Ray Vasquez Interview

1. Who have your biggest influences in music been and how did they specifically influence you?
   
   My biggest influences in music have stemmed from a number of different sources. On my primary instrument, I have always admired the playing of Maurice Andre, Adolph Herseth and Thomas Stevens in the Classical/Western European Art Music genre. In the Jazz idiom, I continue to be amazed by the playing of Chet Baker, Clifford Brown, Doc Severinsen and Maynard Ferguson. The intensity and depth of each of these trumpet players have been very influential in my development as a trumpet player and have shared their recordings with my students.
   
   Outside of my own instrument, I am awestruck by Ella Fitzgerald and Luciano Pavarotti as vocalists, Itzhak Perlman on violin and Yo-Yo Ma on cello. What they can do with their talents and abilities is beyond description.
   
   
2. What is the nature of your practice approach?
   
   I try to cover as many fundamentals as possible throughout my normal practice session. As a College professor, it is harder to maintain a steady schedule but I do play through a number of exercises that cover all aspects of playing. Lip Flexibilties, Scales, Articulations, Upper Register, Transposition, Etudes, Solos, Excerpts and sightreading.
   
   
3. You teach as well as perform. How do you think you’re performing experience relates to how you teach and your teaching style?
   
   I try to bring in as many “real world” applications to my teaching with my students in the trumpet studio. I also illustrate to them the importance of understanding what happens when they play as well as how they play. In the event that they encounter a student with similar playing attributes, they can then make adjustments based upon first hand knowledge. As with my teachers, I am demanding on their time and attention to detail. Many people say “You teach how you were taught”. And this holds true in my case. My teachers were very knowledgeable as well as strict on what I did on my horn and how I did it.
   
   
4. You have been very involved in the Drum Corps activity. How did you become involved and tell us a little bit about your experience in that arena?
   
   My involvement in the Drum Corps activity came from marching for three years in the Phantom Regiment Drum and Bugle Corps from Rockford-Loves Park Illinois. I marched from 1991-1993 as a member of the soprano section. My initial involvement came from being an observer of video taped performances that were broadcast on PBS during the mid 1980’s. My band director often showed us these tapes as examples of the epitome of the marching activity. I was awestruck by the 1988 Phantom Regiment when I viewed the tapes and was immediately a fan of drum corps. Since my involvement in the activity as a marching member, I have given back to the activity as a member of various drum corps over the years. The corps that I have worked with include; Phantom Regiment (1995), Blue Stars (2002, 2003), Minnesota Brass (2003, 2004, 2005, 2006, 2008), Spirit (2006, 2008, 2009) and the Santa Clara Vanguard (2007).
   My primary role with each drum corps that I taught with was as the “Tech” for the trumpet/soprano lines. It wasn’t until my work with the Blue Stars in 2002, that I had an opportunity to lead my own horn line as a Caption Head. I have also served as caption head for Minnesota Brass and Spirit.
   
   As a teacher, I always make it a point to give the members of the section a well rounded understanding of basic fundamentals to brass playing and drill them on these exercises daily. By the time they leave the corps at the end of the season, they usually go back to their bands better musicians as well as stronger players.
   
   
5. Could you share any interesting or unusual stories, advice, wisdom that you've accumulated in your years as a performer and teacher?
   
   Always make it a point to do your absolute best at every rehearsal and performance. Your attention to detail will not go unnoticed. I have had countless performance opportunities offered to me based upon my work ethic as well as my preparation.
   
   Here is an unusual story (more matter of fact really) about my auditioning for the Phantom Regiment. I had come from a school (Northwestern State University of Louisiana) that had many alumni of the corps go up to camps every year. I had mentioned to a few people if they were familiar with what drum and bugle corps was. A few said that there were some people in the marching band at NSU that were members of the Phantom Regiment. I was excited to know that I could have possibly seen someone from TV in the marching band that I am participating in. I spoke with them about my seeing Phantom Regiment on the TV and asked about basic things.
   
