HM- Welcome to the Brass Herald, Bahb. Firstly, where did the nickname come from?

BC- First I would like to thank you and Philip Biggs for the opportunity to speak with the Brass Herald about my experience as a Natural ( Baroque ) Trumpet Soloist and the “ Tongue Controlled Embouchure “.

BC- To answer your question about my nickname and how it came about, it happened on my first trip to Germany in 1997 to take part in a master class that was offer by Friedemann Immer. It was at that time that I met Niranjan Wijewickrema, who has become one of my very best friends for the past 10 years. He asked about my name. He said “ if your name is Robert why do you call yourself Bob? I said, “ Bob is my nickname “. He asked how it was spelled, and when I spelled it he said that B-o-b should be pronounced Boob. I told him that he was not going to call me “ Boob “ and spelled my name out phonetically for him. From that time on I have called myself BAHB! It’s a rather clean four letter word.

HM- Tell us a little about your formative education. I understand that your first teacher was a very inspirational guy?

BC- Dr. Myer( Mike ) Savits taught me the art of phrasing and setting goals for myself. Mike was the most inspirational person in my life starting from age 14. As an outstanding professional trumpeter and educator he introduced me to the world of professional music and made me aware of the importance of a good education. Through his influence I started teaching trumpet and playing professionally by the time I was 15. I have loved teaching and performance all of my life. Mike is still an inspirational person in life.

HM- Then it was off to the New York College of Music and into the professional sphere? Do you feel your experiences in these orchestras and bands helped with regard to the technique involved in your current performing of the baroque trumpet repertoire?

BC- That is a great question, one that is not often asked. When I think back on my experiences with regard to Classical, Jazz, Latin and Pop music, I feel that all the techniques I have learned from these genres are being applied in my current quest to master the Natural Trumpet and be an historically informed performer. The Baroque Style of performance in many ways is similar to the swing style of Jazz. Yes, during the Baroque Period performers were swinging.

HM- I was interested to read that in addition to your performing career you also worked as a music therapist and founded your own music school. This must have been very enlightening?

BC- While freelancing I started reading child psychology material in order to help me raise my own children. During that time I discovered Music Therapy which was relatively new at that time. I thought, “ what a great idea that is “. Using music to help people with psychological problems sounded great to me. I investigated a school in New Jersey and started taking classes. To my surprise there was very little instruction going on in the University so I decided to take the bull by the horns and work at a mental institution that offered music as a therapy. I was very fortunate to work with Ken Medema, one of the leading music therapist in the field at that time. Ken made me aware of my own musical talents and my innate ability to connect to the therapeutic aspects of music.

HM- It was around this time that you first began having lessons with Jerome Callet?

BC- It was 1973-74 that I first met Jerome. I was doing a lot of Latin playing in NYC and although my chops were in great shape I did not know how to play double high C. A friend suggested that I see Jerome Callet. He was the guy who could show me the way. At that time Jerry was not talking much about the tongue. His main focus was on playing double pedal tones using the Einsetzen / Ansetzen French Horn Embouchure. Little did we know that some 30 years later it would lead to the Tongue Forward / “ Super Chops “ and now the “ Tongue Controlled Embouchure “ or TCE.

HM- Then you decided to give up the trumpet: a period which lasted twelve years. What prompted you to move away from playing, and how did you return to the trumpet? You must be the most successful ‘come-back’ player ever!

BC- I left the music world mostly for family reasons. I had a rather successful 25 year run in the music business. I was able go to college and the conservatory. I traveled across the USA and played lead trumpet with some very famous bands. My kids were growing and I had to provide for their futures. I was very fortunate to get involved with antique restoration as a hobby. I found myself absorbed in restoring furniture and eventually bought a run down restoration business. With the help of my family we built a very successful business. When my children became involved in the business they encouraged my to return to the trumpet and continue my career.

HM- And you returned immediately to study with Jerome Callet? Did you notice any developments in his teaching and approach to the Tongue Controlled Embouchure (TCE) at that time?

