Here’s Rich after a little over a year back on trumpet in 1997 (he spent 1981 through 1995 on valve trombone & bass trumpet) in a Horace Silver Tribute concert put on by the Gulf Coast Jazz Society in Dunedin, FL. This was an unrehearsed performance (sight-reading some of Rich’s hastily prepared arrangements) recorded by Henry Kuck, III on his high-tech 4-track cassette recorder. Oh, and Rick Shaw brought in his transcription of Gratitude.
Personnel:
Rich Willey, trumpet | Lou Stellute, tenor sax | Roger DeLillo, trombone | Larry Camp, guitar | Rick Shaw, bass | Victor Manecchia, drums
Mayreh
St. Vitus Dance
Silver’s Serenade
Nica’s Dream
Gratitude
Home Cookin’



Here’s another example of Rich as the horn arranger and as the entire horn section (he composed, arranged and recorded all the trumpet and trombone parts). This is by singer/songwriter David Cody, and it’s from David’s tribute album to the late NASCAR driver Dale Earnhardt. Yes, it’s a curious blend of C&W, jazz and funk.

Number One Is Number Three

Here’s an example of Rich as the horn arranger and as the entire horn section (he recorded the trumpet and trombone parts). It’s from the movie La Epoca — The Palladium Era produced by Josué Joseph. The DVD and the soundtrack are available at the La Epoca website.

Si Tu Supieras

Here are four from a recording session that we did instead of enduring the eternal election returns that first Tuesday night in November 2008. This was an Afro-Cuban Jazz Band called Joe Mambo. We did two recording sessions and three gigs and then moved on.

Personnel:

Rich Willey, trumpet | Stuart Reinhardt, tenor sax | Jeff Knorr, piano | Grant Cuthbertson, bassOzzie Orengo, congas | Pito Orengo, timbales | Juan Luis Merced, bongos

Hotel California

Killing Me Softly

All The Things You Are

Down ’n’ Dirty — written by Rich Willey

Recordings by Rich Willey down through the years

  • Mayreh10:54
  • St. Vitus Dance9:11
  • Silver’s Serenade10:09
  • Nica’s Dream8:46
  • Gratitude13:27
  • Home Cookin’10:44

  • Number One Is Number Three3:06

  • Si Tu Supieras3:59

  • Hotel California6:51
  • Killing Me Softly5:02
  • All The Things You Are5:56
  • Down ’n’ Dirty5:39

  • Nocturnal Omission - Take One6:07
  • Barbados - Take One5:49
  • I’ve Got Sixpence (traditional)7:29

Here are three from October 1992 at Crossroads Studio in NYC. This was before Rich studied arranging with Mike Abene at Manhattan School of Music, and immediately after he finished a month long gig with Mel Tormé at Michael’s Pub that yielded the Telarc album (CD), Mel Tormé: The Great American Songbook.
Personnel:
Claudio Roditi*/John Swana/John Walsh*, trumpet | Chris Potter/Joel Frahm, tenor sax | Rich Willey, bass trumpet
John DiMartino, piano | John Webber, bass | Steve Berrios, drums
Nocturnal Omission (take one) — with Claudio Roditi on trumpet and Joel Frahm on tenor sax
Barbados* (take one) — with Claudio Roditi on 1st trumpet solo, Chris Potter, & John Swana on 2nd trumpet solo
I’ve Got Sixpence (take one) — with Chris Potter on the tenor sax solo











