Q. Who were the teachers that helped develop your playing?
A. I began with my father’s teacher, Bernard Sanchez (Leon Rapier) around age 8. I studied with Mr. Sanchez weekly for the next 11 years. My studies continued on with Gene Parker, William Adam, Pat Harbison, Brad Goode, John Rommel, Mark Byerly, Michael Philip Mossman, and Tim Hagans. I had a few single lessons with Bobby Shew, Mark VanCleave, Bill Lucas, John Lindeneau.
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Q. Where did you attain your degrees?
A. I took the tour of de colleges for my bachelor’s degree. It took me a good 10 years to complete after transferring everywhere. I started at the University of Toledo then continued on to the Cincinnati Conservatory of Music, Indiana University (Bloomington) and then finally finished back at the University of Toledo. I received my Master’s Degree at Queens College – City University of New York.
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Q. Many musicians learned on the road touring. Did you ever experience being a touring musician?
A. Yes. When I was a sophomore at CCM I dropped out mid-year and went on the road with the Glenn Miller Orchestra under the direction of Larry O’Brien. It was a great experience but I was too young for the rigors of the road and it’s troubles. I lasted about 3 months and quit before they toured Japan. Years later I toured with Jack Morgan and the Russ Morgan Orchestra. My stepfather David Tippett, was on the band and we had a great time travelling and performing.
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Q. What equipment do you play for the work that you do?
A. Equipment was never a big thing when I was studying throughout high school and college. I played a Mount Vernon Bach Stradivarius 43/25 with a 7C/5C/3C forever. The funny thing was that I always thought it was a 37/25 until I pulled the shop card on it later in my career. Now that I have a solid playing foundation I’m trying to find my own sound and use what is best to help achieve this as efficiently as possible. Currently, I use a Bach Stradivarius 72/25 with a Bach 3C, a Yamaha 8310Z II with a Reeves 42S for more commercial work and a Yamaha 6310Z Flugelhorn with the Shew mouthpiece. Also in the arsenal is a Flip Oakes Wild Thing, Yamaha 8340EM, Bach 239 C, Olds Super Cornet and a Scherzer 8112 piccolo trumpet.
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Q. Can you talk about the times you lived in NYC?
A. I always dreamed of living and playing in NYC. After my soul mate and I married in 2000 we moved from Bloomington, Indiana to Brooklyn, NY in pursuit of that dream. We lived in Bensonhurst, Brooklyn for 2 years and then moved back to Toledo for a short time after 9/11. We then moved back to NYC in 2005 and lived in Hell’s Kitchen, Manhattan for 3 years and then bought a house in Denville, NJ and stayed there for 5 years. NYC is such an incredible place. There’s so much energy at all times of the day and night. I met and played with a lot of great people.
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Q. How has technology effected your musicianship?
A. Well, if we are talking about the sound reinforcement side, it is no fun at all. Dealing with sound engineers is a pain and it seems like out of 10 people there may be 2 with real ears. People think they know what the trumpet should sound like but it’s rare that they do. Also, it’s an acoustic instrument, we can’t compete with electric instruments on a dynamics basis. I’ve learned to accept what is there. Put in my ear plugs if needed and remember to enjoy playing the trumpet. If I do try to compete with the electric instrument volume I end up waking in the morning and having to take Advil and play soft, long tones forever to loosen me up. It’s too much work.. haha. My go to mic when I’m playing is an ENVO microphone because it captures my sound so closely. Obviously, it’s totally worthless if you can’t hear me playing over crazy amplification.
Finale and now Dorico Music Notation on my Mac has been an invaluable tool for writing, educating and performing. I can quickly jot something down on paper and then transfer it to Finale to edit, print or send. It’s all saved and ready to be used.
Other valuable tools are apps iRealPro, iTabla Pro, Drummer Genius, Forescore and iGigbook. Those that have exited the physical sheet music world know how an iPad and it’s contents can be valuable and efficient for certain gigs.
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Q. Can you describe your playing style?
A. I studied classical trumpet growing up and then grew a passion for jazz. Chet Baker, Miles Davis, Thad Jones and Freddie Hubbard were my first introductions to jazz trumpet. My father, Ric, is a lead trumpet player so there were lots of great records being played in the house; CHASE, Earth, Wind and Fire, Blood, Sweat and Tears, Chicago and Maynard Ferguson and many more. I’ve always worked hard at having a good foundation for my playing so that I could play whatever came my way musically but my personal style is more of a modern improvisatory style influenced by avant-garde and bop styles.
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Q. Any recent projects that you are working on?
A. Signal Quartet’s latest recording, Second Exploration: The Music of Ben Wolkins kept me really busy with composing, practicing and gigging. That was recorded in November of 2022. Right now we are rehearsing new compositions and working on a date for a new recording that we hope will take place around the beginning of 2024.