BC-I knew from my past experience with Jerome that he understood the mechanics of the embouchure. As a comeback player I wanted to focus all of my energies on playing Baroque Trumpet Music. Like many players of my time, Maurice Andre was my idol. I wanted to play like him and play all the repertoire on the Piccolo Trumpet. I knew that I would need to have a great embouchure to achieve my goals. When I resumed my studies with Jerome he was very emphatic about keeping the tongue between the teeth or the “ Super Chops System “. Within the first 3 years my playing was better than when I had left the business. After 12 years of study with Jerome and all the changes we made to the embouchure, we wrote the book “ Trumpet Secrets“ ( “Secrets of the Tongue Controlled Embouchure“ ) Together.

HM- But what made you change course from learning to play ‘Double high Cs’ on a modern instrument to period instrument performance?

BC- During my first master class with Friedemann Immer he introduced me to the Natural ( Baroque ) trumpet. I was a little reluctant at first but he encouraged me to try the Baroque Trumpet. When I played a 2 octave arpeggio on the first try he said “ you are a natural, I think you have found your instrument “. With his encouragement and the friendships that developed with him and Dr. Edward H. Tarr, I found myself rubbing elbows with 2 of the greatest artists of the Natural Trumpet world.

HM- So Friedemann Immer was a big influence in changing your course of playing?

BC- Yes, I met Friedemann in Sweden in the Summer of 97. I was there with Jerome at an ITG Conference. At that time I was very involved with Piccolo Trumpet playing. I attended Friedmann’s master class and played the Tartini Concerto, the one that Andre made famous. Friedemann pointed out that the Tartini was not an original trumpet concerto. He asked my why I was attending his class, and I told him that I wanted to learn about Baroque style and interpretation. After fifteen minuets with him he changed my entire approach to Baroque interpretation. I know then that I had to continue this study with him not matter what it took.

HM- Recording on a CD with him must have been a wonderful endorsement of your qualities as a player?

BC- Recording and touring with Friedemann Immer has been one the most exciting periods in my life. As my friend, teacher and mentor Friedemann has encouraged me to stay the course.

HM- Have you won any competitions along the way?

BC- Yes, I was the First Prize Winner in the first “ National Baroque Trumpet Competition “ held in the USA at George Mason University, Virginia in 2004.

HM- You also developed further interest specifically in the concerti of the ‘Mannheim School’; the late baroque period which was until recently regarded as ‘un-playable’ on the natural trumpet? Not only do you have to meet incredible technical demands to play in the ‘stratosphere’ of these concerti, but you must also have a deep understanding of the various articulations, approaches, social and cultural contexts in which these works were written. How has your research into these technical and historical aspects informed your performances, and would you consider it an essential part of concertizing?

BC- When I first started to play the Baroque Trumpet, Friedemann suggested that I become a member of The Historic Brass Society. I met Jeff Nussbaum who is the president of the society. Jeff plays trumpet and cornetto. I told him about my experience with Friedemann and how I had become totally hooked on Natural Trumpet. Jeff immediately informed me that if I were to become an informed period instrument performer I had to become an historian. He said I had to understand the performance techniques of the period. This included understanding of the various articulations, approaches, social and cultural contexts in which these works were written. I have spent the past 10 years traveling in the USA and Europe studying with such masters as Edward H. Tarr, Franz Streitwieser, Crispian- Steel Perkins and Friedemann Immer. They have guided me through the performance styles and practices of the period. I have also studied the writings of C. Bendinelli, G. Fantini, D. Speer, J.J. Quantz and E.H. Tarr. In order to truly understand and interpret the music of the period it is essential that one studies the history of the period. It is an essential part of concertizing.

HM- Tell us a little about the position you currently hold with the Dallas Bach Society (DBS)?

BC- The Dallas Bach Society is a period instrument ensemble and is dedicated to Historically Informed Performance ( HIP ). I currently hold the position of solo principal trumpeter. In addition to the regular repertoire the position requires that I play J.S. Bach’s Brandenburg Concerto #2 every season. I always look forward to those performances.

HM- You also have your own ensemble: Buccina Cantorum. How big a role does this play in your musical activities at the moment?

