[ a celebration of the artistry of ALL styles of Trumpet ]
M A R V I N S T A M M
1. Would you like to add your web address at this point?
www.marvinstamm.com - my email address is on the web site as well as information about my schedule, current CDs and how to acquire them, my online newsletter - Cadenzas - my bio, information on my clinics and my equipment and more...
2. Was your family background musical?
No, it was not. Although my mother and two of my aunts played the piano in their younger years and an uncle was supposed to have had a lovely voice, no one pursued music seriously. So I would tend to say that I am the only one who overtly displayed any artistic or musical talent on a serious level.
3. At what age did you start and what made you decide to play trumpet?
I started at age twelve. Upon reaching the seventh grade in school, one had to become part of the instrumental organization or else sing in the chorus and take art. I had no talent for art and just experienced a voice change. And being rather shy at that age, I decided upon the band in order to hide within a larger organization and not be noticed. The reason I chose the trumpet was because my brother, an avid record collector, had a recording by a man named Clyde McCoy entitled "The Sugar Blues" in which he used the Harmon mute with the stem in and employed a lot of effects like wa-wa, growling and flutter-tongue. This was quite impressive to me, and I chose the trumpet
4. Tell of your education and training to become a musician
I had two wonderful band directors during my school years in Memphis, Mr. Jack Foster and Mr. A. E. McLain, and they gave me great training in the basics of music through playing in their concert bands. My interest in jazz came about very early in my musical experience because of my brother who I mentioned was an avid record collector. He allowed me to play along with his Jazz records from almost the genesis of my musical endeavors, and that's where my interest in Jazz began. I was so enthralled with playing music that I decided after two years this would be my path in life.
Mr. Perry Wilson was my trumpet teacher during my high school years in Memphis, and he also contributed greatly to my musical foundation. Besides my ensemble playing, Mr. Wilson took me through Arban's, St. Jacome, Schossberg, Klose and spent a great deal of time playing duets with me in order to teach me how to work, phrase and blend with other players. At the end of each lesson, he took me into one of the piano rooms and played tunes with me to help me broaden my improvisational skills, learn new material and develop my ear. He also was instrumental in my working in Memphis dance bands from age sixteen. I was very fortunate to have some fine and dedicated teachers from the very beginning.
Ready to go forward with my music, but with no idea at which school to pursue my music, a friend and alumnus of the same Memphis schools sent me a recording of the North Texas Lab Band. Bob Ferguson, who later was to become Solo Trumpet with the U. S. Army Band in Washington, D.C., became a kind of sponsor for me at North Texas and was instrumental in my decision to go there to study with John Haynie.
Mr. Haynie gave me a more expansive view of the trumpet world in the form of repertoire and recordings and set very high standards of performance with his own playing. He was an amazing soloist, and as broad as my Memphis foundations were, my exposure to the greater outside world of trumpet literature during the 50's was a bit limited. John opened up a wider experience for me. Utilizing some of the former methods, John also introduced me to more American literature such as the Herbert L. Clarke Technical Studies, Ernest Williams Methods, Charles Colin Lip Flexibility Studies and others.
French literature at the time had become widely available, and John exposed me to works published by Alphonse Leduc, among which were study and etude books by Alexandre Petit, M. Bordogni, Eugene Bozza, Theo Charlier, Marcel Bitsch and many more. Solo literature was another important ingredient in my studies with John. We performed the old chestnuts of cornet literature as well as much of the newer French and American repertoire at the time by Kent Kennan, Leo Sowerby, Bozza, Tomasi, Chaynes and many others. His entire studio had to perform at least one piece on one recital per semester, while trumpet majors like myself also had to perform a junior and senior recital.
Much of my days at North Texas were spent in the practice rooms as well as playing in all the ensembles the school had to offer. My ensemble experience there was extensive, and I played in the Jazz lab band, concert band, symphony orchestra and brass ensemble. I also performed a great deal outside of the school with the marvelous Dallas/ Ft. Worth musicians who taught me a great deal about Jazz and studio playing. It was a time of fruitful learning for me, and I was like a sponge soaking all of it up.
After moving to NYC in 1966, I studied for six and one-half years with the great Carmine Caruso. Mr. Caruso showed me how to expand all my skills while working to solve various problems acquired over the period of my "road" years. He helped me to know that my potential was limitless, restricted only by the level of desire I possessed with which to achieve my goals. I am most grateful for the teachers I have had through the years and the training they provided me. They have been the foundation and the basis of my career.
