Category Archives: Brass


Eric Miyashiro in London

Phil Parker Ltd are pleased to welcome Eric Miyashiro  to 85 Hampstead Road !

Eric Miyashiro is an Internationally acclaimed trumpet player. His playing is characterized by a term used on his web site,”StratosphERIC”. Miyashiro is well known as a powerhouse Big Band lead player but he is also a first call classical symphonic musician. Eric is comfortable playing all idioms. He is a Yamaha Performing Artist and clinician.
He will be interviewed for live broadcast by Jazz fm and follow up with a clinic in our seminar room. Playing and listening places are limited so book now  to avoid disappointment.

Eric Miyashiro

[ Image ] Eric Miyashiro

Born and raised in Hawaii to a musical family, Eric is now one of the most in demand soloist/clinician in the world. He spent his early days in Honolulu studying both classical and Pop/Jazz music, later moving to Berklee Collage of Music to continue his education. Since leaving school, he has toured worldwide with: Buddy Rich, Woody Herman, Stevie Wonder, Tower of Power, and performed with many other artists and orchestras around the globe. Eric now resides in Japan, where he is the first call studio/session/solo player, and is also very active as a leader of his own bands; EM band and the Blue Note All Star Jazz Orchestra. Eric’s versatility has been showcased in many television shows, radio, and film scores. He is also known as an accomplished composer, arranger, and producer.
Eric is a visiting trumpet/popular music professor at Kunitachi College of Music, Showa Music Academy, Senzoku Gakuen College of Music, and Osaka University of Arts.
Eric Miyashiro is an International Yamaha Performing Artist.


FFM Featured Artist: Euphonium player Algirdas Matonis

Visiting and subscribing to Algirdas’ Youtube channel is an absolute must for euphonium players and brass players in general. His insights into brass playing and presentation are inspiring and highly entertaining.

Originally from Lithuania, Algirdas Matonis started playing euphonium at the age of eight. In 2000 he entered his first ever competition which was ‘Juozas Pakalnis Woodwind, Brass and Percussion Solo Competition’ held in Lithuania. At only 9 years old Algirdas managed to win the 8 – 13 age group. This was the beginning of his active participation in various music events. Algirdas continued to enter and win solo competitions throughout his teenage years. 2009 was his last year as a teen competitor. He was offered to perform as a soloist with the Lithuanian Military Band at the ‘International Band and Orchestra Championships’ held in Lithuania where he received the best solo player award and performed at the prestigious ‘Siemens’ arena in front of over 5000 people at the Gala event.
In 2010 Algirdas Matonis decided that he wanted to pursue the life of a professional euphonium player. He entered the Royal Northern College of Music in Manchester where he studied under the guidance of the legendary euphonium pioneer Steven Mead. In 2014 he got his Bachelor degree and was awarded with entry scholarship for his Master’s degree studies.
During his study years at the RNCM he kept actively performing as a soloist. Algirdas was invited to perform as a guest artist at the biggest low brass festival in the world, ITEC, in 2012 and 2014. In 2013 Algirdas won the ‘Fodens’ open solo competition in UK and received a Besson prize award. As a part of prize he was invited to perform as a guest soloist with the only full-time professional brass band in the world, the River City Brass Band in Pittsburgh. In 2014 Algirdas did a concert tour with the band, which led to a scholarship at Carnegie Mellon University in Pittsburgh and a move to the U.S.A. a year later.

Since 2015 Algirdas has been living in Pittsburgh, where he started playing with River City Brass on regular basis as well as continuing his Master’s degree in music performance. At the moment Algirdas is an actively performing soloist with various solo recitals under his belt, having performed at venues in the United Kingdom, Lithuania, Latvia, Estonia, Russia, Scotland, USA and Austria. Very recently he performed an opening recital in a well-recognized festival in Lithuania called “Sugrizimai”. His performance received positive reviews from music experts and critics through multiple music magazines and public media. Algirdas’ upcoming season schedule is looking extremely busy, filled with not only solo and brass band activities but also many innovative projects which will take place in the near future.



