 Pedagogical Topics: Fundamentals of an Effortless Sound, Part 2: Shape by Douglas Lindsey 47 The Student Corner: Using Social Media as a Practice Tool by Julia Bell 48 Jazz Corner: Q & A: Improvising on Modal Tunes, Part 2 by Chase Sanborn 50 Poem Place: Marine Horn: Joseph Benjamin Wilder by Don Petersen 51 Studio/Commercial Scene: Mark O’Keeffe: Master Track Bugler by Nick Mondello 59 Cham ber Music Connection: A Trumpet Player’s Journey Towards Better Intonation: My Time with the Dallas Brass by Brian Neal 61 Repertoire Corner: A Sonic World Unlike Any Other by Andy Kozar 64 Trumpet in the Wind Band: Boss Bugler: An Interview with Woody English by Marc Reed 67 Marching Arts Corner: Benefits of Participating in Collegiate Marching Band by Angela King and Aaron Witek 68 Cornet in the Brass Band: One of the Best: Iain Culross, Principal Cornet with The Grimethorpe Colliery Brass Band by Bryan Appleby-Wineberg 73 Inside the Orchestra Section: Fear, Courage, and Creativity by David Bilger 75 Orchestral Spotlight: Anne McAneney: It’s Not Just a Job, It’s a Joy by Kyle Millsap 93 News from the Trumpet World 6 It’s About the Feel First: Tanya Darby by Thomas Erdmann 13 Pioneering a Genre: Remembering The Forefront (1972 – 1980) by Ian Rode-Sagastume 19 Stanford Thompson: Fighting Inequity Through Music by Paige Kerrigan 24 #Trumpet: A Musician’s Guide to Instagram by Mark DeGoti and Jeff Joppich 27 The Hard Work Narrative by Andrew Harms Learning Jazz Tunes: A More Efficient Approach by Barry Rachin 33 The 2021 Ellsworth Smith International Trumpet Solo Competition by Jason Bergman, Aoife Garry, and Nathan McDonnell M AIN M ENU S EARCH J ANUARY 2022 ITG J OURNAL T ABLE OF C ONTENTS2 ITG Journal / January 2022 © 2022 International Trumpet Guild 2021– 2023 Board of Directors Executive Committee President: Jason Bergman, Brigham Young University; president@trumpetguild.org Vice-President/President-Elect: Ryan Gardner, University of Colorado – Boulder; vicepresident@trumpetguild.org Secretary: Marc Reed, University of Akron; secretary@trumpetguild.org Treasurer: Dixie Burress; treasurer@trumpetguild.org Past President: Grant Peters, Missouri State University; pastpresident@trumpetguild.org Directors Michael Anderson, Oklahoma City University; Alexis Morales Barrientos, University of Costa Rica; David Collins, The Royal Irish Academy of Music, Dublin, Ireland; Jennifer Dearden, Allegheny College; Jason Dovel, University of Kentucky; Christopher Moore, Florida State University; Nadje Noordhuis, New York, NY; Oscar Passley, Dallas College Eastfield Campus; Armida Rivera, University of Science and Arts of Chiapas, Mexico; Chen Rui, Tianjin Conservatory of Music; Bria Skonberg, New York, NY; Sarah Stoneback, Montana State University; Nancy Taylor, The University of Texas at El Paso; 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, NY; 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, The 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 Media Reviews Editor: Daniel Kelly, Texas A&M University- Commerce, 830 Windham Dr, Rockwall, TX 75087; cdreviews@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 Orchestral Spotlight Editor: Nairam Simoes, Arkansas State 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 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© 2022 International Trumpet Guild January 2022 / ITG Journal 3 CONTENTS F ROM THE P RESIDENT J ASON B ERGMAN an informative class on the teachings of Carmine Caruso. Jon Faddis, Terrell Stafford, and Mike Rodriguez were the artist/ judges. They provided a terrific masterclass and virtuosic per- formance and adjudicated the competition. David Sneider, from New York, took first place, and Joey Curreri, from Cali- fornia, received second place. We congratulate each finalist for their terrific performances and especially thank Al Hood for his leadership of the Caruso Competition. Please read the articles in upcoming issues for more detailed information about these two events. Finally, as we enter this new year, I look forward to more advances for the ITG. I am urging each of us to focus on serv- ice this year. We will have an ITG Day of Service, when we will encourage all ITG members, worldwide, to serve others on a specific day within their community. The possibilities are end- less, but some examples can be helping a young student, offer- ing a public performance, helping someone with their instru- ment, or countless other ways. As we serve and look out