John Audino
One of the most respected trumpet players in Los Angeles, is presently playing lead trumpet with Doc Severinsen and the N.B.C. Tonight Show orchestra. He has played lead trumpet for Harry James, Horace Heidt, Dick Jurgens, Gerald Wilson, Jerry Fielding, and Jack Daugherty. His television credits include: the Liza Minelli special, the Academy Awards, ‘‘Sonny and Cher’’, ‘‘The Carol Burnett Show’’, the Grammy Awards, and ‘‘The Andy Williams Show.’’ He has also played ‘‘The Hollywood Palace’’, ‘‘Cannon’’, and ‘‘Charlie’s Angels.’’
John began playing trumpet when he was thirteen in Chicago, Illinois. His first teacher was Tarquino Mazzeri with whom he studied for two years. He then worked with Ralph Martiere for the next three years during high school.
In 1959, after playing lead trumpet for Harry James, Horace Heidt, and Dick Jurgens, and playing in Las Vegas for Jerry Fielding, John came to Los Angeles and joined the staff at A.B.C. After five years at A.B.C. and a brief time with N.B.C., John decided to free-lance and has continued to do so, with the exception of his affiliation with the Tonight Show orchestra.
John has continued to study and has worked with Vladimir Drucker, Louis Maggio, and John Clyman. His practice routine includes long tones, Clarke, Schlossberg (which he calls the ‘‘bible’’), Brandt, Charlier, and the Mel Broiles books, volumes I, II, and III.
John plays a Purviance mouthpiece and a Getzen trumpet and flugelhorn. His mouthpiece was made especially for him and is basically a medium width rim and a medium shallow cup.
Oscar Brashear
Has recorded with Earth, Wind, and Fire; Harold Land (‘‘Damisi’’); Bobby Hutchins (‘‘Heads Up Mantara’’); and Joe Henderson (‘‘Canyon Lady’’). He has also played for Horace Silver, Quincy Jones, Oliver Nelson, and Henry Mancini. He is active in all aspects of television and motion picture studio work.
Oscar began playing piano at seven and trumpet at eleven. He studied privately for twelve years with Charles Allen. During this time he worked on Arban, Clarke, Schlossberg, Amsden’s Duets, and also developed a primary interest in jazz. His formal education includes Wright Junior College and Roosevelt University in Chicago, where he studied with Renold Schilke. In Chicago, he worked with Gene Evans and Dexter Gordon and the Count Basie and Woody Herman orchestras before coming to Los Angeles.
When Oscar has time to practice, his routine includes long tones, lip slurs and trills, and pedal tones. Also he works on harmonic progressions, theoretical knowledge, and jazz improvisation. He works constantly on the center and timbre of sound.
Jay Daversa
Another very active player in the Los Angeles area is Jay Daversa. His motion picture credits include Rollercoaster, Benji, King Kong, Star Trek, The Main Event, Grease, The Wiz, and Animal House. For television he has played ‘‘Wonder Woman’’, ‘‘Fantasy Island’’, ‘‘Love Boat’’, ‘‘The Rockford Files’’, and ‘‘Vegas’’. Jay has recorded with Gerald Wilson, Roger Kellaway and Bud Shank.
Jay began playing trumpet at the age of five and was playing a few tunes with his father’s combo by the time he was six. For several years he learned tunes by ear or played along with the television. He had his first formal training at the age of nine. At eleven he joined a group called the Dixieland Small Fry which appeared on such Los Angeles television shows as ‘‘Dinah Shore’’ and ‘‘Lawrence Welk.’’
After Jay finished high school, he played with the Sixth Army Band in San Francisco for three years. He returned to Los Angeles, and then he left to go on the road with Johnny Mathis for three months. Then he joined the Stan Kenton orchestra for three years until 1968, when he returned to Los Angeles and began to do studio work.