An interview with Matthew Winter, solo bass trombonist with the Finnish Radio Orchestra

Matthew Winter is currently solo bass trombonist with the Finnish Radio Symphony. A position he won while an undergraduate student at the Juilliard School.  We talk to Matthew about his experience playing with the orchestra, the differences between auditions in the United States and Europe, his audition preparation process and also ask for general audition advice.

  • How long have you been playing with the Finnish Radio Symphony? Is the experience what you expected?

I started playing in the Finnish radio orchestra in the 2015/2016 season on a one year contract (via tape audition) after my mentor and former teacher at Juilliard Denson Paul Pollard decided to leave his position with the FRSO and return to the Metropolitan Opera Orchestra. I won the full time position at the end of the season in May.

I have to say I had not heard many recordings of the orchestra prior to moving to Helsinki. But I was really impressed with the quality of musicianship and how welcoming everyone was.

  • What have been some of the highlights playing with the orchestra?

There are many benefits to playing in the FRSO. One is that we tour a lot. In fact during my first season we did a tour of Japan as well as one in Austria. The Austrian tour was especially fun for me because I had always wanted to visit and it was my first time there. The program included Shostakovich’s fifth symphony, Adams Short Ride in a fast machine, as well John Adams Violin Concerto Sheherazade.2 with the great violinist Leila Josefowicz.

The other thing about the FRSO is that we record multiple cds every year. My very first rehearsals with the orchestra were for an upcoming cd of compositions by Erkki Melartin and Magnus Lindberg.  Magnus Lindberg was present for the recording which was very exciting. Its always a treat to play music for the composer. The camaraderie in our Low brass section as well as the rest of the orchestra was especially great when we were recording.

  • How many auditions had you taken before the Finnish Radio Symphony?

Finland was my 9th audition.

  • How was your audition day? How did it compare to other auditions you have taken?

The audition was two days. The first day we played a preliminary round and the second day we had a semi final, final and super final round. All prelims and semi final rounds were behind a screen, which is fairly similar to my experience with other auditions. However, the first round consisted of a solo work, Norman Bolter’s Sagittarius 2, and then excerpts which is different than many auditions I have taken where you play excerpts first and solos in the later rounds.
The convenient thing about those two days was that they were extremely well organized by the orchestra management. Everyone had their own rooms to warm up in and things went almost exactly according to schedule which doesn’t happen at most auditions from my personal experience.

  • Was your experience taking an audition outside the United States what you expected?  Were there differences compared to auditions based in the United States?

This audition was actually my third European audition so I had a vague idea of some of the logistical differences between auditions in Europe vs. the U.S. As I said earlier the European auditions often start with a solo which in the U.S. is not typically the case. They also do not auto advance candidates like in the U.S. Everyone has to play a preliminary round regardless of their qualifications.  Another interesting thing about many auditions in Europe including Finland is that the committees listening are much larger. In the Final round for the FRSO the screen came down and there were over twenty people including the conductor sitting in front of me, which was a bit surprising and uncomfortable at first. I remember finishing my Final round and the whole committee applauding (which they do for all finalists) and not being quite sure whether to bow or to just give a quick nod and leave the room.

  • How did you feel after your first round?  Did you expect to advance?

My first round felt very secure. But I recall being very nervous before hand and knowing that a job that I really wanted was on the line. However I committed to going for it and I felt confident afterwards that I would advance.

  • What are some musical factors that you believe help set musicians apart at an audition?

One of my colleagues in the FRSO Darren Acosta had a very good answer to this question. He said there are three different levels of playing in an audition. No. 1 is having the basic fundamentals such as sound, pitch, rhythm etc. No. 2 is the basic sense of style for each excerpt. In other words playing with appropriate dynamics, and articulations. No. 3 is being able to communicate emotionally with your listener, which is very rare to hear in an audition. But if you can achieve that you can really set yourself apart from everyone else. I think the candidate who can let go of the technique to a degree and really take a risk musically is at an advantage.

