Over the years, I have been blessed to be around great people who taught me the beauties of trombone and of music. Not everyone gets to come across these people so I do truly feel lucky. In fact, lucky enough, when I catch myself slacking (more often than not!) it is good grounds of self-shame. But, Ill work hard, amongst many reasons, for these people.
Steve Wessels was my band director in middle school and also the low brass instructor for our 6th grade band/low brass period. He was a trained clarinet player but he was such an encouraging force in my early fascination with playing the trombone. He made sure that I knew that I had talent and that kind of positivity has gave me a lot of confidence.
Reggie Goebel gave me my first trombone lessons on a one to one basis starting the second semester of my 6th grade year. Mr. Goebel, much like Mr. Wessels, always gave me much encouragement and made sure I knew that I was a talented kid. He sparked a fire inside of me, watched it grow, and helped me to make the fire bigger. He was generous, and he was a truly kind individual that felt much happiness from music making. He was so pure in this regard that I couldn't help but feel that passion radiating from him. As a few years went by, often we'd go in his car and hear recordings of great trombone players. Sometimes he'd invite me to shows he was playing and one time together we went and saw the great Carl Fontana just before he passed away. Unfortunately, Mr. Goebel passed away very recently but his kindness, patience, and constant commitment as a teacher are things that I could have never done with out. when I'd have the pleasure of meeting many different performers int own id always bring up the fact I studied with Mr. Goebel. Immediately people would glow about his musical talent and wonderful personality. Unfortunately, Mr. Goebel is no longer with us but I will always consider him to be my most important teacher.
Weston Sprott, 2nd trombonist of the Metropolitan Opera Orchestra, was a senior at Klein High School when I was a freshman at another school across town. I went to my first ever high school region band audition with a great deal of self assurance that I'd do a good job and place highly in the audition. Well, I still did decently, but that day my eyes were opened. In Weston I had heard something I had never even dreamed to be possible (of course, for a 14 yr old trombonist, that might not take tooooo much). I was blown away at his control of the horn and how beautiful the sound was. Immediately after the audition I walked up to him, introduced myself and told him how much I admired his playing that day. Weston was very welcoming to my fanatical enthusiasm and from there on out he was a very solid source of knowledge for me. I was a kid who was hungry to know more about the trombone and he was a budding master who loved to share his enthusiasm for the trombone. Though I'm sure I annoyed him, it didnt matter, he always answered my curiosity no matter what the subject was. I owe him a lot for mentoring me throughout those years, and having someone like that to look up to inspired me every day.
When Weston sensed that playing well is something that I truly wanted to do, he suggested that I enlist in the expertise of Michael Warny who at the time was a member of both the Houston Grand Opera and Ballet orchestras as well as a member of the trombone faculty at the University of Houston. I was only a freshman at the time but Mr. Warny's commitment and focus to the fundamentals of playing really lit a fire in me. Additionally, I owe Mr. Warny a lot for teaching the tricky subject of the legato articulation on the trombone. Mr. Warny was a master technician of the instrument and it was just what I needed at the time. I owe him a lot for his generosity, artistic nature, and his honesty.
After high school, I was accepted to two colleges: Southern Methodist University and the Manhattan School of Music. Ultimately I ended up attending SMU and studying with Mr. John Kitzman principal trombonist of the Dallas Symphony Orchestra. Mr. Kitzman has been known as a teacher world-wide and especially for his track record of training some of America's finest trombonist who now hold positions in major orchestras today. Coming out of high school I had benefited from the constant ego boosting from very special people in my life and in my first lesson with Mr. Kitzman I had felt all of the platform I had below me drop completely. He was blunt, brutally honest, and for a while, seldom was he complimentary. I had felt like I had no grounds of confidence or reason to feel that I was any good. His ideas of playing differed from how I had been taught previously. For a few months I had felt traumatized. Slowly as time passed I was able to properly absorb the message he was trying to get across to me. As the days went by I could feel the benefits in my playing and the habits he trained me to have stay with me until this day. As a student of Mr. Kitzman, there will be a few certain factors. You will do what he tells you, it will benefit you, and you will become quite familiar with the symphonic repertoire even at an early stage of school. My time at SMU was a precious one and I'm very fortunate to have been there with a great teacher and wonderful colleagues whom I still keep up with today.
I eventually came back to Houston and began freelancing around town. Knowing that I needed to learn more and develop, I started playing for Brad White 2nd/assistant principal trombonist of the Houston Symphony Orchestra. Brad had studied in NYC with some of the world's finest players and teachers such as Joseph Alessi, Per Brevig, Koichiro Yamamoto, David Finlayson...etc. He was my window into that world. A lot of what Brad has taught me are things that are still working into my playing today. I admire his intensity and his focus to playing the trombone. I owe Brad a lot for helping me with my high range. Before my time with him, I could hardly play Bolero. Now I can. The x factor is Brad. Brad also has a very unique insight to the workings of the embouchure and teaches his ideas in a very clear yet anxiety-free fashion.
Robert Walp is the assistant principal trumpet of the Houston Symphony Orchestra and former student of the late and great Vincent Chicowisz. "Bob" was we all call him is a strong force in the brass playing community of Houston and also director of the Houston Brass Band. I have benefited quite a bit from his great artistic drive and also his amazing portrayal of brass playing technique as taught to him by his teachers in Chicago (Bud Herseth and Arnold Jacobs among them as well).
Allen Barnhill is the Houston Symphony's principal trombonist. What I most admire about Mr. Barnhill is the amazing beauty that comes from his horn upon the first note, not just the tone but also in terms of music making. He is a man of high artistic concern and I have learned a lot from him not only in lessons but also by observing his playing in concerts and sitting next to him as a substitute in the orchestra as well. Mr. Barnhill is a busy man with many obligations but whenever I get the opportunity to speak with the man about music making I am always in awe of what he has to say, largely due to the beauty that comes out of his trombone.
I would imagine not many people are as lucky as me to have come across such inspiring mentors...i better get to practicing!
