In approaching the lead trumpet chair of any organization, one must have certain basic concepts within reach, to call upon when needed. They consist of such things as: leadership, direction, inspiration, enthusiasm, interpretation and musical taste. These must be transmitted to the section first, then on to the rest of the band. The two key players in these matters must be the drummer and the lead trumpet player; their phrasing, tonal quality, jazz concept and interpretation must be in complete agreement, and an understanding between the two must be present, or utter chaos will be the result!
In preparing for such a career and to develop a consistent jazz concept, one must possess the following prerequisites: determination, good physical health, stamina, guidance by a skilled teacher and lots of listening and playing experience in jazz ensembles. Extra work on range and endurance is essential, plus the selection of good equipment to make the upper range as comfortable as possible. The practice of exercises* to develop the «movement of air» over the entire instrument is most important, if correct air support is to be used to the fullest. Breathing, articulation and phrasing must all work together toward the end result in producing music, not just a lot of notes.
Not all trumpet players can achieve the same good results, but most can come close if they listen carefully and try to follow «common sense» rules of musicianship in playing the lead part. In the past twenty or thirty years, the commercial players have extended the range of the trumpet far beyond its so-called «textbook» limits: they play in a register that the classical player would never attempt and with brute force that he would never employ. It is generally agreed that the trumpet is more physically taxing — especially when played in the upper register and at great volume — than any other commonly used instrument.
William Whitworth describes it in his article «Profiles» in the New Yorker Magazine this way: «The lead players are regarded as an elite because of the difficulty of the job they must perform. To oversimplify it, some trumpet players play with taste but not enough strength, while others have the strength but lack the taste. The lead player must have both. He must be able to play constantly in the upper register — the most treacherous and tiring range of his instrument — while providing an interpretation of the arrangement that will be definitive for the rest of the brass section and sometimes for the whole orchestra. Some players play the trumpet instead of playing music. There are players who are technically marvellous, but get so wrapped up in playing technically marvellously that they ignore the fact that the only purpose in playing well is to play music. The playing of the instrument is not the end. That’s the basic difference between a great musician and a «good one».»