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Q. I see that you have taught at a few different colleges. Where did you teach and what classes do you teach? Future plans?
A. I’ve taught at Owens Community College – Perrysburg, OH (History of Popular Music, Jazz Band), University of Toledo – Toledo, OH (History of Jazz, Applied Jazz Trumpet, Jazz Ensemble, Youth Jazz Orchestra), Adrian College – Adrian, MI (Jazz Ensemble, Applied Trumpet). The collegiate scene is really saddening. The cost of education is off the charts and the availability of a full time college teaching job is even harder to attain. To become a professional musician I feel you’re better off moving to the city you want be in and use all of your money to take private lessons and hang out as much as possible with those that inspire you. I am currently subbing in Michigan for Monroe County Schools. It allows for flexibility with my schedule. Of course, I would love a tenured college position teaching jazz but Universities are requiring a Doctorate now for positions. Boo.
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Q. How many private students do you currently teach?
A. Currently, I’m not teaching privately. I’ve really been focused on my own musical growth and have put all my energy into that.
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Q. What are your favorite 3 albums?
A. Oh wow, that’s a tough one. The 3 that I have returned to the most are Larry Young’s – Unity, Tim Hagans’ – No Words, Tom Harrell’s – Form.
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Q. Are there any past gigs that really stand out in your head?
A. There’s been quite a few stints of good gigs that have really helped shape my playing. In Cincinnati, Steve Rozek had a group called the Gaslight Quartet. It was a chordless quartet that was a lot of fun to play in. I was just learning about how to communicate with musicians and this was a great introduction into playing live. Steve was never hesitant to ask for bookings from places either so that was a great teaching moment. I had a quartet that played at Mecklenberg Beer Garden, also in Cincinnati. This gig was a key start to finding my own playing direction. We had a lot of fun and my musical brothers were fantastic. In NYC, I had a quartet that played at a place called Comollo’s. It was down the street from the Blue Note and was a weekly gig that again really helped my playing prosper. Currently, Signal Quartet is feeding my artistic expressions. We ave a small tour scheduled for February 2024.
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Q. Who were your inspirations growing up? Have they changed now that you are a professional?
A. My teachers have all been my heroes in different ways. They’ve all had incredible things to share with me. Not just what they taught but how they lived, their actions and reactions. My father and stepfather are always at the top of that list, they’ve been key to my personal growth and development in music. Recently, Tim Hagans has been my biggest inspiration. His teaching is so passionate and organic. He’s always creating, researching and expressing. Every time we get together I’m blown away with his knowledge, stories and how he guides me into new territories.
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Q. I hear that you have quite a musical family?
A. My father, Ric Wolkins and Stepfather, David Tippett are both professional trumpet players. My Grandfather, Richard Wolkins and my Uncle, Jeff Wolkins were both trombonists that played a lot around Toledo. My Mother, Debbie was a clarinetist and my Sister, Lindsay played piano, flute, violin and mellophone. My Stepsister, Kiera played flute. I also studied piano with my Great Aunt Lois Kear who was a school music teacher, accomplished pianist and string player.
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Q. What do you think of the music industry that is creating today’s music?
A. Today’s popular music seems to be all about money and image. The industry would rather not hear people be creative unless it involves dollar signs. Jazz seems like it’s still hanging on and those doing it are innovating. There is a number of new jazz record labels out. Musicians are not only performing and recording but also trying to be responsible for the business side of their art. The digital world of music has changed everything and musicians are at a huge loss monetarily. A lot of today’s popular music is missing the mark and the majority do not seem to be actual professional musicians that know; harmony, melody, rhythm, communication and intonation. There is so much that goes into a practicing and growing artist.
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Q. Who is a musician that passed on that you wish you could have played with?
A. I would have loved to share the stage with Elvin Jones, his energy, power and creativity is mind blowing.
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Q. Any pet peeves?
A. Take care of your business. In the technology world that we live in there is no reason to not communicate back in a reasonable amount of time, especially if someone has reached out to you and needs a response. The other is honesty. Musicians talk. The word gets around quickly whether it’s negative/positive or fake news.
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Q. Name a tune that you enjoy calling at a session?
A. Bemsha Swing by Thelonious Monk. It’s simplicity allows everyone to listen and respond in their own way. It is a great vehicle for the musical conversation to become super complex or stay simple and basic.
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Q. So, you live in south-eastern MI, why did you choose to be there instead of staying on the east coast or another bigger city?
A. Originally from Toledo, OH, we moved back to be closer to our families. Our son turned 1 and we wanted him and our families to develop a stronger bond without the 9 hour drive back and forth every weekend. Southern Michigan was perfect. We are close to Toledo, Detroit, Ann Arbor, Cleveland and more. There’s great musical opportunities, balanced culture and it keeps our family close.
