As a trumpet player, I have a reputation for eclecticism and originality springing from a desire to play the trumpet in a definitely un-trumpetish fashion.As far as Jazz goes I'm indebted mainly to saxophonists- Ornette Coleman, Paul Desmond, Stan Getz, and Eric Dolphy. Of course, who could disregard past and present trumpet geniuses such as Louis Armstrong, Cootie Williams, Henry Red Allen, Ruby Braff, Miles Davis, Don Cherry, Freddy Webster, Booker Little, Art Farmer, Barbara Donald, and others. This has not always been an advantage from a career standpoint. I'm usually considered a little too out for the Ins and a little too in for the Outs, but that's just where I want to be. I've performed and/or recorded with Paul Rucker, Roger Baird, Michael Bisio, Daniel Carter, Vinnie Golia, Andrew Hill, Robin Holcomb, Wayne Horvitz, William Parker, Perry Robinson, Dave Storrs, Michael Vlatkovich, Dina Blade, and Lynette Westendorf. I was raised in a Midwestern fundamentalist religion. Some of my earliest musical memories are of revival-meeting piano players raising the crowd seemingly several feet from the floor. I've always felt the best musically when I'm a sort of conduit for something inexplicable - it's like the music grabs me by the scruff of the neck and we're gone.
Progressively agile, while being nothing short of hard free-bop, is an
accurate description of trumpeter Jim Knodle's band, Anasi. Taking its name
from the trickster of many African fables, Knodle's new disc, Wending,
(on the Nine Winds label), is a great debut.
Knodle puts together a fine program that lasts less than 50 minutes - -
which is quite short, considering most compact discs clock in at least
around 65 minutes. Nonetheless, the music is well thought out. It is
executed in such a fashion as to give rise to the notion of being wholly
improvised. While improvisation is the key, Knodle's writing proves fresh
Beginning with the title composition, an intense and swinging number, we
also get an earthy feel
Willing to teach
Beginner to advanced