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S COTTY B ARNHART : R ESPECT THE I NSTRUMENT BY T HOMAS E RDMANN January 2020 • Page 29© 2020 International Trumpet GuildJanuary 2020 / ITG Journal 29 Erdmann: First, congratulations on the newest Basie album, All About That Basie, being nominated for a Grammy. How great is it to stand in front of the Basie band night after night? Barnhart: It is great—an awesome responsibility, and a dream come true. I knew it was going to happen about twenty years before it happened, so I was preparing for a long time. I spent that time getting better as a musician and leader, so by the time I took over, it was an easy transition. It is a great learn- ing experience, and I am truly grateful to the organization for choosing me to do it. I try to understand everything about the history of the group, about Mr. Basie as a leader, how he did it, and the leaders after him—among them Thad Jones, Frank Foster, and Grover Mitchell. I try to take their best qualities and continue the tradition of treating the musicians like men and women first and foremost and musicians secondarily. I try to stay true to the ideals and refinements in the music that Mr. Basie started in . It is a hell of a feeling to count off those tunes, hear the musicians play, and feel Mr. Basie’s presence on that stage, and I can tell you we feel his presence every single night. It is a beautiful thing, and I am the luckiest man in the world. Erdmann: The Basie band is the group that not only is the model for just about every big band ever created, but also sets the standard that every big band since 1935 has used to measure them- S COTTY B ARNHART : R ESPECT THE I NSTRUMENT BY T HOMAS E RDMANN FA4 F or big band enthusiasts, the s were the end of an era, the last decade one could hear live the last regularly touring large jazz ensembles. Those road warriors included bands led by Toshiko Akiyoshi, Louie Bell- son, Jimmy and Tommy Dorsey tribute bands, Duke Elling- ton, Don Ellis, Maynard Ferguson, Dizzy Gillespie and the United Nations Orchestra, Lionel Hampton, Woody Herman, Thad Jones/Mel Lewis (who did occasional tours), Stan Kenton, Rob McConnell, the Glenn Miller trib- ute band, and Buddy Rich, among oth- ers. One can still experience a little of those days, because the band everyone emulated—the true kings of swing, the band that set the standard in the origi- nal swing era ( – )—the Count Basie Orchestra (cbo), was on the road not only in the ’s, but still today. William James “Count” Basie started the band in Kansas City in , and, except for a hiatus from to during the industry-imposed recording ban, it has been consistently playing sold-out dances and concerts world- wide. The band set the standard for ensemble precision, dynamic attention to the spirit and execution of swing, and the extraordinary length of service that so many of the band members have given to the group. Today the band, which is just a little over a decade away from their th anniversary, is in the more-than-capable hands of the ensemble’s longtime featured trumpet soloist, Scotty Barnhart. Born in Atlanta in , trumpeter, composer, arranger, educator, author, and two-time Grammy Award winner Scotty Barnhart earned a degree in music education from Florida A&M University. His prodigious talent was quickly noticed by pianist Marcus Roberts, who hired the trumpeter for his first touring quintet. Other artists with whom Barn- hart has worked or toured include Tony Bennett, Ray Brown, the Clayton-Hamilton Jazz Orchestra, Ray Charles, Natalie Cole, the Duke Ellington Orchestra, Rebecca Fergu- son, Aretha Franklin, Jon Hendricks, Quincy Jones, Diana Krall, Tito Puente, Max Roach, Frank Sinatra, Barbara Streisand, and Take 6, among others. Barnhart is so highly regarded that a few of the artists who welcomed the opportunity to perform on his cd as a solo leader include Wynton Marsalis and Clark Terry. In Barnhart was asked to join and serve as featured trumpet soloist with the cbo. Taking over as director in , he has not only continued the tradition of leading the hottest band in the world, but has also expanded the orchestra’s repertoire. When not on the road leading the Basie band or working with other artists, Barnhart is also a professor of jazz trumpet at Florida State University, where he has taught since and where two of his former students, Etienne Charles and Alphon- so Horne, won first place in the ntc Jazz Trumpet Competition. As a clini- cian, Barnhart has taught in China, Europe, Japan, South Africa, South America, and the United States; and he has delivered two keynote lecture dem - onstrations at ITG Conferences. Barnhart’s book, The World of Jazz Trumpet: A Comprehen- sive History & Practical Philosophy (Hal Leonard Publishing), is about as good an introduction to what it means to be a jazz trumpeter as can ever be written. Barnhart is also the co- founder and artistic director of the Florida Jazz and Blues Festival. Profiled in Scott Yanow’s Trumpet Kings: The Players Who Shaped the Sound of Jazz Trumpet, one can see why The New York Times wrote, “Barnhart bears