Trumpeter, Mark Dulin interviews notable brass players from around the world. Dulin is a musician in Chicago, Illinois. He holds degrees from Indiana University, The University of Cincinnati and SUNY Stony Brook. He is the co-editor along with Michael Cichowicz of Vincent Cichowicz Long Tone Studies, Flow Studies Volume 1 and 2. For more information on performances, clinics and more please visit www.markdulin.com.
Excellent interview. Lots of great references to follow up on: music, etudes, recordings, players. Only one small note: the breathing is heavy on your side of the mic.sounds like an air-handling system.
If you want to cite trumpet players who use the trumpet to express greater musical feeling and imagination than most, Mr. Hardenberger immediately comes to mind.
Hi Mark & Wayne, I've just paused this interview at the "Give it one" point to add my 50c's worth of minor fame. I was born in Liverpool UK & my first teacher lived at the back of Liverpool's football ground & I had my lessons on Saturday afternoons more often during a match & if Liverpool scored we would stop as we couldn't hear each other, I digress some, but, my teacher 10 years before taught Alan Downey who wrote "Give it One" as he later joined Maynard's Manchester band in the early 1970's, of course we got to meet year's later in London as I eventually made it as a pro. So, on a session with Alan I had to ask of MF Horn2 how he came about that chart, well, title-wise I dare not mention it's real origin meaning, but as to the composition he just said simply, I wanted an acceptable clash at 100 mph. I further asked Alan as I was also a closet arranger for his verbal permission to use. 15 years later I arranged it for a brass band to include another great session friend the late great Derek Watkins and he laid that track down in 3 hours with a central section on flugelhorn. Alan Downey never really got his full credit fame for this number, but proudly saying he's from Liverpool like The Beatles & me 🎺🎶🙏⚽
Michael's gift is likely conceptual, in so much as he 'didn't study in the American system, and so he avoided the 'pedantic', lumbering, plodding nature imparted to the state of play in the American trombone performance paradigm by Remington and his musically unhealthy and far reaching legacy. Only a few escaped, or rather...recovered professionally. There were/are more musically interesting things happening trombonisitically in Europe, come as a result of the 'lack' of a strangely dominant pedagogical and methodological approach that all too effectively overwrote unique instrumental exceptionalism. Remington's authorship of the American method made average players better, but...it also made 'possibly' great players...merely good also. Everyone succumbed to the system, no one stood out, so there was no development of identity such as went before him. This arrested the evolution of the technically 'musical' trombonist.
I second all the praise for Tim Hagans... I was fortunate enough to meet him when he was in the Kenton Orchestra and I was at one of the camps. He knew that I wanted to learn how to play jazz and was trying so he made me copies of all his practice tapes. They originally came from Dan Haerle and Jamie Aebersold, I think before the Aebersold records. I still have them and play along with them. A generous man, thank you so much Mr. Hagans!!
Thanks so much for your example of graciousness and humility, Phil. How I remember the infinitely unique quality of your singing horn, summer after summer at SLC. God bless !!
Tim Hagans, you’ve been a hero of mine for decades, and this is by far the deepest dive into your life and thinking I’ve ever been exposed to. As a third-generation trombonist (hold the jokes), I was raised on Kenton, Woody, Thad&Mel, and the last years of the touring big bands you describe so vividly. I was fortunate to get to know and play with people like Steve Campos, John Harner, Mary Fettig, Gary Hobbs, Mike Vax, Clay Jenkins, and other Kenton alums from my time in the Bay Area/NorCal, including Jim Widner camps he modeled on the Kenton camps. I especially remember the glow of Steve Campos as we carpooled and he described the cassette trading and mix tapes you guys would live on daily. What an incredible listening lab and discussion “class” you guys had by necessity for surviving life on the bus!!! Another vivid memory was meeting Marcus Printup as I described my love of your work with Bob Belden, and we dove into our mutual admiration for Sir Hagans, including finding out about your Freddie Hubbard project together. Thank you both so very much for sharing so generously in such detail that our “new” media affords. Continued creative groove onya!
I was a friend & longtime student of Sam, and finally went to Tanglewood to study with Empire in the early 90's for 2 summers. Unbelievable musical experience/adventure, and being coached by Jeff was one of the true highlights. Great musician, teacher, and all around good guy. Thanks 👍
How many wonderful musicians got their start at the HS of Music & Art? I was a 1958 graduate when Manny was three years old. I too was first trumpet in the Senior Orchestra but when on to be a professor of theory and composition.
Im a 62 yr old and carol is one of my major influences 3 yrs ago when i decided to start playing again , she is another trombone hero of mine added to my short list , Jack Teagarden being my number one. Carol has a wonderful tone and her range id love to have her range 😊
I have always loved her playing. She said that young people start playing the trumpet because of her, well I was not so young when I started the trumpet and she encouraged me to learn with the goal of reaching a professional level . When she talks about the C trumpet and the B flat trumpet, I completely agree with her. And one of the most important thing that comes out of what she shared is about enjoying making music and enjoying the moment.
What a great interview -;Omar is one of my heroes: as you said, his playing on RU-vid over COVID with RCO brass was super inspirational - thanks for posting this interview
Ian Bousfield is just the best. He is a great teacher and player. He is one of the few famous trombonists I hear about that no one has a bad word about. Especially from former students, many of the big deal names can be jerks. Nice to hear a guy who tries to build them up.
I grew up in Kansas City, and a musical mentor of mine in the KC Philharmonic was the Third Flute/Piccolo player Thomas Hurst. Tom and Adel Sanchez, Principal Trumpet in earlier years in KC, were best friends. I'd hear from Tom all the time what an incredible "soft side" Adel had to his playing. In around my junior year in high school I started studying with Steve Weger, who as Chris Gekker mentions was absolutely phenomenal in getting over the horn; talk about flexibility. When I had a lesson in May 1973 with Adolph Herseth (arranged by Tom Hurst, who was absolutely gonzo about all things CSO and Herseth), Bud asked me who I was studying with in KC. He reacted not at all when I mentioned Steve Weger; but, when I mentioned that DICK SMITH was also in KC, Bud turned on like a light bulb. I remember to this day Bud saying, "Ahh. Dick Smith. Why aren't you studying with him?" As it turns out, I did take a few lessons with Mr. Smith, and he was endlessly gracious. It was an absolute treat to play duets with Mr. Smith out of Saint-Jacomes; that was where I truly learned to "listen" as a trumpet player. To end this reminiscence, there was a story much repeated in Kansas City about the time when Dick Smith was playing principal with the Buffalo Philharmonic when Leontyne Price performed with them; they were doing a series of Verdi operas, many of them with trumpet obligati echoing the soprano, and Smith was playing so softly, so lyrically, so beautifully, with such a clear crystalline sound that it was driving Price to distraction. She finally stopped the orchestra in mid song in the rehearsal and demanded to know "Who is that playing trumpet??" Dick Smith, that's who.
