Session Trumpet Player

Q: What type of music do you usually work on?

A: Although I spent my formative years training to be a classical trumpet player, I embraced big band music at uni and went on to play in the National Youth Jazz Orchestra. Once I left NYJO, I moved on to playing more Pop, Rock, Hip Hop, Funk... and now I'll play anything. Currently, lot of my work is either Indie-Pop, Singer/Songwriter, or Symphonic Metal.

Q: What's your strongest skill?

A: Knowing what will work... Undergrad study followed by years of playing experience have trained my ear to understand exactly what a song needs.

Q: What's your typical work process?

A: The process typically starts with a chat with the artist/producer about what exactly they envisage the role of the horn(s) to be within the song. Once I know what the goal is, I sit and listen to the song a few times to get the feel for it and see where the clients horn idea fits. Next I'm on to the creative bit - composing the horn part(s). This normally involves me sitting with a pad and a copy of the chord chart and jotting down ideas.. sometimes I'll have a few ideas, sometimes I know exactly what will work straightaway. Once I'm happy with my ideas I create a MIDI of the trumpet part(s) and lay it over the track (normally at a slightly higher volume so the client can hear them) and send it to the client. Once I've got the OK, I get to work in the studio.

Q: What other musicians or music production professionals inspire you?

A: A big influence on my playing at the moment is Rashawn Ross of the Dave Matthews Band - his use of bass trumpet and guitar effects pedal on his trumpet got me interested in looking at other ways of creating sounds as a brass player. Other influences are Kiku Collins (Beyoncé, Gloria Gaynor, Queen Latifah), Kyla Moscovich (Janelle Monáe, Demi Lovato, Macklemore) and Brian Newman (Lady GaGa) - all phenomenal players. In terms of writing and arranging horn lines, Jerry Hey and Greg Adams are stand out influences for me although there are some amazing horn arrangers working right now...

Q: What do you bring to a song?

A: As a trumpet player I can be very versatile... You want phat riffs? You've got it. Soaring solos? They're yours. I can bring whatever you want to the song, just ask.

Q: Tell us about your studio setup.

A: Mics: Aston Element, Rode M4, Behringer C-1, Tin Can Mic Mixing Desk: Behringer Xenyx Q1202 Effects Pedals: TC Electronic (Skysurfer, Thunderstorm, Blood Moon, Dark Matter, Sub 'n' Up), Dead Beat (Wet Dreams) Headphones: AKG K52

Q: Describe the most common type of work you do for your clients.

A: As a trumpet player and horn arranger, my work is predominantly writing and recording horn section riffs, stabs, and pads but I also get to play solo lines now and again...

Q: What do you like most about your job?

A: I love the variety in what I get asked to play and I love working with new bands and watching them become successful.

Q: What's the biggest misconception about what you do?

A: I haven't really come across many but one that sticks with me is that trumpet players can play anything that a MIDI trumpet on a keyboard can play. I was once asked to record a couple of trumpet parts that went lower than the bottom of the tuba range and higher than I've heard a trumpet ever play. After a little bit of a rework, I came up with a solution that the client was happy with.

Q: How would you describe your style?

A: I don't really have a particular style - I like to think of myself as a musical chameleon.

Q: Which artist would you like to work with and why?

A: This is a difficult one... on the one hand I would love to play for someone like Beyoncé as her songs have epic brass parts (think Crazy In Love) but, on the other, creatively it's much more rewarding playing for new, independent bands and artists who are just finding their sound.

Q: What questions do you ask prospective clients?

A: Apart from the usual deadline and budget questions my main question is: What do you want the horn line(s) to add to the track? Are they subtle and just there to add colour or are they an 'in your face', stand out feature?

Q: Can you share one music production tip?

A: You do not need the best equipment that money can buy to get a good sound, however, if you can afford that extra dollar, pound or euro then do. It's better to pay a bit extra upfront than having to spend more in the long run getting work redone or buying new equipment. Basically, buy the best you can afford but don't worry if you can't afford the best.

Q: What advice do you have for a customer looking to hire a provider like you?

A: If you have an idea of what you would like, if possible, have some examples of songs which demonstrate it - it helps us to get a feel for what you want. Also, have a look at instrument ranges and characteristics before sending a guide track - session players are great at what they do but some things just aren't possible.