Malcolm Mcnab : the “Crème De La Crème ” of Studio Musicians by Giovanni Santos

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MALCOLM MCNAB : THE “CRÈME DE LA CRÈME ” OF STUDIO MUSICIANS BY GIOVANNI SANTOS

June 2015 • Page 7

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have played on over a thousand motion picture sound chops, and I had heard that he was the guy to learn the James tracks with Malc; the one that stands out the most to me Stamp exercises from. I called up Malcolm and expressed my frus - was Summersby . All day long, Malc had solo after solo of trations with the trumpet and told him I was ready to quit. He octave lip slurs. He never missed, and all of us in the section were talked me off the cliff and said, “Come over and I’ll show you sooooo thrilled he was playing first. Truly amazing bit of virtuoso what has worked for me all these years.” playing. He truly is the best ever in the motion picture biz. These “Stamp” lessons saved my trumpet-playing career, and I —Rick Baptist am forever grateful. I remind him of this every time I see him. Of course I heard about Malcolm McNab as soon as I moved to Fast forward now a few years, and I finally had my chance to sit LA in 1987 . He was not a household name outside of LA , but I was next to him on the movie score to Finding Nemo . I also just to quickly find out why he is a household name in the LA studios. recently had the chance to actually hire him (imagine that) to I was able to see and hear him in the studios, as an observer just play first trumpet, and I played third trumpet next to him on the moving to town, by following my second cousin, studio guitarist recent movie score I was contracting called Need For Speed . Tommy Tedesco, around. Wow! I had never heard a trumpet There were some real hard trumpet and brass cues, but what an played so beautifully and perfectly before. Around 1998 , I took opportunity to hear them played by the master, Malcolm McNab. some lessons with Malcolm as I was having problems with my —Chris Tedesco

Santos: Who were the most influential people in your life as a young trumpet player? McNab: When I was about eight or nine years old, my father, Boyd McNab, took out an old, rather beat- up trumpet and played it. It said “Henry Purcell” on the bell, and it seemed to know only two selections: I Don’t Want to Set the World on Fire and At Sundown . That is when I got it in my mind, I guess, “That looks like fun!” In about the fourth or fifth grade, I found out that a teacher from Garvey Junior High School was coming to our Fern Elementary School to test the students who wanted to play instruments. That’s when they decide which instrument would suit you. I found out years later how lucky I was that I didn’t have that virtuoso tuba player who really loved to teach, but who, when he had enough trumpets for the band, would turn the valves around for the rest of the trumpet candidates. Of course, when they took a big breath to blow into the trumpet, they almost blew their eyes out trying to make a sound. He would console them and say something like, “You have no aptitude for trumpet. Here! Try this tuba!” It happens that they seem to have lots of talent on the tuba. They blew very hard and a little flatulence sang from the bell. “I told you; you are a natural on tuba!” Am I blessed or what? I am sure there were some surprised parents at home that night. It was for the better good. The band now had the correct balance of instruments. It was my good fortune to be auditioned by a wonder - ful teacher, Edwin K. Roberts, director of the Garvey Junior High band. Mr. Roberts could play all of the band instruments pretty well. He helped me get a good start. I went to Garvey Junior High for three years and then went to Mark Keppel High School in Alhambra, California, where the band director was Dennis Kozlow, primarily a flute player, who could also teach all instru - ments. He would come to my house while I was still in