for each other, our bond will strengthen. I find that when I look outside of my own concerns and focus on others, the quality of my own life improves. It is my hope that our organization can make an intentional positive impact in someone else’s life and community. Lift each other. Help one another. I am con- fident that as we do so, our collective experience in will be one that uplifts and makes the trumpet community a little better for others to enjoy. I would like to hear about your expe- riences and how you helped within your own sphere of influ- ence. More details will be forthcoming, and I look forward to serving as well. Enjoy this issue of the ITG Journal. Thank you for your support of the ITG, and I hope you can feel our sin- cere desire to make a positive impact in your life. H appy New Year! We face with hope and opti- mism that we can learn to thrive with the continuing presence of covid- in our global communities. It has been heartening to observe performers, teachers, vendors, and enthusiasts learn to adapt and evolve our craft to meet the needs we each face in our new world. I hope you are finding best practices and positive solutions to the challenges that you experience. Surely, we have all been impacted by this terrible pandemic, but it is my hope that you have also experienced new opportunities that have enhanced your life and musical pursuits. The International Trumpet Guild is evolving and improving as well. Our ITG Conference in San Antonio remains sched- uled as planned. Conference Director JC Dobrzelewski and his team have prepared and are evaluating the safety precautions that we will need to enact in order to ensure a safe and produc- tive conference. Look for updates throughout the first months of regarding this. Mary Thornton, the chair of our Conference Artist Committee, has led her committee’s work in the most professional way. They have selected artists and pre- senters through an important peer-review process that will promote diversity, inclusion, and accessibility for larger num- bers in our trumpet community. There will be an important focus on the tradition of Mariachi trumpet playing, which is so predominant in South Texas. In addition, we have a diverse roster of artists and presenters who will share an extensive array of music and presentations that are sure to interest all who attend. We will also be holding a hybrid conference. A full slate of in-person events will be attractive to all who can attend, as well as online options for those who are unable to be with us in person. This is also an important part of our effort to reach the international members of the ITG for whom travel is so difficult, especially in these uncertain times. I am happy to report that the Ellsworth Smith Com- petition took place in September . It was originally sched- uled to be hosted at Brigham Young University, where I serve as trumpet professor. Six weeks before the competition, the widespread Delta variant outbreak forced the unexpected con- tinuation of the international travel ban imposed by the gov- ernment of the United States. This prevented most of our final- ists and jury members from entering the us, so we began to explore other options. Europe was open for international travel, and we identified Dublin, Ireland, as an ideal location for the competition. At the time of the event, Ireland had a rate of more than vaccinations and low numbers of covid- infections. David Collins, head of winds, brass, and percussion at the Royal Irish Academy of Music, joined me as host. Thanks to David’s tremendous efforts, we were able to hold the competition successfully and without delay. It was exciting to have an international event sponsored again by the ITG, and the performers were outstanding. Aleksander Kobus (Poland) won first prize, and Matilda Lloyd (United Kingdom) won second prize. James Vaughen (usa) was the third finalist. It was a tremendous success for our ITG. We also celebrate the highly successful Carmine Caruso International Jazz Competition, which took place the follow- ing week, in early October . Al Hood served as host at the University of Denver. He and his team prepared a first-rate experience for all who participated. Celebrated artist Vincent DiMartino served as the competition clinician, and he offered C ALL F OR V OLUNTEERS ITG Global Chapters Initiative is a drive to form ITG Affiliate Chapters in virtually every country, region, or state worldwide to broaden the international