I was so fortunate to have the teachers I did and to be able to grow up within the circumstances I did. My training was invaluable, and the habits I formed over the years - especially that of being one who feels a need for constant practice in order to continually improve - serve me even today. I feel a constant desire to be a better player and work daily toward that goal and do so for only one reason - my own musical fulfillment.
But with all the above concerning my education, my greatest education has come from all the musicians I have sat next to and played with; every time I sat in any organization of any size, playing any kind of music. I have always been fortunate to be thrown in with older musicians of experience who, with their music, taught me so much. For a player, this is the most invaluable teaching one can have, and, most times, the learning is never passed on with words; it is acquired through one process - listening and truly hearing the music.
5. On leaving education, have you always been a full time musician?
Yes, I have worked only as a musician during my lifetime.
6. Describe your early experiences of semi / pro work.
While growing up in Memphis, I came to the notice of various band leaders through my trumpet teacher, Mr. Perry Wilson, and I started being asked to perform in various dance bands from age sixteen. When I later attended school at North Texas State University (now the University of North Texas), I worked throughout my university years in various society and dance bands to help support myself. I also did quite a bit of recording in the studios in Dallas, Texas and even subbed in the Dallas Symphony a few times. While this may be classified as "semi-pro" work, I was in fact working with exceptionally talented and experienced musicians from which my own musicality greatly benefited. Many of these musicians had played on the various road bands from the "big band era" and were equal to the fine players in musical centers like New York, Chicago or Los Angeles. So I was the inexperienced young talent who was growing musically through my exposure to and inclusion with excellent, more experienced musicians who were in fact fine professionals.
7. What big band experience have you had?
I have performed as a member of a number of big bands: I was trumpet soloist with the Buddy Morrow Band in 1960; was Jazz soloist with the Stan Kenton Orchestra 1961-61; toured with the Woody Herman Herd in 1965 and '66; was a member of the Thad Jones/Mel Lewis Jazz Orchestra 1966-73, the Duke Pearson Big Band 1968-73, the Bob Mintzer Band 1985-99, the American Jazz Orchestra under the direction of John Lewis 1986-93, the Rich Shemaria Band and have been a member of the George Gruntz Concert Jazz Band since 1987. I also "subbed" quite a bit in the earlier years with Maria Schnieder's band. Now, the only band I play, as a regular member of is the George Gruntz Concert Jazz Band. With this exception, I only perform as a soloist now - with symphony orchestras, with my quartet and in duo with pianist Bill Mays and as a guest soloist in front of big bands. I no longer sit in the section except with George Gruntz.
8. Can you talk a bit of your "road years" with Kenton and Herman?
I joined Stan Kenton's orchestra as his Jazz trumpet soloist immediately graduation from the University of North Texas in 1961. I toured with him for two years, recording five albums with him. The orchestra, during my tenure, toured only in the U. S. and Canada, mostly playing one-nighters. I gained a good bit of national recognition and exposure through my touring with the band and especially through my being featured extensively on the recordings. These five albums were entitled; "Adventures In Jazz", "The Sophisticated Approach", "Adventures In Time", "Adventures In Blues" and the last, released after I left the orchestra I believe was entitled "Stage Door Swings" Much of this material is being re-issued by Capitol Records on CD.
Working for Stan Kenton was great. He was a very special person, very dedicated and inspiring to one such as myself. During my time with the band, I underwent a bit of an embouchure change because I was playing low onto the top lip, that is, onto the red tissue of the lip. Because the band played so hard, most times quite loud, this caused me to cut my lip. With the help of John Haynie, my trumpet teacher from the University of North Texas, I moved the mouthpiece up on the top lip a good bit, providing more vibrating surface for playing and more muscle tissue, more "meat", for the mouthpiece to rest upon. This was quite a drastic move for me and took a long time for me to adjust to, causing me a great deal of stress. During this whole time of adjustment, Stan was very patient and encouraging to me, once again showing how much concern and care he had for the people who played in his band.
My time on the Kenton band also was an excellent experience in that it gave me a clear view of "life on the road". It gave me a great deal of solo exposure, and I met many people who contributed much to my growth and life experience. Some have become friends for life. This playing experience was especially invaluable because you had to be at the top of your form every night in spite of being weary or sometimes being ill, playing where acoustics were less than perfect, tired or hurt "chops" and always being on the move. This instilled the concept that when it was time to perform, it didn't matter how you felt…you were expected to be at your best at all times, under all sorts of conditions, and the one who expected the most from you was you yourself!
