Thomas, thank you for agreeing to take time out of your busy schedule to speak with Occhi Magazine. Can you take us back to your early days? Who were the key influences that inspired you to pursue jazz trumpet, and what drew you to this instrument specifically?
My father had an extensive jazz record collection from his days as a jazz radio host and as a life long fan/collector. His album collection was “off-limits” to me and my brother as kids so naturally we went through it all the time when he wasn’t around. Those names on the albums really had us cracking up: Dizzy, Monk, Bird, Hawk, Nuke, etc. But once we started listening to the music, it was pretty captivating, especially Dizzy – that break on “Salt Peanuts” sounded like a magic trick. So I feel very lucky that I was inspired by the music before I even got to know the trumpet. I grew up in a pretty musical family so we always had musicians playing music in the house. I always liked the way it made me feel when one of my relatives would sit down and really PLAY the piano, or trombone or whatever.
Your trumpet playing has been described as both versatile and distinctive. How have you developed your voice while maintaining the ability to adapt to different musical situations?
Mainly it’s happened out of a need for survival! I’ve always been attracted to jazz and always wanted to be a jazz musician, which to me means sounding like yourself first and foremost. But you gotta pay the bills too! So as musicians, many of us have to play music that may not be our first love to earn a living – very few of us can get by just playing jazz, there’s not really enough work to make a living. And if you want to work steadily, you need to be well-rounded and speak a few different languages. I never wanted to teach or get a “real job” so I tried to fit myself into every musical situation that came my way without sacrificing my individuality which isn’t always easy.
Being the youngest inductee into the Seattle Jazz Hall of Fame is quite an achievement. How has the Seattle jazz scene influenced your musical development, and what inspired you to establish the Seattle Jazz Fellowship?
That’s a topic for a whole book! I’m grateful to have received the support of the older musicians in the Seattle community when I was a very young kid. Almost all of them took me under their wing in some way, held me accountable, encouraged me, inspired me, included me – and kept me going. That system of mentorship has really been eroded in the past decade or two for a variety or reasons. The Fellowship is an opportunity to get that system going again and to create a full-time, dedicated space for local jazz, which is also something we don’t have in Seattle anymore. We can’t have jazz music without a venue and musicians so the Fellowship is trying to address those gaps in our community.
Your journey in jazz has led you to work with legends like Maynard Ferguson and contemporary innovators like Joe Locke. How have these diverse collaborations shaped your approach to trumpet playing and composition?
I think the one thing I’ve learned from working with incredible musicians like you’ve mentioned is that they always bring their “A-Game” to the stage and they’re ‘all-in’ on their performance from beginning to end. Not sure about trumpet playing and composition, but I learned that music is truly a performance art and that when we play, we have to give a performance, not just a recital. We have to ‘give it up’ in every moment and try to effect a change in the emotional state of the listener, that the purpose of the music is to connect to people. It’s not about the notes or the tunes, It’s beyond that. You can learn trumpet playing and composition in music school – but you can only learn how to give a performance and engage the people by working with artists who have mastered that skill, on the bandstand.
Working with the Spanish Harlem Orchestra and various other ensembles shows your versatility. How do these different musical contexts inform your own bandleading style?
Every band you work with or for teaches you something about band leading – either how to do something or how not to do something. Oscar Hernandez, leader of the Spanish Harlem Orchestra, is an incredible band leader. He’s dedicated and fully committed to the excellence of the music above all else, but he also always had his musician’s back. The thing I’ve learned from great bandleaders is that music always must come first – but also that musicians are people, and not everyone is the same. My favorite bandleaders let the music do the talking and take the audience on an immersive journey through music – they don’t make it about them, they make it about you, the listener.
Your work spans from traditional jazz to collaborations with hip-hop pioneers like Deltron 3030. How do you navigate these different musical worlds, and how have they influenced your artistic evolution?
I try to bring the same level of integrity to every musical situation. I prepare the same way for every gig and take it all equally seriously. Those diverse experiences have helped me keep an open mind about music in general, and to look for the commonality. I ask myself – how is this musician or artist connecting to the audience? It’s also helped me know what’s appropriate in the music. Sometimes you need to step back, sometimes you need to step forward. It’s hard to know which until you gain that essential experience and have the opportunity to try and fail.
‘ScreenTime’ marks your 15th album as a leader. What sparked the idea to explore music from various screens, and how did you approach reimagining these pieces for a jazz context?
When discussing which tunes to include on the new album, Orrin Evans, the producer, and I both threw out a couple of ideas that were screen-related just by chance. After the third of fourth song a theme started to emerge. Most of the songs were tunes we always wanted to do “someday” anyway and this seemed like a good opportunity.
The quartet on ‘ScreenTime’ features Orrin Evans, Mark Whitfield Jr., and Robert Hurst III – an incredible lineup. How did this particular combination of musicians come together, and what unique qualities does each bring to the project?