footprint of ITG. Volunteers are needed to develop contacts and coordinate regions worldwide. Contact ITG Affiliate Chap- ters Committee Coordinator Cynthia Carrell (chapters@trumpetguild.org). ITG Sister Chapters Program is intended to create international and intercultural relationships between ITG Affiliate Chapters worldwide. “Sis- ter” chapters will share information and encourage each other. Select chapters may also be called upon provide assistance in the formation of chapters in lower socio-economic settings. ITG member vol- unteers are needed to coordinate the forming of these relationships. Contact ITG Affiliate Chap- ters Committee Coordinator Cynthia Carrell (chapters@trumpetguild.org).4 ITG Journal / January 2022 © 2022 International Trumpet Guild F ROM THE E DITOR P ETER W OOD CONTENTS H appy New Year! I hope you had a productive and joy- ous holiday season and are looking forward to a fan- tastic . This is our final issue with Joel Treybig as editor of the Pro- file column. Joel is stepping down after six and a half years of generous service. He did a truly superb job in this role and will be missed. George Carpten IV will become editor of the Profile column beginning in the March issue. Thank you so much, Joel, and welcome, George! In this issue we get to know another fantastic group of play- ers and people. Tom Erdmann interviews the great jazz lead player/educator Tanya Darby, and Paige Nelson Kerrigan intro duces us to Stanford Thompson, the founder of Play On Philly. Nick Mondello talks with Mark O’Keefe about his illustrious career as a horse track bugler, and Marc Reed sits down with Woody English to discuss his days as one of the leading US Army trumpeters/buglers. Bryan Appleby- Wineberg talks with Iain Culross, principal cornetist of the Grimethorpe Colliery Band, and Kyle Millsap introduces us to Anne McAneney, renowned trumpeter/professor in the uk. We also feature in this issue a number of articles with useful tips and suggestions for improving our playing and careers. We highlight the use of social media in the trumpet world— particularly Instagram—in two different articles. Doc Sev- erinsen talks about how he has stayed young and healthy by working out and staying in shape—even in his nineties. Doug Lindsey delivers the second installment in his three-part series on developing an effortless sound with trumpet students. Brian Neal explains his progress in the area of intonation dur- ing his time playing in the Dallas Brass, and Andrew Harms offers his essay debunking the myth of “hard work” in trum- pet practicing. Please make plans now to join us in San Antonio, Texas (usa) at the end of May for the first in-person ITG Conference in three years. I am really looking forward to being back together again with old friends and colleagues and to meeting and hearing the best that our art has to offer. It is sure to be quite a memorable event! I sincerely hope the new year brings you all good fortune. Cheers! ITG S PONSOR -A-T RUMPETER P ROGRAM The Sponsor-A-Trumpeter (SAT) Program was created to encourage ITG members to donate memberships for trumpet play- ers who are unable to join due to financial circumstances. The names of potential recipients can be forwarded to ITG from members aware of someone in need of this help. For more information, please contact Seretta Hart (sat@trumpetguild.org). I would like to sponsor a membership: Regular PrintNumber of years_____ x us/year = $________ Regular ElectronicNumber of years_____ x us/year = $________ Student/Senior PrintNumber of years_____ x us/year = $________ Student/Senior ElectronicNumber of years_____ x us/year = $________ Assign someone for me to sponsor; or I wish to sponsor this person:_________________________________ Address______________________________________________________ City_______________________State______Zip/Country_____________ Phone_______________________email____________________________ Check enclosed; or Charge my: Amex MasterCard Visa Name on Card________________________________________________ Card Number_______________________________CVN Code________ Exp. Date___________Signature_________________________________ Donor Contact (Phone or email)________________________________ Makes checks to: International Trumpet Guild Mail completed form with check or credit card info to: Dixie Burress, ITG Treasurer P.O. Box 2688 Davenport IA 52809-2688 USA or fax form with credit card info to (413) 403-8899 You can sponsor a trumpeter