I left the band in January of 1963 for family reasons that I strongly felt needed to be resolved before resuming any kind of career. While taking care of this situation, I spent a few months in early 1963 working in Houston, Texas, but moved back to Memphis in April of that year and played and copied music for a music production house there. This was an excellent move for me because it allowed me to "put my house in order" and because there were excellent musicians with whom I was working there; it also allowed me to hone my playing skills to a higher degree.
Not yet ready to return to the road, I moved to Reno, Nevada in January of 1964 at the urging of my best friend, drummer David Barry. There I worked in the show bands performing with name performers such as Louis Armstrong, Pearl Bailey, Sammy Davis, Jr. and others as well as doing the typical Las Vegas style revue shows. This was extremely valuable experience for me that would be put to good use during my years in NYC as a studio musician. The greatly varied styles of music one had to play while, many times, sight-reading these shows would serve me well and put me in good stead when called upon use the skills in the studios. While in Reno, I also met many more people with whom I would develop meaningful relationships that last to this day, people I have continued to work with through all the ensuing years.
As an aside - another great experience I had in the Reno/Lake Tahoe area was the many times after work that I stood with a great number of other musicians from the area to listen to Harry James and his great band. Harry was a magnificent, extraordinary musician and played in the area about 16 weeks a year; we never tired of to him and his group. Few people know what a great jazz musician Harry James was. The music was written by Thad Jones, Frank Foster, Ernie Wilkins and many other excellent writers, and while they would play a few of the "oldies", most of the evening was spent with the band just swinging! They were always great, and I don't ever remember a time that I walked away being disappointed in what I had heard.
In early fall of 1965, I received a call from lead trumpeter Bill Chase asking if I would like to join Woody Herman's band as one of their Jazz trumpet soloists. Unlike Stan, Woody had two soloists in the trumpet section as well as Bill who was featured on pieces tailored to his style of playing. The other soloists during my tenure were Paul Fontaine, a lyrical player from Boston and Dusko Goykevich, originally from Yugoslavia. I got to play a lot on that band and to be with a great group of players from whom I learned much. We also traveled abroad a great deal in the I was with the band, spending two or three weeks in Europe, and making a nine week State Department tour that included seven weeks in Africa and two weeks behind the Iron Curtain. I recorded one album with Woody's band, "Woody Herman Sings Al Jolson" which featured me on several titles and again got me in the public eye.
Playing with Woody was another terrific experience because every player in the band was excellent, and there was no "dead wood". Woody was a very savvy leader who loved the music and loved to play. He also was one who pushed you to play, always challenged the players for more. Not quite a nurturing person like Stan, who was more of a father figure, Woody was more "the boss" and made you think more like an adult, made you grow up. We had our "moments" together, our "ups and downs" so to speak, but like with a parent, you later look back on that time and realize how much it contributed to who you have become and all that you are…your self-image.
I left Woody Herman's band in the July of 1966 and, at this juncture, decided to move to New York later that year.
9. What theatre experience have you had?
I worked a bit in the pit of a local theatre in Memphis, then spent almost two years working in the Nevada showbands while living in Reno. When I first arrived in New York, I also did just a bit of "subbing" in two shows - "Sweet Charity" and "Apple Tree."
10. What film recording experience have you had?
I have worked on a number of films through my studio years with composers like Quincy Jones and Burt Bacharach among others. Film work was never the thrust of most of the studio work I did during my twenty-three years in the studios and few films stand out as something special in my mind, maybe "Butch Cassidy and the Sundance Kid" being the most obvious.
11. What session (Jingles / TV) experience have you had?
I did a quite bit of recording of radio station IDs and jingles when I was in Texas while in university and again later during the eight months I returned to Memphis before moving to Reno, Nevada. When I moved to NYC at the end of 1966 after leaving Woody Herman's band, jingle work and records - and later CDs - was the bulk of the work I did, this from the end of 1966 till 1989 or thereabouts. During that time, I was averaging between 400 to 500 dates a year.
12. What small group / ensemble experience have you had?
I have played with many small groups throughout the years, mostly my own groups - quintets and quartets. Now I seldom work small groups outside of the quartet or duo format because these seem to offer the most expansive musical canvases from which to create. This is especially so with the musicians I have chosen to work with - pianist Bill Mays, drummer Ed Soph, bassists Rufus Reid, Martin Wind or Jay Anderson and guitarist John Abercrombie. In the past, when I was in Texas, I worked with the quintet led by late tenor saxophonist James Clay. In my years in New York, I worked in various small groups, including the sextet of trombonist Urbie Green and Benny Goodman's septet 1974-75, but few of them worked on any regular basis.
