Trompete

Martin Reuthner wurde 1971 in Mosbach im Odenwald geboren. Er studierte Trompete (Klassik und Jazz) in Köln und spielte im Bundes-Jazz-Orchester. Weitere Orchester-Erfahrung sammelte er bei zahlreichen Musicals ("My Fair Lady", "Starlight Express", "Elisabeth", "Jekyll & Hyde" usw).

Seit 1998 arbeitet er auch als Studiomusiker. Er ist Mitglied der Paul Kuhn Bigband und wirkte bei diversen Studioproduktionen und Konzerten von Rundfunk-Big Bands mit (NDR, WDR, HR). Auch unzählige Fernsehauftritte hat er als Musiker schon absolviert.

Trumpeter. Until his life was cut short by a car crash, when he was aged just twenty-five, Clifford Brown had established himself as the most potent trumpeter in jazz to arrive on the scene since Dizzy Gillespie. Equally influenced (and encouraged) by Fats Navarro and Gillespie, Brown possessed both a remarkable technique for high-speed playing, with every note perfectly placed and formed, and also a beautiful lyrical ballad style.

He was also a gifted composer, and many of his pieces became standards, including the uptempo Daahoud, and the reflective Joy Spring. His creative life was sandwiched between two traffic accidents - the first in 1950 which took him months to recover, and the second, fatal, one in June 1956. After being released from hospital, he began his professional career in Philadelphia.

He recorded with Chris Powell, and with arranger Tadd Dameron, but his international reputation started in 1953, when he toured to France with Lionel Hampton and made a set of recordings under his own name in Paris. Back in the United States, he recorded both with Art Blakey and under his own name for Blue Note.

Then in 1954, he formed a quintet which he co-led with drummer Max Roach, and with it he recorded his finest work. First with Harold Land on tenor, and then Sonny Rollins, Brown proved himself both a great ensemble player and a fine soloist. He and the band's pianist, Bud Powell's younger brother Richie, were killed in the same accident while on the road with the group.

Born In Albuquerque, New Mexico, Bobby Shew began playing the guitar at the age of eight and switched to the trumpet at ten. By the time he was thirteen he was playing at local dances with a number of bands and by fifteen had put together his own group to play at dances, occasional concerts and in jazz coffee houses. He spent most of his high school days playing as many as six nights a week in a dinner club, giving him an early start to his professional career.

He then spent three years as the jazz trumpet soloist in the famed NORAD multi-service band. Shortly after leaving he joined the Tommy Dorsey Orchestra under the direction of Sam Donahue, which, among other things, gave him the chance to perform quite a bit with trumpet legend Charlie Shavers. After his stint with Tommy Dorsey, Bobby was asked to play with Woody Herman's band upon Bill Chase's recommendation. He then spent some time playing for Della Reese and Buddy Rich, who's big band had just been formed.

Many other similar situations followed and Bobby played lead trumpet for a number of pop stars. This brought Bobby to live in Las Vegas where he became prominent in various hotels and casinos. By this time Bobby was widely known for his strong lead playing rather than as a jazz soloist. So late in 1972 he decided to make a move to the Los Angeles area in order to get reinvolved in developing as a jazz player.

Once in Los Angeles, Bobby quickly found what he was looking for, and in the years to come he spent time with the groups of Art Pepper, Bud Shank, Horace Silver Quintet, and Frank Strazzeri-Sam Most, as well as numerous big bands such as Bill Holman, Louie Bellson, Toshiko Akiyoshi-Lew Tabackin, Oliver Nelson, Bill Berry, Nat Pierce-Frank Capp Juggernaut, Ed Shaughnessy, Terry Gibbs, Benny Goodman, Maynard Ferguson, Neal Hefti, Don Menza, and Bob Florence.

In addition to being a sideman, Bobby also became a leader around this time, recording many of his own albums. Several of these received very high accolades from critics and high placement on the airplay charts. One of his albums, 'Outstanding In His Field' was nominated for a Grammy in 1980, while, 'Heavy Company' was awarded the Jazz Album Of The Year in 1983.

During this time Bobby also found a great deal of studio work, including TV shows like 'Hawaii 5-O', 'Streets Of San Francisco', 'Bob Newhart', 'Mary Tyler Moore', 'Midnight Specials', 'Don Kirschner Rock Concert', 'Happy Days', 'Laverne And Shirley', and 'Eight Is Enough.' His work on soundtracks includes 'Grease I and II', 'Rocky I and II', 'Six-Pack', 'The Muppet Movie', 'The Drivers', and 'Taxi'.

Today, in addition to a busy performing and private teaching schedule, Bobby spends a considerable amount of time actively involved in the educational system, conducting clinics and master classes at high schools and college campuses all over the world. Bobby has also been active on the Board of Directors of the International Trumpet Guild, and has acted as National Trumpet Chairman for the International Association of Jazz Educator's for 16 years. He authors numerous articles of educational interest in various trade magazines, all translated into several languages for worldwide distribution. During a period of traveling to New Zealand, Bobby acted as host for a weekly TV show entitled 'Just Jazz' and has been in numerous artist-in-residence situations virtually all over the world. He has even had a few minor acting roles in movies and TV shows.

He continues to tour internationally and to produce and record excellent music. He has released several recent albums for the MAMA Foundation including Playing With Fire (w/Tom Harrell), Heavyweights (w/Carl Fontana), and Salsa Caliente. In addition, for other labels, Bobby has released the the highly regarded CD recorded with the The Metropole Orchestra, and a double-CD set for Seabreeze Records of The Music of John Harmon, plus other which can be seen on the Discography page.

Bobby has endorsed Yamaha equipment for years and the fact that they have recently been using him for advertisements is a further indication of his popularity.

Bobby Shew never stops using his remarkable insight, sensitivity and creativity to inspire the next generation of jazz players and teachers.

From: manfredzeller@hotmail.com
To: bobbyshew@mac.com
Subject: RE: Vintage Eb Alto Flugelhorn - did you sign it?
Date: Wed, 7 May 2008 07:21:21 +0000

Dear Bobby,

thank you very much for your friendly answer - you are one of the world greatest player for me!

From my excellent teacher, Martin Reuthner, from Cologne, I got your school - few days ago he explained this wonderfull handmade picture about underblown, optimum velocity and overblown. He is also a great fan of you and your school.

With best regards,

Manfred

From: bobbyshew@mac.com
Subject: Re: Vintage Eb Alto Flugelhorn - did you sign it?
Date: Tue, 6 May 2008 18:18:54 -0600
To: manfredzeller@hotmail.com

Yes, I don't recall WHERE it was but the guy came with an engraving tool and wanted it signed. I hated to scratch the horn but he insisted.

Bobby

On May 6, 2008, at 2:50 PM, Dr.-Ing. Manfred K. Zeller wrote:

Dear Mr. Bobby Shew,

I bought a Vintage Eb Alto Flugelhorn in US - your name was scratched in - did you remember signing it?

Thank you very much,

with best regards,

Dr. Manfred K. Zeller
Germany

Bobby Shew

bobbyshew@mac.com

Und so sieht das fertige Werk des Meisters aus - einfach vom Feinsten - ( altes Flügelhorn, Couesnon):