As a bandleader, Rich Willey has presented music at 

functions and events with a quartet, quintet, sextet, septet,

octet, nonet, dectet and even a sixteen-piece big band. Rich’s

jazz bands are versatile, playing latin, swing, dixieland, or

bebop styles and employ some of the best players in the

Asheville and Western North Carolina region.
As both a player and composer, Rich Willey is firmly rooted

in the jazz tradition. His trumpet and bass trumpet playing draw upon the wellspring of bebop with a contemporary freshness; brash and forceful, but also lyrical and warm. His compositions and arrangements are thoughtful and substantial, yet always accessible and listenable, combining a solid sense of swing with an overriding concern for melody.
Rich was active on the New York scene in the 1980s to the mid 1990s, handling a wide range of Latin and jazz gigs, most notably backing up legendary vocalist Mel Tormé. He is the author of The Ultimate Collection of Jazz Duets, Jazz Improv Materials Handbook Complete — a melodic approach to jazz improvisation, The Melody Lingers On — 24 Melodic Jazz Solos, The Ultimate Blues Workout, We’re Talkin’ Bebop — a melodic approach for developing a bebop-style jazz vocabulary, Trumpeter’s Guides to Major and Minor II-V-Is, Rhythm Madness, Scale Force, Variations on Clarke’s Second Study Vols. 1 and 2, Upside-Down Scales for Improvisation, First Book of Practical Studies for Jazz Players in twelve major keys, and a trumpet method book FocalPoint — a centered approach to embouchure development (Boptism Music).
Rich has a B.A. in music education from the University of South Florida. He finished his M.M. in jazz performance in 2001 at the renowned Manhattan School of Music, where he studied with Byron Stripling and Mike Abene. Rich spent the fall of 2001 on tour playing second trumpet — the challenging “jazz chair” — with trumpet legend Maynard Ferguson’s Big Bop Nouveau.
Rich and his quintet recorded Gone With the Piggies (Consolidated Artists Productions CAP962) in 2001, a striking collection of brilliantly conceived and impeccably performed tracks, including four of his own distinctive compositions. 2001 also saw the formation of the partnership between Rich Willey and Bob Bernotas and their new company, Boptism Music.
Between 2002 and 2007 Rich toured with the Tommy Dorsey Orchestra under the direction of Buddy Morrow. A resident of Candler, NC, he teaches at the University of North Carolina at Asheville, taught at Limestone College (Gaffney, SC) for two years, and also directed the Spartanburg Jazz Ensemble for two years. In addition to being on the music faculty at UNC-Asheville, Rich is also on the music faculty at Clemson University in Clemson, SC, was the director of the historic (but short-lived) first jazz bands at Brevard Music Center, Brevard, NC, and also director of the jazz band at Gardner-Webb University.
Rich has performed with many great musicians (in no particular order): Maynard Ferguson’s Big Bop Nouveau, Hank Mobley, Johnny Coles, Bob Haggart, John Hart, Tim Hagans, Lionel Hampton, Bootsie Barnes, Larry McKenna, John Swana, Mike Natale, Jack Petersen, Don Paterson, Bob Belden, Bob Mintzer, Ernie Watts, Paquito D’Rivera, Kenny Soderblom, John LaPorta, Ted Rosenthal, Larry Camp, Jeff Rupert, The Clayton Brothers, Andy Fusco, Ray Vega, John Lamb, Johnny Varro, Bill Conti, Kenny Drew Jr., Bobby Rosengarden, Jon Gordon, Conrad Herwig, Jerry Jerome, Lou Stellute, John Colianni, Joel Frahm, William Evans, Chris Potter, Greg Gisbert, Scott Wendholt, Brad Mehldau, Joe Farnsworth, John Webber, John Samorian, Danny Gatton, Cecil Bridgewater, Claudio Roditi, Dave Trigg, Dave Stahl, Frank Greene, Tony Berrerro, John DiMartino, Bobby Sanabria, Gary Morgan (PanAmericana Big Band), Jack Wilkins, Dave Riekenberg, Carlos Santos, Napoleon Murphy Brock, Bogus Pomp (Zappa tribute band), Dick Hafer, Chip McNeill, Harry Allen, Ron McClure, Mel Tormé, Jerry Weldon, Adam Brenner, Dave Schumacher, Scott Robinson, Bob Milliken, Don Lamond, Jim Snidero, Jon Owens, Danny Stiles, Bill Mobley, Pete Malinverni, Ed Palermo Big Band, John Walsh, Steve Kirby, John Benitez, Rick Simerly, John Eckert, Chuck Owen, John Simon, Andy Gravish, Bill Moring, Doug Weiss, Randy Eckert, Lynne Arielle, Tim Newman, Debby Boone, Cab Calloway Orchestra, Natalie Cole, Kevin Mahogany, Clay Aiken, The Temptations, Martin Short, Terry Vosbein, Knoxville Jazz Orchestra, Arturo O’Farrill, John Bunch, Derek Smith, Bobby Shew, Rufus Reid, James Moody, Jon Hendrix, Junior Mance, Eddie McFadden, Ira Sullivan, Duffy Jackson, the Cab Calloway Orchestra, the Jimmy Dorsey Orchestra directed by Bill Tole, etc. Tours (in 2002 and 2004-present) with Tommy Dorsey Orchestra under direction of Buddy Morrow, playing 2nd (jazz) trumpet. Played with Tommy Dorsey Orchestra at 2005 Presidential Inauguration in Washington, D.C. Played on Delta Queen Riverboat in 2003. Rich has also played with many other musicians that nobody’s ever heard of.