junior high and give me lessons. Once at Mark Keppel, I got teachers: Robert DiVall (principal trumpet, Los Angeles Phil - busy playing in all of the groups: concert band, orchestra harmonic), John Clyman (first trumpet, 20th Century Fox (which Mr. Kozlow allowed me to conduct occasionally), Dix - studios), and Jimmy Stamp. He had helped me as much as he ieland band, pep band, and in the orchestra pit for school could, and now it was time to find another teacher. I could not shows and musicals. imagine anyone any When I was fourteen, I auditioned for “He programmed the Brandenburg No. 2 better or more kind the Alhambra PTA Scholarship and won than Walt Laursen. It $100 worth of trumpet lessons. I found before I knew what a piccolo trumpet was then that I met Walter R. Laursen and his trumpet studio James George Stamp. in Pasadena. Mr. Laursen was one of the was. I just borrowed one and played Jimmy Stamp was most generous people I had ever met. He along with different recordings until I not only generous, was a huge influence on me, both musi - but he was also such a cally and personally. He and his wonder - could get through it comfortably.” kind man. He could ful wife, Jan, never had children of their present the proper own, but in his role as music director of the Pasadena Boy’s approach to playing the trumpet without really saying that Club Band, he was dedicated to taking care of countless young much. Playing along with him was something special. I began people who already had many challenges in their lives. to realize that when you left his studio, you were not only He did make me cry! He made me feel very guilty when I warmed up, but you also could feel the correct approach with - did not practice or did not practice correctly. What a musical out trying to think about what he had said. Later, I realized approach he had on the trumpet! He studied with Herbert L. that it is all about pitch center. He was indeed the most influ - Clarke in Long Beach when he was young man. I was intro - ential teacher I had. duced to the music and recordings of Rafael Méndez. He became my idol, and I wanted to learn all of his music. I followed him around like a puppy dog. Mr. Laursen did three things for me that I feel helped me enormously. After teaching me some orchestral excerpts and how to transpose, he brought me along with him into the Pasadena Symphony when I was just fourteen. This is where I learned so much music and met Richard Lert. Richard Lert came to Hollywood in the early 1930s when his wife, nov - elist Vicky Baum, was called to make her novel Grand Hotel into a motion picture. They stayed, and, after appearing at the Hollywood Bowl, he began conduct - ing the Pasadena Symphony, a community orchestra in a suburb of Los Angeles. During that period, I played there with Lester Remsen and Chuck Brady. Chuck was working with Igor Stravinsky and Robert Craft on the recording of L’histoire during the time I was playing with him in Pasadena. I idolized Brady. He had such a natural, relaxed sound. I eventually became first trumpet and librarian for Lert. He was from Germany, where, as a boy, he heard Brahms play a piano recital; eventually Lert conduct - ed the Berlin State Opera, premiering Richard Strauss operas. I was in the Pasadena Symphony from 1957 to 1964 , when I realize that it was during that time that I started turning into I joined the West Point Band at the United States Military a musician. It was mostly Bach, Beethoven, Brahms, Haydn, Academy at West Point, New York. I was stationed at West Schubert, Schumann, Johann Strauss, and Richard Strauss— Point for about three years. It was a very nice spot to be at that and, very occasionally, Paul Creston and Ernst Krenek. I must time. It was a permanent-duty assignment, as long as you say that Lert did have faith in this young man. He pro - didn’t get yourself in trouble. My brother found himself in two grammed the Brandenburg No. 2 before I knew what a piccolo different bands in Vietnam. New York City is only about fifty trumpet was. I just borrowed one and miles away from the Point, played along with different recordings “Jimmy Stamp was not only generous, and I spent lots of time until I could get through it comfortably. hearing orchestras from all Walt Laursen taught me a lot of but he was also such a kind man.” over the world that appeared music. All of the Herbert Clarke, Frank at Carnegie Hall, as well as Simon, and Rafael Méndez solos, as well as all of the orchestral musicians who played at music stores, jazz clubs, and restau - excerpts out of the Gabe Bartold books. For transposition, it rants. I was able to study with two great trumpet players from was Ernest Williams. the New York Philharmonic—first John Ware and later In 1960 , Mr. Laursen told me that I had to go on and study William Vacchiano. Ware was very musical and would play to with someone else. He gave me the names of three trumpet illustrate etudes and passages and sound so beautiful. Bill Vac -

