As I stand on the precipice of a new chapter in my musical journey, I find myself reflecting on the genesis of my latest endeavor, “Quiet City,” the inaugural release of a five-album odyssey with Warner Classics. This introspective exploration of American music from the 20th century, set to be unveiled on August 26th, emerges as a testament to the rich tapestry of sounds that have shaped the cultural landscape. Delving into the nuances of Copland’s “Quiet City,” Bernstein’s reimagined “Lonely Town,” Ives’s enigmatic “Unanswered Question,” an inventive orchestral rendition of Gershwin’s “Rhapsody in Blue,” and the iconic works of the Miles Davis/Gil Evans alliance in “Concierto de Aranjuez” and “My Ship,” “Quiet City” invites listeners to embark on a sonic pilgrimage through time and genre.
The impetus behind the selection of these works traces its roots to a lifelong affinity for Copland’s “Quiet City.” A masterpiece that defies the stereotypical brass expectations, it articulates a universality that resonates across temporal boundaries. My initial encounter with this profound composition occurred during my formative years, thanks to the guidance of my mentor, John Miller. Wrestling with its technical intricacies, I discovered a musical narrative that aligned with my identity on the trumpet — a revelation that endured through the years.
The genesis of the album, however, extends beyond personal connections with individual pieces. An invitation to perform with the Britten Sinfonia at the Barbican in London catalyzed the inclusion of the Miles Davis/Gil Evans repertoire. Witnessing the ensemble’s genre-defying flexibility, I found myself at the crossroads of classical and jazz trumpet, a space that has often left musicians straddling uncertain territory. Intrigued by the prospect of bridging this perceived divide, “Quiet City” became an exploration of the trumpet’s ability to transcend conventional genre labels.
Yet, the album’s thematic scope was not to be an exhaustive survey of American musical genres. Recognizing the potential for thematic disarray, I steered away from the temptation to showcase the trumpet’s versatility across too vast a spectrum. Instead, “Quiet City” became an exercise in coherence, a deliberate departure from the eclectic paths of previous recordings, striving for a more focused and refined musical narrative.
The arrangements themselves, a critical facet of this sonic journey, traverse a spectrum from homage to innovation. Copland’s “Quiet City” stands as an original work, an endeavor to infuse the trumpet with elements from the original cor anglais part, albeit thwarted by the Copland estate’s protective grasp. Bernstein’s “Lonely Town” receives a subtle transformation, incorporating the cor anglais solo onto the trumpet, an artistic endeavor to enhance its emotive depth without deviating from the orchestral essence.
Gershwin’s “Rhapsody in Blue” posed a unique challenge, necessitating a complete reimagining of the orchestration due to copyright constraints. Collaborating with the talented arranger Simon Wright and pianist Tom Poster, we sought to retain the iconic piano part while introducing a trumpet dialogue with the orchestra. This endeavor, though initially met with skepticism, resulted in a product that retained the essence of Gershwin’s creation while infusing it with a new, vibrant energy.
The Ives composition, born in 1908, emerges as a pioneering and avant-garde piece on the album. Its existential and thought-provoking qualities, coupled with a haunting solo trumpet voice, offer a unique opportunity to delve into a musical landscape that defies its temporal origins.
The centerpiece of the album, the Miles Davis/Gil Evans collaboration, required a delicate balance between homage and reinterpretation. While staying faithful to Davis’s meticulously transcribed trumpet lines, I allowed for subtle deviations, respecting Evans’s compositional contributions. A nuanced dance between tradition and personal expression unfolded as I navigated the intricate musical terrain laid out by these jazz luminaries.
The choice of instruments added an additional layer of complexity to the recording process. While my trusty Bach C trumpet took the spotlight in most instances, Miles Davis’s evocative sound on “Concierto de Aranjuez” demanded a departure. Utilizing an old, out-of-tune trumpet, once owned by my uncle, infused the recording with a darkness and airiness that resonated with the desired tonal palette.
It’s essential to acknowledge the pieces that did not make the final cut, a conscious decision to eschew the temptation of an exhaustive anthology. In crafting “Quiet City,” brevity emerged as a virtue, ensuring a more poignant and refined musical journey.
As I reflect on Ives’s “Unanswered Question,” the philosophical musings inherent in its composition resonate profoundly. Beyond the confines of language, music emerges as a conduit for the ineffable, a means to articulate the complexities of existence when words fall short. This piece, in particular, encapsulates the transcendental power of music, offering a glimpse into the profound mysteries of the universe.
Conclusion
In conclusion, “Quiet City” is more than a collection of tracks; it is a deliberate foray into the intersections of tradition and innovation, classical and jazz, past and present. As the trumpet takes center stage, it becomes a vessel for storytelling, a medium through which the diverse narratives of American music converge. It is my sincere hope that listeners embark on this sonic journey with an open heart and receptive ears, ready to traverse the landscapes of time and genre encapsulated within “Quiet City.”