securely through the ITG Website using your credit card and our link to Paypal! www.trumpetguild.org/join/join.htm in case we need to reach you REQUIRED for electronic membership© 2022 International Trumpet Guild January 2022 / ITG Journal 5 January 22, 2022: The Greater Idaho Trumpet Guild Festival will take place at Boise State University’s Morrison Center for the Performing Arts, 2201 W. Cesar Chavez Lane, Boise, Idaho (usa). This will be the inaugural event for the Greater Idaho Trumpet Guild Affiliate Chapter and is open to all trumpet players. Hosted by Zach Buie and Derek Ganong, the festival will feature world-class guest artists, masterclasses, solos competitions, exhibitors, and a culminating concert in tribute to the late Dr. Raymond Burkhart. For additional information, check the festival website (https://tinyurl.com/itg2201a) or contact Zach Buie via email (zacharybuie@boisestate.edu) or phone at +1 (208) 426-1596. March 19, 2022: Second Annual Gateway Brass Band Cham- pionships, to be held at Ritenour High School, St. Louis, Mis- souri (usa). Events include open and championship sections, masterclasses, clinics, and exhibits. For full details, check the competition website (http://www.stlbb.org). March 31 – April 2, 2022: The National Trumpet Competi- tion will be held at the University of Delaware in Newark, Delaware (usa). Clinicians will include Huw Morgan and the Baltimore Symphony Orchestra Trumpet section. Updated information and deadlines are available at the competition website (http://www.nationaltrumpetcomp.org). May 22, 2022: Registration deadline for the University of Kentucky Summer Trumpet Institute, which will be held June 6 – 9, 2022 on the campus of the University of Kentucky in Lexington, Kentucky (usa). See the listing below for more information. 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 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 conference website (https://www.myiwbc.org) for full details. There is also a Face- book page (https://tinyurl.com/itg2201b) that is updated fre- quently. 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). June 6 – 9, 2022: University of Kentucky Summer Trumpet Institute, to be held on the campus of the University of Ken- tucky, Lexington, Kentucky (usa). Four days of masterclasses, concerts, and breakout sessions on orchestral excerpts, jazz improvisation, Baroque trumpet, entrepreneurship, and special topics. This year’s faculty will include Rex Richardson, Tage Larson, Jason Dovel, and many others. Tuition is , and on- campus housing and dining are available. More information is available at the institute website (https://tinyurl.com/itg2201c) or by email (jason.dovel@uky.edu). The registration deadline is May 22, 2022. July 7 – 10, 2022: 8th Annual International William Adam Trumpet Festival. AdamFest8 will be hosted by Dr. Karl Siev- ers at the School of Music, University of Oklahoma in Nor- man, Oklahoma 73019 (usa). There will be an all-star cast, great performances, masterclasses, discussions, something for everyone, all in a fun and welcoming atmosphere. All ages and levels of experience are welcome! For updates and details, check the festival website (https://williamadamtrumpet.com) or Facebook page (https://tinyurl.com/itg2201d). May 30 – June 3, 2023: 47th Annual International Trumpet Guild Conference, to be held in Minneapolis, Minnesota (usa). Full details will be published on the ITG Website (https://www.trumpetguild.org) once they are finalized. May 28 – June 1, 2024: 48th Annual International Trumpet Guild Conference, to be held at the Hyatt Regency, Orange County, California (usa). Full details will be on the ITG Website (https://www.trumpetguild.org) once they are finalized. 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. ITG Y OUNG A RTIST A WARD to provide recognition for developing young trumpeters Music teachers and private ins tructors are invited to nominate high school students (age 18 or younger at the date of nomination). Letters of recommendation must include mailing addresses, phone/fax numbers, and email addresses of the teacher and nominee. Winners will receive a free one-year membership to ITG and will be featured in the ITG Journal . Please submit nominations to: Anne McNamara, Chair ITG Young Artist Award Committee yaaward@trumpetguild.orged to continue it in some shape and form in college, and by my sophomore year, I knew I wanted to major in music. Loving jazz, I knew I wanted to go