In the tapestry of my musical journey, the year 2019 marked a profound juncture with the release of my inaugural solo album, “Everything but Trombone,” a venture brought to life under the banner of Cid Music Records. This project, a departure from conventional expectations for a trombonist’s solo debut, unfolded as a deliberate exploration into a musical realm that extended far beyond the traditional boundaries of my primary instrument. In the following narrative, I will delve into the motivations, challenges, and creative processes that coalesced to shape this unique musical odyssey.
At the heart of “Everything but Trombone” lies a recognition of the diverse influences that have shaped my musical identity. Contrary to the notion that a trombonist’s inspiration is confined to the works of fellow trombonists, my auditory landscape has been enriched by a mosaic of influences. The resounding tenor of Luciano Pavarotti, the emotive cello performances of Jacqueline du Pré, the enchanting voice of Cecilia Bartoli, and the virtuosity of pianist Alicia de Larrocha—all these disparate sources converged to mold the contours of my musical sensibilities.
The genesis of “Everything but Trombone” was not a hasty decision but rather the culmination of an extended period of introspection. Metaphorically described as a process of “slow cooking,” the album’s creation was characterized by a deliberate and unhurried amalgamation of ideas, themes, and musical aspirations. This approach mirrored the patient simmering of culinary ingredients, allowing for a nuanced and layered compositional outcome.
A pivotal challenge in the early stages of this project revolved around the selection of repertoire. Faced with the dilemma of whether to limit the album strictly to trombone-centric compositions, a genre to which I had limited exposure, I opted for a distinctive solution. Collaborating with accomplished arrangers became the crux of my strategy, inviting them to transcribe pieces that resonated with my musical inclinations. This collaborative approach not only broadened the sonic palette of the album but also affirmed my commitment to authenticity and a broader, more inclusive musical narrative.
The chosen title, “Everything but Trombone,” was not a mere semantic flourish but a deliberate articulation of the project’s essence. By consciously excluding trombone-centric compositions, I aimed to challenge preconceived notions and immerse myself in a diverse musical landscape. The curated repertoire traverses the grandeur of Richard Strauss’s Four Last Songs to a transcribed flute and harp suite, thereby exemplifying the breadth and depth of my musical vision. The inclusion of Massenet’s compositions further underscores the album’s eclectic nature, reinforcing my desire to present a rich and captivating musical experience.
The collaborative spirit that permeates “Everything but Trombone” enriches its narrative tapestry. Working closely with arrangers to transpose and reinterpret each piece added layers of complexity and depth to the album. The trombone, in this context, transcended its conventional role, becoming a versatile conduit for conveying a myriad of emotions and textures, engaging in a profound dialogue with the essence of each composition.
Conclusion
In conclusion, “Everything but Trombone” stands not only as an album but as a testament to my artistic odyssey—an exploration of uncharted musical territories. It challenges conventional norms, encouraging both practitioners and enthusiasts to embrace a broader perspective on artistic expression. Reflecting on the meticulous interplay of influences, arrangements, and performances, I am reminded that true artistic innovation lies in the willingness to venture into the unknown. “Everything but Trombone” is not just a musical endeavor; it is an odyssey that encapsulates the essence of creativity—boundless, ever-evolving, and resonating with the diverse echoes of a musical identity forged through eclectic influences.