I’m fortunate to have had a long personal and musical relationship with Orrin Evans, and when his working trio (With Mr. Hurst and Mr. Whitfield) came through Seattle, their itinerary included a day off. I guess the rest is obvious! They sound exactly like themselves and nobody else and play at the very highest level of the art form. What else could anyone ask for? That they already had a high degree of chemistry between them is evident in the music and a real bonus for me.
Working with Orrin Evans as both a collaborator and producer must bring an interesting dynamic. How does this dual relationship enhance the creative process?
Having had the great fortune of playing in Orrin’s bands a few times, I had complete trust that the music would be in good hands with Orrin producing because the music is ALWAYS in good hands with Orrin. Even if he isn’t the “producer,” I always want to hear what Orrin has to say about the music because his perspective carries a lot of weight with me, primarily because I’ve found that we’re on the same page about the fundamental aspects of the music, that the end goal is the same – to touch the listener. That’s true with Mr. Hurst and Mr. Whitfield as well.
Can you share the story behind one particular track on ‘ScreenTime’ that underwent the most dramatic transformation from its original version to your jazz interpretation?
As a longtime fan of the film “Predator” – I always loved the soundtrack to the movie because it’s really dramatic. Sometimes it’s not very melodic, which I like about it. But there’s one melody that sticks out from the movie and my friend, bandmate, and former house-mate Rick Mandyck always referred to it as “the Love Theme” from Predator. So when we honed in on “Screen Time” as the album’s theme – I knew this had to be included. Predator is not a “love story” in the traditional sense, but many of us have had relationships that looked more like the scenario in Predator than a traditional love story! We also have a lot of different “screens” represented on the album – TV, Movies, iPhones, etc. What we didn’t have was music that represented the genre of “adult” screen content. We tried to incorporate a little of that feeling into the improvisational section of the tune. I’d say that’s a pretty dramatic transformation!
As a trumpeter and producer, you’ve achieved significant success on jazz radio charts. What’s your philosophy when it comes to producing jazz that connects with contemporary audiences while honoring the tradition?
I don’t think I really have a philosophy about that, I’ve just always tried to make music that connects emotionally and takes the listener on a journey with high highs and low lows. That’s true for any given solo, tune, set, album, or show. Radio airplay is a tricky thing in jazz. Too “experimental” and most of the programmers won’t like it (or won’t play it). But if it’s too “traditional”, the critics and writers don’t like it. So you’re kind of damned either way if you play to either of those parties or have an agenda. I always think of the album just like I would a gig – what’s going to capture the listener’s attention, and what’s going to keep it? Experience has shown me that including things that are familiar helps listeners connect – but not too familiar and not too much!
The Seattle Jazz Fellowship represents a significant commitment to nurturing jazz culture. What’s your vision for the future of jazz education and community building?
At Seattle Jazz Fellowship, we don’t really do “jazz education” in the current sense of the word. There’s a lot of “jazz education” in Seattle (and everywhere), lots of it funded at a very high level, but very little “jazz music” – that’s our focus. Anyone can “teach jazz” – that is to say, the notes. But we know the music isn’t the notes. What we try to offer musicians is the opportunity to learn how to give a performance by giving them access to the stage. We try to foster relationships that might turn into mentorships by making sure musicians of different generations are present in the room at the same time, by booking double bills, hosting jam sessions, and incentivizing participation in the community. We try to create that “brass ring” that musicians can strive for (in the form of high-paying gigs in front of an engaged audience) so that the level of musicianship will improve. We don’t really concern ourselves about what scale to play on which chord – that’s “jazz education” in today’s terminology. We care that music exists at a high level in our city, and that can’t happen without a community to support it. We’re trying to create a home base for local jazz artists, where they don’t also have to be promoters and publicists to have a successful gig. We’re trying to make sure that jazz continues to be something that’s happening – not something that happened.
Being named a “Jazz Hero” by the Jazz Journalists Association in 2024 is a notable recognition. What responsibilities do you feel come with this kind of acknowledgment?
Music has been an incredible gift in my life. Like any gift, it’s not something I’ve “earned” or “deserve.” It’s a gift that I simply have to appreciate and take care of. I’ve tried to do that and I believe that’s why the JJA selected me for this award, though you’d have to ask them! People will always use the music to aggrandize themselves, but it’s really on us to support the music if we want it to continue.
Looking ahead, what musical territories are you eager to explore in your future projects, and are there any dream collaborations you’re hoping to realize?
I’ve always wanted to play with Jeff “Tain” Watts and always wanted to record with George Cables. Maybe someday? I’m grateful that most of my “dreams” have come to fruition already! I’m eager to explore higher wages for musicians and better working conditions for my fellows. I’m hoping to just keep striving for excellence and to keep paying my dues.
The album ‘Screen Time’ drops on January 17th, 2025.
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Images by Lisa Hagen Glynn
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