ITG Honorary Awards

Mel Broiles (1929-2003)
Mel Broiles learned to play the trumpet in second grade in Salina, Kansas. In his later school years (1940s), after moving to California, he played in dance bands around Hollywood and Los Angeles where he listened to the music of Charlie Parker, Howard McGee, and others.

He attended The Juilliard School as a student of William Vacchiano, but his education was interrupted with an invitation to perform with The Symphony of the Air (NBC Symphony) for a three-month tour of the Far East entertaining servicemen. On his return, Mr. Broiles did considerable work freelancing in New York City, playing many studio dates and Broadway shows, and was the brass coach for the National Orchestra.

Mr. Broiles served with the West Point Military Academy Band and spoke fondly of his time with the organization telling John Sartoris, a later member of the band who studied with him, that his playing improved dramatically during his four years there. The section during Broiles’ tenure included Frank Kaderabek, Robert Nagel, Thomas Stevens, and many other fine players.

Broiles was engaged by the Metropolitan Opera, left for a season to play with the Philadelphia Orchestra, and returned to the Met, remaining as principal trumpet until his retirement in July of 2001. As faculty at The Juilliard School he taught for more than thirty years. He was prolific as a composer for trumpet ensemble and brass ensemble, and wrote many etude books for trumpet. A library of his music is being established by Fred Mills, professor of trumpet at The University of Georgia, Athens.

Clifford Brown (1930-1956)
Clifford Brown received his first trumpet from his father on entering senior high school in 1945 and joined the school band shortly afterward. It was not until a year or so later that the mysterious world of jazz started to intrigue the young musician. As a teenager the young Brown began playing gigs in Philadelphia after he graduated from high school in 1948. That same year, he entered Delaware State College on a music scholarship, but there was one slight snag: the college happened to be momentarily short of a music department.

After one year at Delaware State, Brown had a chance to enter a college that did boast a good music department, namely Maryland State. They also had a good 16-piece band, and he learned a lot about playing and arranging until one evening in June 1950, on his way home from a gig, he was involved in the first of three automobile accidents, the last of which was to prove fatal. His recovery was an entire year. During that time he was encouraged to persevere by Dizzy Gillespie.

After working with his own group Clifford Brown joined the Chris Powell combo, with which he was working at Cafe Society when his first date with Lou Donaldson was cut. There followed a stint with Tadd Dameron in Atlantic City, after which he joined Lionel Hampton. In the fall of 1953 he toured Europe with Lionel Hampton. In 1954 Brown won the Down Beat critics' poll as the new star of the year. Moving out to California, he formed an alliance with Max Roach that was to last until death broke up the team.

Miles Davis (1926-1991)
Miles Davis was born in May of 1926 in Alton, Illinois. In the world of music he had a great deal of influence as an innovative bandleader and as a composer. Rooted in the 1940s bebop style, his music was important in the development of improvisational techniques incorporating modes rather than standard chord changes. Miles’ experiments with modal playing reached its apotheosis in 1959 with his recording Kind of Blue.

Miles was a true master of restraint regarding the creative process of improvised lines, evident by his recordings of “The Man I Love” and “Bag’s Groove” with Milt Jackson. They are both typical examples of his restrained phrasing and time. Miles used techniques incorporating unique placement and articulation of notes and dramatic use of silence during his solos. Known in the 1950s for his ability to vary his sound, pitch, timbre and often utilizing a Harmon mute, Miles’ solos resulted in warm, rich, wispy, intimate improvisation.

In later years, Davis, facing swirling social and musical currents, changed the way music was performed and understood. He incorporated the use of harsh dissonant sounds from electronic instruments and his lines were more varied and original than any other trumpeter of his time.

Miles’ playing was always a part of his soul and never lost character. He passed away September 28, 1991…his music and influences remaining with us for eternity.

Harry Glantz (1896-1982)
Glantz was playing weddings, dances and Bar Mitzvahs by the age of ten. Born in January, 1896, Glantz, a student of Max Schlossberg, became principal trumpet of the Philadelphia Orchestra under Leopold Stokowski, and at the age of 22, left to play in the U.S. Marine Band in World War I. Later he played a season as principal trumpet in San Francisco, then joined the New York Philharmonic under Mengleberg and Toscanini. When he became conductor, Toscanini invited Glantz to join the NBC orchestra. After it was disbanded, Glantz became a professor at the University of Miami. A legend in his own time, Glantz is among, if not THE, leading symphonic trumpeter of his era.

Glantz had outspoken opinions about what he considered to be the unfortunate “modern” trend, believing use of the trumpet other than as an orchestral instrument in B-flat, or
trumpets not pitched in Bb, was a deviation from the standard that had been established and proven by long experience. His firm belief that ‘one-trumpet-fits-all’ held over from daysprior to World War II, when one trumpet did fit all!
ITG Awards of Merit

William Adam
William Adam was born in October 1917, in Fort Collins, Colorado and began trumpet studies at age nine with Ben Faults, 3rd cornetist of the John Philip Sousa Band. Bill Adam learned to play by ear, imitating great sound in a melodic context. At 10, Bill hitchhiked to study with John and Mabel Leich in Denver, Colorado, being taught through demonstration of the ideal, rather than from criticism of physical technique.

