Chris Martin

Can you walk and chew gum at the same time? Rub your belly whilst patting your head? Triple-tongue three-octave arpeggios while sitting on the shoulders of a unicycle-riding bear in a party hat? Hmm...you're tough......how about: can you be principal trumpet of both the Chicago Symphony Orchestra and the New York Philharmonic at the same time? HA! ...then you're not Chris Martin, our 30th guest on Brass Chats. Lots of trumpet (slash brass) nuts and bolts in this one. Watch and learn all about how he warms up, what he works on every day, how he develops his sound, and of course---how he navigates the looming minefield of the Monster Round. This one easily gave us about 6 months of stuff to work on in the woodshed. Enjoy! ...and then go practice.   Interviews RSS

<h2>Can you walk and chew gum at the same time? Rub your belly whilst patting your head? Triple-tongue three-octave arpeggios while sitting on the shoulders of a unicycle-riding bear in a party hat? Hmm...you're tough......how about: can you be principal trumpet of both the Chicago Symphony Orchestra and the New York Philharmonic at the same time? HA! ...then you're not Chris Martin, our 30th guest on Brass Chats. </h2><h2>Lots of trumpet (slash brass) nuts and bolts in this one. Watch and learn all about how he warms up, what he works on every day, how he develops his sound, and of course---how he navigates the looming minefield of the Monster Round. This one easily gave us about 6 months of stuff to work on in the woodshed. Enjoy! ...and then go practice.</h2><h2> </h2> <a href="https://www.brasschats.com/?format=rss" rel="nofollow" target="_blank">Interviews RSS</a>