  • How did you prepare for the audition?  Did you follow any kind of regimen? 

My preparation for this audition was very intense. Prior to the audition I decided to send an email to Mark Inouye (principal trumpet of san francisco symphony)  and ask him how he prepared for auditions. He said he would play through 6-7 excerpts, record them, listen back at half speed and take very specific notes on each excerpt. Then practice those things he had written in his notes and once he was finished, he would repeat the same process with 6-7 other excerpts. I really can’t thank Mark Inouye enough for his advice. So I did this regime 6 days a week for 4 weeks. When you pratice this much its good to take a day off from audition repertoire. In addition, I compiled a playlist on spotify of all the orchestral works and solos on the Audition list. Then I would do a mock audition nearly everyday. I would either do this for my tape recorder, one of my low brass colleagues or other members of the orchestra. This was very helpful. The more different instrumentalists you can play for the more you learn about your strengths and weaknesses as a performer. It also gives you great insight as to what audition committees want to hear.

  • What advice can you offer to those on the audition circuit?

I would say that the biggest assets we have as musicians are work ethic, diligence and personality. If you are willing to put in the time, never quit and allow yourself to be who you are, I believe you will succeed eventually. There’s a Babe Ruth quote aboutdiligence I find very motivating. “You just can’t beat the person who never gives up.”  We have to understand that its important to be content with our playing and musicianship regardless of whether we win an audition or not. We need to keep reminding ourselves why we chose to perform in the first place, that way we can persevere through difficult times when we don’t get the results we are hoping for.


Matthew Winter is currently the solo bass trombonist of the Finnish radio Symphony Orchestra. A position he won while pursuing his bachelors degree at the Juilliard School.  Previously Mr. Winter was also a member of the Verbier Festival Orchestra for two summers.

In addition to this he has performed with distinguished ensembles such as the Metropolitan Opera Orchestra, and the New York City Ballet Orchestra. He has worked with great conductors such as Valery Gergiev, Paavo Jarvi, David Zinman, Manfred Honeck, Alan Gilbert, Michael Thilson Thomas, Ivan Fischer, and Gianandrea Noseda.

When Mr. Winter is not playing trombone he enjoys composing and playing the piano. His trombone quartet “ildiko” was premiered at the Juilliard School in 2014 for the non-major composition competition and was selected to be performed in Alice Tully Hall. This work was also premiered in Spain in the summer of 2015 and recently in Finland and Estonia.



The Odyssey OFG1300 Premiere Flugel Horn: Review by Roger Moisan.

Odyssey OFG1300 Premiere Flugel Horn Details
The OFG1300 Premiere Flugel Horn is ideal for the trumpet player that needs to have a flugel on certain occasions. The response and intonation of the Premiere Flugel Horn coupled with high quality materials that have been carefully chosen to enhance the sound and playability of the instrument make this ideal for both experienced players and teachers. The rose brass bell and lead pipe provides a warm, rich mellow sound. (Also available in silver plate with gold accents)

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High Quality Design
The Odyssey Premiere range of instruments has been designed by Peter Pollard and built to the highest standards of workmanship, using superior quality materials and class leading design features to give you the best possible instrument. You can be assured that as much thought, care, emotion, skill and detail as you apply to your music has gone in to the instruments Odyssey have created for you to enjoy.

Included Denis Wick Mouthpiece
All Odyssey Premiere Brass Band instruments now include a famous Denis Wick Classic Mouthpiece. The original Classic design gives clarity, precision, and a very easily controlled, centered sound. It also adds more brilliance and richer upper overtones than the convex outer profiles of other designs. Very responsive and easy to play, the Classic has excellent flexibility with a rich tone.

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Everything You Need
Complete with its own custom designed carry case, with accessories, each instrument is individually serial numbered providing peace of mind and traceability should you wish to insure your treasured instrument. Also included with this instrument is a mouthpiece to make sure that you can start playing straight away.