© 2015 International Trumpet Guild June 2015 / ITG Journal 9 chiano was a great teacher. I went to his house in Flushing, music. You must have the ability to read at sight any type of Queens, on Sunday mornings, along with Bob Lang, a fellow music, sometimes recording it on the first run-through. soldier at West Point, who was able to introduce me to Bill. We Needless to say, you must stay in shape for the most were all listening to the Bruno Walter and Leonard Bernstein demanding playing and endurance possible. You usually do Mahler recordings at that time, and Vacchiano was certainly a not know or even have a chance to see the music that you will star in that orchestra. He told me that over the years he taught have to play. The pacing is the most difficult thing to get used 2,200 trumpet students at Juil - to. You do not always have liard alone. “You have to maintain chops as if you are a chance to be warmed up Santos: What were your goals when you have to face some as a musician/trumpet player always facing a bloodbath. You most likely of the most complicated or during your training? brutal trumpet parts. You McNab: I wanted to be an won’t, but you have to stay ready for it.” have to maintain chops as if orchestral trumpet player and you are always facing a blood - was dreaming of one day getting a job in a symphony. After my bath. You most likely won’t, but you have to stay ready for it. military service and working a summer playing in a hotel band One of my least favorite situations is to look in the folder and in the Catskills, I realized that I might have to take any job in see that there really doesn’t look like too much to play. The music that came along. After the summer, I was hired in Ban - next thing you hear is something like, “Thank you; strings, gor, Maine to spend a year in a Young Audiences brass quintet, brass and winds take ten.” You come back to find twelve traveling around the state of Maine. It was a good group, it was marches on your stand. “Yes, let’s rehearse the marches before music, and I was getting paid. we record them.” Maybe several times through each march, After that season in Maine in 1968, I returned to Los Ange - with all repeats, and then we are ready to record. After several les to live with my folks for a while until I could get some gigs takes, a voice over the talkback says, “Guys, it’s a not-so-good and afford a place of my own. It took some time to get estab - high school band on a football field and it has to sound not too lished and back into the swing of things. I had no thoughts of good. Miss a few more notes.” Do you know how that feels becoming a freelance studio musician, but that did seem to after just a little bit of that? It is very difficult to play “good” start happening by 1970 . When I started working casuals in again! Lesson learned. You must prepare for the worst-case sce - Los Angeles, I was playing with people who worked on some nario. Having said that, hopefully that doesn’t happen very sessions as well. I guess somebody got often. After 43 years of free - sick or didn’t show up, I was recom - “I have been following what I started lance recording, I have sort mended, and I got my first studio calls. of gotten used to the pacing. There was a huge amount of episode learning from Jimmy Stamp 53 years Santos: On a regular day, television in the seventies and eighties. what does your practice rou - Universal Studios alone had many ago, and I am getting more efficient tine look like? shows that used a thirty- or forty-piece all the time. I would love to see every McNab: There is really no orchestra on their scores. regular practice routine that I think that it just started like that. young player learn this approach.” I follow. Self diagnosis points We were turning down calls almost the way. I have a kind of bar- every day. I was also doing freelance symphonic gigs in town. ometer on how I feel at any given time. I can tell what kind of Operas, ballets, musicals, and anything else that would help warmup or routine I need by how I feel at the time. I try not pay the bills. to overdo practice. I have been following what I started learn - Santos: What are some of your most memorable moments in ing from Jimmy Stamp 53 years ago, and I am getting more your recording sessions through the years? efficient all the time. I would love to see every young player McNab: Recording with Bernard Hermann on Taxi Driver learn this approach. I am certain that I would not have the and John Williams on The Man Who Loved Cat Dancing (the career I have enjoyed if I had not met this kind, generous man. first of 46 scores playing first trumpet with John); working I would certainly not have been able to play the Tchaikovsky with Alex North, Jerry Violin Concerto or anything else Goldsmith, Randy New - as challenging as that. I really do man, Sir George Martin; “Good players all learn to play all genres not practice that much. I will put meeting Steven Spielberg, of music. Try to get experience playing in in a couple of hours if I am learn - Anthony Hopkins, Steve ing some new music. Jobs, Ringo Starr, Dustin all types of music and with all types of Santos: How has your practice Hoffman, Mel Gibson, players. Always spend time trying to play routine changed through the years? John Goodman, Billy Crys - McNab: I mostly practice to tal, and Geoffrey Rush. challenging material. Don’t keep practic - pre pare new music I will record. Santos: As a studio musi - Every day tends to be different. In cian, how do you stay pre - ing what you can already play well.” general, I do not play every day, pared for the kind of musical but I am always aware of my state situations that you encounter? of readiness. When I work a lot, I tend not to practice, really, McNab: First of all, you must have played or listened a lot but to do many warmups during the day. to every type of music. All styles. You have to know the differ - Santos: What is your advice to trumpet players entering the ence in styles, phrasing, and use of mutes in every period of music scene today as freelance musicians?