   How did you get into the corps?
   
   Do you make any money from doing it?
   
   How much does it cost?
   
   Is marching in a drum corps hard, its like marching band…right?
   
   Why did you go to Phantom Regiment?
   
   Do you think I would like it?
   
   They vet answered my questions and told me to come up with them to the audition camp that would happen in November. I asked how much it would cost to go up there for the weekend. He told me and I saved up money to go to the camp. I had no idea what I was up against, much less what to expect. By the time we finally arrived in Rockford, we had driven 19 hours. The weekend camp was great. I learned a good bit from other people in the auditions with me, I also met some people in the hornline from the 1990 season. All were very helpful and encouraging. I went into my audition and played for the Soprano Tech (Albert Lo) and did my best. He told me to play the solo in the show when we got around to playing that piece in the rehearsal arc. At that point, I was still unclear on my status with the corps but did my best. At the end of the camp, I was invited to return to the December camp and continue with my Marching evaluation. I was rough around the edges, but did demonstrate to them that I was improving on the bugle over the span of the month. In January of 1991, I was awarded a spot and got to play the solo for the show called “Phantom Voices”. Very fun and memorable summer. It was the activity that gave me a great deal of influence on my teaching and performing that I still use to this day.
   
   With my association with Karl Hammond Design Mouthpieces, I have gone on to get both the Santa Clara Vanguard and Spirit Drum and Bugle Corps to play on his mouthpieces exclusively to great results.
   
   
6. How have the Hammond Design mouthpieces helped your playing and teaching?
   
   The Hammond Design mouthpieces have provided me an opportunity to take my playing to the next level. I have had Karl make me two mouthpieces for my horn, one for classical playing and the other for lead playing. Both mouthpieces have given me the sound that I have been looking for and help me convey my musical intent to the audience. The mouthpieces are the highest quality made in the industry and his attention to detail by the performer is unsurpassed by anyone in the world today. If you ask him to make an adjustment here or there, he will listen to the request and guide you to where it is you want your sound to go. Karl Hammond Design mouthpieces are the best mouthpieces that I have ever played on.

BIOGRAPHY

DMA- University of Minnesota (2005)
MM-University of North Texas (1997)
BM-Northwestern State University of Louisiana (1994)

Dr. Ramon F.  Vasquez teaches the applied trumpet studio, the Auburn University Jazz Ensemble and one section of Music Appreciation at Auburn University. Dr. Vasquez has recently completed his DMA in Trumpet Performance from the University of Minnesota in the summer of 2005. Former students from Dr. Vasquez studio have gone on to pursue graduate degrees at many universities across the nation and have been quite successful. Having the ability to play on both sides of the horn (classical and commercial) gives his students the ability to become more marketable in the trumpet world and the experience Dr. Vasquez brings to the lesson is invaluable.

Dr. Vasquez has presented a clinic session entitled “The Benefits of Drum Corps on Trumpet Playing” at the 2005 International Trumpet Guild Conference held in Bangkok Thailand. Other clinic sessions that Dr. Vasquez has presented in the recent past have included:

• Let’s Build a Foundation-a basic understanding of trumpet fundamentals”
  2000 Minnesota Music Educators Association Mid-Winter Clinic
• “Drum Corps is not hazardous to your health-the myth of the outdoor activity”
  2001 Minnesota Music Educators Association Mid Winter Clinic
• “Developing the Trumpets Upper Register in a Healthy Way”
  2002 Minnesota Music Educators Association Mid-Winter Clinic
• “Beginning and High School Level Brass Quintet Literature- What’s out there”
  2002 Minnesota Music Educators Association Mid-Winter Clinic

Alongside these clinic sessions at MMEA and ITG, Dr. Vasquez has also coached the Minnesota All-State Trumpet Section for two consecutive summer camps in 2002 and 2003.

Dr. Vasquez performance experience includes being featured soloist with the Idaho Falls Symphony, University of Minnesota Brass Choir, University of North Texas and numerous high schools in Alabama, Texas, Louisiana, Wisconsin, Minnesota, Iowa, North Dakota, Illinois as well as in Canada and Thailand.