Rose brass bell and lead pipe
Brass body
Clear lacquer finish
3rd slide throw
Three water keys
Monel pistons
Bell Diameter: 152mm / 6″
Bore Size: 11mm / 0.43″
Zero-gravity “Back Pack” hard foam case, canvas covered, plush lined with shoulder straps
Accessories: Gloves, cleaning cloth, oil


Stratos-Invention Heralds Music Revolution

Over the past eighteen months, trombonist, teacher and bandleader Marcus Reynolds has had his eye on more than sheet music and big band charts. He’s been poring over technical drawings and specifications, in order to develop a simple brainwave into a new training device – a device that could revolutionise the way people learn and develop their brass instrument technique.


“If I’d have had a Stratos before I may not have had to retire so early!”

Terry Lax – Former principal trumpet of the Welsh National Opera (WNO)

“Wow! That was a Eb above Eb! And no mark on my lips so you can’t even tell I’ve been playing”

Stephen Sykes – Trombone soloist, has performed with Black Dyke and the Cory Bands

I believe this to be an invaluable tool for busy educators like myself.

Ld. Chris Jeans – International Trombone Soloist

After only 2 days of trying to play with it on she was making the best sound I had ever heard her make.

“I was so impressed with the result that I have bought one for myself”

Pamela Wedgwood – composer, educator and professional French horn player.

“Since studying with Marcus my range has gone up over an octave (beyond double C), my endurance has increased and my sound is bigger and richer.

Jim Woolley – a trumpet student of Marcus’s

My range has increased from struggling with a top C, which has been blown away with a top F played with consistency and ease. Not bad for a 76 year old!”

John Spruce

“I suddenly found I could hit top notes on top notes!

Ian McKay – a French horn student of Marcus’s

“The STRATOS is teaching me how to play with minimal pressure, and once I had developed my chops to play this way suddenly notes literally went stratospheric!

Marcus has produced a embouchure tool that is sure to revolutionize teaching and practicing brass instruments.

“His patient advice and teaching has helped me at times to produce such a massive tone from the trumpet that I have looked at the instrument in shock and disbelief

James Firmin – a trumpet student of Marcus

I am thrilled with the transformation taking place in my playing through using your STRATOS. My sound is blossoming in the high register (French Horn g2 – g3).
You’ve under promised and over delivered. Thanks a million.

Andrew Joy, Cologne 10thof May, 2013

The STRATOS is a precision-engineered practice-aid adaptable to all brass instruments. lt comes with a DVD that shows you how to easily fit and remove it from your instrument and also how to adapt your embouchure to get the best from your newly-adjusted jaw position.

”If you practice even briefly with the STRATOS in place, its astonishing how quickly your muscle-memory stores the new position. After a little longer going through some of the exercises in the DVD, it becomes second nature. Players develop new muscle

strength in the right places, and instead of exerting unnecessary pressure, you can actually relax into higher notes, and increase the volume without strain “

The development of the STRATOS has been a technical challenge, but a great journey, says Marcus.

“One of the highlights has been the instant reactions of some of my current pupils, trying out prototypes. One trumpet player produced some of her loudest and highest notes even yet with perfect tone and said, simply “lts magic — it’s like all the lessons you’ve taught me coming back all at once”.

It’s astonishing how quickly your muscle-memory stores the new position…it soon becomes second nature.


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They’ve got some of the biggest brands in stock, including Yamaha, Roland, Casio, Fender, Ibanez, Alesis, Behringer & Gibson, as well as their own great value Gear4music music product range.

To receive excellent service and a great price on your next musical instrument purchase, try Gear4music now!



Are these the ten best brass players ever?

Some of the greatest ever trumpeters, trombonists, horn and tuba players make up our top 10. Do you agree?

“What makes a great brass player?” asks Catherine Bott on Everything You Ever Wanted to Know about Classical Music

Catherine has selected these ten metal maestros – each of them has created his or her own unique sound. Do you agree with her choices?

Christian Lindberg (born 1958) – trombonist
Lindberg has premiered more than 300 works for the trombone and recorded some 70 solo CDs. He was voted brass player of the 20th century alongside jazz giants Miles Davis and Louis Armstrong.