Brass Chats Episode 31: Chris Martin

Jim Pandolfi

Brass Chats Episode 29: Jim Pandolfi

Joe Alessi

An interview with Joe Alessi - Principal Trombonist of the New York PhilharmonicThe master of trombone talks about his life growing up in a household of musical influences, his challenges and breakthroughs in regards to playing trombone, and...his dream car.Joe Alessi has been principal trombone of the New York Philharmonic for over 30 years. He's taught at Juilliard for nearly that long, and is widely considered to be one of the best trombonists in the world — if not the best in history!  We’re honored that we were able to sit down and talk with Mr. Alessi in this episode of Brass Chats.  You’re bound to learn something that will inspire you to get yourself into the practice room and make some headway in your own playing. You'll also want to check out our Teaser Episode with Joe Alessi.What’s the most challenging part of playing trombone?Trombone players are like place kickers or field goal kickers.  Most of the game you’re sitting on the sidelines.  You might warm up a little bit, but then you have to get up and hit the game-winning field goal.  I think that’s a little bit like what we do.As you know, trombones sit around a lot.  And then we have to come in on something like the Rhenish or Brahms First or something like this - and it’s very exposed.I would say that the toughest part of the job is staying very calm and executing these beautiful little chorales perfectly. What’s the most challenging part, for you personally, of playing with the New York Philharmonic?At this point, thirty-one years has been a long time.  So, keeping the job interesting is a challenge.  I’m very lucky because I have great colleagues - such a great brass section - and the trombone section is just wonderful.  But, for me, it’s challenging to just keep it interesting every day.  Especially when playing a piece you’ve played a thousand times before.  I always love when a conductor comes in and asks for something different.So, I think it’s a bit monotonous sometimes.  Playing Tchaikovsky’s Fifth for the 150th time — I would say that part of it is challenging. But just the sheer talent that’s on the stage of the Philharmonic is motivating. Everybody’s doing their very best.  That’s something I want to match — all you have to do is listen to three or four bars of something and you get motivated.     Don't miss the next Brass Chat.  Sign up here.                                                                                                                                                         First Name                                                                        Last Name                                                                                                                                    Email Address                                                                                                                 Sign Up                                                                                   Thank you!                Why did you pick trombone? I’ve told this story many times. I was a trumpet player first. My dad was a trumpet player. I started playing trumpet very early — so I was getting quite good with technique. By the time I was eight — after playing trumpet for three years — I was already wanting to do harder solos.  I’d gone through a lot of the basic books already. The next step was to play more challenging things and that meant higher ranges and so forth. But, at eight years old, I didn’t have much of a range. I just needed development, I was only eight.  But, my father could see that I was getting frustrated — so he brought home a trombone. He felt that that it would fit me better. He knew what he was talking about with the mouthpiece and so forth — it seemed to fit my face better. I reluctantly gave in and tried the trombone and, of course, the first note I played was a high B flat. That’s a tuning note on a trumpet. That convinced me somehow to play the trombone — and that’s how it all went down.  Your dad was a professional trumpet player and your mother was an opera singer with the Met.  I’m wondering what elements of this background made their way into your trombone playing or your musical approach overall? Yeah, my brother was a trumpet player also. We would all be practicing at the same time. The dog would be barking and my mother would be singing — it was kind of a noisy household. My mother had a beautiful voice, you can hear her on my website, I have a link dedicated to her. She had an amazing voice and her phrasing was world class. I guess I must have picked up something from listening to her vocalize and sing. My dad was a real brass technician. He knew about embouchure, he knew about air, he knew about support. So, if I had to ask any questions, I’d just go to them.  It was very simple. My mother came in one day while I was practicing — I was having trouble with something and getting frustrated.  She said, “You know, if you just simply sing that phrase it’ll work.”  Sure enough — I just used something different in my mind in order to sing it, and it made me look at the passage in a different way.  It came out nice. I will tell students the same — put the horn down when you get frustrated and actually vocalize or conduct a little bit so that you can free yourself from the instrument. That’s so important when you practice. If you’re getting frustrated and something’s not happening.  Don’t play. Don’t practice it anymore.  Simply sing what you’re trying to play and just focus in on the music. Then pick up the instrument and try it again.        “Simply sing what you’re trying to play and just focus in on the music. Then pick up the instrument and try it again.”     How did you “get good”? Talk about some of your work ethic. Your routines. How long would you practice?I’m always reluctant to talk about how long you should practice.  Some people practice a long time and they do it wrong.  It’s not the amount, it’s how you do it. I was pretty organized with the practice as a student. I liked to plan it ahead of time. For example, one of my students just sent me his practice plan. He did it by the clock. He said five minute he’s going to practice flexibility. Ten minutes he’s going to practice Bordogni. Five minutes he’ll practice soft playing. I had a similar plan. You can practice something too much and then you have no time to practice the rest of your material. The great thing about practicing is that you can always come back the next day and do the same thing. I think that’s important — the daily visits to a particular area. If you don’t accomplish your goal one day, there’s no need to panic. You always can come back the next day and try again.  By doing it on a daily basis — let’s say over two weeks — you can practice something for two hours. It’s actually better to practice something in a shorter amount of time, step away from it and then come back again later. Maybe even later in the day. Hit it hard.  Rest.  Get your mind get off of it and then come back later and try it again.        “ It’s actually better to practice something in a shorter amount of time, step away from it and then come back again later.”     What’s your favorite kind of music? What really speaks to you?I love to listen to great jazz from bone players. I can name a ton of them. If I had to re-do my whole life, I would probably be a jazz trombone player. One of these days I’ll surprise people.  I’m going to show them that I can do it and do it well.  What are some breakthroughs you’ve had in your playing? What techniques or elements gave you revelations along the way? What helped you improve the most? I would say a couple of things. One is doing regular, physical activity.  For me it’s swimming. Doing half a mile or a mile in the pool and then going to perform in a concert — that was a revelation for me, I would say.  Because you’re really relaxed after a good workout. Another one, I would say, is embouchure. There’s not nearly as much tension in my embouchure as there used to be. When you’re a young student, a lot of times you set the corners really firmly and probably overuse things. My father said to just think of the letter “M” and just have sort of a neutral feeling on your face. That’s helped tremendously. When you’re a young student, you just tend to overuse everything. Over time you eliminate things that you don’t need.  What tips you can pass along to make sure that loud playing is still musical and pleasant? If you feel relaxed when you play at louder dynamics, then it usually sounds good. If you’re feeling strained anywhere, that’s going to translate into something out of control with the sound. That’s the best thing I can say about that. Phil Smith had a special way of playing that was very “singing”—  and anything he did was always done in a singing manner.If you’re going to sing something loud, it still needs to sound beautiful.  In order for it to be meaningful, you don’t want it to lose the message. But if a vocalist overdoes it, it starts to sound like shouting.  That’s the analogy here between singing and brass playing.  It can never sound like you’re shouting.  It should sound like you’re singing and it should feel like your singing as well.        “If you feel relaxed when you play at louder dynamics, then it usually sounds good. If you’re feeling strained anywhere, that’s going to translate into something out of control with the sound.”     You’ve taught at the Julliard school for over thirty years now, what’s your favorite thing about teaching there? The main reason why I like to teach there is that it’s a place where I can really, really let it all hang out. All my concepts and all my ideas.  I want the very best for every student that I teach there.  When I walk in the building at Julliard, I’m there to give everything I can to every student. Any knowledge that I can hand over — that's the place I do it in the most caring way. Of course, I teach other places and I give my advice and do it in a caring way, also, but I see these same students every week. My job is to train them to be the best that they can be. Every teacher’s hope is for their students to go out and be successful.There was a gentleman who just won the principal trombone in Vancouver, Brian Wendell. You can tell he was ready to win something, because he had worked hard. He listened to what I said, and he did it in a way where he never questioned anything. He was very calm and quiet about it, and I like that. He was very interested, of course, but he was able to teach himself after a while. Who was your favorite conductor to play under during your tenure at the NY Phil?Probably Leonard Bernstein. He was an amazing man.  His countless recordings, TV shows and tours.  His way of explaining music at young people’s concerts. His amazing composing skills. He was the most famous conductor, I think, ever to live. Playing Mahler Third with him and the Mahler Seventh, and Mahler Two — that series. That was definitely a highlight of my career. Recently, I was doing Mahler Third with Bernard Haitink—Regarding the solo…some conductors really want it a certain speed, but I liked Haitink’s approach. We kind of matched on that. Bernstein, a lot of the conductors follow you a bit, but I tend to do it a very predictable way. That was certainly a great experience. Another non-Philharmonic related experience was when London Symphony wanted me to do a concert with them at Carnegie Hall. I had just finished playing the Jim Pugh concerto, when I got the call.  Playing with Pierre Boulez, sitting next to Morris Murphy and the great brass section there, was wonderful.  We played Berg Three Pieces and the Mahler Sixth Symphony on the same concert. That was just great.      THE MONSTER ROUND     A series of rapid-fire questions that must be answered with quick, short answers.  Who is or was the greatest trombonist who never played in an orchestra?Urbie Green.What is the hardest solo you ever played with New York Phil?Melinda Wagner’s Trombone Concerto.(Interviewers note:  You can read about the concerto here.  You can listen to the concerto here.)What's your favorite Olympic sport?Downhill skiing.What's your biggest weakness on trombone?My tongue.Would you rather jump over 25 cars on a motorcycle or fly off a cliff in a wingsuit?Fly off a cliff in a wingsuit.What's your least favorite orchestral excerpt?To play, probably William Tell.  To listen to, I would say Mahler Three.What’s the best book you read in the last year?Golf Digest.What instrument would you play if you didn't have lips?The cello.What's one method book that you simply could not go without?The Bordogni Vocalises.What is the number one mistake you hear from players at an audition? Playing too loud. Does that hold true for trumpet, as well? Trumpet auditions?Yes. Absolutely.What's your favorite non-trombone instrument to listen to?Probably sax. Baritone sax.Who is your favorite violinist of all time?Glenn Dicterow, our former concert master.In a word, what is the golden key to Bolero? One word.Rhythmic preparation. Oh, that was two words — Rhythm.What's the most difficult style of music to play?Maybe Latin.If you could tell 16-year-old Joe Alessi one thing about trombone, what would it be? Sing more. If you could force Donald Trump to listen to one piece of music that might change his outlook on everything, what would it be? Silent Night.What's your dream car?911 Turbo.(Interviewer’s note:  Same dream car as Arturo! - see our Brass Chats episode #1).  Name the members of your dream brass quintet comprised of you and four other members.  Only players who are no longer living.Arnold Jacobs, Gunther Schuler, probably Bud Herseth, Fred Mills.Besides J.J. Johnson, who is the greatest jazz trombonist of all time?Trummy Young.If your story was to be told on the silver screen, in the movies, what actor would portray Joe Alessi?James Gandolfini.  If you could choose, what would be the final piece that you play on your final concert with the New York Phil?Bolero.From the world of sports or film or journalism or anything, name a person who people might be surprised to hear is one of your influences.Clint Eastwood.What are the three most important characteristics of a perfect embouchure? Correct positioning of the mouthpiece. 1.  Not too high, not too low. 2.  Not rolling in the bottom lip. 3.  To have a puckered embouchure and not an embouchure that smiled too much.On the 8th day of Christmas, my true love gave to me...what?A 911 Turbo. Among conductors that you haven’t yet played for, who would you most like to?Simon Rattle.MORE ABOUT JOE Alessi Websitewww.slidearea.comThe Alessi SeminarThe Alessi Seminar runs seven full days with daily masterclasses, orchestral sections, trombone quartets, trombone choir and recitals. This year's seminar runs from August 5-13, 2017 and will be held at the University of Oregon.www.alessiseminar.comAlessi Music StudiosExclusive access to orchestral parts for each excerpt, complete with written commentary and tips for you to incorporate into your audition preparation process.www.alessimusicstudios.comMaria Leone Recordingswww.slidearea.com/marialeone   Did you enjoy this interview?    Please share your thoughts and/or this interview with others!

