Michael Powell
Thoughts on 20 Years in the ABQ

photo by Richard Frank

I am delighted to say that I have been in the American Brass Quintet for over 20 years. I consider myself an extraordinarily lucky trombonist. The personal and professional fulfillment from being a member of the ABQ is a source of enormous satisfaction. Even after nearly twenty-one years in the same seat, it is still a great thrill for me to perform in this wonderful ensemble.

I played in the Kansas City Philharmonic from 1978 until 1982. When that orchestra folded in 1982, I was not certain of what would happen next. A few months later I received a phone call from Chris Gekker, who had also played in the KC Phil, but had left the orchestra before the 1980 season, and was then a member of a New York-based group called The American Brass Quintet. I was quite familiar with the quintet’s work and reputation. In fact, I had heard an ABQ recital a few years before, when they were touring close to Kansas City.  I departed that concert very impressed. The main work on the program was Jacob Druckman’s “Other Voices,” which I later performed and recorded with the Quintet.

            I auditioned on December 30, 1982.  My first performance with the American Brass Quintet was January 29, 1983 at the Arts Club of Chicago. (I kept the program.)  We played works of Bertali, Holborne, the “Americana Suite,” two fugues by J.S. Bach, and the Suite of William Lovelock.  Musically and personally, I felt very much at home in the ABQ from the beginning.

Being a member of the ABQ, I wear two hats: performer and teacher. I have greatly enjoyed teaching for my entire career. Now, in addition to the quintet’s residency at The Juilliard School, I am also on the faculties of the Mason Gross School of the Arts at Rutgers University, and the State University of New York at Stony Brook. I have been especially fortunate to have students from these institutions who have gone on to their own outstanding careers.  The ABQ usually is engaged for mini-residencies in the places we visit on tour, so I have, along with my colleagues, given master classes in trombone and chamber music all over the world.

In addition, I have been fortunate in the free-lance scene in NYC. I have had the wonderful privilege of performing and recording with the finest musicians in New York, in ensembles such as the Orchestra of St. Luke’s and the Orpheus Chamber Orchestra.  I frequently see my ABQ colleagues on these “outside” engagements, and it is always good to run into them. I would add that in the beginning my colleagues were supportive in helping me work into the scene in NY.

            I would be remiss if I did not remember some people who were instrumental (pun intended) in preparing me for a musician's life. My principal teacher was Don Hummel, who is now retired from Wichita State University. I still remember what a thrill it was to see him in action, whether in solo or quintet recital, and as principal trombonist in the Wichita Symphony. During a year at WSU that Hummel was on sabbatical, a young trombonist named Ronald Borror taught there. He really turned my head around with fresh ideas about style, repertoire, and technique. As it turned out, soon after he departed Wichita he took a position with the American Brass Quintet, and he is my direct predecessor here. Later I had the great fortune to study with Ron's teacher, John Swallow. I have admired Swallow since I first heard the New York Brass Quintet when I was a high school student. In addition to being a truly great artist, mentor, and conversationalist, he is one of the most gifted and articulate proponents of brass chamber music. I had a few lessons from the extraordinary Byron McCulloh, who was for many years the bass trombonist in the Pittsburgh Symphony, as well as a very gifted composer. I would also mention Bob Biddlecome, who was in the ABQ for 28 years. Although I was not exactly his student, I certainly learned a lot from Bob, practical things like how to pack for a tour, and how to play the Elliott Carter Quintet. His musicianship, humor, selfless dedication to the ABQ and to brass chamber music in general means much to me and to us all.

I have always had the support of my wife Reita, with whom I recently celebrated a 30^th anniversary, as well as our three children in my career with the ABQ and as a free-lance musician in New York. I have a rather different schedule every week, and the ABQ is away sometimes. In addition, of course, musicians always work on weekends. This necessitates much forbearance by our families, and the entire quintet is fortunate in this respect.

Often I make light of my sometimes-hectic schedule. My students know that sometimes it seems I’m a hit-and-run teacher, generally running. Overall, I cannot imagine living life differently.  

 

(written in January, 2004)