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The Definitive Robert Trowers Biography/History By Robert Trowers

I was born in Brooklyn, New York in 1957. I'm proud of both the date and the location. My family fostered in me a love for and appreciation of music at an early age. The family record collection was a mix of Calypso, Afro Cuban, Pop, and symphonic music. Concerning family instrumentalists, we had many music “hobbyists” as well as a fair portion who were on the professional level. However, being pragmatic, frugal and methodical types, they mostly opted for less volatile careers, playing music largely for pleasure (which is not a bad thing at all). This actually was good for my development, because as a child I witnessed many “playing sessions” at family gatherings by the elders. After the mandatory lessons during early childhood ( I got as far as playing the “Donkey Serenade” at my last recital, if memory serves me correctly), I developed an interest in the from listening to the music of the "Swing Era". The late '60's and early '70's were a period in which nostalgia recordings of the “Big Bands” were being pushed on TV quite a bit. Also, many TV shows used the sound of the large jazz ensemble for theme music. One of my favorites was the theme for “The Naked City” (the opening and ending themes). I remember standing in front of the television bathing in the sound of the studio orchestra, and departing after it was finished, only returning at the end of the show when the credits were rolling. When I got older, I actually started to watch the program. My first purchased recordings were those mentioned on the nostalgia commercials; Artie Shaw, , , , and of course the “King of Swing” (according to the commercials), . As I became more involved with buying recordings, I was amazed at how many tunes and renditions I liked better than the so called “greatest hits”. I mean “Take the 'A' Train”, “Stompin' At the Savoy”, “One O'Clock Jump”, “Begin the Beguine”, and “String Of Pearls” were nice, but there were so many other pieces that those bands played that I thought were more interesting and compelling. The trombonists that first opened my ears to the possibilities of the instrument were Lawrence Brown, "Tricky Sam" Nanton, , , Glenn Miller and Jack Teagarden. As my listening progressed chronologically from the “Swing Era” to the period called “”, I became entranced with the "bebop" school of playing, particularly the work of J.J. Johnson, , , and . Their styles seemed to defy what was possible on a slide trombone, and I was fascinated. In college, I played in my college Jazz ensemble (I went to City College of New York, on Convent Avenue in Harlem). In addition, I attended the Workshop which was held in a school building in East Harlem on Saturdays from about 10:00 a.m. until 2:00p.m. That was a very positive experience that helped me grow immensely. A partial listing of the instructors reads like a modern Jazz roll call. A partial listing would include , , There I am, second from the right, with the CCNY Jazz band at an , , outdoor concert. The other two trombonists are Louis Barbarin (center) and David Rothschild (left). Lou's a C.P.A now, and David moved to Charli Persip, Freddie Waits, Curtis Holland and is a freelance trombonist and recording artist. Can't Fuller, Charles Stephens, Jimmy remember the sax players in front. They could play, though! Trumpeter in the back was lead man Mike Morrialli Owens, , and Lisle Atkinson. Imagine having band #1 under Frank Foster or Jimmy Heath and band #2 under Ernie Wilkins; HEL – lo! I also played in a number of professional and semi pro bands in and around during this time. I was a member of 's "Apollo Stompers" during their Monday night appearances at Rashied Ali's Soho club "Ali's Alley" in the late '70's. I was also was a regular in the Ray Abrams / Hank Dougherty during this same period. I feel that I have to devote a little space to the Hank Dougherty / Ray Abrams big band, because that band was a bridge for me. It was made up mostly of older musicians who had been professionals from the late '40's through the '60's, before things really dried up. The musical director, Ray Abrams, had been a member of 's big band along with fellow Brooklynites and (I was to meet Cecil later in my career). Ray was an excellent saxophonist and arranger who had run rehearsal bands in Brooklyn since the '50's, and had a book of largely self – written arrangements about three inches thick. He (as well as all of the other older musicians) was very helpful in teaching me phrasing, dynamics, and intonation. Being the youngest person in the band by 20+ years was great, especially if you were not too youthfully arrogant to heed what was suggested. Ray and pianist Joe Knight would always tell me (and the few other young guys) “You need to start writing; just bring in a few measures, just to hear how things work. You don't have to write a whole arrangement, just a few bars”. They were wonderfully encouraging; I owe them much. They gave me the impression that being a professional Jazz musician was a goal that was within my reach. In addition to the above, I played with other New York jazzmen such as Charles Byrd, who had a VERY unique big band book of arrangements, including a suite called “Ducal Musings with Prayer” that opened my ears up quite a bit. It was very original big band writing. Everyone who heard the band would say “I've never heard a big band sound like that before”.