Discography
Here is a list of some of the recordings with Rich playing trumpet or bass trumpet or valve trombone or all three:
North Texas State Jazz Singers, Fantabulous, NTSU Records
Mel Tormé: The Great American Songbook, TelArc Records
University of South Florida Jazz Ensemble, Suncoast ‘97, Arts USF
Seven Mary Three, Rock Crown, Atlantic Records
Boptism, New York Debut, Boptism
Julie Bluestone, Songs For My Mother, BlueStorm Records
Rich Willey & Boptism, Boptism Music
The Rich Willey Quintet, Gone With The Piggies, Consolidated Artists Productions
David Cody, Earnhardt the Tribute, Cow Skeleton Records
Stephanie’s Id, Grus Americanus, Nine Mile Records
La Epoca, The Palladium Era (soundtrack), Meriseph Productions
The Avett Brothers, I And Love And You, Sony Music Distribution (bonus track on LP release)
Paul Babelay, My Vibe, Good Vibes Records
Terry Vosbein, Progressive Jazz 2009, Max Frank Music
Flogging Molly, The Speed of Darkness, Borstal Beat Records
Terry Vosbein, Fleet Street, Max Frank Music
Bogus Pomp, A Pungent Steaming Affair, Bogus Records
La Epoca, Lost Rhythms in Salsa (soundtrack), Meriseph Productions
RheaKesha Vaughn & The 23rd Psalms, Overflow, zMixed Records
First Christian Church, Sounds of the Season, Charles Goodwin Ensemble, FCC Records
Harmony, Restore Me, Harmony Ministries Records
Lucinda Moore, Blessed, Broken & Given, Tyscott Records
Mosely & Johnson Blues Band, The Whole World Has Still Got The Blues, Malaco Records

Terry Vosbein, La Chanson Française, Max Frank Music

“I have had the good fortune to use Rich Willey’s duets for myself and for my students for the purpose of teaching jazz phrasing and for sight-reading. I haven’t found anything that comes close to the well written ‘exercises’ (compositions) in his books. Not only are they well written, but also very challenging and very musical in every way.”

— CECIL BRIDGEWATER, Trumpeter, composer, arranger, producer; professor at Manhattan School of Music, New School Jazz Program, Jazzmobile, Brooklyn Conservatory

“Rich Willey is an inspiration. His lines bubble with bebop and his sound is smooth to the touch. Rich had me popping my fingers & begging for more!”
— BYRON STRIPLING

“Hi Rich, I love your books!”
— RON ROMM, founding member of the Canadian Brass, www.MusicRomm.com

"Rich Willey’s trumpet playing and particularly his use of bass trumpet is especially refreshing. A no-nonsense player.”