watching.” He is the trumpeter whom noted critic Ken Dryden called “a well-kept secret,” but hopefully Barnhart won’t be a secret anymore.selves. In addition, when one thinks of all of the great musicians who have played in the band—Billie Holiday, Buck Clayton, Thad Jones, Joe Williams, Lester Young, and Snooky Young, to list just six—I would think there would be a lot of pressure on you to keep the benchmarks at their peak. You have said, however, that the only time you felt pressure leading the band was “on the first night and the first solo.” Would you explain this? Barnhart: When you walk in front of that orchestra for the first time and realize you are responsible for what happens, the best thing you can do is let the music tell you what to do. So that’s what I did. Once I counted off the first tune in the right tempo—and I thank God for doing that—everything took care of itself. I had already been with the band for twenty years, so I was used to taking solos and standing in front of the band, but now it was a different feel. The thing that made it work well was that I knew I had the respect of the musicians. I knew I could trust them, and they knew they could trust me. We were all on the same page. There was no, “Let’s see how he does.” I knew they knew I knew what I was doing. Once I played the first solo and got my feet wet, so to speak, it was just a matter of continuing to take note of what was going on. Erdmann: What is the hardest part of your job? Barnhart: I have to know what is going on at all times. I can’t miss the slightest detail. Luckily for me, I have always been a detail person. As a kid in high school, when I heard my first Basie record, I could hear all five saxophones, all four trumpets, and every note the bass player was playing, no mat- ter the tempo. That’s why I think I was being prepared for this job. If you don’t pay attention to the details, little things will slip by you, and at some point, those little things, before you know it, will become big things. At that point, something big is staring you in the face, and it might be too late to fix it. For me, I listen to everything as a whole, but also to each individ- ual part and section. That is why I say I didn’t feel too much pressure, because I have always been able to hear the whole as well as each individual part of the sound. Of course, when I took over, it was now an immediate thing, because I had to deal with things in real time. When I was back in the trumpet section and would hear some- thing go awry, it wasn’t my job to fix it. Yes, I could say something, but it wasn’t up to me, because I wasn’t the leader. Now when I hear something go wrong or maybe something is just a little off, I fix it on the spot. Luckily there hasn’t been anything that has gone wrong. I have had to replace a few people, because if you don’t have the right personnel, the music won’t work. So, I have made a few changes, but always for the betterment of the orchestra. Those musicians knew that. Erdmann: Is it hard for you to let people go? Barnhart: Yes, but it comes with the territory. Mr. Basie did it, and Duke did it. I think people are now starting to realize the Count Basie Orchestra is an institution; it’s not just anoth- er big band. Basie probably didn’t realize this when he started it in , but he actually created an institution. We are an institution like any university where musicians come in; learn from the highest levels of musicianship, from those in the band, and from the music and the arrangements; and then go out and become leaders and/or the most respected musicians on their own, among the top one percent. I realize we have to keep playing the right music at the right tempo, making sure everyone can dance to it, and making sure we have the right musicians to keep it going. Every time I pack to go on tour, I’m like a kid in a candy store. Erdmann: In interviews, you have listed four things it takes to be a good bandleader. 1) We’re all human beings first. 2) Under- stand the history of the organization for which you are charged to present, protect, and preserve. 3) Manage interpersonal relation- ships. 4) Continue to learn musically. With a band as established as the CBO and the legacy the members understand before joining, do you ever have to deal with managing interpersonal relation- ships in the band, or does the historical weight of the band keep everyone focused on the common goal? Barnhart: You’d be surprised with a group as old as our orchestra how some guys can lose sight of where they are. Even though everyone knows the history and the importance of this - year old orchestra, that still does not guarantee they will act and play in the correct manner. That’s when you have to let somebody go. When you’re managing interpersonal relationships, sometimes the best thing you can do is to not do anything at all. Some- body once asked me how it feels to fire somebody, but I don’t look at it that way. I didn’t fire them; they fired themselves by putting themselves into certain positions such as not respect- ing the tradition, not knowing how to treat other musicians on and