Later on in my college career, Ray Draper (the tuba player who recorded an album with some years back) started a big band for which he wrote all of the arrangements. This group rehearsed in Harlem. My realization of Ray's level of musicianship was fully formed the day I came into the rehearsal after classes at CCNY a little early. Ray was finishing up an arrangement with no score paper. He would write for each section by checking the notes he wrote for the section he had previously completed. When we played it, it sounded all right to me! I also did a stint at Smalls' Paradise in Harlem with a great little sextet led by Mario Escalera (Mario, tenor sax; Oliver Beener, ; Harry Gist, drums; Bobby Vidal, bass; James Weidman, piano; me, trombone). I would get left in the dust sometimes, but I managed to hang in, and the guys in the group were always encouraging and inspiring. I was fortunate. I played in various clubs in Brooklyn, Queens, and Manhattan over the following years. Some of the clubs were Brownee's, Tiffany's, The Skylark Lounge, Pumpkins, The Lenox Lounge, and most frequent for me, the Flamingo Lounge. I worked with and / or sat in with numerous artists there, such as Cecil Payne, Harold Cumberbatch, The Bill Hardman/Junior Cook Quintet, Al Harewood, , Coleman Hoppin, Richard Williams, and Harold Ousley. Another “honorable mention” has to be for a place called “the Hole”. It was located in downtown Brooklyn, off of Fulton Street (I believe it was Bridge Street). It was an after – hours jam session that only existed for the musicians. After I finished at the Flamingo at 3:00 a.m., I'd head over there and play until about 6:00 or 7:00 . The session was presided over by one Harold The centerfold of one of the Brooklyn Cumberbatch, who is still one of the best baritone “club papers” back in the early '80's. Complete with the misspelling of my saxophonists I have heard, live or on record. The name!By the way, the woman other musicians that were part of it were Lew pictured(Gwen Cleveland) was one of Garrison or Gilly Coggins on piano, sometimes the most swinging singers you'd ever on drums, and different bassists. The want to hear. other regular horn player was a trombonist whom I only knew as “Nat”. One of the rules of the session that “Batch” (as Harold Cumberbatch was called) set up was a three chorus maximum. He used to say “If you can't say it in three, you can't say it”. Anyone going over would have the fourth chorus interrupted by thunderous, randomly placed baritone notes in the most resonant register of the horn. Suffice to say there were few offenders. At “the Hole”, Batch would play the whole time and play few tunes that I had ever heard before. His knowledge of show tunes and early bebop tunes was broad, and even if I didn't learn every melody, I learned how to work out a way through unfamiliar changes quickly. Batch took a liking to me, since I was eager to learn from the elders, even if they weren't world famous. . He'd turn to me and ask “Do you know [a tune title I never heard before]?” When I'd answer in the negative, he'd simply say “You'll hear it”, and stomp off the tune. So, I had to figure something out. That's what I call the “University of the Streets”! My first European tour (as well as my first Carnegie Hall appearance) came in the summer of my junior / senior years at C.C.N.Y. in 1979. I was called by my good Jazzmobile buddy Talib Abdul Qadr (now T.K. Blue) to play with 's (Dollar Brand's) band at the time, called "Ujammah". The group did a five – week tour of Europe entirely by rail, except for the flights to and from New York. It was then that I realized that the U.S. wasn't really trying where rail transportation was concerned. On that tour we hit cities from Italy to Scandinavia. My roommate was the now – famous Wallace Roney, and my section mate was the very prominent Craig Harris. The rest of the band included Talib Abdul Qadr (who has been with the group for over 25 years at present), the late Khaliq al Raouf, Fred Foss and Jeff “Jawara” King on reeds, John Betsch on drums (I always liked his playing!), Claude Latief on congas, Greg Brown on bass, and Gary Chandler on trumpet. On our return from Europe we played a final concert at the Public Theatre. A page from the North Sea Jazz Festival Artists' Listing, 1979 In 1982, I got a call from my old Jazzmobile trombone instructor, Charles Stephens. He asked me if I wanted to play with 's band (where he was playing lead trombone). Lionel Hampton. The legendary Jazz vibraphonist. I was stunned. What do you say at 25 years old with no real big name mainstream experience? I joined and stayed for the next three and a half years. He was a tough leader; he'd play all night if you let him. AND he could hear around corners! At rehearsals, he could hear anyone in any section messing up on an inner voicing or missing the phrasing of the section. And he knew how to hold on to a buck, if you know what I mean! If you don't, ask someone who played with him to explain.