His performance credits include recordings with the University of North Texas Wind Symphony, the University of North Texas Two O’clock Lab Band, the Big Time Jazz Orchestra, the Intergalactic Contemporary Ensemble, the University of Minnesota Wind Ensemble, the Dallas Wind Symphony as well as numerous recordings for Kjos Jazz Ensemble Methods. Ramon has performed with the Minnesota Orchestra, Minnesota Opera, Minnesota Ballet, the University of North Texas One O’clock Lab Band, the Center for Early Music Orchestra at the College of St. Scholastica, Jazz Mn, the Stan Bann Big Band, the St. Olaf Jazz Bands, the Duluth-Superior Symphony Orchestra, The Irving Symphony, The Richardson Symphony, the Dallas Bach Society, The Denton Bach Society, The Texas Bach Collegium, the Pride of Minnesota Marching Band, the Auburn University Marching Band, Barry Manilow, Dennis DeYoung, Arturo Sandoval, Claudio Roditti, Steve Houghton, Jiggs Whigham, Ernie Watts, Phil Woods, Eugene Rousseau, Maureen McGovern, Sheena Easton, Peabo Bryson, Chaka Khan, Chris Vidalla, Marcus Printup, Marcus Roberts and Dennis DiBlasio.

Prior to coming to Auburn University, Dr. Vasquez was teaching at the University of Minnesota in Duluth from 1998-2003 where his duties included the applied trumpet studio, two jazz combos, the trumpet ensemble, the student brass quintet as well as other courses ranging from Brass Techniques to Survey of American Music.

Other experience includes performing with the 1996 Disney All-American College Marching Band in Orlando Florida, the 1997 Disney International Student Show Band from Paris France, cruise-ship experience and performing with numerous Rock, Funk and Blues Bands while in the Minneapolis/St. Paul Area.

As an educator, Ramon has adjudicated numerous Jazz Festivals within Minnesota and Wisconsin. Alongside these adjudication commitments, Ramon has also served on staff for many top College Marching Bands and Drum and Bugle Corps over his career:

• 2006: Brass Staff:  Spirit of JSU Drum and Bugle Corps
• 2005: Trumpet Soloist/Brass Staff:  Auburn University Marching Band
• 2004, 2005: Brass Staff/Caption Head/Trumpet Soloist:
  Minnesota Brass Drum and Bugle Corps
• 2003, 2004: Brass Staff:  Pride of Minnesota Marching Band
• 2002, 2003: Brass Caption Head: Blue Stars Drum and Bugle Corps
  (2003 World Champion, winner High Brass trophy in Division III),
• 1995: Brass Staff:  Phantom Regiment Drum and Bugle Corps.

Accomplishments include: 2005 induction into Who’s Who in American Education, 2003 induction into Phi Kappa Phi National Honor Society, 2001 Chair International Trumpet Guild Jazz Solo Competition held in Manchester England., Winner 1997 Masters Division of the National Trumpet Competition, 1997-1998 Associate member Chicago Civic Audition, 1995 induction into Pi Kappa Lambda National Honor Society, 1995 Winner University of North Texas Solo Competition.

Ramon holds memberships in the Alabama Music Educators Association, International Trumpet Guild, College of Music Society, Phi Mu Alpha, Kappa Kappa Psi, Pi Kappa Lambda, and Phi Kappa Phi.

Ramon has a Bachelors of Music Degree from Northwestern State University of Louisiana, a Masters of Music Degree in Performance from the University of North Texas and a Doctor of Musical Arts Degree in Performance from the University of Minnesota. Ramon has studied with Galindo Rodriguez, Dr. Leonard Candelaria, Keith Johnson, Dr. David Baldwin, Bobby Shew and Manny Laureano.

Ramon performs on Edwards Trumpets and Karl Hammond Mouthpieces exclusively.