Sean Jones
Trumpeter Sean Jones embodies the same kind of clarity and balance in his sound, his
approach to the trumpet, and making music as he demonstrates in expressing his perspectives
about life and other subjects. The Pittsburgh, Pa., native maintains an active schedule as
a leader, recording for Mack Avenue Records, performing with the Jazz at Lincoln Center
Orchestra, and as a clinician and educator.
In our discussion about learning how to improvise, Sean pointed out that the process involves
a combination of two essential elements: internalizing the rhythmic and harmonic language of
jazz, and finding and developing one’s personality through the use of that language. “The only
way that you can truly internalize the essence of jazz and the jazz language is through intense
listening. Just as a child imitates his/her mother and father in order to be able to communicate
with them, an aspiring jazz improviser must listen and imitate the sound, phrasing and the
rhythm of the jazz masters in order to communicate the language effectively.”
With a long lineage of trumpeters in jazz, I asked Sean about those stylists who have
significantly influenced him, and how he has incorporated — or avoided incorporating — those
elements into his own playing, thus shaping his own voice.
“I have been heavily influenced by the styles of Clifford Brown, Freddie Hubbard, Woody
Shaw and Miles Davis. Clifford Brown’s sound and technical facility has influenced me greatly.
His way of articulating combined with the joy in his sound captured me at a very young age.
Freddie Hubbard’s rich lines have had a great effect on the content of what I play as well as
Woody Shaw’s intervallic approach to play. As a leader and innovator, Miles Davis has definitely
played a serious role. His ability to swing through the music of each decade is amazing to me.
He adjusted to the sounds around him, and I admire that very much.”
Speaking about one jazz artist who was able to transcend the genre and become internationally
renowned, Louis Armstrong, Sean said this: “He played with no inhibition whatsoever. He had
a way of floating over the rhythm section. Dizzy [Gillespie] also did the same. These two artists
have influenced my command of the instrument as well as my ideas.”
How does an artist strive to develop his own voice given the vast territory that such
overwhelmingly influential artists have covered and made their own? Sean observed: “Although
these great artists have placed such a definitive stamp on the music, I am fully aware that I
must follow this tradition and place my own stamp on the music. This is the beauty of jazz. It
is tradition that the artist follows the lineage and takes that lineage and forms their own sound
within it. This is how the music has been able to evolve over the years.”
Sean also recognizes the immense challenges and responsibilities that he and many artists face
in this creative arena known as the jazz world. “It is not enough to merely copy the past. We
must take it and expand upon it. This is my personal challenge, and I hope that all of the young
artists of today take upon that same challenge.”
Flexibility is one of the extraordinary qualities embodied by this commanding trumpeter. Sean is
a highly accomplished improvising soloist who easily transitions into the role of lead trumpeter in
a big band — as evidenced in his work with the Lincoln Center Jazz Orchestra. It’s no secret,
then, that upper register work on trumpet is not an issue for him. Like many musicians these
days who have committed to intense practice and had the benefit of quality instructors and
education, technique is rarely a limiting factor. The issue for some players can be having too
much technique — where the temptation to show off abundant technique can overshadow the
purity of melodic ideas and associated emotion. Sean admitted that he has dealt with those
issues as well.
“This has definitely been an issue for me, personally. I’ve worked very hard on my facility and,
to a certain degree, have depended on it at times. But, as I mature, I realize that you can say a
lot with very little. For example, you don’t need to know every word in the dictionary if you want
to tell someone that you love them. You simply look them in the eye and say, ‘I Love You.’ I now
realize that it is a combination of the content, the intent and the delivery of the content that
makes a great solo — not the amount of notes that you play.”
What kinds of discoveries has Sean made about playing, improvising, listening and leading as a
result of his performances with Gerald Wilson, Chico O’Farrill, Jon Faddis and others?
“Every situation is different. It is important to know who you are playing with. You need to know
their concepts and their repertoire. This comes only through intense study of that particular
artist. As far as leading, I have definitely learned that in order to be a good leader, you have to
be a better follower. Learning how to follow Jon Faddis in a trumpet section and follow the
conducting of Gerald Wilson in a big band has taught me how to lead a trumpet section and
conduct my own bands.”
Even though Sean has had the good fortune of being innately talented, and having been
blessed with inspiring and concerned instructors and mentors, he pointed out that a confluence
of other factors are essential. “It’s not enough to be at the right place at the right time. You must
be at the right place at the right time with the right preparation!” He also pointed out an early
experience that has guided him on the path and contributed to his humility as a constant student
of his craft with his commitment to lifelong growth. “People such as elementary school director
Rich Rollo wouldn’t allow me to get by on talent alone. I had to really study. I’m reminded of the
time when he put me at last chair in the section. Although I clearly had more ability than the
other students, I was the worst sight-reader.”
Communicating with an audience, and capturing their attention and their hearts is essential
for the success of any performer and performance. Sean remarked that “much of the music of
today doesn’t tell a story or speak to the human experience. I’ve been around a lot of musicians
that don’t even care if the audience is there or not, and it’s obvious when you go to jazz clubs
and the only people that are there are other musicians or jazz enthusiasts. The jazz masters
were all able to communicate to the listener and connect with their audience. They knew
their purpose and why they were performing. I believe that music should tell a story and have
meaning and be able to convey some element of the human experience. I just want to be able
to help the next man through life with my music.”
What does Sean believe are some of the essential ingredients performers need in order
to connect with an audience? “The ability to speak to the audience as well as having good
stage presence,” he said. He identified the lack of connecting with the audience as a real
obstacle. “This is definitely something that my generation could use some work in. It’s important
to be able to communicate to an audience and give some history about what they are listening
to. It is also important to converse with the audience after performances, know how to do
interviews and speak clearly. I’ve had to learn that people not only hear you, they see you as
well.”
In January 2013, on The Jazz Cruise, readers will be able to see and hear Sean, get a chance
to speak with him, and get to know this thoughtful, creative trumpet artist.
Eric Nemeyer is one of the true authorities on jazz in the country. He founded Jazz Improv Magazine (1997), Jazz Improv NY Magazine (2005), Jazz Inside Magazine and Jazz Inside NY (print, digital) to help industry participants market to the broadest demographic that populates the jazz landscape. Jazz Inside NY Magazine is available as a free download at www.jazzinsidemagazine.com.
Mr. Nemeyer also produced Jazz Improv LIVE! 2007 Convention in NYC, created 80 panels/workshops, booked the artists for all 100 performances, created the marketing materials, advertising and PR copy, managed direct mail campaigns, and participated in sales of sponsorships.
Additional accomplishments include having produced 40 jazz albums including projects for Bailey's Irish Cream, Vandoren and Conn-Selmer, and composing and arranging over 125 published arrangements for jazz ensemble, concert and marching bands.
Eric will be writing a monthly column in Jazz Cruises’ Notes, and we welcome his voice and insights.