I grew up in Kansas City, and a musical mentor of mine in the KC Philharmonic was the Third Flute/Piccolo player Thomas Hurst. Tom and Adel Sanchez, Principal Trumpet in earlier years in KC, were best friends. I'd hear from Tom all the time what an incredible "soft side" Adel had to his playing. In around my junior year in high school I started studying with Steve Weger, who as Chris Gekker mentions was absolutely phenomenal in getting over the horn; talk about flexibility. When I had a lesson in May 1973 with Adolph Herseth (arranged by Tom Hurst, who was absolutely gonzo about all things CSO and Herseth), Bud asked me who I was studying with in KC. He reacted not at all when I mentioned Steve Weger; but, when I mentioned that DICK SMITH was also in KC, Bud turned on like a light bulb. I remember to this day Bud saying, "Ahh. Dick Smith. Why aren't you studying with him?" As it turns out, I did take a few lessons with Mr. Smith, and he was endlessly gracious. It was an absolute treat to play duets with Mr. Smith out of Saint-Jacomes; that was where I truly learned to "listen" as a trumpet player. To end this reminiscence, there was a story much repeated in Kansas City about the time when Dick Smith was playing principal with the Buffalo Philharmonic when Leontyne Price performed with them; they were doing a series of Verdi operas, many of them with trumpet obligati echoing the soprano, and Smith was playing so softly, so lyrically, so beautifully, with such a clear crystalline sound that it was driving Price to distraction. She finally stopped the orchestra in mid song in the rehearsal and demanded to know "Who is that playing trumpet??" Dick Smith, that's who.
I grew up in Kansas City, and a musical mentor of mine in the KC Philharmonic was the Third Flute/Piccolo player Thomas Hurst. Tom and Adel Sanchez, Principal Trumpet in earlier years in KC, were best friends. I'd hear from Tom all the time what an incredible "soft side" Adel had to his playing.
In around my junior year in high school I started studying with Steve Weger, who as Chris Gekker mentions was absolutely phenomenal in getting over the horn; talk about flexibility. When I had a lesson in May 1973 with Adolph Herseth (arranged by Tom Hurst, who was absolutely gonzo about all things CSO and Herseth), Bud asked me who I was studying with in KC. He reacted not at all when I mentioned Steve Weger; but, when I mentioned that DICK SMITH was also in KC, Bud turned on like a light bulb. I remember to this day Bud saying, "Ahh. Dick Smith. Why aren't you studying with him?" As it turns out, I did take a few lessons with Mr. Smith, and he was endlessly gracious. It was an absolute treat to play duets with Mr. Smith out of Saint-Jacomes; that was where I truly learned to "listen" as a trumpet player.
To end this reminiscence, there was a story much repeated in Kansas City about the time when Dick Smith was playing principal with the Buffalo Philharmonic when Leontyne Price performed with them; they were doing a series of Verdi operas, many of them with trumpet obligati echoing the soprano, and Smith was playing so softly, so lyrically, so beautifully, with such a clear crystalline sound that it was driving Price to distraction. She finally stopped the orchestra in mid song in the rehearsal and demanded to know "Who is that playing trumpet??" Dick Smith, that's who.
Really enjoyed this, Mark. Chris and I had a nice FB messenger convo today while listened!
Thanks, Mark! So much to unpack in this interview!
I think Chris misspeaks at 43:01 when he says “Quiet City”; I believe it should be “The Unanswered Question” (?).
Most versatile trumpet players ever; Doc, Arturo and I believe Elmer Churampi will join the list.