The Hampton band at Carnation Plaza Gardens, Disneyland (Anaheim, CA)

During my time with the Hampton band, I played a concert during one of our breaks that I still cherish to this day; it was at Saint Peter's Church. The band leader was Sam Wooding, who had played with the society band of the great pioneering musician James Reese Europe. Wooding later formed his own band and was the first Jazz ambassador to Russia, playing there in 1925. We played the music that he had written for his band during that period, and it was definitely a different concept than I was used to.

Program from the Sam Wooding Concert at St. Peter's Church

I remember an amusing episode during the concert where Sam spoke to the audience about what good people the Russians were and how we didn't give them enough credit. Reverend Gensel nervously rushed to the mike and hastily thanked Sam for his comments before requesting the next piece; remember, we were still in the Cold War years then! It was a solid performance, and I was gratified to hear from one of the band members that Sam felt that it was one of the best concerts of his music he remembered. When I left the Hampton band, I did about a year freelancing (largely in the Brooklyn / Manhattan / Queens Jazz club scene; I rarely got to the Bronx.) and teaching in the Public School system (those kids will make a man out of you!!). I was able to do a few jazz concerts at schools where I worked, and I played a few Black History Month assemblies in the district, although they were few and far between. However, those few times convinced me that the lack of Jazz appreciation in the African – American community at the current time is more a problem of exposure than of relevance. By the recommendation of reed man C.I. Williams (whom I played alongside at a Brooklyn jam session), I ended up in the lead trombone chair of jazz legend Jacquet. This was about 1986. I really enjoyed this band, not only because of Mr. Jacquet's playing, but because of the arrangements (largely by band member ) and the other band members. This band included the wonderful alto sax man Jesse Davis. We became fast friends, and ended up working together many times after this tour. The other band members included E.V. Perry, , Johnny Grimes, Hugh Brodie, Eddie Bert, Virgil Jones,bv Frank Lacy, Kiane Zawadi, Eddie Barefield, Bill Easley, Rudy Rutherford, Fred Hunter and Kenny Bolds (who alternated the drumming duties with Clyde Lucas on different gigs). Personnel listing from a program on the European tour, 1987

While on this tour, I received a message from the front desk when I arrived at the hotel from a walk. I was told the call was “very important” and that I should stay in my room for another call. I nervously waited in my room, thinking that something was wrong at home. When the call came in, I picked up the receiver and heard Cecilia Foster's friendly voice. Cecilia Foster is the wife (now widow) of the late Jazz legend Frank Foster, who at the time was leading the . She wanted to know if I was interested in playing trombone with that group when I got back from the tour with Jacquet. My answer was of course “yes”, and I remained in that band for the next eight years. The years with those stellar bands put me on stage with some of the greatest names in jazz, including Sarah Vaughn, Dizzy Gillespie, Billy Eckstine, Nancy Wilson, , Jay McShann, , , , Arnett Cobb, , Stan Getz, Frank Sinatra, Joe Williams, , and many others. A great learning experience!