off the bandstand, or not knowing how to act in public when with the Count Basie Orchestra. When you’re traveling with the orchestra, whether on a plane or a bullet train in Japan, you are representing Mr. Basie. If anything were to hap- pen, it’s going to be the Count Basie Orchestra first—not your name first. Mr. Basie’s name is pristine with no blemishes whatsoever. Think about it; that’s a hell-of-a-thing. There are no controversies or scandals, only excellence. It is my job as leader to make sure it stays that way. Just because the band is years old does not guarantee the musicians will know how to act or play. If I detect something, I will say something. Erdmann: How often do you have to do that? Barnhart: I have only had to do that once or twice. Look at an nba basketball game. Sometimes those cats get into fights. They know better than that, but it happens. Same thing in any pro- fession. There will always be people who are part of the organ- ization who will get mad or be selfish, forgetting where they are. That’s why if someone gets out of line or does something detrimental to the organization, the leader has to nip it in the bud, or you won’t survive. You can’t let it slide. We can’t afford to have anyone who isn’t acting at the highest levels on and off the bandstand. History and the weight of the group do not always influence how people will act; I wish it did. Erdmann: In the band’s website description, four fundamentals are listed: foot-stomping 4/4 swing, dynamic contrasts, shouting blues at all tempos, and making one want to dance. You have ref- erenced the concept of “swing with precision” in making music 30 ITG Journal / January 2020© 2020 International Trumpet Guild “Once I counted off the first tune in the right tempo—and I thank God for doing that— everything took care of itself.” “When you’re managing inter- personal relationships, some- times the best thing you can do is to not do anything at all.”© 2020 International Trumpet GuildJanuary 2020 / ITG Journal 31 danceable in many interviews. How important is a listener’s sense of physical motion in reaction to the Basie band’s music to what you want to create with the band? Barnhart: It’s all about body move- ment and making you want to get up and dance. Basie said in interviews that he would watch to make sure his audi- ences were moving—if not dancing, then either snapping their fingers or patting their feet—and until they did that, he would work the band until the audience was doing that. He did this by calling tunes he knew would make this happen. He said that once the audience was doing those things, he knew he had them, because at that point he could play almost anything. Swinging with precision is so important. I was in Cuba yesterday talking about this very thing. To this end, I think the dancer established the way the band plays and not the other way around. The band did not shape how dancers danced; I believe it was the dancers who helped the musicians know where to put the beat, how to stretch it, how to slow it down, and how to bend it. When you watch certain people dance, it affects you as a musician. I think it’s ridiculous if people are dancing to a big band and at the end of the song a musician does a ca d - enza. Why are you playing a cad - enza if people are dancing? That’s out of time. Keep the music in time for the dancers. The swing and dancing element keeps the music for the people. We play for the people. Sure, we musi- cians love what we do and obvi- ously play for ourselves, but you want to play for people. The first music on the planet was probably a mother singing to her baby to soothe the child and make it feel welcome in the world. In every concert we play—even in the Sydney Opera House—I always say, “If you have room, get up and dance, that’s what we’re here for.” To me, the best jazz not only makes you move, but also stimulates you intellectually. That’s what we do. If we’re in a club playing Blues in Hoss’ Flat, they are moving in their chairs. When we play Frank Foster’s In a Mellow Tone, I still want them to dance, even though it has one of the most sophisticated saxophone solis ever writ- ten; it’s genius. The Basie Orchestra is an unbeliev- able combination of sophistication and gutbucket. Does that make sense? All the great bands were like that. Ellington’s and Miles’s bands had that. The band Miles had with Herbie (Hancock), Tony (Williams), Ron (Carter), and Wayne (Shorter)—they are playing some of the most com- plex and difficult music ever, but they are swinging their tails off. It makes you want to snap your fingers and dance. Erdmann: You have also toured a number of times with the Duke Ellington Orchestra. While both the Basie and Ellington bands represent the apex of big band jazz, can you define the dif- ference between the two groups? Barnhart: The Basie book is harder. The Ellington book is looser; there is room for error. The Basie book is hard, because there is no room for error; it’s tighter. For example, if you come in a millionth of a second wrong—early or late—it will be heard. That’s not to say you can do that in