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Q. I notice your performance schedule is loaded with weddings and private parties, is that what you enjoy?
A. I enjoy playing the trumpet in all different scenarios. Fortunately, weddings and private parties pay really well and allow me to do some of the other artistic gigs that do not pay as much. The parties keep my chops in shape and I have a great time playing in the horn bands with other spectacular musicians. But, If I had to choose only one gig to play it would be small group jazz.
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Q. Can you describe the music scene where you are?
A. We live in Ida, MI. It’s a pretty small community, population of 4800. We have one blinking light in town, a few pubs and a coffee shop. It’s a farm town and doesn’t have a night life. But, I’m in a great location to get to Toledo, Ann Arbor, Detroit, Cleveland, Dayton and Cincinnati. It really isn’t that bad of a drive to any of them so I have a few options to work, stay busy and support the scenes.
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Q. What’s your favorite media type to listen to?
A. Well, I love the sound quality of records but I have to say owning an iPod and having a digital library is so convenient. I can carry around as many albums I want in my pocket and listen to pretty much anything as long as it’s charged up. Having access to anything is unreal. There are so many positives and negatives using our technology today.
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Q. When did you decide that music was your career choice?
A. Growing up I took piano lessons and then cornet lessons when I could actually hold the instrument up. I spent most of my free time practicing and learned what it was to commit to the instrument to get results. I think by the time I was in high school I knew it was something I wanted to do. Up till high school I focused on more of a classical background with my playing. After meeting some high school classmates that were very talented in jazz I took a liking to that and never looked back.
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Q. Describe your dream gig?
A. Playing jazz 6 nights a week with a highly creative band while being able to support my family.
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Q. You were talking about a musician’s local union, are you a member? What are the benefits as a professional?
A. Yes, I’m a member of Local 15-286 (Toledo, OH). I was also a member of Local 802 (NYC) when I lived there. I’ve only had a handful of gigs all the years I’ve been a paying member in the locals; the Big Apple Circus (802), Toledo Symphony Concert Band (15-286), Mannheim Steamroller (15-286), JAMM Toledo (15-286) and Aretha Franklin (5). NYC’s union hall had a rehearsal space that provided a chance to play and network. In retrospect of the dues and the contracted work it has not been an advantage for me.
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Q. Covid was an incredibly large pause for the entertainment industry, did you do anything particular to stay focused?
A. I tried to utilize my time as efficiently as possible and continue to make progress in my career. Unfortunately, everything I had booked was canceled and it was slated to be my best year yet. My family and I were very fortunate though to stay healthy and come out of the pandemic stronger unlike some. In March of 2020 I decided to contact Tim Hagans and see if I could take some lessons. That was and has been a golden opportunity.
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Q. Do you have a recording that best showcases your playing?
A. Signal Quartet’s Second Exploration.
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Q. Playing the trumpet can be quite a dynamic sounding instrument, how do your neighbors handle that?
A. This has always been a large concern of mine. I like to play the trumpet a lot! Various dynamics and at all times of the day/night and I am always concerned with bothering someone. In fact it gets to the point where I’m distracted while I’m playing because I’m worried someone is being bothered by it. When I’ve lived in a house it has not been a concern but apartment living was no fun. When I first lived in NYC I practiced daily outside at the 79th St. boat basin. I was near the highway and it drowned anything I sounded out. I played rain or shine and just got it done. After getting tired of being outside I bought a Whisper Isolation Room and moved that around for about 7 years. It was an enormous help to my playing while keeping everyone happy. The other years I usually went to whatever school I was attending and used their practice rooms.
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Q. What’s your favorite trumpet case?
A. I have always been on the go and the lightest and easiest case to carry for the gig was primary. Now that I’m older and slower, I like the wheeled cases that are more protective and can carry everything in one case. The wheeled Pelican and Apache cases are great, the only downside is that they are heavy.
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Q. Do you have any regrets in your career?
A. The education I’ve received from my professors and peers has been priceless. I wish though that I had paid directly into a scene (studying privately and nightly clubbing) rather than burning money at a college for a paper education.
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Q. Any gigs that you wish that you could take back?
A. There were a couple. Let’s just say that I learned from those couple of experiences and you can’t get them back.
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Q. You said you were a recovered alcoholic, does this effect you playing in bars, clubs or private parties?
A. It doesn’t bother me anymore playing around alcohol but I still wake up everyday stating to myself that I won’t drink today. Alcohol was such a huge part of my career and it sort of went hand in hand with playing gigs. It left a bit of a void when I got sober. It seemed like I was always missing something when I played but now I feel it’s back to normal and I can access the same mental creations now but while being sober.
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Q. Any thoughts on the learning process for an aspiring artist?
A. You have to physically AND mentally practice. Follow the advice and lessons from your teachers and peers. Stay consistent and energized as much as you can.
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