During my Basie years I recorded two albums under my own name for Concord Records; "Synopsis"(1993) and "Point of View" (1995). “Synopsis” was a simply conceived recording that emphasized just plain swinging and having some fun. Jesse Davis appeared on that album with me, and I had a great rhythm section consisting of Louis Nash on drums, Marcus McLaurine on bass, and Cleveland, Ohio piano legend Carl “Ace” Carter. I also recorded five originals on that album: “Synopsis”, “Frolic”, Gee Cee, and “Rush Hour”. The fifth was a joint improvisation between myself and Marcus McLaurine that I titled “Blues for Two”. The interesting thing about this album is that we had to do it in a day, because I had to leave for a tour with the Basie band on the next day. I could only assemble all the members for the recording the day before, and we did a long rehearsal, met at the studio the next day, and recorded all of the album.

"Point of View" was a trombonist's day out, featuring special guests , Al Grey, and Fred Wesley. It included my quartet selections, one quintet piece with each of my guests (a la J J Johnson & Kai Winding), and a four trombone piece at the end (“The End of a Love Affair”). I felt privileged to have musicians of that caliber on my album. Critics' comments on the two albums ranged from “one of the most enjoyable albums I've heard lately” to “This is an excellent outing and shouldn't be missed” (Synopsis). Among my favorite comments were “This record shows the trombone to be a viable and exciting instrument in the hands of masters and Robert Trowers to be its future” and “Young trombone ace breathes new life into the instrument. . “ (Point of View). I believe the best Gavin Report listing was about #35 on the Jazz charts. After the Basie years, I toured with the Lincoln Center Jazz Orchestra under the direction of Wynton Marsalis and later with the Carnegie Hall Jazz Band under . I found both leaders to be quite easy to work for, since they didn't seem to require much else than competence and a good attitude. Concerning Wynton, I found none of the arrogance that he seemed to have been labeled with at the time.

Hanging with trombonist Giancarlo Greco and trumpeter Tommy Williams; Carnegie Hall Jazz band tour, Rome

Other notable freelancing activities of that period include a short tour with T.S. Monk playing the music of his father, Thelonius Monk. THAT was really enjoyable for me, as one of my ambitions was to be the first trombonist to do the Quartet. That just seemed like the ultimate challenge to me. Alas, it was not to be, but at least I got to play the large group music! I also played at the Saratoga Jazz Festival with my own quintet during this period. I was able to muster up a rhythm section made up of my old album personnel (Richard Wyands, piano; Marcus McLaurine, bass; Lewis Nash, drums). Jesse Davis wasn't available, so I used one of my old Brooklyn buddies, the tasteful Jimmy Cozier. By some fluke, we ended up on the main stage in the amphitheatre (somebody MUST have canceled!!). We got some pretty nice compliments after our set, and I did feel pretty good about the way the group sounded. I also did a European tour with a traveling theatre production of the Broadway show "Black and Blue". This was a really fun gig, because the entire band was made up of Jazz musicians, many who I had already played with. were Derrick Gardner and Irvin Stokes, I was the sole trombonist, and right beside me was my good buddy from the Basie band, guitarist Charlton Johnson. The saxes were Craig Bailey, Bobby Eldridge and Charles Owens. Rhythm section was Brian Grice, drums; George Caldwell, piano; and Andy McCloud, bass. I think we jammed every Monday, regardless of the city. In a few places, the rhythm section would get gigs at local clubs on our off night (Monday) and the rest of us would stop by and jam; great fun!