Pip Eastop (born 1958) – horn player

Eastop has been a professor of horn at the Royal Academy of Music since 1993 and at the Royal College of Music since 1995. He has held principal horn positions with major orchestras and is a master of the ‘natural horn’, which has no valves and requires superhuman lip control.
Wynton Marsalis (born 1961) – trumpeter

A huge champion of promoting classical music and jazz, often to young audiences. Marsalis has won nine Grammys in both genres, and his Blood on the Fields was the first jazz composition to win the Pulitzer Prize for Music.
Joseph Alessi (born 1959) – trombonist

Alessi is the current Principal Trombone of the New York Philharmonic Orchestra and a fine soloist, noted for his particularly rich sound quality and virtuosic technical control.
Dennis Brain (1921-1957) – horn player
Brain singlehandedly popularised the horn as a solo instrument after the Second World War. With Herbert von Karajan and the Philharmonia Orchestra, he produced arguably the definitive recordings of Mozart’s horn concertos. Brain was killed when he crashed his car at the age of 36.
Maurice André (1933-2012) – trumpeter
One of the greatest ever trumpeters, André made more than 300 recordings and rose to prominence with his renditions of Baroque works on piccolo trumpet. These strongly contributed to the burgeoning interest in Baroque music in the 1960s.
Jean-Baptiste Arban (1825-1889) – legendary cornet player
Arban was the world’s first famous cornet virtuoso. Inspired by Paganini’s violin playing, Arban pushed the cornet to similarly dazzling peaks. His ‘Trumpeter’s Bible’ is still studied by modern brass players.

Oystein Baadsvik (born 1966) – tuba player
The Norwegian tuba maestro is acclaimed for his masterclasses, performances, and ‘tuba clinics’ around the world – as well as the cult-like following of his performances on YouTube.
Alison Balsom (born 1978) – trumpeter

A 1998 Young Musician of the Year finalist, Balsom has since built an international reputation as one of the great trumpet players, winning Artist of the Year at the 2013 Gramophone Awards and three Classical BRITs.
Tine Thing Helseth (born 1987) – trumpeter
Tine Thing Helseth started to play the trumpet aged 7 and is one of today’s leading trumpeters. She was named Newcomer of the Year at the 2007 Norwegian Grammy Awards – the first classical artist ever to be nominated – and is the founder of the three day Tine@Munch festival in Oslo.


Mike Lovatt’s amazing signature trumpet

Mike Lovatt Smith Watkins Bb trumpet


  • Pitch:Bb
  • Bore Size: .460″dia
  • Finish: Silver Plate or Gold option
  • Bell Material/Diameter: Yellow brass/360mm
  • Leadpipe: ML supplied as standard. Smith-Watkins range available as extras
  • Finger buttons: Laser-etched Titanium (Also available for other Smith-Watkins instruments)
  • Total Weight (ex mouthpiece): 1.2kg
  • Supplied with fitted case with additional space for a second trumpet or mutes
  • Handcrafted and designed in Yorkshire, England
  • *ML mouthpiece supplied as optional extra

Mike Lovatt studied at Trinity College of music where he was awarded the Jon Kelly Jazz Scholarship. He has performed and recorded a wide range of musical styles with many artists including Quincy Jones, Robbie Williams, Eric Clapton, The Orchestra of the Royal Opera House Covent Garden, The Royal Philharmonic Orchestra, Michael Buble, Oasis, Michel Le Grand, Tony Bennett, Toots Thielmans, Marty Paich, Johnny Mathis, The Michael Nyman Band, Michael Ball, Shirley Bassey, Michael Crawford, Danny Elfman, Joby Talbot, The BBC Symphony and Concert Orchestras, London Brass, and The Glenn Miller Orchestra.

