TWH-SmallLogoWe have wanted to host a podcast for quite some time now, but we weren’t quite sure where to start. This originally stemmed from our wanting to have regular conversations with those we admire and respect. For all of these reasons, we decided to start Things We’ve Heard – a beautiful podcast-hybrid series of sorts published by Bugles Media. Here we will talk with interesting people about the things they do. Periodically Things We’ve Heard will feature a conversation in the form of a podcast or an interview with a guest, interview subject, or band.

Interview with Alan Hood


Ginny Coleman: You have an amazing event coming up, the Clifford Brown Jazz Trumpet Consortium. I see that you’ve been passionate about Clifford Brown and his music throughout most of your life. How did the idea for a consortium dedicated to him come about?

Alan Hood: Well, it’s been a project idea in my head ever since I hosted the International Trumpet Guild conference in Denver in 2004. I kept thinking, wouldn’t it be nice to do a trumpet-specific seminar on Clifford Brown, IN his hometown of Wilmington, and spend some quality time on his music and history and further the art of jazz and trumpet playing both? He and his music have been a passion of mine ever since my high school years in the early 80s and it is SO deserving of wider recognition and passing onward to new generations of players and educators! And I think I have devised a really spectacular outing for this first-ever consortium; Brad Goode, Terell Stafford, Greg Gisbert and myself on the trumpet faculty, presenters Don Glanden (UArts and “Brownie Speaks” filmmaker), Wilmington trumpeter Tony Smith, Howard High historian Kenyon Camper, a great rhythm section from UArts in Philly and very special guest, Clifford Brown, Jr., son of the great trumpeter. And it will all take place in the Clifford Brown Performance Space of the Christina Cultural Arts Center in downtown Wilmington.

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Interview with Kate Amrine

TWH-KateGinny Coleman: In the two years since you graduated from NYU, you’ve worked in a wide variety of roles throughout the music business, from playing to coordinating to teaching. Is there one job you’ve held in particular that you believe helped to jump-start your career?

Kate Amrine: I can think of three transformative experiences that I feel really pushed my career forwards. When I first started school at NYU, I was working for Jeremy Pelt and I quickly became much more organized and inspired. However, it wasn’t until I went to Europe as his Tour Manager that I felt like things were beginning for me. It was a great experience that showed me what can happen when you really work hard, play well, and have your own vision. I felt the same way when I was working for John Rojak because I was at another transitioning time – this time approaching the end of my undergrad. Both experiences were enlightening because they expanded my view of what it really means to be a successful musician and how I want to be. Since I graduated, I have been teaching private lessons to non-music majors at NYU and it has been an incredible experience to work with intelligent students with different backgrounds and career paths. Seeing how I can make music relevant, fun, and transformative for them continues to make me stronger as both an educator and a musician.

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Interview with Tessa Ellis

TWH-TessaJames Moore: You’re currently a student at the Curtis Institute. What is it like attending such a small conservatory?

Tessa Ellis: I transferred twice before entering Curtis, so I feel I have a unique perspective on the environment at Curtis. It’s by far the smallest school I’ve attended, and for the most part that’s a good thing. Your teachers all get to know you, you have more interaction with administration, and you know almost everyone’s name within a few weeks! Entering as an older student made it easier for me to “outsource” my social life a bit, which has balanced out the size of Curtis and made it a very positive environment for me.

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Interview with Stacy Simpson

TWH-StacyJames Moore: As many might know you are first auxiliary trumpet with the Louisville Orchestra and are the lead trumpet player for the Derby Dinner Playhouse, a somewhat stark contrast. How did you come to hold both of these positions? Do you ever find it difficult to “switch gears” when it comes to altering your playing style?

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Interview with Linda Landis

TWH-LindaJames Moore: Like most musicians you started playing at a very young age. Why did you choose to play the trombone, and where did your passion for music begin?

Linda Landis: I started playing trombone in the fifth grade. When I was in fourth grade, we had a high school girl who helped out with our girl scout (I think we were called Brownies at that age) troop, and every Tuesday our troop got together to do things like crafts and such. She took her trombone home every Tuesday and I was always curious as to what was in the case. Then one day I got to see her play what was in the case when the high school band played for a school assembly. Once I saw her playing the trombone, that was it for me. It looked like fun. That’s all I ever wanted to play. So when fifth grade rolled around and we picked instruments, it was trombone for me. Funny thing; years later, little did I know I would be her nephew’s trombone teacher! I’d have to say that my passion for music started at that time. But when I was in kindergarten, I played a drum. We only used one stick though. Our teacher had us all playing a rhythm instrument of some kind, like a drum or sandpaper blocks, and the like, and we played a simple tune. The rhythm was: 1, 2 , 3 and 4 | 1, 2, 3 and 4||. It was easy for me to play that rhythm, so I guess music was to be my destiny.

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Interview with Monster Oil

TWH-Monster1I first heard of Monster Oils, a burgeoning new company, a few months ago. Being a professional trumpet player (aka. Nerd) I quickly bought up several bottles of the stuff in various viscosities. I instantly loved the product and can recommend this company to any brass player!

I got ahold of one of the co-founders of Monster Oil, Joel Baroody (Officially Titled: His Excellency Joel Baroody, Holy Relic Second Class), to see how this company came to be.

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Interview with Timberwolf Guitars

Brandon Coleman: I stumbled upon Timberwolf guitars via a “happy accident” after a rehearsal in Dayton, OH. Driving around, burning gas, I noticed a local guitar shop on the side of the road, and decided to stop in. As soon as I walked into the shop, my eyes were caught by the beautiful guitar hanging alone on the far end of the shop. Since playing that one guitar, I knew that Timberwolf guitars were not only the best playing and sounding guitars I have ever experienced (and I’ve played a lot!), but they were also the right guitars for me.

BC: Would you give us a little background on what got you into guitar production in general?

Once we had determined that we had a really great pickup, we decided that by offering them as a replacement for factory pickups, the wrong message would be sent. Specifically, we can hear someone saying: “Wow, what an amazing sounding Strat, Tele, etc.” Instead of “Did you hear those great Timberwolf Pickups?”.

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Interview: Bugles Artist Craig Tweddell

I first met Craig Tweddell, a burgeoning young trumpet player, in a coffeehouse in Morehead, KY, just across the state from his native Louisville, KY, while I was still in college. We (us founders) were hosting a small hang before heading to the National Trumpet Competition where Craig (and Eric) would be competing in the jazz division.

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