The “Black & Blue” touring band at Theatre du Chatelet, Paris

Another high point of that gig was interacting with (and observing) the great hoofer “Bunny” Briggs. He was a true “physical musician”. The rhythms he tapped with his feet sounded like a good drummer alternating between sticks and brushes. And he was the most humble, likable and wise gentleman you'd want to meet. I have to also give credit to the rest of the dance troupe who were about a third of his age (or younger in some cases). They danced their collective “posteriors” off. I found myself worried about them at times, because those dance routines were killers! Notable Brooklyn clubs that I played at during this period was “Sista's Place” in Bedford – Stuyvesant and “The Dean Street Cafe” in Fort Greene. “Sista's” had one of the warmest feelings of any club I've ever played, while “Dean Street” had a more laid – back feel and was a place where many active musicians would visit for the jam sessions that were held there weekly. In this period, another noteworthy association took place. Frank Foster had passed the Basie band leadership to Grover Mitchell and started rehearsing his own big band, “”. This was another fulfillment of a dream, since I used to see his band performing at “Ali's Alley” before I played there with Jaki Byard's band in the late '70's. The "Loud Minority": powerhouse ensembles, daring soloists, great arrangements - bliss! This band did a tour of Europe, and was well received. My section mates were Charles Stephens, Vincent Gardner and Bill Lowe. The rest of the band consisted of C.I. Williams and Bruce Williams (no relation) on altos, Bill Saxton and Keith Loftis on tenors, and Fostina Dixon on baritone. Trumpets were Tony Barrero, , Eddie Allen and Kenyatta Beasley. Rhythm section was on piano, on bass, and Dave Gibson on drums. I remember getting in some ice cold water at our hotel's beach in Uuteri (did I spell that right, Finland?), which is a small town outside of Pori, where the Jazz festival was held. The only other person with the fortitude to try the water was Fostina Dixon. I guess she's as crazy as I am! But the Finns had no problem with the water, we were told “It's quite refreshing!”. Oh really? . . . OK.

I also did about nine months with the Vanguard Orchestra (previously known as the / Orchestra). Thad is one of my favorite big band writers, so to play “Interloper”, “Central Park North”, “61st and Richit”, and “Little Rascal on a Rock” with that group was thrilling. In bands like that (as with Basie, Hamp, etc.), you feel the tradition.

During this period, I also had the opportunity to play with the Chico O'Farrill Afro Cuban Jazz Orchestra. We played Sundays at New York's “Birdland” (on 44th street off 8th Avenue). This was another great experience, playing under the maestro himself, with heir apparent Arturo O'Farrill at the piano, and my Jazzmobile buddy, Angel “Papo” Vasquez at the other end of the trombone section. Sam Burtis and the venerable Jack Jeffers rounded out the . Leading the sax section was once again my Brooklyn buddy Jimmy Cozier.

Since 2004, I have been on the faculty of North Carolina Central University. N.C.C.U. boasts an award - winning Jazz Studies program, and I am proud to be a part of it. The Jazz Studies director, Ira Wiggins, has a real respect for the tradition of this music and imparts it to the students passionately and effectively. In addition, we have a really supportive radio station that plays straight ahead music just about all day from Monday through Friday, and for much of the weekend as well. We also have a number of focused, talented students who are interested in playing this music as authentically as they possibly can. If I can be to them what the New York cats like Harold Cumberbatch, Ray and Lee Abrams, Coleman Hoppin, Howard Kimbo, Cal Lynch, Cecil Payne, Mario Escalera and so many others have been to me, I'll feel that I have at least been useful.

