Name: Reginald Chapman
Nationality: American
Occupation: Trombone player, arranger, composer, educator
Recent release: Reginald Chapman's Accretion is out via Fresh Selects.

Tool of Creation: Trombone
Type of Tool: Brass instrument
Country of origin: Unclear
Became available in: Probably in the 15th century.

If you enjoyed this interview with Reginald Chapman about the trombone and would like to explore his music in more depth, visit his official website. He is also on Instagram, and Facebook.



What was your first encounter with the trombone? What was it about it that drew you in?

The first encounter with the trombone that made a lasting impression was growing up playing trombone with the children’s choir at a church my family had attended for generations in Williamsburg VA.

I played this bass line riff. I’m not sure what song it was but the whole community went crazy over it and I felt like I could contribute something truly special.

I often forget or downplay the value of this part of my musical and personal growth during my formative years.

Just like any other instrument, the trombone has a rich history. What are some of the key points from this history for you personally?

The early predecessor to the trombone called Sackbut was used almost exclusively in sacred settings.

I was able to play one of these early instruments while give a masterclass at the Royal Welsh Conservatory a few years back.

What, to you, are some of the most interesting trombone recordings and -performances by other artists in terms of your personal development?

Jim Pugh -
Dave Holland Quintet - Live at Birdland


 
New York Trombone Quartet - Bartok String quartet number 4



Wycliffe Gordon & Ron Westray - Bone Structure



Michael Davis - Bone Town (specifically "Trombone Institute of Technology")



JJ John’s on Miles Davis’s Walkin was the first trombone recording I ever had.

When talking about electronic devices, we often think about their “features”. But the trombone is a complex device, too. What are some of its stand-out features from your point of view? How would you describe its sonic potential?

The trombone is very much like the human voice in range and in timbre. Also like the human voice there are no frets to lock in pitches giving lots of room for microtonal embellishments.

The Bass Trombone has two valve attachments allowing it to be played at different pitch levels the leads to further expressive and utilitarian capabilities.

Instrument design is an ongoing process. Are you interested in recent developments for the trombone in this respect?

I recently worked with a company helping them design their Bass Trombone. This process was hugely insightful. It really forced me to think of all the integral parts of a brass player from a players perspective and from a material perspective and how they are connected.

Different alloys respond differently to the energy you apply to them. Bore sizes, crook shapes, bell sizes all shape the way the horn responds to the player which, in turn, colours the subsequent sound.

Tell me about the process of learning to play the instrument and your own explorations with it.

I started playing trombone in woodwind class in 7th grade. Being the only brass player in the class I had to figure things out for myself. Then in high school and beyond I played bass trombone and didn’t have a dedicated bass trombone teacher.

Having to figure things out on my own landed me entry into a masters and doctoral degree program encouraging me to codify my approach.

In the light of picking your instrument, how would you describe your views on topics like originality and innovation vs perfection and timelessness in music? Are you interested in a “music of the future” or “continuing a tradition”?

As I become more experienced and listen to more music, the more I see how all music is connected. Hip Hop is Soul, Rock is Blues, The Blues is Spirituals mixing European harmony and African rhythm. It’s all history and it leads to the future.

We are derivative beings, did you eat today? But the beauty lies in that there are infinite possibilities that we are still exploring and discovering even with the same 12 notes that everyone uses. knowing where you came from is a great way to move forward. It’s also a great way to stay grounded when you are discovering new territories.

It’s the common thread throughout one's life, that self that remains after all of the transient fads and seasons of life fade away.

What are specific challenges in terms of playing the trombone?

The register of the trombone, especially bass trombone, can often sit in a register that conflicts with other instruments in the band. Finding band mates that are sensitive to this and mixing engineers that know how to create frequency lains for solo trombone voices are important.

Also, the technical proficiency to play at faster tempos is notoriously harder to gain on trombone compared to instruments with buttons and keys.

What interests you about the trombone in terms of it contributing to your creative ideals? How do you see the relationship between your instrument and the music you make?

The key to being successful on trombone is always thinking beyond the instrument. Transcribing Coltrane, Miles, Dave Holland etc. creates a habit of playing what comes to mind and not getting stuck in what others have deemed trombonistic. I have often had to have unshakable faith in my artist voice even when I’m not the highest playing or flashiest horn player on the bandstand.

It’s also taught me a lot about life you are given so many features and such at birth that are unchangeable and you are fortunate to have a lifetime to learn and explore how beautiful the expression of your existence is and how priceless your individual unique contribution to the story of of universe is.  

How would you describe your personal style of playing the trombone?

My musical roots are Gospel Jazz and 90’s RnB. I received a bachelors in Classical Bass Trombone and a Masters and Doctoral Degree in Jazz Bass Trombone. Along the way I bumped elbows recorded and toured with indie rock and pop musicians.

… So whatever that gets you.

What does playing your instrument feel like, what do you enjoy about it, what are your own physical limits and strengths?

Wind instruments are very much an extension of your body when you play them. You are blowing life into them. The character of your breath determines the character of sound.

The slide on the trombone is tracked to the movement of your arm. Everyone has such a different physical make up and because the trombone is so tapped into physiology it allows for a wide spectrum of stylistic footprints on the horn.  

Could you describe working with the trombone on the basis of one of your pieces, live performances or albums that's particularly dear to you, please?

I particularly like the way the Bass Trombone is featured in “Hoodie” from my freshman album Prototype.



Up until recently it was my most popular original and features a super lengthy bass trombone solo. It was even featured on Fox’s Empire television show.

Some see instruments merely as tools towards creativity, others feel they go hand in hand. What's your take on that?

“It’s not the gear it’s the ear.”

Instruments are tools to amplify consciousness

Different instruments can be used as oblique strategies as they have propensities for different workflows and strengths/weaknesses in different areas.

How, would you say, does the trombone interact with other instruments from ensembles/groups you're part of?

The trombone section is the harmonic and rhythm reinforcer of the horn section, often times mimicking the left hand of the piano or the bass. I especially appreciate contexts where I can just be Reginald Chapman and It doesn’t matter what instrument I’m holding.

That’s hard to find so I create my own projects to bring the bass trombone to the forefront. Almost the same way that Howard Johnson  brought the tuba forward.

Are there other trombone players whose work with their instrument you find inspiring? What do you appreciate about their take on it?

Robin Eubanks - he’s an all around great musician who’s played in all genres. His work with the M-Base this mix meter Brooklyn hip hop jazz starting in the late 80s is particularly interesting.

He oozes and lives music in his prolificness with hails to tradition evident in his training in Art Blakey and Slide Hampton’s bands. And he’s ever looking toward the future with his language and approach to the horn and improvisation.



I get the sense that he’s always himself and thrives doing such. That’s inspiring in an industry oftentime built on nostalgia.