Adam attended the University of Colorado at Denver, earning his Bachelor’s degree in Trumpet Performance and later studied at the Eastman School of Music, earning two Master’s degrees, one in Music Theory, and the other in Composition. William studied with Hyrum Lammers, in Los Angeles, and the likes of Harold Mitchell, Herbert L. Clarke, Louis Maggio, and William Vacchiano.

In 1946 Mr. Adam became trumpet professor at the School of Music at Indiana University, and succesfully held this position for 42 years, retiring in 1988. Students from that studio succeeding in orchestra, band, jazz, studio work, teaching, and other fields, are vast. Mr. Adam performed and lectured at the first ITG Conference in 1975. The University of Illinois, University of Nevada, University of Cincinnati College-Conservatory of Music, Appalachian State University, UCLA and many others throughout the United States have hosted his clinics.

Kim Dunnick

Kim Dunnick has been professor of trumpet at Ithaca College since the fall of 1981. In addition to private trumpet instruction, he performs with the Ithaca Brass, and chairs the performance studies department. He is a recipient of a Dana Fellowship, awarded for excellence in teaching.

Dunnick earned an undergraduate degree at Indiana University in Bloomington, a Master’s degree at Catholic University in Washington, D.C., and a Doctor of Music degree with Indiana University. His trumpet teachers include Louis Davidson, Herbert Mueller, David Flowers, Walter Blanton and Charles Gorham.

From 1970 to 1973 Dunnick was a member of The United States Army Band in Washington, D.C., performing with the Ceremonial Band, the Herald Trumpets, and the Army Blues Jazz Band, and has been a member of the Knoxville Symphony, the Elmira Symphony, the Brasswind quintet, and, for ten years, was solo trumpet of the Victoria Bach Festival in Texas. He is currently principal trumpet with the Cayuga Chamber Orchestra.

A founding member of ITG, Dunnick has served for many years on the Board of Directors, the Executive Committee, and from 1997-1999, as President, actively expanding the international involvement of ITG and helping to establish the Australian Trumpet Guild. He has written several articles for the ITG Journal, and served as Book Review Editor for 20 years. He coedited, with Joyce Davis, the autobiography of Russian virtuoso Timofei Dokshizer, and
produced the celebratory pamphlet Twenty Five Years of the ITG, highlighting important figures and events of this organization’s first twenty five years of service to our community. Active as aclinician and adjudicator, he has given trumpet master classes worldwide.

Frank Kaderabek

Frank Kaderabek joined the Philadelphia Orchestra as principal trumpet in 1975, a position he held until retiring in 1995. His previous appointments included principal trumpet of the Dallas and Detroit symphonies and assistant principal trumpet of the Chicago Symphony. Born in Chicago, he studied there with Edward Masacek and Adolph Herseth, and in New York with Harry Glantz and Nathan Prager. In addition to his solo performances with the Philadelphia Orchestra, Mr. Kaderabek has appeared as a soloist with the Detroit Symphony, Grant Park Symphony, the Chicago Chamber Orchestra, the Pennsylvania Symphonia Orchestra, and at the Bach Festival in Cranbrook. Throughout his career, Mr. Kaderabek has been a tireless proponent of the orchestral musician, serving on numerous committees and negotiating bodies to ensure that the voice of musicians would be heard. He currently serves on the ITG Board of Directors.

In 1982, he was the first American ever invited to judge the International Trumpet Competition in Czechoslovakia, returning again and again. His contributions to performance and teaching were honored in 1991 by the New York Brass Conference. Mr. Kaderabek recorded An American Trumpet in Prague in 1992 and recently recorded Virtuoso, an album of trumpet andcornet solos with the Allentown (PA) Band.

Mr. Kaderabek’s teaching career includes experience at Temple University, the University of Michigan, Oakland University, West Chester University and The Curtis Institute of Music where he has been on the faculty since 1975, a longer tenure than any other Curtis trumpet teacher.

Anatoly Selianin

Anatoly Selianin has been a pivotal figure in merging trumpeters of the East and West. Born in Uzbekistan, he attended the conservatory in Tashkent, and became solo trumpeter of the National Opera and Ballet Theater in Tashkent. He is an early protegée of Timofei Dokshizer’s, doing graduate work at the Gnessin School of Music in Moscow. In 1972, after three years as Dean and professor of trumpet at the Conservatory in Astrahkan, he became Head of Brass and Professor of Trumpet at the Conservatory in Saratov, the third oldest music school in Russia. In 1992, he founded the Volga-Band, a full-time concert band in Saratov, with players drawn from the Philharmonic, Opera, and Conservatory faculty in Saratov.

Anatoly Selianin is a member of the ITG Board of Directors, and a past-president of Euro- ITG. He has been a visiting professor at the University of North Texas and Ithaca College, has lectured on Russian performers and music at ITG Conferences in Ithaca, Purchase, Richmond, Gothenburg, and Bloomington, and has given master classes at several U.S. schools, including the Eastman School of Music and the Juilliard School of Music.

Mr. Selianin organized the Brandt Competition and has been a frequent judge of international trumpet competitions including the Maurice André competition and the Kiev International Competitions. Several of Anatoly’s students have won various competitions. He has published four articles in the ITG Journal and has written and lectured extensively on North American trumpeters and music in Russia.