During the last three years, Jay has changed his embouchure, primarily because he thought he was relying on too much pressure. During this time he has studied with Bob Findlay, Rene La Mar, and James Stamp, each of whom offered specific and important help. Jay says that Bob Findlay made him aware that excessive pressure was unnecessary and that he should rely on muscles to do the work. La Mar worked primarily on breath support, making sure the air was moving from the diaphragm to the mouthpiece and through the instrument. Jay says that his work with Stamp solidified everything because the exercises freed up the muscles and made him constantly think about what he was doing.
Jay plays a Bach trumpet (medium large) and a Calicchio with a one-S bell and a two-S leadpipe. His mouthpiece is a Purviance four star three with a Bach 7 rim.
Charles (Chuck) Findlay
Is one of the most active musicians in Los Angeles. His film credits include Bobby Deerfield (flugelhorn solo), And Justice for All, Hooper, Rocky I and II, Grease, and Saturday Night Fever. He records television series and specials, and he plays a great variety of record dates. He performs live with both big bands and small jazz combos.
Chuck began playing trumpet at the age of three and began formal lessons at the age of eight. During high school in Cleveland, Ohio, he studied with Harry Herforth of the Cleveland Orchestra. He worked with Arban, Schlossberg, and Clarke to develop basic technique and vocal and solfege books to develop a good concept of tone and musical line.
At the age of seventeen, he played with the Jimmy Dorsey band (with Lee Castle) for six months and then he returned home to attend the Cleveland Institute of Music and study with Bernard Adelstein. While working with Mr. Adelstein, Chuck studied the Charlier and Bitsch etudes.
After leaving the Institute, he played with the Dorsey band for six more months and then joined the Buddy Rich band, staying for two years. Chuck then went to Las Vegas for a year to work with the band at the Thunderbird Hotel. In 1969, he came to Los Angeles. Here, he played with Louis Bellison’s band and began studio work soon afterwards.
Chuck presently plays a Calicchio B-flat trumpet with the one-S bell and number two leadpipe. His mouthpiece, a medium cup with a 27 hole and a Bach 3 rim, was made by Bob Reeves.
He practices the Caruso exercises, scales, and intervals. He then works on new music (jazz tunes) and plays various patterns for jazz improvisation.
Robert (Bob) Findlay
Chuck’s brother has been very active in television, motion pictures, and the recording industry since 1975. He has made recordings with Herb Alpert, Neil Diamond, Steely Dan, and the Commodores. For television, he has played ‘‘Happy Days’’, ‘‘Laverne and Shirley’’, and ‘‘Barney Miller’’. He also played for the special ‘‘Herb Alpert in London.’’ His motion picture credits include A Star is Born and Scavenger Hunt.
Bob began playing trumpet at the age of nine and his early work was primarily with the Arban and Saint-Jacome methods.
He began playing with dance bands from his high school at age thirteen and at fourteen was working a variety of casual engagements in the Cleveland area. He feels he gained valuable experience from this work.
After high school, he joined Ralph Martiere’s band for a tour and then returned to Cleveland to a five day a week television show and various commercial engagements.
At this time he developed some embouchure problems, heard about Carmine Caruso, and began flying to New York from Cleveland once a week for lessons.
From 1959 to 1963, Bob played with the Glen Miller Orchestra (Ray McKinley) and Tommy Dorsey (Sam Donahue). From 1963 to 1975, he settled in Las Vegas, first playing in the smaller lounges and then moving to Caesar’s Palace where he played split lead with various shows for six years. In 1975 he joined Herb Alpert’s Tiajuana Brass and moved to Los Angeles.
Bob usually takes a day or two off a week from practicing because he feels that this allows him to relax and return to his work with a better perspective. Since Las Vegas, he has begun teaching and enjoys it very much. His personal practice includes the Caruso exercises as well as repertoire such as Bitsch, Charlier, and Laurent.
Warren Luening
Has recorded with Burt Bacharach, Barbra Streisand, Andy Williams, and Glen Campbell. His motion picture credits include Love at First Bite, The In-laws, High Anxiety, Silent Movie, Airport 1975, Funny Lady, The Muppet Movie, and A Star is Born.