<h1>An interview with Joe Alessi - Principal Trombonist of the New York Philharmonic</h1><h2>The master of trombone talks about his life growing up in a household of musical influences, his challenges and breakthroughs in regards to playing trombone, and...his dream car.</h2>Joe Alessi has been principal trombone of the New York Philharmonic for over 30 years. He's taught at Juilliard for nearly that long, and is widely considered to be one of the best trombonists in the world — if not the best in history!  We’re honored that we were able to sit down and talk with Mr. Alessi in this episode of Brass Chats.  You’re bound to learn something that will inspire you to get yourself into the practice room and make some headway in your own playing. <a href="https://youtu.be/0HZvntm2-c0" rel="nofollow" target="_blank">You'll also want to check out our Teaser Episode with Joe Alessi.</a>What’s the most challenging part of playing trombone?Trombone players are like place kickers or field goal kickers.  Most of the game you’re sitting on the sidelines.  You might warm up a little bit, but then you have to get up and hit the game-winning field goal.  I think that’s a little bit like what we do.As you know, trombones sit around a lot.  And then we have to come in on something like the Rhenish or Brahms First or something like this - and it’s very exposed.I would say that the toughest part of the job is staying very calm and executing these beautiful little chorales perfectly. What’s the most challenging part, for you personally, of playing with the New York Philharmonic?At this point, thirty-one years has been a long time.  So, keeping the job interesting is a challenge.  I’m very lucky because I have great colleagues - such a great brass section - and the trombone section is just wonderful.  But, for me, it’s challenging to just keep it interesting every day.  Especially when playing a piece you’ve played a thousand times before.  I always love when a conductor comes in and asks for something different.So, I think it’s a bit monotonous sometimes.  Playing Tchaikovsky’s Fifth for the 150th time — I would say that part of it is challenging. But just the sheer talent that’s on the stage of the Philharmonic is motivating. Everybody’s doing their very best.  That’s something I want to match — all you have to do is listen to three or four bars of something and you get motivated. <h6> Don't miss the next Brass Chat. Sign up here. </h6> First Name Last Name Email Address Sign Up Thank you! Why did you pick trombone? I’ve told this story many times. I was a trumpet player first. My dad was a trumpet player. I started playing trumpet very early — so I was getting quite good with technique. By the time I was eight — after playing trumpet for three years — I was already wanting to do harder solos.  I’d gone through a lot of the basic books already. The next step was to play more challenging things and that meant higher ranges and so forth. But, at eight years old, I didn’t have much of a range. I just needed development, I was only eight.  But, my father could see that I was getting frustrated — so he brought home a trombone. He felt that that it would fit me better. He knew what he was talking about with the mouthpiece and so forth — it seemed to fit my face better. I reluctantly gave in and tried the trombone and, of course, the first note I played was a high B flat. That’s a tuning note on a trumpet. That convinced me somehow to play the trombone — and that’s how it all went down.  Your dad was a professional trumpet player and your mother was an opera singer with the Met.  I’m wondering what elements of this background made their way into your trombone playing or your musical approach overall? Yeah, my brother was a trumpet player also. We would all be practicing at the same time. The dog would be barking and my mother would be singing — it was kind of a noisy household. My mother had a beautiful voice, <a href="http://www.slidearea.com/marialeone/archives/media-archives.html" rel="nofollow" target="_blank">you can hear her on my website</a>, I have a link dedicated to her. She had an amazing voice and her phrasing was world class. I guess I must have picked up something from listening to her vocalize and sing. My dad was a real brass technician. He knew about embouchure, he knew about air, he knew about support. So, if I had to ask any questions, I’d just go to them.  It was very simple. My mother came in one day while I was practicing — I was having trouble with something and getting frustrated.  She said, “You know, if you just simply sing that phrase it’ll work.”  Sure enough — I just used something different in my mind in order to sing it, and it made me look at the passage in a different way.  It came out nice. I will tell students the same — put the horn down when you get frustrated and actually vocalize or conduct a little bit so that you can free yourself from the instrument. That’s so important when you practice. If you’re getting frustrated and something’s not happening.  Don’t play. Don’t practice it anymore.  Simply sing what you’re trying to play and just focus in on the music. Then pick up the instrument and try it again.  <blockquote> “Simply sing what you’re trying to play and just focus in on the music. Then pick up the instrument and try it again.” </blockquote> How did you “get good”? Talk about some of your work ethic. Your routines. How long would you practice?I’m always reluctant to talk about how long you should practice.  Some people practice a long time and they do it wrong.  It’s not the amount, it’s how you do it. I was pretty organized with the practice as a student. I liked to plan it ahead of time. For example, one of my students just sent me his practice plan. He did it by the clock. He said five minute he’s going to practice flexibility. Ten minutes he’s going to practice Bordogni. Five minutes he’ll practice soft playing. I had a similar plan. You can practice something too much and then you have no time to practice the rest of your material. The great thing about practicing is that you can always come back the next day and do the same thing. I think that’s important — the daily visits to a particular area. If you don’t accomplish your goal one day, there’s no need to panic. You always can come back the next day and try again.  By doing it on a daily basis — let’s say over two weeks — you can practice something for two hours. It’s actually better to practice something in a shorter amount of time, step away from it and then come back again later. Maybe even later in the day. Hit it hard.  Rest.  Get your mind get off of it and then come back later and try it again.  <blockquote> “ It’s actually better to practice something in a shorter amount of time, step away from it and then come back again later.” </blockquote> What’s your favorite kind of music? What really speaks to you?I love to listen to great jazz from bone players. I can name a ton of them. If I had to re-do my whole life, I would probably be a jazz trombone player. One of these days I’ll surprise people.  I’m going to show them that I can do it and do it well.  What are some breakthroughs you’ve had in your playing? What techniques or elements gave you revelations along the way? What helped you improve the most? I would say a couple of things. One is doing regular, physical activity.  For me it’s swimming. Doing half a mile or a mile in the pool and then going to perform in a concert — that was a revelation for me, I would say.  