BC- At the moment "Buccina Cantorum" is concertizing in the New Jersey area. However, the past 3 years have been focused on my new recording “ The Unheard Rococo Concerti “ and have not had much time to dedicate to the ensemble.

HM- You also recorded a solo CD with the group. Tell us more!

BC- Our recording “ Music of the Italian Baroque “ BCR-3313112 features Katy Sumrow, Mezzo Soprano, Cynthia Marrs, Virginal and myself on Natural Trumpet. Friedemann Immer also made a guest appearance. The CD features solo trumpet Ricercatas, Sonatas, beautiful Soprano and Trumpet Arias and more.

HM- And you have another CD out soon?

BC- My soon to be released CD ” The Unheard Rococo Concerti “ ( The Mannheim School ) has been a dream of mine for many years. With the help of my many friends and colleagues this CD has come to fruition. This CD is the first of it’s kind. With Niranjan ( Nini ) Wijewickrema as conductor, Edward H. Tarr as producer and historic adviser and the Belgium Baroque Soloists we have made history. The trumpet concerti of Michael Haydn, ( D major ) Franz Querfurth, Franz X. Richter, Georg von Reutter II and Joseph Riepel have never been recorded on Natural ( Baroque ) Trumpet in modern times nor have they been heard in public performance on the Natural Trumpet in more than 265 years. It is my intent to raise the bar for Baroque Trumpeters. I feel that If I can do it through the development of the TCE so can you. Until now, these concerti have not been performed with conventional embouchure’s.

HM- You also tour frequently giving recitals, master classes and clinics around Europe. Would you agree that there is more of an interest in historical performance this side of the pond than in the States? Why do you think that is?

BC- Yes, I would agree there is more of an interest in historical performance on your side of the pond than in the States. I think it has something to do with the fact that more players in Europe are aware of historic performance. Just to give you an example, in the States it would be almost impossible to study Natural trumpet in the conservatory.

HM- You also run a studio for players in New Jersey?

BC- I operate the Brass Players Studio from my home town of Stanhope, New Jersey. I teach the TCE to students as young as 5 years of age. Trumpeters travel to Stanhope from all over the world to learn the TCE and have testified to their accomplishments with the TCE at my website www.tce-studio.com

HM- By now many readers will be probably wondering what TCE is all about! Without giving too many secrets away, can you tell us the main theoretical points and differences between this and a ‘conventional’ embouchure?

BC- The “ Tongue Controlled Embouchure “ TCE is a technique that uses the tongue to control all aspects of brass playing. The tongue controls the air speed and the opening and closing of the aperture. With the tongue between your teeth you use less air. Imagine spitting an imaginary hair off the flat area of your tongue. With conventional embouchure methods the tongue is behind the teeth and the tendency is to OVERBLOW. It is the OVERBLOWING that causes most of the problems brass players have with their embouchures.

HM- And this forms the basis of the book you co-authored with your mentor Jerome Callet: ‘Trumpet Secrets?’ It must have been an interesting journey from student to collaborator?

BC- It certainly was. For 12 years we worked together at getting the best sound possible. Every 4 to 6 weeks Jerome would come up with a new idea and change my embouchure. I would immediately put it into practice. He was continually experimenting on me, I was the TCE experiment. We worked at training the tongue to stay in every possible position. When we had exhausted all of the possibilities and found the perfect one, we wrote the book “ Trumpet Secrets “

HM- It was obviously a natural progression then to release your own book: ‘The TCE Training Manual’?

BC- The “ TCE Training Manual Clinic Edition was written by chance . It was during a TCE Clinic in Germany that I was overwhelmed with requests from students and professionals to write a book of exercises based on the TCE. With my experience in the development of the TCE and my talent as a trumpet artist I wrote the “ TCE Training Manual Clinic Edition “.

HM- What are your future plans?

BC- My future plans are to continue touring the world performing “ The Unheard Concerti of the Rococo “. I also will continue teaching the TCE to all brass players who want to improve there endurance, intonation, center of tone and high range.

HM-Bahb, many thanks for your time in talking to The Brass Herald. I certainly hope it won’t be too long before we hear your wonderful skill and musicianship in the U.K.!

BC- Thank you Huw, I look forward to visiting the U.K. !