13. How did your career in NYC get started?
I left Woody Herman's band in the summer of 1966, deciding to move to New York in late November. The reason I chose New York as opposed to any other place was that I loved the style of playing that was inherent there.
On my first day there, I was very fortunate to meet the great trumpeter, Ernie Royal, who became a dear friend and mentor as well as one of my "sponsors" on the NY scene. A week later, I was called by trumpeter Jimmy Nottingham to "sub" with the Thad Jones/Mel Lewis Jazz Orchestra. It seems that Thad and Mel were impressed with my playing because they asked me to be the "swing man" in the trumpet section. That meant that I was to be the first substitute for anyone in the trumpet section who needed to be absent from the band for whatever reason. Because someone was away most Mondays for a record session or TV show I was playing with the band most every Monday night at the Village Vanguard.
As the band was still new to the scene, many of the NYC Jazz artists and New York writers would come down to hear the band at the club. By being heard with the band, and with the recommendations of Thad, Mel and the guys in the band, my reputation in New York was established very quickly, I became quite busy as a Jazz and studio trumpeter. New York was buzzing with jazz activity during that period, and I performed at key venues with many of the significant players in the business. Besides being a member of the Thad Jones/Mel Lewis Jazz Orchestra, I also became a member Duke Pearson's Big Band which also gave me a great deal of exposure.
As a recognized studio player, I was fortunate to be involved in many fine projects and recorded with such artists as Bill Evans, Quincy Jones, Oliver Nelson, Duke Pearson, Thad Jones, Freddie Hubbard, Stanley Turrentine, Patrick Williams, Michel Legrand, Frank Foster, Paul Desmond, Antonio Carlos Jobim, Eumir Deodato, George Benson and many more.
14. And what are your main activities today?
My main activities are performing with my quartet, which includes pianist Bill Mays, drummer Ed Soph and bassist Rufus Reid. Bill Mays and I also perform a good deal as a duo, and I am doing more work as a soloist with symphony orchestras, which most times also includes my quartet. I have a book of approximately 20 arrangements of mostly standards, but some originals, and new material is being added all the time. A number of writers are very enthusiastic about writing for this venue, as it is something they don't often get to do. The writers who have contributed the most to the library are Jack Cortner, Bill Mays, Jerry Ascione, Jack Cooper, Dave Hanson and Italian composer Massimo Nunzi. I also have arrangements by Brazilian writers Antonio Carlos Neves and Hudson Niguero.
I am a member of and tour with the George Gruntz Concert Jazz Band, a group of American and European Jazz musicians under the leadership of composer/arranger/pianist Gruntz. It is the only big band of which I perform as a member; with all other big bands, I appear only out front as a guest soloist. I also remain quite involved in the Jazz education field, performing at numerous colleges and universities in my country and abroad.