Because you’re really relaxed after a good workout. Another one, I would say, is embouchure. There’s not nearly as much tension in my embouchure as there used to be. When you’re a young student, a lot of times you set the corners really firmly and probably overuse things. My father said to just think of the letter “M” and just have sort of a neutral feeling on your face. That’s helped tremendously. When you’re a young student, you just tend to overuse everything. Over time you eliminate things that you don’t need.  What tips you can pass along to make sure that loud playing is still musical and pleasant? If you feel relaxed when you play at louder dynamics, then it usually sounds good. If you’re feeling strained anywhere, that’s going to translate into something out of control with the sound. That’s the best thing I can say about that. Phil Smith had a special way of playing that was very “singing”—  and anything he did was always done in a singing manner.If you’re going to sing something loud, it still needs to sound beautiful.  In order for it to be meaningful, you don’t want it to lose the message. But if a vocalist overdoes it, it starts to sound like shouting.  That’s the analogy here between singing and brass playing.  It can never sound like you’re shouting.  It should sound like you’re singing and it should feel like your singing as well.  <blockquote> “If you feel relaxed when you play at louder dynamics, then it usually sounds good. If you’re feeling strained anywhere, that’s going to translate into something out of control with the sound.” </blockquote> You’ve taught at the Julliard school for over thirty years now, what’s your favorite thing about teaching there? The main reason why I like to teach there is that it’s a place where I can really, really let it all hang out. All my concepts and all my ideas.  I want the very best for every student that I teach there.  When I walk in the building at Julliard, I’m there to give everything I can to every student. Any knowledge that I can hand over — that's the place I do it in the most caring way. Of course, I teach other places and I give my advice and do it in a caring way, also, but I see these same students every week. My job is to train them to be the best that they can be. Every teacher’s hope is for their students to go out and be successful.There was a gentleman who just won the principal trombone in Vancouver, Brian Wendell. You can tell he was ready to win something, because he had worked hard. He listened to what I said, and he did it in a way where he never questioned anything. He was very calm and quiet about it, and I like that. He was very interested, of course, but he was able to teach himself after a while. Who was your favorite conductor to play under during your tenure at the NY Phil?Probably Leonard Bernstein. He was an amazing man.  His countless recordings, TV shows and tours.  His way of explaining music at young people’s concerts. His amazing composing skills. He was the most famous conductor, I think, ever to live. Playing Mahler Third with him and the Mahler Seventh, and Mahler Two — that series. That was definitely a highlight of my career. Recently, I was doing Mahler Third with Bernard Haitink—Regarding the solo…some conductors really want it a certain speed, but I liked Haitink’s approach. We kind of matched on that. Bernstein, a lot of the conductors follow you a bit, but I tend to do it a very predictable way. That was certainly a great experience. Another non-Philharmonic related experience was when London Symphony wanted me to do a concert with them at Carnegie Hall. I had just finished playing the Jim Pugh concerto, when I got the call.  Playing with Pierre Boulez, sitting next to Morris Murphy and the great brass section there, was wonderful.  We played Berg Three Pieces and the Mahler Sixth Symphony on the same concert. That was just great.  <h4> THE MONSTER ROUND </h4> <h5> A series of rapid-fire questions that must be answered with quick, short answers. </h5> Who is or was the greatest trombonist who never played in an orchestra? Urbie Green.What is the hardest solo you ever played with New York Phil? Melinda Wagner’s Trombone Concerto.(Interviewers note:  You can read about the concerto <a href="http://www.slidearea.com/wagnerconcerto.html" rel="nofollow" target="_blank">here</a>.  You can listen to the concerto <a href="#" rel="nofollow" target="_blank">here</a>.)What's your favorite Olympic sport? Downhill skiing.What's your biggest weakness on trombone? My tongue.Would you rather jump over 25 cars on a motorcycle or fly off a cliff in a wingsuit? Fly off a cliff in a wingsuit.What's your least favorite orchestral excerpt? To play, probably William Tell.  To listen to, I would say Mahler Three.What’s the best book you read in the last year? Golf Digest.What instrument would you play if you didn't have lips? The cello.What's one method book that you simply could not go without? The Bordogni Vocalises.What is the number one mistake you hear from players at an audition?  Playing too loud. Does that hold true for trumpet, as well? Trumpet auditions? Yes. Absolutely.What's your favorite non-trombone instrument to listen to? Probably sax. Baritone sax.Who is your favorite violinist of all time? Glenn Dicterow, our former concert master.In a word, what is the golden key to Bolero? One word. Rhythmic preparation. Oh, that was two words — Rhythm.What's the most difficult style of music to play? Maybe Latin.If you could tell 16-year-old Joe Alessi one thing about trombone, what would it be?  Sing more. If you could force Donald Trump to listen to one piece of music that might change his outlook on everything, what would it be?  Silent Night.What's your dream car? 911 Turbo.(Interviewer’s note:  Same dream car as Arturo! - <a href="https://youtu.be/BQ10P2S5uWg?t=14m59s" rel="nofollow" target="_blank">see our Brass Chats episode #1</a>).  Name the members of your dream brass quintet comprised of you and four other members.  Only players who are no longer living. Arnold Jacobs, Gunther Schuler, probably Bud Herseth, Fred Mills.Besides J.J. Johnson, who is the greatest jazz trombonist of all time? Trummy Young.If your story was to be told on the silver screen, in the movies, what actor would portray Joe Alessi? James Gandolfini.  If you could choose, what would be the final piece that you play on your final concert with the New York Phil? Bolero.From the world of sports or film or journalism or anything, name a person who people might be surprised to hear is one of your influences. Clint Eastwood.What are the three most important characteristics of a perfect embouchure?  Correct positioning of the mouthpiece.  1.  Not too high, not too low.  2.  Not rolling in the bottom lip.  3.  To have a puckered embouchure and not an embouchure that smiled too much.On the 8th day of Christmas, my true love gave to me...what? A 911 Turbo. Among conductors that you haven’t yet played for, who would you most like to? Simon Rattle.<h3>MORE ABOUT JOE Alessi</h3> Website <a href="http://www.slidearea.com/" rel="nofollow" target="_blank">www.slidearea.com</a>The Alessi Seminar The Alessi Seminar runs seven full days with daily masterclasses, orchestral sections, trombone quartets, trombone choir and recitals. This year's seminar runs from August 5-13, 2017 and will be held at the University of Oregon. <a href="http://alessiseminar.com/" rel="nofollow" target="_blank">www.alessiseminar.com</a>Alessi Music Studios Exclusive access to orchestral parts for each excerpt, complete with written commentary and tips for you to incorporate into your audition preparation process. <a href="http://www.alessimusicstudios.com/" rel="nofollow" target="_blank">www.alessimusicstudios.com</a>Maria Leone Recordings <a href="http://www.slidearea.com/marialeone" rel="nofollow" target="_blank">www.slidearea.com/marialeone</a><h4> Did you enjoy this interview? </h4> Please share your thoughts and/or this interview with others!

