Why did Columbia University jazz trombonist and professor Chris Washburne, here November 15 and 16 to perform with the UW Jazz Orchestra, choose UW-Madison for his undergraduate education?
He was originally from the small town of Bath, Ohio (pop. 9,635), so it wasn’t because he called Madison home.
He didn’t know any students here.
He wasn’t offered a scholarship.
He attended UW-Madison because he could see it was a place that would allow him to grow. “I was looking for a school of music where I could expand my horizons,” Chris (BM 1986) said in a telephone interview last summer. “Madison had a good philosophy department, a good forestry department. The campus was beautiful, close to farmland and natural spaces. It was also real funky.”
“It didn’t hurt that the day I visited with my mother, there was a huge rally on the mall with a killer reggae band,” he added, chuckling.
That enterprising quality was also evident in the School of Music, where he found faculty who didn’t try to limit his pursuits to strictly classical or strictly jazz. “Most music programs have a divide: you’re either jazz or you’re ‘legit.’ But (professor of bass) Richard Davis and (professor of composition and saxophone) Les Thimmig helped me. they said you can do both — just go for it.”
Such cross-training proved to be quite valuable. When he was needed for orchestra–as with the Manhattan Chamber Orchestra, where he served as principal trombone for a time–he was able to read music with the best of them. But when Bjork called to ask him to play on her soundtrack, he was able to do that, too. And he got a paycheck for both.
“Not many people can do both on the same level. But if you can, you’ll get twice as many employment possibilities,” he added.
Next week at several events, Chris will offer a smorgasbord of ideas about artistry, improvisation, and careers, as well as perform with the UW Jazz Orchestra. Here’s the schedule: On Friday, Nov. 15, Chris will be available to talk to students about careers as part of an informal Arts Enterprise Initiative event from 3 to 4 pm at Coffee Bytes, 799 University Avenue, in University Square. That evening, from 6 to 9 pm, he’ll rehearse in Music Hall with the UW Jazz Orchestra. On Saturday, Nov. 16, he’ll head up a master class on Latin Jazz and Salsa from 1 to 3 pm in Morphy Hall, in the Humanities Building. That evening, Nov. 16, he’ll perform with the UW Jazz Orchestra and the Jazz Composers’ Septet, directed by professors Johannes Wallmann and Les Thimmig.
In 2008, Washburne delved into the history of salsa music in New York City to write “Sounding Salsa,” published by Temple University Press, “a pioneering study that offers detailed accounts of these musicians grappling with intercultural tensions and commercial pressures.” It was that book that brought him to Madison, said Mark Hetzler, trombone professor at the School of Music. “I offered an independent study course on Latin jazz and Salsa last year for one of my outstanding undergrad students, Ty Psterson,” Mark said in an email. “We read Chris’s book, ‘Sounding Salsa’ as part of the course and I was hooked.”
“Chris has a wealth of knowledge and experience with one of the most energized forms of music ever,” Mark continued. “I wanted to get him here to Madison to hear his artistry in person. I’m very excited to see what expertise and inspiration he’ll bring to our students.”
Chris’s visit is sponsored by the university’s Vilas Trust. The events are free and open to the public.
Chris agreed to answer a few questions about his life and work. Here are his answers, and we hope to see you on Nov. 15 and 16!
I watched “The Inclusion Show” and heard you talk about growing up in Ohio, down the street from Chrissie Hynde. That’s pretty amazing. How did all those rock and rollers end up in Ohio? What’s the likelihood of that?
“Not really sure, must have been the water! It is quite striking though, and there is a reason why the Rock and Roll Hall of Fame is in Cleveland. When I was growing up, it seemed like every other house on my block had a garage band. In fact, the first band I ever played in was a Led Zeppelin cover band, although it was a bit difficult to sound like Jimmy Paige on the trombone. I’m still trying to sound like him today.”
You got into the trombone by accident. Please tell that story.
“When I was in 5th grade, I wanted to play the trumpet, because it was shiny and played high notes. There was a night at the local high school where you could go try out all the band instruments and rent them, and I immediately went to the table with the trumpet on it. I tried to play, and no sound came out. My mother asked me skeptically, ‘Do you still want to play trumpet?,’ and I said yes. But she insisted that I try at least one other instrument before we left. The trombone happened to be on the table next to the trumpet. When I blew into it, a sound came out. So the trombone picked me, I didn’t pick it. I still have ambivalent feelings about that experience.”
