For Bobby Rodriguez, it's all about giving back what you've reaped. "I've been very fortunate to have worked with some of the greatest musicians in the business, such as Quincy Jones, Tito Puente and Charlie Owens. The Quincy Jones experience was very important to me, coming as it did early in my career, when I was in my late 20s. He is a superstar, with lots of knowledge of the business and financial sides of the music industry - and a very fine gentleman besides. And Tito, who was featured in my big orchestra a few years ago, was a jewel to work with, just a very sweet, giving man. To learn that the greatest players are also some of the kindest people you'll ever meet is really something. "That's what I hope to emulate and give back to the people I work with, especially the young musicians."
Performing with Bobby at Charlie O's are trumpeters Carl Saunders and Scotty Barnhart. Backing them up is the John Heard Trio with John Heard on bass, Roy McCurdy on drums and Danny Grissett on piano.
Around Los Angeles, trumpeter Bobby Rodriguez is known as a leader, guiding the paths of seven diverse Latin jazz bands. He leads three commercial groups: Bobby Rodriguez Latin Jazz, his small ensemble heard on last year's Grammy-nominated LatinJazz Explosion album; a 23-piece Latin Jazz Orchestra; and the Hispanic Musicians Association's Salsa Jazz Orchestra. In addition, he guides four educational projects: Bobby Rodriguez and the Jazz Adventure, the professional quintet that performs history of jazz concerts for young students in the area; the Los Angeles County High School for the Arts Studio Band; the UCLA Latin Jazz Band and the Pasadena City College Latin Jazz Ensemble. Rodriguez has taught big band Latin jazz at Pasadena City College for a couple of years, and he joined Kenny Burrell's jazz studies department at UCLA in August. "It's the first time UCLA has had a Latin jazz program," Rodriguez says.
Balancing his time as an educator and professional can prove tricky at times for Rodriguez, but he handles it with a positive, enthusiastic and pragmatic outlook. "I play the role of leader, arranger, composer, orchestrator, trumpter and contractor," he explains prior to starting his improvisation class at the high school, located on the campus of California State University Los Angeles. "As an educator, there are other issues I have to deal with, ranging from motivating the kids to learning about improvisation, arranging, composing and playing within the 30-piece band." The East Los Angeles-born and raised musician started playing trumpet when he was 10 and discovered jazz and the joys of improvisation while a 14-year-old student at Salesian High School. Although he grew up listening to Mexican music in a primarily Mexican section of L.A., he let jazz into his life and the music changed him for good.
Anne King - Trumpet
Maiden Voyage and Buddy Collete Big Bands
Currently can be heard on T.V. show "Lucky", Blue Cross jingle and as guest trumpet on Who's line Is It Anyway
Recorded with pop artists such as Take 6, k.d.lang, Sheena Easton, Jennifer Lopez and more..
Live shows/tours with Guns N Roses, Lou Bega, Shirley Bassey, Don Henley, Eric Benet.
Ambrose's conceptual extension into a new musical language is never to the exclusion of beauty. As one who listens intently, he values the fertility of a pause, of communication, of tension. Ambrose began conceptualizing early as a musician, theorizing and experimenting as a catalyst for development. He seeks other genres of music to analyze and expose, drawing inspiration from such musicians as Bjork and Chopin.
Ambrose’s music restructures accepted notions of jazz in a way that reflects his ability to recognize nuances, multiplicities, and patterns. First playing piano at the age of three, his familiarity with music began long before putting his mouth to a trumpet. He is relentlessly opposed to stagnation, seeking movement in both his music and his life.
Before he was eighteen, Ambrose had already performed with such famed musicians as Joe Henderson, Joshua Redman, Steve Coleman, and Billy Higgins. After graduating Berkeley High School, he moved to New York to begin a full scholarship at the Manhattan School of Music, studying with Vincent Pinzerella from the New York Philharmonic, Dick Oatts, Lew Soloff, and Laurie Frink.
Throughout his studies, Ambrose continued to tether audiences to his concepts and his sound, performing publicly with Lonnie Plaxico, Stefon Harris, Josh Roseman, Vijay Iyer, Charlie Persip, the Mingus Big Band, and the San Francisco Jazz Collective, to name only a few. His exposure to dynamic modes of playing and to musicians with accumulated experiences only promoted the development of his own distinct musical style.
Currently in a Masters program at USC, and a member of the Monk Institute, Ambrose’s instructors include Terence Blanchard, Billy Childs and Gary Grant. In the past year, he has worked with such artists as Jimmy Heath, Jason Moran, Hal Crook, Bob Hurst, Terri Lynne Carrington, Ron Carter, and Wallace Roney, and performed in Vietnam with Herbie Hancock and Wayne Shorter.
As for a conclusion, there is none. Ambrose’s musical trajectory continues to grow in more than one direction, drawing from the most unconventional sources, unraveling the most comfortable conceptions of limitation. His persistent reevaluations and his aspirations to evolution and beauty carry it to an entirely new space within itself.