The Defunkt Music Website

soap-box edition 4, dec 2004

Trombone - the art, method vs. contribution

I began playing trombone in 1964 as a matter of default. My eldest brother was Lester Bowie, world reknown trupeter and the middle son Byron was a multi-reed player and accomplished arranger. Nine years younger than he, 11 yrs old, and faced with the dilemma of instument choice, posed by my elementary school music teacher, I chose the trombone. In my mind this completed the horn section in the family.

Growing up in the mid-sixties proved provacative musically. My father, was a high school band director and cornet player and great fan of W.C. Handy and Nathaniel Dett. I Was born an raised in St. Louis, Missouri, hub of jazz and rhythm & blues. My love began
from the funk of James Brown with the trombone sound of Fred Wesley influenced by the fat sound of Wayne Henderson? Jazz Crusaders,to the manic guitar and vocal style of Jimi Hendrix and the progressive, yet historic approach of early mentor Miles Davis and the spiritual investigations of saxophone legend John Coltrane. My ears were opened wide to the consumate trombone styles of J. J Johnson, Curtis Fuller, Slide Hampton, Grachan Monchur, Roswell Rudd, players who spanned groups from Miles to Archi Sheppp and Ornette Coleman. My influences in music mainly centered around the exerimental concepts of The Art Ensemble of Chicago and the conception of the AACM in Chicago. These experiences introduced my ears to the trombone work of colleagues George Lewis, Ray Anderson and Billy Howell, among Chicago’s foremost bonemen. My roots were in Rhythm & Blues but I was simultaneously indoctrinated in the Black Artist Group of St. Louis, a cultural phenomenon parelleling the work the AACM was manifesting in Chicago. Hence, I learned at a very early age, the importance of creating and cultivating your individual identity within your instrument. Sometimes I feel as though I am a member of the “last generation” of musicians who designed themselves in the spirit of revolution and innovation as the great artists like Louis Armstrong, Coleman Hawkins, trombonist Trummy Young and Lawrence Brown. I compare this period of creativity similar to the inventive nature of Leanardo Da Vinci, Michaelangelo and artists evolving during renaissance periods of humanity. There have been numerous periods in human history that exelplified the inventive nature of mankind including the wonders of African techology and spirituality in Egypt during the building of the pyrimids, the industrial revolution in the 20th century, the building of the Great Wall of China, etc. During all of these periods of creative development was a reckless, but calculated search for new frontiers in the development of new concepts and ideas.

As a trombonist, I study and investigate the accomplishments of my musical ancestors and with deep respect for them, I strive to continue the tradition that has become almost non-existient in these times of greed, ego and copy/mimicking that puts more value on good copies and lesser value on original invention. With deep respect for my mentors, I have spent my life honoring them by attempting to create my own distinctive style and voice on the trombone. I have approached the technique of the instument without accepting technical limitations established by previous experts on the instument and adapted by educational institutions and have continually searched new frontiers of sound, conventional and unconventional. I visualize my trombone as a true extension of my voice. At the same time I have developed my singing style and percussion techniques to compliment and nourish my unique approach to trombone playing. It is a “matter of invention” and that is nourished by the state of our spiritual consciousness (our life force).

I was often frustrated and temporarily made insecure early in my career by the response of the media and critics on my innovative approach. Though my sound was felt and enjoyed by audiences, sometimes caused by sheer shock, I was always compared to more conventional styles more digestible and accessible to the general public. Before my eyes the world has become homogenized for the convenience of sales. Creativitiy has taken a back seat to marketability in spite of the fact that real marketability evolves from invention! I think that I am not alone in being completely bored with the redundant images and repetitive styles we are continuously bombarded with on radio, TV and in cinema. Is this a symtom of mass cultural devaluation? Have we become the robots created in science fiction movies, without creativity, invention...only the desire to replicate?

Now, at 51, I have a firm understanding of my spiritual nature, based on the Mahayana Buddhist practice of Nichirin Daishonin, it culminates from the Lotus Sutra, expressing complete non-violence and compassion for all humanity and all living things. I see a world void of racial differences only striving to cultivate the similarities between us. I understand the importance of my career as sometimes radical and always pioneering and searching for new dimensions and approaches on my instrument never heard before, henceforth opening the possibilities for younger players to do the same. With my trombone playing I want to evoke the spirit to abolish categories of rock, jazz, funk, smooth, rap....and open the way for new styles and musicial possibilities to be born. As a trombonists I have, as Frank Sinatra so beautifully expressed in song, “done it my way”, not as a matter of selfishness or ego, but to exemplify the creataive possibilities that we all possess. However, as an instrumentalist and artist, we must make a choice; The choice for immediate gratification and apparant success in our limited lifetime by following dictates of current fashion and media expressions or a life-time of invention filled with never ending creativity, which history teaches us repeatedly, will not yield benefits that you will witness during your brief lifetime. I have chosen to follow the examples of Da Vinci, Ghandi. Those who have exhibited steadfast courage in their pursuit of life looking not to their present existence but to the effects on future existences. I have long pondered why great musicians such as Charlie Parker, Louis Armstrong, Duke Ellington were not fully appreciated until very late in their careers. Many important artists were never appreciated during their lifetime but only after their death or demise after a lifetime of struggle for survival.

My dream is that young trombonists and musicians will once again discover the special uniqueness that is embeded deep in our spirits, spend as much time in their lives working on their individual voice as they do leaning to mimick the achievements of mentors and long established creations of the past. It takes great courage to explorre new areas of sound and invention. However, the gift and legacy that you will leave the inhabitants of the futre are priceless.

It is not as important tha you appreciate my trombone style but that you applaud my courage to be an individual in a world that discourages individualism. My determination to be an inventor and a man of compassion and love for all humanity in a world where disrespect for human life is rammpant throughout the planet.. My choice is for the future. My trombone approach mirrors my intentions for world peace and boundless creativity for all humanity.J

Nam-myoho-renge-kyo

Joseph Bowie

Equipment:

1980 King 4B “Red Brass” (Trombone)
1990 Bach 42 “Yello Brass” with F- Attachment (Trombone), conversion with special innovation - 2nd Courtois bell designed by Itaru Oki (Paris-2003)
2000 Antoine Courtois “Evolution” double bell sleeve, Red Brass” (classical sound)

Digitech Whammy Pedal
Shure Wireless unit
Audio Technica Wireless unit