You got into salsa in grad school, so Madison didn’t do much for you there. What did you get from UW-Madison?
“What I got from UW-Madison was an open mind to all musical styles. I was immediately able to start studying not only with (retired UW trombone professor) Bill Richardson, but also Richard Davis and Les Thimmig, and none of them ever told me that I had to make a choice between musical styles. They allowed me to experiment and do exactly what I wanted to do, and that was truly a gift, because when I moved to NY, my dream was to become a studio musician, and the one thing you need to be able to do as a studio musician in NY is play all kinds of music. That’s exactly what I’ve been doing for the last 25 years. I have been the principal trombone player for the Manhattan Chamber Orchestra, a recording orchestra that has made over 50 Classical CD’s, played in jazz groups, recorded for pop bands, hip-hop bands, and all sorts of world music ensembles. UW-Madison made that possible.”
You got your first salsa gig by accident. It must have taken guts to take on a gig in a genre you weren’t familiar with. Can you talk about that?
“I was practicing late one night at New England Conservatory and there was a knock on the door. It was a trombonist I barely knew who said he desperately needed a sub that night. When you’re in college, it doesn’t take guts to accept a gig; a gig is a gig and you accept it. And as he was walking away, I asked, ‘What kind of music is it?’ He said ‘salsa.’ I said, ‘What’s that?’ He said, ‘Just play loud, and they’re going to love you,’ so that’s what I did. I guess they did love me because I started working with them regularly. I didn’t steal his gig, though – he ended up quitting the band and joining another one.”
Your first two records: Eddie Palmieri with Barry Rogers from Brooklyn, playing trombone. Was he your icon? What did you learn from him?
“Barry Rogers transformed Latin trombone playing by combining bluesy, gutbucket style playing with the sharp rhythms of Latin music. Being someone from outside of Latino culture, he really forged the path for others of us to enter into Latin music and make real contributions. Like me, his background was jazz, blues and rock, and he was able to fit that aesthetic into Latin music. I was taken by the fact that he was able to lead an entire Latin band with his trombone sound. He played the lead guitar role in those bands. And that’s what I wanted to do.”
Richard Davis was recently chosen as a “jazz master” by the National Endowment for the Arts. Your thoughts about Prof. Davis?
“Richard Davis was a true gift to my musical education, and he has touched so many students at UW. I was delighted when he won the most prestigious award any jazz musician can receive. Well deserved.”
How important are improvisational skills to a musician? How do you train that?
“The best improvisers in the entire world are two-year-olds. Improvisation is one of the most fundamental survival skills that all humans possess. It is through our educational system that those natural abilities become squelched and unused, or taken advantage of. I view my job as a music educator to try to tap into my students’ innate abilities and refine them, no matter what kind of music they play. Sure, jazz uses improvisation a bit more than classical music does, but in performance classical musicians must be flexible and adaptable, and make micro-improvisational choices. These skills are essential for a successful performing career. The teaching process involves a lot of un-learning and correcting the damage that’s been done in prior educational settings, allowing students to explore their improvisational potential.”
Your band “Syotos” means “see you on the other side.” What an amazing story. You made it back from a potentially devastating surgery. That’s crazy difficult. Congratulations to you, and tell us a bit about how you managed to recover.
“Six months post-surgery, I decided that I could not accept never playing trombone again, because it was such an essential part of my self-identity. So I called my surgeon and told him I was going to try to play. He told me that he didn’t think it was possible because he had removed all the nerves and muscles from one side of my face. I told him that I didn’t care, that I was going to try. On my first day, I played for about one minute and could play one of the lowest notes on the horn, and that was it. I thought if I could play one note today in one minute, I could play two notes tomorrow for two minutes. And that’s what I did. Six months later, I played my first gig back from surgery, retraining myself how to play on one side of my face. The muscles started to grow back, but the nerves don’t regenerate, so I can’t play by feel, I play by sound. The human body is very resilient, and we need to remind ourselves how adaptable and strong we really are, because we can get through just about anything.”