Profile


"Use what talents you have; the woods would have little music if no birds sang their song except those who sang best."

                                                                          – Reverend Oliver G. Wilson


Originally from Prince Edward Island, I recently returned to Maritime Canada after fourteen years as Associate Principal Trombone of the Honolulu Symphony. My career began in the Maritime Provinces performing with Symphony Nova Scotia, the Charlottetown Festival Orchestra, the Northumberland Brass and the PEI Trombone Mafia. I now perform regularly as Symphony Nova Scotia's Principal Trombonist as well as being the orchestra's Director of Operations. I am also part-time faculty at Dalhousie University, teaching the trombone studio and trombone methods.

While in Hawaii, I was also a member of the Honolulu Brass Quintet and was on faculty at the University of Hawaii-Manoa. Prior to my appointment in Honolulu, I was a member of the Civic Orchestra of Chicago and the Millar Brass Ensemble. As a freelance musician I have recorded in the Chicago studios and performed with numerous ensembles, including the Chicago Symphony Orchestra, the Chicago Chamber Orchestra, the Royal Winnipeg Ballet Orchestra and Klang. I have performed under the direction of such noted conductors as Sir Georg Solti, Daniel Barenboim, Riccardo Chailly, Christoph Eschenbach and Pierre Boulez.

Throughout my career, I have enjoyed being active as a soloist and have given numerous recitals in Canada and the United States. I have performed the concertos of Rota, Albrechtsberger, Grondahl, and Tomasi, and in 1992 won the second prize at Canada’s CIBC National Music Festival. As a member of the Grammy-nominated Honolulu Symphony Pops, I have particularly enjoyed my performances with Ray Charles, Kenny Rogers, John Denver, Dianne Reeves, Lou Rawls and Toto.

My interest in music education has been constantly growing and expanding since I began teaching trombone privately more than twenty years ago. I enjoy focusing on refining overall skills and musicianship with university level students, and focusing on fun and fundamentals with younger players. Maintaining a balance between professionalism and foolishness is a constant challenge for me. I also enjoy working with adults to redevelop a talent they enjoyed in their youth that was set aside when life got in the way. I also have experience teaching trumpet and tuba privately (I've managed to avoid the horn so far other than the occasional tip to my incredibly talented niece) and love coaching chamber music and brass sections in student bands and orchestras.

I received my Bachelor of Music Education degree from the University of Prince Edward Island and my Master of Music degree from Northwestern University. My primary private study was with Jay Friedman, Greg Irvine and Frank Crisafulli, although I can't overstate the guidance and inspiration I received from Arnold Jacobs, Michael Mulcahy, Peter Sullivan, Murray Crewe and Greg Burton.

In my spare time, I can generally be found rediscovering the Maritime outdoors. I'm happy to be back in Canada where I no longer get criticized for saying "Leafs" instead of "Leaves".


Equipment

I am so NOT a gear head, whether it's my bike, my computer or my trombone. But seeing as some people like to know these kinds of things . . .

All I can really say about this stuff is that I LOVE my tenor setup. I realize I haven't played as many trombones as a lot of people have, but I've never played anything that allowed me to cover the range of colors and dynamics that this trombone does. I'm not as vocally enthusiastic about my alto, although I don't have anything bad to say about it at all. It has a great sound and response and doesn't get in my way. Other trombonists play my gear and love it - maybe they're just being polite...

As far as my mouthpiece is concerned, I made the switch to Griego after it blew my mind with what it did for my sound and response. I would never blame my playing problems on my equipment ("It's a poor workman who blames his tool," as my mother would say...) but the Griego made the instrument's response so much more immediate and vibrant. The overtones aren't so thickly clustered in the middle register anymore, but are much more even throughout the ranges. You should totally give Christan a call if you feel like there might be something missing in your current mouthpiece, or if you just feel like a change.

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