Ellington’s band. I have played both of those books, and the Basie book is harder by far. Ellington’s band isn’t sloppy, it’s just looser. One of the main ways you can hear that is by listening to the way Duke’s drummer plays versus Basie’s drummer. Duke’s drummer played one way, almost like a shuffle on everything. Sonny Payne, Basie’s drummer, played in a variety of ways, because he had to deal with more dynamic levels. Duke’s music is not only looser, but also a little more adventurous in certain respects. Duke’s music was mostly written by him and Billy Strayhorn. Basie had Thad Jones, Frank Foster, Frank Wess, Benny Carter, Ernie Wilkins—all these great arrangers who wrote in a similar fashion—but they wrote for tightness. When you listen to Li’l Ol’ Groovemaker, which Quincy (Jones) wrote for the band, or the Chairman of the Board album, when the band cuts off on four, they cut off on four. When I first started with the Basie band, I would look at some- thing on the paper and realize that’s not how the band played it. They would tell me that instead of playing what’s on the page, a note on the “and” of four, for example, it would now be played on beat one of the next measure. It is so beautiful to have seventeen people who can play that tight. Every night, there are certain tunes I can’t wait to get to, because the band shows off that ability so well. The band can play at breakneck speed, and all of a sudden, the music cuts off perfectly or goes from fff to ppp perfectly. You get chills. Not everybody knows how to do that, which is why it is my job to make sure the things “Basie would watch to make sure his audiences were moving—if not dancing, then either snap- ping their fingers or patting their feet—and until they did that, he would work the band until the audience was doing that.” “The Basie Orchestra is an unbelievable com- bination of sophistica- tion and gutbucket.”32 ITG Journal / January 2020© 2020 International Trumpet Guild Basie put into place continue. As long as I have the right guys who understand their particular chair and role, everything is good. Erdmann: It is really important for members of any group to understand what their position in the band entails. Barnhart: Yes. Sometimes people are replaced because they don’t have enough respect for the chair they are playing. In our orchestra, Frank Greene, our lead trumpeter, understands what Snooky Young and all the others who held that chair before him did. Now Frank has to figure out how to incorpo- rate the best of what they did into the way he plays. Every chair has to do that—lead alto, lead trombone, the bass player, everyone. Erdmann: There are a number of videos of you taking plunger solos, both with the Basie band and in small-group settings, that are absolute- ly incredible—like on Say It Plain on your solo CD. It is obvious you have internalized the knowledge of that mute from Cootie Williams, among others, and gone a few steps further. How did you practice with the plunger when you were young in order to be able to handle it so well today? Barnhart: You know what? I never really practiced it while I was young. To me, the key is two things: 1) I never use it unless I feel the tune will be better with a plunger instead of open. I can play it on any tune, but I have to feel the tune will be bet- ter with a plunger. 2) When I got serious about learning the technical side of the mute, I started by transcribing a Cootie Williams solo he did right after Billy Strayhorn died on the And His Mother Called Him Bill album; the tune was The Inti- macy of the Blues. When I learned that solo, along with the growls, I was forced to learn how to hold the mute correctly. I went to (Harry) “Sweets” Edison’s house one day, we were talk- ing about the plunger, and he told me I didn’t even have to move the plunger in and out. I could hold it in a certain way and squeeze it. By doing that correctly, I would get the sound I was looking for without moving it. Clark Terry was also a master of it, and that is why I had him on my solo cd with us both playing plungers. It helped that when I joined the Basie Orchestra I inherited solos that were plunger features, such as Blues in Hoss’ Flat, which Joe Newman originally played. So, I would play those melodies and solos with the plunger, forcing me to use and practice it on a regular basis. I studied how Joe did it, and fortunately I was already play- ing the plunger regularly before I started doing that solo. The older members of the band would always compliment me on my use of it, saying things like, “You sound like Clark tonight.” I think the best com- pliment I ever got from the band was from the lead trombone player, the late Mel Wanzo, who said, “Duke and Basie would have had a bidding war over you.” What he was saying was that I was being true to the instrument, the music, and the plunger, as well as being true to playing without the plunger, as well as when I play a ballad or playing over difficult changes, etc. All his words made me do was practice harder, transcribe more solos, and be better at what I could already do on the trumpet. Luckily, I