Nearly four decades ago, a precocious young brassman who played a Leblanc trumpet caught the attention of Vito Pascucci, then president and now chairman and CEO of G. Leblanc Corporation. A blurb in the March, 1960, Leblanc Bandsman, a forerunner to the Leblanc Bell, reported:
“Young Glenn [Zottola] has certainly begun to carve a lasting mark for himself in the trumpet world, and it goes without saying that talent such as this is bound to make itself known on an even wider scale in the near future. Remember this young artist’s name! You’ll be hearing it often in years to come as Glenn Zottola’s abundance of talent becomes tempered with that invaluable ingredient called experience.”
These words proved prophetic indeed. Pascucci followed Zottola’s career and watched as the hot young phenomenom who captured so much attention went on to become one of the most respected, versatile and in- demand trumpet players—and saxophonists—in the music world.
Born and raised in Port Chester, New York, Glenn started playing trumpet at age three. By virtue of his musical household, this seemed almost as natural as learning to speak. His big brother, Bob, was also a gifted trumpeter who went on to play with the bands of Charlie Barnet and Maynard Ferguson. His mother, Marie, played piano, and his sister was a gifted singer.
But it is his father, Frank, to whom Glenn points as his primary influence and teacher. “He was a great trumpet player in the Louis Armstrong and Conrad Gozzo style,” says Glenn. “As a child, he was taught by a music professor in the strict style of La Scala, Milan, and he was required to study theory, harmony and solfeggio before he was allowed to even touch the trumpet.”