@ Liberty Galleries, Durham, NC , circa 2013 CoCo Jazz 2010, Wilson, NC Here, I'm directing a rehearsal of the Historically Black College & University (HBCU) All Star Big Band. Another high! CoCo Jazz 2009, Wilson, NC

These are a few of the activities that I've developed since being at NCCU. The brass ensemble is pictured at the Liberty Galleries in Durham, while the other two pictures are from the 2009 and 2010 CoCo Jazz Series that I conducted in conjunction with Wilson Community College (Wilson, NC). Another great time was directing the HBCU All Star NCCU Brass Ensemble, Wilson, NC, 2009 Band at the IAJE Conventions of the past. It has been inspiring to watch the dedicated students grow and strengthen over time! An honorable mention has to go to the radio support we get in the Durham area with our school station, WNCU 90.7 FM. It features “straight ahead” Jazz five days a week. On weekends, Jazz is still predominant , but it is programmed along with African music, Funk, Blues, and “old School” Gospel. I was surprised to find such a great radio resource when I arrived in Durham, considering that New York's number one Jazz station (WBGO – FM) wasn't even in the city! I've done a few live broadcasts of music from the station and I've also started a series called “Eagle Jazz” (named after the school's mascot). The weekly series features a playlist assembled by a different member of the Jazz Studies faculty, who also talks about the music and musicians featured. This has been enjoyable and inspiring.

The WNCU logo and e - newsletter

We also got additional radio support in Carrboro from a lovely lady by the name of Melva Fager Okun, who had a radio show called “Melva's Musings on Jazz”. Like our school station, we did live braodcasts and played various selections of our own choosing while discussing the featured music. Simply put, I've done more radio here than I ever did in New York!

Melva Okun, my colleague Baron Tymas & Me at Melva's Musings on Jazz "Musing at Melva's place"

I'm also working currently with Randy Weston's African Rhythms group, which has been as sublimely enjoyable as it has been educational. Randy's concept is really great for allowing the group's musicians to develop. With many groups, the arrangement of the tune helps to form your approach to improvisation. It's largely the same with Randy's group, but HIS approach to the tune might change on any given night. He might change up the solo order, so you never know exactly what to expect. This presents a different kind of challenge than what I have experienced in most groups. I remember Randy's previous trombonist, , telling me: “When you work with Randy, it's not a gig; it's an adventure!” I couldn't have said it better (or as well) myself! A Few of the Randy Weston “Adventures”

Backstage in Marciac, France with Howard Johnson & enthusiasts

At Jazz Middelheim, Belgium

"Uhuru Africa" 50th Anniversary Band - Low Brass & Rhythm: L - R: Charli Persip, Neil Clarke, Vincent Chancey, Craig Harris, Me Tribeca Theatre, New York After the gig, Pittsburgh, PA And I haven't found Durham to be a bad place for Jazz, either. They've got a fairly vibrant Jazz community with a lot of strong players (largely courtesy of Dr. Ira Wiggins at North Carolina Central University, my school) and in the years since I've been here (2004 – present), there have been a number of good venues for Jazz opening up. In addition, there is a pretty good scene just down the road in Chapel Hill / Carrboro, and Raleigh offers some spots as well. So, there is something to do here. I'm working on more community involvement, especially in the schools and communities that don't have regular access to this music. That's always been a commitment of mine. It's a thankless job that's not at all lucrative, but I believe it can stimulate intellectual growth and community awareness if done right. Some of My NC Projects:

A gig in Charlotte, NC My standard flyer for with trombone buddy gigs at the leading local THIS was fun! Two great trombonists as guests of our Tyrone Jefferson; another Jazz venue; the Beyu fun venue with some good Caffe! school, a workshop for students, a fun evening players! concert; Yeah!

As I've always told my students, I feel fortunate. Fortunate to have come up through the jazz ranks in New York as I did. Fortunate to have played in the bands and groups that I did. Fortunate to have heard so many great, unheralded musicians who played this music just for the love of it. Fortunate to have had the recording experiences that I've had. Fortunate to teach Jazz Studies at an Historically Black College and give something back to the Summit II- Nov. 2014: This time with Downbeat community that has been so nurturing and nourishing to Critics; Poll Winner me. I can only hope to continue to be blessed in this way Vincent Gardner; Shed in the years I have left! time!