As Principal Trumpet in London’s West End, Mike has performed in Jesus Christ Superstar, Evita, The Producers, Billy Elliot, Guys and Dolls, Saturday Night Fever, My Fair Lady, and Spamalot amongst others. Mike is the lead trumpet of the BBC Big Band who featured him in a tribute to Maynard Fergusson. He has played on movie soundtracks including the James Bond films Tomorrow Never Dies and Die Another Day, Harry Potter and The Half Blood Prince, Harry Potter and the Deathly Hallows with The London Symphony Orchestra, the award winning Chicago, Kevin Spacey’s Beyond the Sea, Charlie and the Chocolate Factory, Madagascar, and The Corpse Bride. He is featured on trumpet and cornet in George Fenton’s Mrs Henderson Presents, and on trumpet in ‘Looking for Eric.’

Mike is principal trumpet with the Grammy Nominated John Wilson Orchestra and has been featured in their celebrated BBC promenade concerts and recordings.

In 1999 Mike first performed the Sacred Music of Duke Ellington with Jessye Norman, Mark Markham, Ron Carter and Grady Tate. This collaboration with Ms Norman has continued with a duo appearance at the Tate gallery in London, and touring extensively with performances at Carnegie Hall, throughout Europe and the Montreux Jazz Festival where the legend Quincy Jones commented “great chops Mike.”

Mike is sought after as a teacher, clinician and is a professor of trumpet at The Royal Academy of Music and The Royal College of Music. In April 2013, Mike was proud to be awarded the prestigeous position of The Derek Watkins’ Chair of Trumpet at The Royal Academy of Music, London.

In 2009 Mike was soloist with the Lucerne Festival Orchestra Brass Ensemble and more recently the Espoo Big Band Helsinki and The London Symphony Orchestra with Eddie Daniels.

In 2012 Mike  recorded and was featured with Carl Davis on his score for the TV Drama series ‘Upstairs Downstairs’ , John Lunn’s music for ‘The Lady Vanishes’ and Charlie Moles’s music for the  hit itv series ‘Mr Selfridge’

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Help us support our young musicians in Uganda

FFM’s  friend Wodonya Innocent is raising money to help young musicians in Uganda. They need to buy instruments to continue the fantastic work already being done by the David Kiwana Wind Orchestra. Please visit their GoFund Site and pledge a few pounds/dollars/yen to help them give music to young people in Uganda.
“We are a starting wind classics band and we intend to give chance to our players  to play music and we really need your support for us to do it please what ever you give will help give a chance to one African child a  chance to get a chance to play music .
thank you all all friends around the world .
Help spread the word!”
Wodonya Innocent

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The brilliant Wayne Bergeron here in London

Wayne Bergeron is enjoying a career as one of the most sought-after musicians in the world. Studio sessions, film dates, international touring, jazz concerts, guest appearances, and clinics keep him busy not only in his hometown of Los Angeles, but worldwide.

Born in Hartford, Connecticut in 1958, Bergeron came to Los Angeles at age one, so considers himself a native Californian. Originally starting on French horn, he switched to trumpet in seventh grade and found he had natural upper register ability. Bergeron credits his junior high and high school teachers, Ron Savitt and Bob Smith, for molding his talent into practical working skills.

Bergeron first caught the ear of many when he landed the lead trumpet chair with Maynard Ferguson’s band in 1986. Bergeron can be heard on Maynard’s recordings of “Body and Soul,” “Big Bop Nouveau,” “Brass Attitude,” and “The One and Only Maynard Ferguson.”  Bergeron demonstrates daily why Maynard remarked, “Wayne is the most musical lead trumpet player I’ve had on my band.”

As a sideman, Bergeron’s list of recording credits reads like a who’s who in contemporary jazz and pop, running the stylistic gamut from Ray Charles to Green Day. Other names include Beyoncé, Barbra Streisand, Michael Buble, The Dirty Loops, Seth MacFarlane, Natalie Cole, Celine Dion, Seal, Diana Krall, Tito Puente, Christina Aguilera, Dianne Reeves, Michael Bolton, Earth Wind & Fire, The Pussy Cat Dolls, My Chemical Romance, The Mars Volta, INXS, Chicago, Rosemary Cloony, Diane Schuur, Barry Manilow, Lee Ann Womack, Lou Rawls, Eric Marienthal, Kenny G., and David Benoit.