Brass Chats Episode 28:  Joe Alessi

Phil Snedecor

Brass Chats Episode 27:  Phil Snedecor

Allan Dean

We bet lubes to doughnuts that you've never seen Chameleon played on a cornetto before  this. We'll even give you 12 to 1 odds. So...you know...if we win, you have to buy 1 bottle of valve oil from us, and if you win, we have to buy you a dozen doughnuts. In fact, you'd probably buy yourself the dozen doughnuts anyway because you can't be trusted around doughnuts. We understand. Once you go get your doughnuts, return right here and eat them in front of this month's Brass Chat, which (if you couldn't tell from the above link) was clearly one of the coolest subjects we have ever had. The guy is a genius and it was immensely enjoyable hearing his perspectives on life, music, trumpet, and tennis. Here ya go.

We bet lubes to doughnuts that you've never seen Chameleon played on a cornetto before  <a href="https://youtu.be/vkUU9RrBu0M" rel="nofollow" target="_blank">this</a>. We'll even give you 12 to 1 odds. So...you know...if we win, you have to buy 1 bottle of valve oil from us, and if you win, we have to buy you a dozen doughnuts. In fact, you'd probably buy yourself the dozen doughnuts anyway because you can't be trusted around doughnuts. We understand. Once you go get your doughnuts, return right here and eat them in front of this month's Brass Chat, which (if you couldn't tell from the above link) was clearly one of the coolest subjects we have ever had. The guy is a genius and it was immensely enjoyable hearing his perspectives on life, music, trumpet, and tennis. Here ya go.

Brass Chats Episode 26: Allan Dean

Louis Hanzlik

Word association time! You know how it works; I say a word, and you respond with the first thing that jumps to mind. Examples: Peanut Butter? Jelly. Star? Wars. Opera? She dies at the end. Okay...so....Louis Hanzlik? American Brass Quintet, Aspen, Juilliard, UCONN, Columbia Teacher's College ...yep, the list goes on. Today, it only takes 27 minutes and 14 seconds for you to become a better musician; what are you waiting for??? 

Word association time! You know how it works; I say a word, and you respond with the first thing that <a href="https://youtu.be/ZRtjcQ_T-nQ" rel="nofollow" target="_blank">jumps</a> to mind. Examples: Peanut Butter? Jelly. Star? Wars. Opera? She dies at the end. Okay...so....Louis Hanzlik? American Brass Quintet, Aspen, Juilliard, UCONN, Columbia Teacher's College ...yep, the list goes on. Today, it only takes 27 minutes and 14 seconds for you to become a better musician; what are you waiting for???

Brass Chats Episode 25: Louis Hanzlik

Tom Hooten

Adding handsomely to our stockpile of famously accomplished and otherworldly-good trumpet players in our Brass Chats Interview collection, this month we snared Tom Hooten, who sits in the principal trumpet chair for the Los Angeles Philharmonic. We were super lucky that he had time and energy for us (boy did he!) as the LA Phil swung through New York; the result was one of the most information-rich interviews we've done so far. From warming up and routine to excerpts and chops and beyond, Hooten spills it, and we all get to collect it—thanks to another worthy installment of Brass Chats. Enjoy!

Adding handsomely to our stockpile of famously accomplished and otherworldly-good trumpet players in our Brass Chats Interview collection, this month we snared Tom Hooten, who sits in the principal trumpet chair for the Los Angeles Philharmonic. We were super lucky that he had time and energy for us <a href="https://youtu.be/V6mQ0p4e9Q8" rel="nofollow" target="_blank">(boy did he!)</a> as the LA Phil swung through New York; the result was one of the most information-rich interviews we've done so far. From warming up and routine to excerpts and chops and beyond, Hooten spills it, and we all get to collect it—thanks to another worthy installment of Brass Chats. Enjoy!