grew up in the right environment, never having a teacher or parent who ever dis- couraged me. That is key; I was always offered open doors to try what I wanted to try. I am still transcribing and learning. Erdmann: I absolutely love your solo on your composition Haley’s Passage on the Say It Plain album. You combine just the right amount of nuance with harmonic inventiveness to imbue the entire solo with an exquisite serenity, transcending mere improvi- sation. Noted critic Stanley Crouch said of your CD as a leader, “(You) demonstrate how tradition and originality can be brought together most effectively.” I concur. When you were young, how did you study improvisation? Barnhart: By listening and tran- scribing. I used to learn Freddie Hubbard solos when I was twelve and thirteen years old, but I didn’t know that was what I was doing. I was just trying to play what he was playing. I didn’t know anything about chord changes or improvising until I got to college. We were play- ing Night in Tunisia, and I was told to play the melody and then go back and play over the chords. It dawned on me that you don’t just play any- thing you feel like playing; there is structure and there are rules you have to learn before you can break them. I am still learning to play changes; all of us are. When I was young, I got my foundation together by listening all the time. I would go to sleep with the album on, and when I woke up in the morning the first thing I heard was the needle rumbling up against the center part of the album. Every “I am still transcrib- ing and learning.” “Luckily, I grew up in the right environment, never having a teacher or parent who ever discouraged me.”© 2020 International Trumpet GuildJanuary 2020 / ITG Journal 33 night I would go to sleep listening to Basie or Freddie or Al Hirt, who was a big influence on me from a technical stand- point, as well as Wynton, Duke, and Doc Severinsen, among others. With all that listening, I guess I had a natural affinity for soloing once I was shown what I had to navigate in order to make a good solo. My teacher in Tallahassee showed me what I had to do in order to get from one measure to the next, connecting chords. It takes years of study to learn how to do it correctly, and even though I’m years old, I’m still studying and working. I love music, and I want to get better. For me, the key is that when I walk to the microphone, I don’t want to have any weakness on the trumpet—anything out of my range I can’t play, any lack of dexterity—and I want to sound beautiful and make it look easy. I want the music I play with my fellow musicians to make people feel good. At the end of the day, that’s what it’s all about. It’s not about how I play changes; it’s how I make people feel. It’s also about respecting the instrument in making sure my embou - chure is perfectly set, that my breathing and posture are right, and I look like I know what I’m doing. Erdmann: Making it look easy is a result of hard work. What does a practice session of yours look like? Barnhart: First, I warm up properly, which can take any- where from ten to fifteen minutes. I do my Clarke. I may do Charlier number two, fourteen, or sixteen, which I have mem- orized. In order to get my tonguing going, I’ll do Clarke’s Car- nival of Venice, which I expand to a high c''' and low c on cer- tain phrases in order to get my attack together. There is a good trombone exercise I do—on the trumpet—I got from Wycliffe Gordon, who got it from Wynton, who got it from someone in the New York Philharmonic, which is a slurring exercise focusing on the inter- val of a major sixth, but you have to use alternate fingerings in order to play it properly. It forces you to have a per- fect embouchure setting. Once I am warmed up and can play that, I am pretty confident I can play anything. Then I go on to lip trills and chromatic scales, which I feel is like doing a long- tone exercise, except that you’re also being flexible at the same time. Then I obviously do double tonguing. Some people don’t know it, but doing double tonguing opens up your sound and makes the mouthpiece feel larger when you play, which in turn, for me, creates more flexibility. My students find that to be the case as well. For me, the key to prodigious technique is tonguing. All the great trumpet players had one thing in common—great tonguing. Listen to Louis Armstrong; he tongued ninety percent of his notes, he didn’t slur all those notes. The reason he had such tremendous technique was because he tongued mostly, which caused him to never miss an attack. When you reverse that and slur percent of your notes, you find it is easier to miss. I’m just trying to get better. Don’t hesitate to check out any trumpeter, because you can learn from everybody. I just returned from Cuba, where I met four great trumpeters who were unbelievable. They all had this in common—great range, sound, and perfect embouchures. They could play anything. They are obviously studying the same things we study. I also practice tunes and always memorize them. I don’t like looking at music when I play. I have a pho- tographic