Bergeron has worked on over 350 TV & motion picture soundtracks. A partial list of film credits include Moana, Frozen, Bridge of Spies, Get On Up, Toy Story 3, Monsters University, Planes, Despicable Me 1 & 2, Cars 2, Charlie St. Cloud, High School Musical 3, Pink Panther 2, Marley & Me, Get Smart, Superman Returns, The Simpson’s Movie, Dreamgirls, Hairspray, Mission Impossible 3, Ice Age 2, Spiderman 1 & 2, Team America, Catch Me if You Can, and South Park.

 Bergeron’s featured trumpet solos can be heard on the motion pictures La La Land, Ted 2, Minions, Jersey Boys, The Incredibles, Rocky Balboa, The Green Hornet, The Interview, Smurfs 2, Despicable Me 2, Duplicity, Leather Heads, Princess & the Frog, The Perfect Game, High Crimes, Rounders, Fled, Hey Arnold (the movie), The Life Aquatic, The Rat Pack, Child Star, Illegal Tender, Aladdin King of Thieves, Foolproof, and Two Days in the Valley.

 Numerous TV credits include Academy Awards, Golden Globe Awards, SAG Awards, NBC, ESPN & TNT sports themes, Entertainment Tonight Theme, American Idol (2001-02), Emmy Awards, Grammy Awards, Latin Grammy’s, Family Guy, American Dad, The Cleveland Show, Jeopardy, America’s Funniest Home Videos, Phineas & Ferb, Emperor’s New School, Mouse Works, Have a Laugh, House of Mouse, King of the Hill, Futurama, Buzz Lightyear, Hercules, Disney Mickey Mouse Shorts, and Hey Arnold.

 Bergeron’s passion for big bands has led to his inclusion in some of Los Angeles’ most well-respected bands. He has recorded and played with Quincy Jones, Gordon Goodwin, Arturo Sandoval, Pat Williams, Sammy Nestico, Jack Sheldon, Chris Walden, Tom Kubis, John La Barbara, Bob Florence, Ray Anthony, Bill Watrous, Bob Curnow, and more recently Vince Mendoza’s re-creation of the Gil Evans/Miles Davis recordings featuring Terance Blanchard and Sean Jones.

 After being behind the scene for so many years, Bergeron stepped out on his own with his first solo effort, “You Call This a Living?”  This debut project earned him a Grammy nomination in 2004 for Best Large Jazz Ensemble, as well as rave reviews from fans and press worldwide. Bergeron’s second CD, “Plays Well With Others,” released on the Concord Jazz label in 2007, was met with the same acclaim. Bergeron is excited about his latest release, Full Circle, Full Circle was released in January of 2016. Bergeron feels this is his best work to date.

Bergeron has been principle trumpet at the Pantages Theatre for over 15 years and is regularly featured with the Hollywood Bowl Orchestra. He has done guest appearances with the L.A. Philharmonic, The New York Philharmonic, and the Cleveland Orchestra.

Bergeron is a National Artist for the Yamaha Corporation of America and is co-designer of the YTR-8335LA trumpet and YFH-8315G Flugelhorn. Bergeron also designed a series of trumpet mouthpieces with Gary Radtke of GR Technologies that are available through Bergeron’s website.

Bergeron was mentored by legends like Uan Racey, Bobby Shew, Warren Luening, Gary Grant, Rick Baptist, and George Graham. He hopes to inspire a new generation of young players and enjoys his work as a clinician and educator. “Nothing makes me feel more accomplished than hearing a young musician say that I inspired them or had a positive influence on their life. For me, that’s the real payday.” Bergeron is currently on faculty at California State University Northridge.

Maybe Grammy winning composer and bandleader, Gordon Goodwin said it best, “Wayne is a once in a lifetime lead trumpet player.”

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