Brass Chats Episode 24: Tom Hooten

Randy Brecker

You heard him for years with the Brecker Brothers (not sure where they got the name from...), you saw him tear up the town in Stoplight Jazz, now join us for a swim through the inner workings of the mind of trumpet legend Randy Brecker! We hung with Randy and his cats (animals, not jazzers) at his pad in Montauk, NY, and covered fundamentals, learning to improvise, great stories about all the famous cats (jazzers, not animals) he's played with, the legacy and history of the Brecker Brothers, and much more. 

You heard him for years with the Brecker Brothers (not sure where they got the name from...), you saw him tear up the town in Stoplight Jazz, now join us for a swim through the inner workings of the mind of trumpet legend Randy Brecker! We hung with Randy and his cats (animals, not jazzers) at his pad in Montauk, NY, and covered fundamentals, learning to improvise, great stories about all the famous cats (jazzers, not animals) he's played with, the legacy and history of the Brecker Brothers, and much more.

Brass Chats Episode 23: Randy Brecker

David Krauss

David Krauss, principal trumpet of the Met Opera Orchestra in NYC, had a lot of great stuff to share: stories about taking lessons in Wynton Marsalis' apartment...an unfortunate and unmentionable pogo stick injury, his favorite place to play trumpet, and a few great stories—like the time he almost missed the biggest solo in opera right after he was hired. ...Also, pastrami. Lots of pastrami. Come hang! 

David Krauss, principal trumpet of the Met Opera Orchestra in NYC, had a lot of great stuff to share: stories about taking lessons in Wynton Marsalis' apartment...an unfortunate and unmentionable pogo stick injury, his favorite place to play trumpet, and a few great stories—like the time he almost missed the biggest solo in opera right after he was hired. ...Also, pastrami. <a href="https://youtu.be/NjtdfO6xhu8" rel="nofollow" target="_blank">Lots of pastrami.</a> Come hang!

Brass Chats Episode 22: David Krauss

Vladislav Lavrik

It's funny; this is a true story. So Vlad Lavrik is the principal trumpet of the Russian National Orchestra; he plays a mean horn and is actually a very fine conductor as well, and is exploring this passion very frequently at work and elsewhere. He being his fully Russian self, and us being us, we wanted to think of some funny things to bring up. Turns out, we're not that funny—but we did ask if Vladimir Putin knew where Mr. Lavrik was. He said no...BUT: we saw his FB feed about a week later, with a video of him receiving a special award for the Arts in Russia...from VLADIMIR PUTIN. Moral of that story? ...Vladimir Putin watches Brass Chats. How about that! 

It's funny; this is a true story. So Vlad Lavrik is the principal trumpet of the Russian National Orchestra; he plays a mean horn and is actually a very fine conductor as well, and is exploring this passion very frequently at work and elsewhere. He being his fully Russian self, and us being us, we wanted to think of some funny things to bring up. Turns out, we're not that funny—but we did ask if Vladimir Putin knew where Mr. Lavrik was. He said no...BUT: we saw his FB feed about a week later, with a video of him receiving a special award for the Arts in Russia...from VLADIMIR PUTIN. Moral of that story? ...Vladimir Putin watches Brass Chats. How about that!

Brass Chats Episode 21: Vladislav Lavrik

Brass Chats are interviews with the best brass players in the industry hosted by Tom, Joel and Chris - trumpet players with the United Stated Coast Guard Band and makers of the wildly popular valve oil - Monster Oil. In each episode we ask successful brass players about their "tips and tricks" for mastering their instrument and we learn stories about their life as a professional brass player.

Jim Wilt

You wouldn't know it, but don't be fooled by his mild-mannered, well-temperamented exterior; but Jim Wilt? Associate Principal Trumpet of the Los Angeles Philharmonic?  That guy is MAD at you. He told us, in this interview. We're talking really, really angry. Especially because of that time you met him at an audition. You may not have noticed at the time, but he was literally quivering with rage, speaking every single syllable through clenched teeth, furious at every word. Just needed you to know that. Hey, look! A video interview! Right there! 

You wouldn't know it, but don't be fooled by his mild-mannered, well-temperamented exterior; but Jim Wilt? Associate Principal Trumpet of the Los Angeles Philharmonic?  That guy is MAD at you. He told us, in this interview. We're talking really, really angry. Especially because of that time you met him at an audition. You may not have noticed at the time, but he was literally quivering with rage, speaking every single syllable through clenched teeth, furious at every word. Just needed you to know that. Hey, look! A video interview! Right there!

Brass Chats Episode 20: Jim Wilt

Malcolm McNab

Quiz time: which number is bigger: number of calendar years A.D., or number of movies Malcolm McNab has played on? ....I'll give you a hint: the answer is the part about the number of movies. Give up? No, I'm sorry—we were looking for "the number of movies Malcolm McNab has played on, which currently stands far above 2000 and is certainly more than I can even begin to fathom." Nice try—here's a consolation prize: a great interview with Malcolm McNab! Welcome back to Brass Chats.

Quiz time: which number is bigger: number of calendar years A.D., or number of movies Malcolm McNab has played on? ....I'll give you a hint: the answer is the part about the number of movies. Give up? No, I'm sorry—we were looking for "the number of movies Malcolm McNab has played on, which currently stands far above 2000 and is certainly more than I can even begin to fathom." Nice try—here's a consolation prize: a great interview with Malcolm McNab! Welcome back to Brass Chats.

Brass Chats Episode 19: Malcolm McNab

Carl Saunders

LA Studio and Jazz player Carl Saunders has been described as "the best trumpet player you've never heard of." Well, we hope to change that with this month's Brass Chat because he's ridiculous. The guy can do anything with a horn, was generous with his time and talents, and plays a lot of trumpet during this interview, which was a real treat for us; hearing Carl solo is like...uh...pouring melted chocolate into a glass of red wine, them mixing that with honey and pouring it over some ice cream or something. It's a terrible analogy, just ignore us, you're not here for the blogging skills anyway; just believe us when we say that he is good at soloing. Welcome to sunny California for this month's installment of Brass Chats! 