to the jazz capital of the world, New York. When I started looking at schools, I was interested in the East Coast schools so I could get to New York. I did extensive research into schools and was aided by teachers, but msm was at the top of my list. As I was entering my senior year, I got a call asking if I would like to play lead trumpet in the Grammy Band. I had sent in a tape audition for the California State All- Star Big Band, and one of the evalua- tors, who happened to be on the panel for the Grammy band, heard my tape. This is an important lesson, because it shows how we are always on stage even when we’re not expecting to be so; therefore, we have to put our best foot forward no matter if we are playing in front of or , people. So, I got the call and was totally excited not only by the band, but also by being able to go to New York for the first time, where we would do some touring and play various gigs. The highlight was being able to play at the Grammys. The director of that band was Justin DiCioccio, one of my favorite people, who just happened to be director of one of the big bands at msm. Going to msm just came together. I got to play for him and do my audition through him. Looking back, play- ing lead was something I could do, but I didn’t have the eyes 6 ITG Journal / January 2022 © 2022 International Trumpet Guild CONTENTS Erdmann: When you were young, you attended the Monterey Jazz Festival Camps in California and the Stanford Jazz Work- shop. In fact, you got to work in a touring big band led by one of the unsung heroes of music, trumpeter Bill Berry. How important was having early exposure to great musicians and teachers to your wanting to make music a career? Darby: That was invaluable. If I didn’t have those types of great experiences, I don’t know if I would have the same inter- est in jazz that I do. One of the best things about growing up where I did was the festivals. Everyone knows about the Monterey Jazz Festival, but their education work goes on year- round. While the festival is in Septem- ber, at any given time during the year, we had great musicians come and do clinics for us. Bill Berry was a regular, but others like Bruce Forman came as well. Seeing musicians of that caliber working with our bands showed me what was possible. When you’re in middle school, you’re play- ing with your school band, but that isn’t necessarily showing you regular examples of true greatness. I received that from those experiences you listed. Erdmann: Why did you choose the Manhattan School of Music (MSM) for pursuing your bachelor’s degree? Darby: By the time I was a freshman and sophomore in high school, I was pretty serious about the trumpet. I knew I want- I T ’ S A BOUT THE F EEL F IRST : T ANYA D ARBY BY T HOMAS E RDMANN I t does not seem possible for one trumpeter to have per- formed and/or toured with as many of the world’s top- flight jazz musicians as Tanya Darby. Her name is syn- onymous with the highest standards of not just musical excellence, but professional distinction as well. Her ability to play lead and take solos far outpaces her from the rest of the trumpet world. As evidence, one only need point to her lead trumpet work with the Count Basie Orchestra, Paquito D’Rivera and the United Nation Orchestra, the Rufus Reid Large Ensemble, the George Gruntz Jazz Band, the Roy Har- grove Big Band, Jimmy Heath’s Queens Jazz Orchestra, and the Manhattan Jazz Orchestra, among others. Additionally, she is a former member of Michel Camilo Big Band, the DIVA Jazz Orchestra, and the Vanguard Jazz Orchestra, to list just a few. The enormity of Darby’s abilities is additionally evidenced by her work, both in the studio and on the road, with artists like the Ron Carter Great Big Band, the Duke Ellington Orchestra, Paquito D’Rivera, Jon Faddis, the Jazz at Lincoln Center Orchestra, Gladys Knight, the Mingus Big Band, Terri Lyne Carrington, and Clark Terry. Her many television performances include BET on Jazz as part of the T.S. Monk Sextet and the Arista Records’ 25th Year Anniversary Special on nbc with Aretha Franklin. She has also been thrice nominat- ed for Grammy Awards—in for her work on OverTime: Music of Bob Brookmeyer with the Vanguard Jazz Orchestra, in for the recording Quiet Pride: A Suite for Large Ensemble with Rufus Reid, and in for Live and in Clave with Bobby Sanabria. In addition to being a killer performer, Darby’s love of sharing knowledge has made her one of the most sought- after