10 ITG Journal / June 2015 © 2015 International Trumpet Guild McNab: Listen and learn. Good players all learn to play all genres of music. Read new music every day. Try to get experience playing in all types of music and with all types of players. You can learn a lot from all players— what to do and what not to do. Al - ways spend time trying to play chal - lenging material. Don’t keep practic - ing what you can already play well. A very important factor in success is determination. Have a goal and try to work intelligently towards that goal. If you keep coming back for more, you probably have what it takes to make it. Santos: Many trumpet players today seem to be quite concerned with their mouthpiece selection. What is your advice when it comes to mouthpiece selection and equipment selection in general? McNab: This is very important. Pick a trumpet and a mouthpiece that are comfortable and try to stick with them for the long run. Beware of get - ting into the “honeymoon” rut. That is, everything starts to look better than what you already have, and if you can just find something that plays bigger, smaller, louder, or softer, you would dump your old setup for a new one. In general, most problems have nothing to do with the tools used. If you are not happy with the way it is going, please try two or three weeks of perfect practice hours went into choosing and adapting music for me to play. before trading up to a new model. Cut your variables! Especial - Much of it is violin music, and starting with those violin parts, ly as you get to be a more mature player (that means older), I worked for many months, trying to make them into some - you really should find something that is comfortable and stick thing “trumpetistic.” The recording went on for months in my with it, knowing that changing equipment often can put you studio, which I built inside my 1927 garage. That’s right, in into a tailspin! You should choose to focus on correct practice my garage. We built a room within a room, sound isolated and and stop trying to find a hardware solution for your playing “state of the art.” I had to build a studio so that I could walk out problems. the back door of my house and get right to it. All of this Santos: Who are your favorite musicians, and why? groundwork and planning was done with the genius of Gary McNab: After playing the trumpet for over 60 years and for Grant, probably one of the greatest trumpet players you have 45 years of freelance recording in Hollywood, I realize how ever heard. Michael Jackson; Earth, Wind & Fire; and more blessed I am to have known and played than a thousand more records. with some of the greatest musicians in “I have worked with hundreds of Gary guided me through the this world. I have worked with hun - process of getting a studio together, dreds of superb musicians, the “crème superb musicians, the “crème de recording and editing, and even de la crème” of studio musicians. I forming my own record label, Kin - wouldn’t know where to start. It would la crème” of studio musicians.” nell House Records. A long process, be very difficult to choose any favorites. to be sure! We do not have enough room here to list the musical giants, all Santos: You have also recently been working with the B&S com - of the artists with whom I have collaborated. pany on trumpet design. What were you specifically looking for, Santos: You have recorded two fabulous solo CD s over the past and what was the outcome (what trumpet did they make for you)? few years: Exquisite and The Infinite Trumpet . What was the McNab: I went to Bavaria and helped design three trumpets. process like in working on these projects? They are the B&S Challenger “Exquisite” B-flat, C, and E-flat McNab: The process was long! From building my own stu - trumpets. They were pretty much based on the design of the dio to choosing the microphones and preamps that would trumpets I already had been playing, and we addressed some of reproduce the sound I wanted, it went on and on. Also, many the things I wished would work better on my trumpets. We

© 2015 International Trumpet Guild June 2015 / ITG Journal 11 Regardless, they gave me a party. There were over 250 people in attendance, including my entire family, including my moth - er, brother, children, and grandchildren. There were over twenty of my family, including my mother Lillian, who cele - brated her 100th birthday in April of 2013 . The speakers included John Williams, Arturo Sandoval, Chuck Findley, and letters from many, including Randy Newman. The world’s greatest bagpiper Eric Rigler marched into the banquet room, performing beautifully on the Highland pipes.

“I want to learn more music. I want to record more music. I want to pass on my skills and approach to playing the trum - pet to the new generation of players.”