LA Studio and Jazz player Carl Saunders has been described as "the best trumpet player you've never heard of." Well, we hope to change that with this month's Brass Chat because he's ridiculous. The guy can do anything with a horn, was generous with his time and talents, and plays a lot of trumpet during this interview, which was a real treat for us; hearing Carl solo is like...uh...pouring melted chocolate into a glass of red wine, them mixing that with honey and pouring it over some ice cream or something. It's a terrible analogy, just ignore us, you're not here for the blogging skills anyway; just believe us when we say that he is good at soloing. Welcome to sunny California for this month's installment of Brass Chats!

Brass Chats Episode 18: Carl Saunders

You asked for it? You got it: Here's the three handsomest members of Monster Oil, giving you an inside look at their streams of consciousness as they test themselves during the Monster Round. So many of you asked for this we had to do it. Our inbox was overflowing. For weeks on end, maybe months, all communications to us were along the lines of "sure, it was nice to hear Ray Mase's thoughts on what makes a great student, and yeah, listening to Mike Martin tell stories about his early Boston Symphony days was good, but what I'd really like to see is more of you guys asking each other stupid questions and giving stupid answers in return." ...well, your wait is over—so you can stop emailing us about it now. We hope that you, our adoring public, enjoy this rare offering. Cheers!

You asked for it? You got it: Here's the three handsomest members of Monster Oil, giving you an inside look at their streams of consciousness as they test themselves during the Monster Round. So many of you asked for this we had to do it. Our inbox was overflowing. For weeks on end, maybe months, all communications to us were along the lines of "sure, it was nice to hear Ray Mase's thoughts on what makes a great student, and yeah, listening to Mike Martin tell stories about his early Boston Symphony days was good, but what I'd really like to see is more of you guys asking each other stupid questions and giving stupid answers in return." ...well, your wait is over—so you can stop emailing us about it now. We hope that you, our adoring public, enjoy this rare offering. Cheers!

Brass Chats Episode 17: Monster Round With the Monsters

Ethan Bensdorf

Go to college. Graduate. Win job immediately. Win bigger job immediately. This is more or less the musical equivalent of the LeBron James career track, followed in this instance by the phenomenal Ethan Bensdorf, who made the Naples Philharmonic Orchestra the Cleveland Cavaliers of the Orchestral World by taking his talents to the Big Apple, where he's now second trumpet for the New York Phil. Easy-Peasy, Lemon-Squeezey. Touching on topics ranging from his unconventional teaching style to what it was like to sit next to Phil Smith, this is an unmissable Brass Chat for sure.

Go to college. Graduate. Win job immediately. Win bigger job immediately. This is more or less the musical equivalent of the LeBron James career track, followed in this instance by the phenomenal Ethan Bensdorf, who made the Naples Philharmonic Orchestra the Cleveland Cavaliers of the Orchestral World by taking his talents to the Big Apple, where he's now second trumpet for the New York Phil. Easy-Peasy, Lemon-Squeezey. Touching on topics ranging from his <a href="https://youtu.be/rgRLILsKNmk" rel="nofollow" target="_blank">unconventional teaching style</a> to what it was like to sit next to Phil Smith, this is an unmissable Brass Chat for sure.

Brass Chats Episode 16: Ethan Bensdorf

Steve Dillon

This is the Brass Chats Interview you watch if you want to pick the brain of a man who likes hats, likes music, has an INSANE historical instrument collection (in the video, don't worry), provides musical goods and services to the greatest musicians in New York (and the rest of the country), and has built a multi-million dollar musical operation from scratch with nothing but his bare hands, ingenuity, and elbow grease. One of the most interesting guys alive today: Steve Dillon, owner of Dillon Music! Only on Brass Chats. Also Joel plays his best Herseth impression on a Mel Broiles' old piccoliccolitissimito trumpet. 

This is the Brass Chats Interview you watch if you want to pick the brain of a man who likes hats, likes music, has an INSANE historical instrument collection (in the video, don't worry), provides musical goods and services to the greatest musicians in New York (and the rest of the country), and has built a multi-million dollar musical operation from scratch with nothing but his bare hands, ingenuity, and elbow grease. One of the most interesting guys alive today: Steve Dillon, owner of Dillon Music! Only on Brass Chats. Also Joel plays his best Herseth impression on a Mel Broiles' old piccoliccolitissimito trumpet.

Brass Chats Episode 15: Steve Dillon

Charlie Schlueter

Charlie Schlueter, principal trumpet of the Boston Symphony Orchestra for an iconic 25 years, now enjoys a quiet retirement at his home in Massachusetts. ...except for when three fools like us come pounding down his door demanding to be seen and asking him a bunch of rude questions about how to get better at trumpet. Fortunately, he acquiesced to these aforementioned demands and we scored an hour of knowhow out of this trumpet giant. Someday, we'll be back for more—you can talk to this guy all day. Enjoy!

Charlie Schlueter, principal trumpet of the Boston Symphony Orchestra for an iconic 25 years, now enjoys a quiet retirement at his home in Massachusetts. ...except for when three fools like us come pounding down his door demanding to be seen and asking him a bunch of rude questions about how to get better at trumpet. Fortunately, he acquiesced to these aforementioned demands and we scored an hour of knowhow out of this trumpet giant. Someday, we'll be back for more—you can talk to this guy all day. Enjoy!

Brass Chats Episode 14: Charlie Schlueter

Terry Everson

What to say about Terry Everson, other than the fact that he's an internationally renowned trumpet soloist, educator, clinician, composer, conductor, and church musician? He's also a darn-tooitn' nice fella. His students are thriving in today's trumpet world, including Brass-Chatter Karin Bliznik, and if gentle dominance is even a thing, this guy has it in spades. K-Bliz tells us that she learned a lot from him on trumpet, but it was really T.E.'s hip-hop skills that helped her hone her dope beats and sick rhymes; but what else can Mr. Everson teach us? ....watch the video and you'll see that the answer is: a. lot.

What to say about Terry Everson, other than the fact that he's an internationally renowned trumpet soloist, educator, clinician, composer, conductor, and church musician? He's also a darn-tooitn' nice fella. His students are thriving in today's trumpet world, including Brass-Chatter Karin Bliznik, and if gentle dominance is even a thing, this guy has it in spades. K-Bliz tells us that she learned a lot from him on trumpet, but it was really T.E.'s hip-hop skills that helped her hone her <a href="https://www.youtube.com/watch?v=9bfqH5ixJfA" rel="nofollow" target="_blank">dope beats and sick rhymes</a>; but what else can Mr. Everson teach us? ....watch the video and you'll see that the answer is: a. lot.