Warren began playing when he was ten and initially studied with a teacher who came to the schools to give private lessons. When he was twelve, his father began taking him to various Dixieland sessions in New Orleans. A year later he met Al Hirt and began to study with him. He worked with Hirt for one year, usually going with him to his radio show, watching Hirt play, and then having a lesson.
In 1956 when he was sixteen, he moved to Los Angeles and for three years was a featured soloist on the Lawrence Welk T.V. program. After he finished high school, he stayed in Los Angeles to attend U.C.L.A., but in 1964 he left to join the NORAD Jazz Band. He was with the band until 1967 when he returned to New Orleans to play with various groups in the area.
He returned to Los Angeles in 1970 and began working for Burt Bacharach and Peter Matz which led to a seven year call with The Carol Burnett Show and consistant work in the studies.
Warren plays a Bach 7c and a Leblanc (medium large) trumpet. Although his early training included work in Arban and the Smith Top Tones, he prefers playing with rehearsal jazz bands rather than practicing.
Malcolm McNab
Malcolm McNab’s solo trumpet can be heard on Jaws I and II, Capricorn One, Oh God, Murder by Death, Three Women, Black Sunday, and Sgt. Pepper’s Lonely Hearts Club Band. He played first trumpet on Rocky, Close Encounters, Earthquake, Lord of the Rings, 1941, The Towering Inferno, High Anxiety, and Damien, Omen II.
Malcolm began playing trumpet at the age of nine. He played in the school band, but he did not have formal lessons until he was fourteen. Malcolm studied with Walter Larsen, who was a student of Herbert L. Clarke, until he was eighteen. This work was primarily on Arban, Clarke, Charlier, Amsden’s Duets, and the World Method.
The lessons with James Stamp which Malcolm began at the age of nineteen had a tremendous influence in his playing. These lessons included the mouthpiece drill and a careful warm up, trios, and chamber music. Stamp insisted that Malcolm never force anything.
While studying with Stamp, Malcolm was playing with various orchestras and shows in the Los Angeles area. In 1964 he left Los Angeles for an eight week tour with the San Francisco Ballet. After the tour, he joined the West Point Band and played with them for three years until 1967.
During that time his teachers were William Vacchiano and John Ware. With Mr. Vacchiano, he worked on Saint Jacome and solfege clef studies. With Mr. Ware, he spent much time with the Charlier.
In 1967 when he returned to Los Angeles, he began to free-lance and by 1975 felt he was established as a studio musician.
Malcolm is presently playing a Bach 1½ C mouthpiece with a rim that is slightly wider than a 1 C. His trumpets are a Conn 22B, a Selmer piccolo, and a Couesnon flugelhorn.
Uan Rasey
One of the most respected musicians in Los Angeles, has been active in all aspects of the recording industry. Uan’s motion picture credits during the twenty-two years he was first trumpet with the MGM Orchestra include: Raintree County, American in Paris, Ben Hur, Ivanhoe, West Side Story and Gigi. Recently, as a free-lance musician, he has played Close Encounters, Jaws I and II, Rocky, Grease, “10”, and the beautiful solo work in Chinatown. His free-lancing career has included recordings with Billy May and Frank Sinatra, and numerous television shows.
Uan began playing trumpet at the age of ten in Glasgow, Montana, and by the time he was a freshman in high school, he was playing first chair in the Montana All State Band. While in high school, he moved with his parents to Los Angeles. Here, he and Frank Comstock rehearsed and led the school jazz band, and Uan became a member of the All City Symphony Orchestra. With his Los Angeles teacher, Louis Maggio, he studied Schlossberg, Clarke, and Arban.
After high school, Uan joined the union and began playing with dance bands and theatre orchestras in Los Angeles. In 1943, he joined the staff orchestra at Mutual Radio, playing for the ‘‘Kraft Music Hall’’, Bing Crosby, Ozzie Nelson, and ‘‘Sound Off’’. While on staff he worked with Frank Deveri, Kay Kaiser, and John Scott Trotter. He became first trumpet at MGM in 1948, and he continued in that capacity until 1970. At present, he works as a free-lance musician.