I wish that everyone could experience the feeling I had that evening. I really didn’t know if the celebration was for forty years in the studios or just my age. I was not sick and had no Malcolm McNab in the recording studio plans to retire. I realized that it was just a show of appreciation did improve them, incorporating some new features, like for what I had been doing for all of these years. As a matter of Vincent Bach’s French bead (wider and more flat wire) on the bells. The B&S instruments are made the old way. There are burly men, sweating from head to toe, heating brass up in a big hot fire and pounding them out by hand. As far as I can tell, these bells have a beautiful, natural, organic ring to them. There is a factory where over 200 people from almost every country pour their skill and love into these instruments. I am extremely happy with the results. I find that the distributor could deliver to me another instrument like mine, and it would feel just as friendly. The instruments are extremely consistent. I was so impressed by the many levels of quality control in place in the factory. Santos: What is high on your list of things you still want to accomplish? McNab: I want to learn more music. I want to record more music. I want to pass on my skills and approach to playing the trumpet to the new generation of players. I want them to experience the pleasure I have had playing for all these years. I feel that what I have learned about the maintenance of my playing from day to day should be given to the next crop of young players. I want to teach them the correct way to approach the Stamp routines. It has been 53 years since I first went to his studio. I really don’t think that I would have been able to play the chal - lenging music like we have had in the studios or even a violin concerto without him! I have been truly blessed! I have lived my dream. I have had the opportunity to hear all of those nice things they usually say about you at your funeral. In June of 2010 , I was honored by my colleagues in Los Angeles. It was advertised as a “Non-retirement party for Malcolm McNab,” and that was due to the fact that I questioned the wisdom of consenting to a party of any kind. I couldn’t avoid noticing that the people who have had these tributes seem to be old, on their last legs, or down with a terminal disease. The result was usually the same. Within a year’s time, they were either retired or dead.

12 ITG Journal / June 2015 © 2015 International Trumpet Guild fact, how many people in this world get a chance to make their living doing what they love the most? After over sixty years playing the trumpet, I feel very fortunate and extremely blessed. Also, I have been hard at work on a documentary about my teacher, James Stamp. He had such a pow - erful impact on me and my career, and he has helped so many of my friends and colleagues. I have visited Jean-Pierre Mathez of Editions- BIM in Switzerland and learned about the European seminars that Jimmy led. This project continues to grow and is a source of great excitement for me. I have personally interviewed (and filmed) over forty subjects, but I would like to invite anyone who may have spent some time with Jimmy to write to me so I can include their stories in this documentary as well. Finally, I would like to mention my fourth annual trumpet workshop, Camp McNab. Camp McNab 2015 will be held at Azusa Pacific University July 28 to August 2 , as it has been for the last two years. With trumpet players coming from all around the Malcolm McNab, editing his recording of the Tchaikovsky Violin Concerto world, my workshop is truly an international event. I have a wonderful faculty that works with me—Marissa Bene - accompany participants on any solo works they may like to dict ( LA freelancer), David Evans (Cal State, Long Beach), perform. Ayke was Heifetz’s collaborator and accompanist for Thomas Stevens (principal trumpet-LA Philharmonic, retired), fifteen years! Camp McNab is about the basics and is designed James Thompson (Eastman School), and Mike Zonshine for all players, from students to professionals. This is not a (Hon olulu Symphony). I should also mention that we have a performance seminar; our time together will be primarily world-class pianist, Ayke Agus, available in the afternoons to spent on making the trumpet easier, and hopefully more fun, to play. I will be teaching the routine that I personally have been using for over fifty years. I will help participants to diag - nose and treat playing difficulties themselves. Participants will be given the tools to help gain the skills of keeping their play - ing consistent from day to day, which can lead to a long and satisfying career.

About the author: Giovanni Santos is adjunct professor of trumpet at La Sierra University (California), a freelance trum - pet player in Southern California, and director of the Loma Linda Academy Band Department. Santos studied with Richard Hofmann, Boyde Hood, and Donald Green.

MCNAB ’S FAVORITE FILM SOLOS

Dances with Wolves John Barry LA Conﬁdential Jerry Goldsmith The Last Castle Jerry Goldsmith Jaws and Jaws 2 John Williams Stanley & Iris John Williams Presidio Bruce Broughton In Country James Horner Glory James Horner Hidalgo James Newton Howard Wyatt Earp James Newton Howard The Man Who Loved Cat Dancing John Williams 61 Marc Shaiman A Few Good Men Marc Shaiman The Babe Elmer Bernstein Avalon Randy Newman Malcolm McNab with John Williams