15. Would you list some of your recording work for others?
Partial List:
Adventures in Jazz - Stan Kenton Orchestra - Capitol, 1961
Adventures in Blues - Stan Kenton Orchestra - Capitol, 1962
Adventures in Time - Stan Kenton Orchestra - Capitol, 1962
Portrait of an Artist - Charlie Mariano - Regina, 1963
Monday Night Live at The Village Vanguard - T.Jones/M.Lewis Jazz Orch. - Solid State, 1967
Jazzhattan Suite - Oliver Nelson - Verve, 1967
Kennedy Memorial Album - Oliver Nelson - Verve, 1968
Introducing the Duke Pearson Big Band - Blue Note, 1968
America the Beautiful - Gary McFarland - Skye, 1968
Manhattan Fever - Frank Foster - Blue Note, 1968
Road Song - Wes Montgomery - A & M, 1968
Walking in Space - Quincy Jones - A & M, 1969
Ram (solo on Uncle Albert and Admiral Halsey) - Paul McCartney - Apple, 1970
Friends and Love Concert - Chuck Mangione - GRC, 1970
Consummation - Thad Jones/Mel Lewis Orchestra - Blue Note, 1971
Threshold - Patrick Williams - Capitol, 1973
Extension of a Man - Donny Hathaway - Atlantic, 1973
Symbiosis - Bill Evans - Pausa, 1974
Papa Lips - Bob Mintzer Band - CBS/Sony, 1983
Incredible Journey - Bob Mintzer Band - DMP, 1985
10th Avenue - Patrick Williams - Soundwings, 1986
Camouflage - Bob Mintzer Band - DMP, 1987
Happening Now - George Gruntz Concert Band- Hat Art, 1987
Central City Sketches - Benny Carter and the American Jazz Orchestra - MusicMasters, 1987
Spectrum - Bob Mintzer Band - DMP, 1988
Urban Contours - Bob Mintzer Band - DMP, 1989
First Prize - George Gruntz Concert Jazz Band - Enja, 1989
Ellington Masterpieces - John Lewis and the American Jazz Orchestra - East/West Records, 1989
My Romance (Solo on Wee Small Hours) - Carly Simon - Arista, 1989
Vince Mendoza - Vince Mendoza - Fun House, 1989
Air Mail Special - Louis Bellson - MusicMasters, 1990
Art of the Big Band - Bob Mintzer Band - DMP, 1990
Blues 'n Dues Et Cetera - George Gruntz Concert Jazz Band, Enja, 1991
Peaceful Thunder - Louis Bellson Quintet - MusicMasters, 1991
Music of Jimmy Lunceford - The American Jazz Orchestra - MusicMasters, 1992
Black, Brown, and Beige Suite - Louis Bellson - MusicMasters, 1993
Bring Back Romance - Anne Hampton Callaway - DRG, 1994
Only in N. Y. - Bob Mintzer Band - DMP, 1994
3 A.M. - Rich Shemaria - Amosaya, 1995
Big Band Trane - Bob Mintzer Band - DMP, 1996
Mays In Manhattan - Bill Mays - Concord, 1996
Merryteria - George Gruntz-Concert Jazz Band, TCB, 1998
Liebermann - "Live at the Berlin Jazz Festival" - George Gruntz-Concert Jazz Band, TCB, 1998
Beautiful Love - The Jerry Ascione Big Band - SeaBreeze, 1999
Expo Triangle - George Gruntz-Concert Jazz Band, TCB, 2000
Global Excellence - George Gruntz-Concert Jazz Band, TCB, 2001
Sing, Sing, Sing - The New York Voices - Concord, 2001
16. Would you list your past solo recordings
By Ourselves - Marstam #01, 2000 - a duo CD documenting my long-time collaboration with pianist Bill Mays featuring eleven tracks among which are Beautiful Love, You And The Night And The Music, Airegin and Dizzy Gillespie's beautiful Con Alma.
*(Hyperlink takes you to main page - when there click on this title)
The Stamm/Soph Project - Marstam #02, 2000 - a quartet CD created with drummer Ed Soph that features bassist Rufus Reid and pianist Bill Mays; saxophonist Dave Liebman also guests on three tracks. This disk contains ten compositions including Thad Jones' classic, Three and One, Miles Davis' beautiful masterwork, Nardis and Clifford Brown's eternal Joy Spring.
*(Hyperlink takes you to main page - when there click on this title)
Elegance - TNC Jazz - CD-1711, 2001 - a quartet CD featuring the remarkable young pianist from Sweden, Stefan Karlsson along with bassist Tom Warrington and drummer Eliot Zigmund. This disk contains nine compositions, six originals - two each by Stamm and Karlsson and one each from Swedish composer Lars Jansson and trumpeter Dennis Dotson - and three standards, among which are Gershwin's But Not For Me, Ray Noble's The Very Thought of You and Jimmy Van Heusen's But Beautiful.
*** The above three new CDs are available at sonatabop.com via secure credit card transaction and are also available by check or money order directly from Marvin at his email or snail mail address on the site as well as at live performances. ***
** The two following CDs are available only from Marvin at his email or snail mail address by check or money order. **
Mystery Man - MusicMasters #65085, 1993 - features Bob Mintzer & Bob Malach, tenor and soprano saxes; Bill Charlap, piano; Mike Richmond, bass; and Terry Clarke, drums. Compositions include several originals by Mintzer as well as Kenny Wheeler's Mark Time and lovely Old Ballad, Lars Jansson's Mannen Med Gurken and Marionette, Mike Richmond's earthy 12/8 blues, Guiseppe and Richard Rogers beautiful standard, My Funny Valentine.
