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Grayson Brockamp Grayson Brockamp

The oldest of five kids, Grayson Hackelman was raised in Greensboro, North Carolina. He first studied piano but then switched to the double bass in his middle school orchestra. Grayson attended North Carolina School of the Arts throughout high-school where he developed a strong foundation in classical and jazz music. ​ After obtaining his Bachelor's degree from the University of North Carolina at Greensboro, he relocated to New York City in 2010 where he completed his Master's Degree in Jazz Performance from the Manhattan School of Music. His final presentation featured saxophonists Seamus Blake and Stephen Riley in a multimedia performance. Grayson wrote, directed, filmed, and edited the silent film “Blood Canon” which was presented with an original soundtrack by a live band. While in New York he appeared as a sideman at notable venues such as Birdland, Dizzy's Club at JALC, and the Blue Note. ​ After a year of supporting himself by bartending and waiting tables, he moved to New Orleans, Louisiana. He quickly found steady work playing alongside legendary musicians including Nicholas Payton, Jason Marsalis, Herlin Riley, Shannon Powell, Wessel Anderson, and Adonis Rose. He played with the New Orleans Jazz Orchestra from 2015-2017 and regularly contributed arrangements for the 18 piece band. In April of 2016 he shared the stage with Stevie Wonder for an impromptu 3 hour performance

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It’s difficult to effectively walk the line between modern jazz and gospel music in a way that comes across as genuine to both, but that’s exactly what Grayson Brockamp has done on his EP with the New Orleans Wildlife Band, co-produced and released by Nicholas Payton’s Paytone Records and featuring some of the older local young lions of jazz backing the justifiably acclaimed gospel singer/keyboardist Bailey Hinton. ​ Covering ground from the 1960s Blue Note recordings of Wayne Shorter, Herbie Hancock and Elvin Jones to praise and worship music, and the blazing fast horn solos of big band bebop to heartfelt ballads treated with the sensitivity and reverence of hymns, all in a mere 16-minute release, is a daunting task that Brockamp makes sound easy, to say nothing of the world-class quality of his bass playing. ​ More impressive still are the organic stylistic transitions between the fast and slow, dense and sparse, quiet and loud, and even sacred and secular—all beautifully blended and blurred, never forced or jarring

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