Brass Chats Episode 13: Terry Everson

Mike Roylance

Finally! A NON-trumpet player on Brass Chats. We know what you're thinking: "what does a NON-trumpet sound like? who makes them? how much do they cost? what size mouthpiece am I supposed to use? Will it help me with my double high-C?" Ha, ha, smart-alec, very funny. Tell your jokes to your mom why don't you, she always laughs at me. I... ...wait a minute, who was I insulting again? Boy, what a digression—back on topic, Monsters: TUBA great Mike Roylance joins us this month! He's principal tubist with the Boston Symphony Orchestra, played with our very own Tom Brown when they were both in the Chicago Civic Orchestra, and has an instrument rating. Find out why that has absolutely nothing to do with music—and many more tips, tricks, stories, and more—on this month's Brass Chats!

Finally! A NON-trumpet player on Brass Chats. We know what you're thinking: "what does a NON-trumpet sound like? who makes them? how much do they cost? what size mouthpiece am I supposed to use? Will it help me with my double high-C?" Ha, ha, smart-alec, very funny. Tell your jokes to your mom why don't you, she always laughs at me. I... ...wait a minute, who was I insulting again? Boy, what a digression—back on topic, Monsters: TUBA great Mike Roylance joins us this month! He's principal tubist with the Boston Symphony Orchestra, played with our very own Tom Brown when they were both in the Chicago Civic Orchestra, and has an instrument rating. Find out why that has absolutely nothing to do with music—and many more tips, tricks, stories, and more—on this month's Brass Chats!

Brass Chats Episode 12: Mike Roylance

Mark Gould

Two things to learn about Mark Gould, if you don't already know them. 1: He was principal trumpet of the Met Opera for an absolutely staggering 29 years; and 2: He's a man that says what he means, and means what he says. This makes for a veritable storm of interestingness constantly surrounding him, from his side project Pink Baby Monster (performances sometimes usually NSFW), to running for president in 2012, to his students' total infestation of the professional trumpet scene (obviously in large part wrought by his teachings), and NOW—to one of our best Brass Chats yet. To preserve the integrity of our interview subject, this interview has NOT been edited for foul language or content. Parents, your kids have heard these words before, we promise (Joel, for example, learned the F-word in—wait for it—Sunday School, from his cousin...when he was six. Your kids know the words.)—but all the same, heads up!

Two things to learn about Mark Gould, if you don't already know them. 1: He was principal trumpet of the Met Opera for an absolutely staggering 29 years; and 2: He's a man that says what he means, and means what he says. This makes for a veritable storm of interestingness constantly surrounding him, from his side project <a href="https://www.youtube.com/pinkbabymonster" rel="nofollow" target="_blank">Pink Baby Monster</a> (performances sometimes usually NSFW), to running for president in 2012, to his students' total infestation of the professional trumpet scene (obviously in large part wrought by his teachings), and NOW—to one of our best Brass Chats yet. To preserve the integrity of our interview subject, this interview has NOT been edited for foul language or content. Parents, your kids have heard these words before, we promise (Joel, for example, learned the F-word in—wait for it—Sunday School, from his cousin...when he was six. Your kids know the words.)—but all the same, heads up!

Brass Chats Episode 11: Mark Gould

O Happy Day! So glad these are available as a podcast! The guys at Monster Oil are helping spread the good word about world class brass playing and proper lubrications... What&#39;s not to love!?!?

Yes!

They make great oil, and their interviews with top trumpet/brass players are fantastic. Highly recommended!

Great podcast

Brass Chats

Doc Severinsen

You can't be serious. THE Doc Severinsen? The guy from the Tonight Show? Trumpet Legend? With the high notes? ....how did you guys trick him into talking to you???...we don't even know, but it was freaking awesome. Nothing more to say; just go. Doc be with you.

You can't be serious. THE Doc Severinsen? The guy from the Tonight Show? Trumpet Legend? With the high notes? ....how did you guys trick him into talking to you???...we don't even know, but it was freaking awesome. Nothing more to say; just go. Doc be with you.

Brass Chats Episode 10: Doc Severinsen

Mike Martin

Mike Martin is known primarily for his snappy style of dress, dashing good looks, fine taste in shoes, and golfing habit. He spends his free time playing trumpet for the Boston Symphony Orchestra, working with DCI's The Cavaliers Drum &amp; Bugle Corps, Composing, and a whole bunch of other crap. The guy is just everywhere—but somehow, someway, we nailed him down for a couple hours for an interview for Brass Chats. Tons to learn here, provided to you free of charge as long as you promise to support the Cavvies at a live DCI show sometime soon, check out Mike's Music, buy some Monster Oil, or buy Mike, Tom, Chris, Joel a round of golf. Don't even think about watching the video without planning to follow through on one or more of these promises.

Mike Martin is known primarily for his snappy style of dress, dashing good looks, fine taste in shoes, and golfing habit. He spends his free time playing trumpet for the Boston Symphony Orchestra, working with DCI's The Cavaliers Drum &amp; Bugle Corps, Composing, and a whole bunch of other crap. The guy is just everywhere—but somehow, someway, we nailed him down for a couple hours for an interview for Brass Chats. Tons to learn here, provided to you free of charge as long as you promise to support the Cavvies at a live <a href="http://www.dci.org/" rel="nofollow" target="_blank">DCI</a> show sometime soon, check out Mike's <a href="http://www.playwritemusic.com/" rel="nofollow" target="_blank">Music</a>, buy some <a href="http://www.monsteroil.net/" rel="nofollow" target="_blank">Monster Oil</a>, or buy Mike, Tom, Chris, Joel a <a href="http://www.lakeofisles.com/bookteetimes.html" rel="nofollow" target="_blank">round of golf</a>. Don't even think about watching the video without planning to follow through on one or more of these promises.

Brass Chats Episode 9: Mike Martin

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