Bop Boy - MusicMasters #65065, 1991 - features Bob Mintzer, tenor sax; Phil Markowitz, piano; Lincoln Goines, bass; and Terry Clarke, drums. Among the compositions are Mintzer's Re-union and Bop Boy, Kenny Wheeler's beautiful waltz, E.B.S.B.M.O., Kurt Weill's My Ship and Robert Ramiriz', Lover Man.
Stammpede - Palo Alto, 1982
- Working with my friend and collaborator, composer/arranger Jack Cortner on this disc for Herb Wong's now defunct label - unavailable (now out of print)
Machinations - Verve, 1968
- First recording as a leader, featuring the compositions and arrangements of the late John Carisi - (now out of print)
17. Any news on new projects?
Yes, this spring pianist Bill Mays and I are planning to complete a new CD featuring classical themes upon which we improvise. Also, in early May, I will record a new CD with French drummer Daniel Humair, vibraphonist David Friedman and bassist Sebastien Boisseau in Avignon, France.
18. Do you teach at all?
I teach occasionally, mostly adult players who come to me desiring to learn of my approach to music and improvisation, usually only a few each year. I don't take students who have yet to develop the basic technique of the instrument or who must be urged to practice. If one is not hungry for it, I will not waste my time.
19. Favourite four albums?
In no special order:
Miles Davis: Milestones and the albums made with Gil Evans
Anything by Clifford Brown
Ein Heldenlieben - Fritz Riener and the Chicago Symphony
Anything by soprano Maria Callas
And many more, too numerous to name here
20. Favourite two movies?
Young Frankenstein and Dances With Wolves
21. Favourite three foods? (e.g. Thai / Chinese / French)
Italian / anything cooked by my wife who is a most imaginative chef / Barbecue of all kinds!
22. Non-musical hobbies / points of interest you enjoy?
Twenty years ago, I took up riding horses - jumping, trail riding and ring work - and loved it. I had to give it up when I started touring so much, but one day I would like to get back to it. I enjoy cooking and searching out new and inexpensive, but excellent, wines. I also very much enjoy learning the computer and what it can do.
23. Do you take days off from playing? (how does it affect you?)
When I am in a work cycle, I don't take too many days off. I am a disciplined practicer, and I like to stay on top of my game. But if I have 3 or 4 weeks off, I like to take off maybe three to five days, just to get my mind and body away from the horn. It doesn't effect me too greatly, but it will take me three to four days to get back to the pitch I was at before taking off. This does not mean that I could not perform after taking those days off, but that I don't feel that I get everything back until three or four days after I return to the horn.
24. Four Music and Trumpet tips you wish to share with the readers.
1. Master your instrument - keep your expectations high and expect much of yourself; then work to fulfill those expectations and do not accept less than what your potential shows you to be capable of. In doing this, keep your eyes and ears on the fundamentals - good sound, fine technique, excellent execution.
2. After mastering the instrument, forget that you are a trumpet player and become a musician. Many trumpet players never do this - they play the trumpet wonderfully, but do not make music. They forget that the instrument is only a vehicle for making music, and music is the "end" - the trumpet only the "means to that "end!"
3. If you are intending to be a working professional, listen to as much music as you can - all styles by all kinds of players. Learn as many styles of music, commercial, Jazz and classical as you possibly can. By broadening the scope of your musical experience, you broaden the scope of your musical employability - that is the name of the game!
4. Try to find a way to be able to sit at the feet of those "who have been there, done that." The greatest and, in truth, the only way I know to learn to play music, is through the mentoring and apprenticing process, traditions by which those of great experience have always passed on their knowledge and experience to those wishing to follow the same path. In most cases, these people will be more than happy to give of themselves to you.
Unfortunately, the past twenty years has seen a demise in these traditions because of a growing gap between the younger and the older in music, much of which can be attributed in large part to business practices in the music industry - at least as concerns jazz. And this is also why so many people say that there is something missing in music today, especially Jazz. Many young musicians today feel uncomfortable being with older musicians. This is something relatively new in Jazz as, in the past the younger artists always had a great desire to be in the company of and learn from their heroes. For me, they were always and, still remain my most valuable resources.
25. End of interview sentiment.
A life in music encompasses so much; it is a life of hard work, discipline and dedication and requires one to give so much of oneself. But nothing I know can give back so much for the effort and time invested. I would in no way change anything about my musical life - it has given to me more than I could ever have wished. From age fourteen, I knew that there would be no other path I could travel but the one I had taken; this is so because I did not choose music; music chose me!