Uan plays a King Silver Flair trumpet with an Olds mouthpiece that is slightly larger than a Bach 1C. He plays a Selmer piccolo, and an Olds flugelhorn. Uan’s practice schedule includes Schlossberg, Clarke, and vocalises to develop his sound. Uan feels that, ‘‘Every day each note should be a little better’’.
Anthony Terran
Presently very active in Los Angeles motion picture and television recording, Anthony (Tony) Terran has played Rocky and Rocky II, The Deep, Foul Play, The Black Stallion, King Kong, The Lord of the Rings, and ‘‘10.’’ For television he has played ‘‘The Carol Burnett Show’’, ‘‘Happy Days’’, ‘‘Laverne and Shirley’’, ‘‘Angie’’, and ‘‘Mork and Mindy’’.
Tony’s early training included work with Harold Mitchell, Hy Lamarrs, and Louis Maggio. While with Maggio he worked with the Maggio lip building exercises and was concerned with breath control sound and range. The breath control work he did with Hy Lamarrs was both with and without the instrument. Mr. Lamarrs would have Tony place a sheet of paper on the wall and then have him blow against the paper, not allowing it to fall. In order to increase Tony’s ability to move the air, Lamarrs would increase the distance from the wall (paper) and also add various thicknesses of paper. The breath control work with the instrument was primarily with Schlossberg and Clarke. Tony’s work with Harold Mitchell concentrated on the Arban and Saint-Jacome methods.
Tony’s playing career began at seventeen in Buffalo with radio orchestras and big bands in the area. At eighteen, he toured with the Horace Heidt band and came to Los Angeles. He joined the Skinny Ennes orchestra and later the Desi Arnez band which was featured on I Love Lucy. Tony has been a member of the Nelson Riddle orchestra for many years. Even though Tony is very active as a studio musician, he accepts as many casual engagements as possible. He feels this offers him a chance to play freely and to develop in all styles.
Tony plays a Calicchio trumpet and a Bob Reeves mouthpiece with a medium cup and a Purviance 4 star D 4 rim.
Graham Young
The tenth trumpet player to be considered is Graham Young. He has played with Henry Mancini since 1968 on all his tours and recordings. Graham’s recent motion picture credits include these films: ‘‘10’’, Airplane, The Towering Inferno, The Great Waldo Pepper, The Other Side of Midnight, Swashbuckler, and Gable and Lombard. He has also played on numerous television series and specials.
Graham began playing cornet in the ninth grade in Chicago in 1934. In 1937 he bought his first trumpet and began to study with Forrest Nicola. During high school, he began playing with clinic bands at Northwestern University and with semi-professional park bands in the Chicago area. Many of the famous cornet soloists of the day played with these bands, and Graham had a marvelous opportunity to ask questions about various aspects of playing and performance.
In 1939 he began playing jazz in after-hours clubs with Barry Hodges, and this led to engagements with Raymond Scott and Gene Krupa. During World War II, he led the Air Force Dance Band for two years, then joined the Air Force Orchestra in New Haven and the Air Force Band in Washington, D.C. while in the New York area he studied with Dr. Charles Colin and Benny Baker.
After the war, he joined the Glen Miller orchestra (Tex Beneke) from 1946-47. He left the orchestra to attend the University of Michigan and there he studied with Clifford Lillya. During high school and university, he studied all standard method books: Arban, Saint-Jacome, Clarke, Paudert, Charlier, and various solo materials.
In 1953, he came to Los Angeles and taught junior high school vocal music in Burbank until 1968. During that time, he played at Disneyland and with many big bands in the area. Graham quit teaching in 1968 and has since that time devoted his time exclusively to studio playing.
Graham plays a Bach 10½ C mouthpiece and a Benge (medium large) trumpet. His practice habits depend on his work load during the day. Each day, he plays long tones and slurs and on days when he isn’t working, he augments this with Arban and lyrical songs.
I am indebted to each of the fine musicians who shared their experiences with me, and I hope that the information about them will be interesting and helpful to the international community of trumpet players.