teachers in the world. Not only does she do countless international clinics, residencies, and jazz festivals, but she currently serves as chair of the brass department at the Berklee College of Music. Previous positions include assis- tant professor of lead trumpet at the University of North Texas and adjunct faculty at Temple University and the New School University of New York City. Her own degrees are both in jazz performance, with a bachelor’s from the Manhattan School of Music and a master’s from Rutgers University. Perhaps the most striking aspect of Darby’s boundless abil- ities is the fact that she has attained all the above despite not having a single musical release as a leader. She has accom- plished all of this working as a side musician. For this Seaside, California, native who does work as a leader from time to time, devoting almost all of her career as a side musician and pedagogue speaks volumes to what she considers the most important work in life—not striving for her own personal glory, but providing help and encouragement to others. “We are always on stage even when we’re not expecting to be so; therefore, we have to put our best foot forward no matter if we are playing in front of 2 or 200,000 people.”© 2022 International Trumpet Guild January 2022 / ITG Journal 7 to be a lead player. Playing lead in the Grammy Band led to a scholarship to play lead at msm, so I quickly became a lead player. Erdmann: You have said your route to playing lead didn’t start until you got to college, but you did play lead in the experiences you just listed. Can you explain this? Darby: It did start before college because I played lead in my high school jazz band. We weren’t great, but we swung and had fun. I knew of the role and that it was something I could do, but I didn’t have the idea of what a lead player was; it was just something I was doing in high school. As I started to get into more all-state bands, I started to learn about the role of a lead player not just for trumpet, but for all the other sections as well. I gained a strong interest in learning what it meant to be a section player, and I am so grateful for that because that is what got me working when I went to New York. I was not the best lead player or the best soloist, but when I was young, one thing I could do was play in a section, and I learned that from all those years being in California all-state bands. I believe section playing is a lost art and something I always encourage students to take seriously because it is a huge foundation in building your career. Erdmann: Since we’re talking about lead playing, there are countless young trumpeters who want to be lead trumpeters. You speak eloquently about how important it is to be a stylistically informed musician and how that helped your lead playing. Could you talk about how being a fan of the trumpet—not just a fan of lead trumpeters—has helped you? Darby: I still don’t see myself as a “lead trumpet freak of nature” or play with a higher-faster-louder mentality, like so many others I admire. I think this has served me well. One thing I try not to do is categorize the different areas. If some- one asked me what I do for a living, I would say, “I am a trum- pet player.” I don’t say I am a lead player or a soloist or Mari- achi trumpeter; I am a trumpet player. When I started to grasp that concept from the pedagogical standpoint of being a brass player was when I was able to branch out and play lead, be a soloist, and be a section player. All of those things come from the foundation of being a trumpet player first. When I was younger and started to get interested in jazz, I didn’t know anything about lead play- ing. I was geeking out on Lee Morgan, Clifford Brown, and all those cats. I came into being a lead player from a soloistic side. My sense of interpretation, swing, feel—all of that stuff—came from listening to soloists, and how that translated into my lead playing became a seamless thing. I am really grateful for that because after years of work- ing with students, that often seems to be the missing piece they lack. It is very hard to teach if the student doesn’t have some sort of a foundation in this. There are students who are great trumpet players and great lead players, but stylistically they CONTENTS Photo Credit: Sherry Rubel “I believe section playing is a lost art and something I always encourage students to take seri- ously because it is a huge foun- dation in building your career.”Next >