memory, so I only have to look at something once or twice, and then I am ready to go. Erdmann: Does the piano come into your practice? Barnhart: Absolutely. I make sure that anything I can play on the trumpet I can also sit down and play on the piano. For example, when I play All the Things You Are, I can play it not only on the trumpet, but also on the piano by walking the bass line and playing the properly voiced chords so I can accompany somebody. I can do that on every tune I can play on the trumpet like Giant Steps and whatever standard is required. I incorporate the piano into my practice, because it forces you to be completely thorough. Erdmann: Personally, I think every single young musician—not just trumpeters—should read your book, The World of Jazz Trum- pet: A Comprehensive History & Practical Philosophy. I could “At the end of the day, that’s what it’s all about. It’s not about how I play changes; it’s how I make people feel.” “I make sure that anything I can play on the trumpet I can also sit down and play on the piano.”34 ITG Journal / January 2020© 2020 International Trumpet Guild© 2020 International Trumpet GuildJanuary 2020 / ITG Journal 35never describe all of the areas your book covers, but just a few are the history of jazz trumpet; the influences of African music on jazz; how the earliest jazz songs were comprised of spiritual hymns, waltzes, ragtime, and classical music; and a number of interviews with important modern and historical trumpeters. It is, to me, the single best introduction to the world of jazz in all of its many facets. It just happens to focus on trumpeters. How did you come to write it? Barnhart: I was on the road with Marcus Roberts in or , at Georgia State University, and each member of the band was asked to give a masterclass. When I realized I was going to do this, I decided I really needed to give a masterclass on the history of jazz trumpet. It is not enough to talk about Miles or Freddie or Wynton or Armstrong; it is best to show the students the entire lineage of the instrument as well as you can. To do this, you also have to be able to play all the different styles. Luckily for me, I was already working on learning solos. I started with Louis Armstrong and King Oliver, then Buddy Bolden. I talked about them and played a solo by each of them. As I continued, I talked about and played solos by such artists as Dizzy, Clifford Brown, and Miles, all the way up to Wynton and others. I wanted them to hear how jazz trumpet had pro- gressed. Luckily for me, I also knew a lot of the guys I was playing, like Dizzy, Nat Adderley, Wynton, and others. As I did the masterclass, I would interject little stories about things they had told me; I was giving the students information direct- ly from these people who gave it to me. For example, Freddie told me in order to play chord changes well on the trumpet, you have to learn the piano—that was why he played the way he did—and then I would play one of Freddie’s solos. As we ended the session, one student said all of the information I was giving them was incredible and asked if it was written down anywhere. I thought about it, and, no, it is not written down; the information in jazz has been passed down orally over the years. About a week or a month later, I sat down and came up 36 ITG Journal / January 2020© 2020 International Trumpet Guild As Leader Say It Plain (Burnside/dig, ) As Leader with Count Basie Orchestra All About That Basie (Concord Jazz, ) A Very Swingin’ Basie Christmas! (Concord Jazz, ) With Others With Charles Aznavour & The Clayton-Hamilton Jazz Orchestra Charles Aznavour & The Clayton-Hamilton Jazz Orchestra (Capitol, ) With Count Basie Orchestra Swinging, Singing, Playing (Mack Avenue, ) Basie is Back (Sony, ) Live at Manchester Craftmen’s Guild (mcg, ) With Tony Bennett A Swingin’ Christmas (Columbia, ) With Ray Charles Forever Ray Charles (msi, ) Ray Sings, Basie Swings (Concord, ) With Clayton-Hamilton Jazz Orchestra Sundays in New York (Blue Note, ) With Rosemary Clooney The Best of the Concord Years (Concord Jazz, ) Out of this World (Recall, ) At Long Last (Concord Jazz, ) With Jamie Davis Vibe over Perfection (dig, ) With Penelope Sai Some Kind of Dream (Independent, ) Sings 007 (Independent, ) With Rebecca Ferguson Lady Sings the Blues (rca/Sony, ) With Clint Holmes Rendezvous (ll, ) With Jen Lilley Tinsel Time (Audio & Video Labs, ) With Henry and Monica Mancini Ultimate Mancini (Concord Jazz, ) With Tito Puente Jazzin’ (Tropi Jazz, ) With Marcus Roberts As Serenity Approaches (Novus, ) Deep in the Shed (Novus, ) Portraits in Blue (Sony, ) With Various Oscar, with Love: The Songs of Oscar Peterson (Mack Avenue, ) With Melissa Walker May I Feel (Koch/Enja, ) S ELECTED D ISCOGRAPHY Trumpet: Monette Prana Ajna II (B-flat) with a Monette bs mouthpiece. Scotty is in his th year playing Monette trumpets and mouthpieces exclusively. Flugelhorn: Holton Leblanc Sandoval Model with a Monette bfl mouthpiece Mutes of note: Faxx adjustable copper-bottom cup mute, Facet custom-made wooden bucket mute, Best Brass Whisper practice mute E QUIPMENTNext >