World Famous Trumpeter Allen Vizzutti: Key Highlights of His Musical Career

How did you start your music career and how did you develop your interest in playing the trumpet? 

If you mean how did I start playing trumpet, my father, a self taught amateur trumpet player asked me if I would like to play trumpet. I don’t know why he chose to start me at the age of 7. He owned a music store in Missoula MT. so I started on cornet and always had nice instruments. Dad was my only trumpet teacher until I attended the Eastman School of Music at age 17.

 If you’re asking how my working career started it would be in Rochester NY, location of the aforementioned Eastman School. I had had quite a bit of solo performance experience as a kid including televised talent show appearances and live concerts with bands. In Rochester there were ample opportunities to play many styles of music in professional settings if you were up to the task. Local organizations often drew from the Eastman student population for their performances. I had good technical skill, excellent sight reading  and decent confidence such that I was asked to freelance in town after I had been heard in the community. I won a position in the Rochester Philharmonic while an undergrad and also a position in the Eastman Faculty Brass Quintet which was a touring ensemble of professors. There were shows, jazz gigs, church gigs, chamber orchestra concerts and various other activities happening in and around Rochester, Buffalo and Syracuse at that time. I drove to work in New York City on occasion. So, while I can’t really define exactly when my career started a good general answer is “while I was at Eastman”.

2. Among the many concerts and stage performances you have played throughout your career, which one was the most memorable for you and why?

I have no idea. My first concerts on stage were when I was 10 or so. I toured with Woody Hermann’s band for a year and a half playing nearly every night. I toured with Chick Corea’s group several times - once for 3 months out of the USA. I played regularly with the Rochester Philharmonic and for 6 years with various Eastman School ensembles as a student. I’ve toured with a German trumpet group and the German Brass over the course of 15 years. I’ve been a busy soloist since I was 18. I had my own fusion band called Red Metal for about 8 years. I’ve been to 77 countries, to Japan 49 times. Number of concerts? Your guess is as good as mine. 

3. What were the biggest challenges in your music career and how did you overcome them?

The mistaken impression of what a trumpet soloist can do and will sound like has been a huge challenge. In other words, creating solo opportunities in a world that thinks trumpet music is only loud and fanfare-like. In a word - marketing. The problem is the close mindedness of those who book soloists for symphony orchestras and general concert series. They stick with pianists, vocalists and string soloists. Brass soloists are not high on their lists unless you are very visible in the media which will sell tickets. Being known as a classical and jazz player has not been helpful either - with a notable exception being high school and university appearances with school groups. In that market cross over skills are very helpful. Otherwise they can’t imagine that you could be good at both classical and jazz music.

I haven’t really overcome the challenge. The only thing I can do is to keep putting the best music out there that I can muster as often as I can. You need to create opportunities and fearlessly grab ones that come along. Also, make sure you create beauty and not just blow notes. 

4. Of all the music you have ever recorded or performed, which piece of music inspires you the most or to which you are emotionally attached and why?

Your questions are awfully general. For instance I’ve played the Bach B Minor Mass several times. There are few pieces so beautiful. I wrote a piece to honor my Mother and Brother’s deaths. Recently the Dallas Symphony performed my piece, “Love and Tears for Ukraine” with solo flugel (me). That performance was very moving. We all have touchstone music that brings back memories or melancholy. My wife and I have an R&B ballad we think of as”our song”. When my wife practices Chopin at the piano at home the beauty of the compositions is sometimes overwhelming. 

5. What do you think about the impact of music on people and what kind of message would you like to convey to the audience through your own music? 

Beginning with my own music - I hope to convey emotion, beauty and excitement. I want listeners to be entertained, to have fun and to experience something. The repetitive nature of some “successful” compositions and the lack of emotional creativity in the writing sometimes astounds me. It makes me think I’ve got it wrong. But luckily the feedback is positive. 

The impact of music on people is positive if the musical content is not         brainless.  I don’t think talking over loops is art but the rhythmic content and lyrics have a huge effect on the general public obviously. The value of the arts? Emotional well being. Stress reduction. Cognitive benefits. Social connection. Therapeutic applications. Self expression. Stimulating creativity. Boosting self esteem. A positive impact on brain activity and development. 

And it’s fun.

6. How do you deal with the technical challenges of playing the trumpet and how do you continuously improve yourself?

Success in consistent trumpet playing is contingent on the fundamentals of deep relaxed breathing, smooth steady airflow through the instrument, repetition, smart practice and a beautiful sound. Embellishing the fundamentals, (technique), range and endurance are a result of careful daily technical practice, attacking difficult techniques until you improve, an open mind and experimentation. Smart practice means to know when to rest. Overblowing and too much mouthpiece on lip pressure will stop your progress. Take lessons and talk to players you respect to improve and solve playing problems. 

7. Can you share with us the memory that you consider one of your biggest achievements in your career and what did you do to achieve this success?

My achievements are not all that monumental. Surviving well as a trumpet soloist, free lance artist and composer is pretty good I guess. I’m happy that I was able to record an entire CD of my classical solo compositions with the Budapest Radio Orchestra. The recording is on iTunes but is not well known so I don’t think about it much. (The Emerald Concerto and Other Gems). I did it the same way you accomplish anything in the arts. You create, in this case compose, and find a way to get that which you have created out into the universe where it might lead to connections to people who become part of your musical dream. Also learn as much as you can about business. So many good musicians are horrible at business I think mostly because they don’t like it. You need to be more than an artist even if you are an artists first.

8. Can you give us some hints about your future projects? Are you working on new recordings or collaborations? 

I am constantly writing and I am working on a new “not-classical” album if you can call a collection of tunes that will be streamed an “album.” My life is still busy with international travel and performing. That takes a lot of time. There are more trumpet study books on the way too. My wife - pianist - Laura and I just finished a series of educational videos for the ToneBase organization that will be available online in April. One of my biggest priorities is a plan to carefully rearrange my sock drawer as soon as I can decide whether to go with color or texture. I’m leaning toward color. Check out vizzutti.com for more information. Thanks!