— MICHAEL ABENE

“Rich Willey is a wonderful instrumentalist and jazz composer. Anything he puts on paper I trust 100%.”
— CLAUDIO RODITI, Trumpeter, South Orange, NJ

“This book (Focal Point) is awesome! Real info from a real player. Rich, you have no idea how proud I am of you and the hard work that you’re putting into presenting THE TRUTH to the next generation of brass players. Again, four stars all the way!!!!!”
— RAY VEGA, trumpeter

“I played through Rich Willey’s duets with my son the other day, and we enjoyed them very much. The duets are dripping with the bebop language and all have a nice flow to them. They swing and are quite lyrical at the same time. I would recommend these duets for players young and old. I think there is something there for everyone.”
— BOB MINTZER, Saxophonist, composer & arranger, leader of Grammy Award-winning Big Band, professor at Manhattan School of Music

“Rich’s arrangements are thoughtful and swinging. His bass trumpet sound
and style really knocks me out.”
— TED ROSENTHAL

“One of my students and I went through several bop duets just a couple of weeks ago.We found your duets to be VERY challenging to sightread as there are so many tricky and intricate figures throughout. A lot of these remind me of the old AMSDEN’s, some of which needed to be ‘worked out’ in order to make them sound good. I WILL use your books as part of my ‘humility training’ in the area of sightreading!”
— BOBBY SHEW, World-renowned trumpet student

“Rich, I’ve got to hand it to you, man. These duets are great. They make excellent sight-reading studies. They include all of the standard jazz and commercial music rhythmic patterns
that developing players need to learn to read and phrase. The easier portionof the book is technically simple enough for any decent middle school kid, but the musical values are not compromised in the least. Burnin’!”
— PAT HARBISON, Trumpeter & Professor of Jazz, Indiana University, Bloomington, IN

“Rich’s Bop Duets are an amazing achievement, in my opinion. Far from being merely an updating of Bugs Bower’s efforts, Willey’s Bop Duets offer a multitude of help to all players: 1. Challenging lines, with intricately-contoured — yet witty — melodic twists and turns; 2. Technical workouts; 3. Stylistic challenges; 4. Large warehouse, if you will, of logical and creative statements in the bebop-and-beyond jazz language (sort of a newer Omnibook); 5. More duet/sightreading material — there really is something beyond Amsden! Seriously, these books are top-notch and should be in the library of all trumpet players — teachers and students alike. But my above list left out one very important factor: these duets are fun!”
— BILL SCHMID, Trumpet and Jazz Studies, Georgia Southern University, Statesboro, GA

“Rich Willey’s jazz duets greatly aid one’s ability to develop jazz sightreading skills. They are based on standard chord changes and are eminently lyrical studies in the bop tradition, but also employ modern harmonic devices that push the ear as well as the eye.”
— CHRIS BATTISTONE, Trumpeter, Silver Spring, MD

“I just bought these duets from Boptism and they are awesome. Rich has written by far the best jazz duet books out there. His “easier” duets are challenging but at a perfect level for a talented middle schooler or for high school students looking to expand their jazz vocabulary. These have been printed on nice, high quality paper. I highly recommend these books to any teacher at any level.”
— BILL DUNN, Trumpeter, Washington, DC


These are great duets. Although somewhat advanced, many of my younger students have benefited from them. I am a huge fan of ‘Bop Duets’ by Bugs Bower, and Rich’s duets continue that tradition. The harmony is advanced, but over standard tunes. The lines are always challenging with sometimes odd intervals that don’t lay so well on the horn, which is what we should all be practicing.”
— ERIC BOLVIN, Trumpeter, Arranger, Composer, Keyboards, SF Bay Area, CA

“In my lessons with high schoolers and collegiate students, I am extremely impressed with Rich Willey’s jazz duets. The lines are great in both parts, the harmony is advanced while not being too extreme for lesser trained jazz players, and the range is perfect for duet playing. I highly recommend them to any of you who are looking for some more duet material.”
— TRENT AUSTIN, Trumpeter, Melrose, MA

“Great job writing these duets — great stuff and fun to play! Much more melodic, lyrical and accessible than other bebop-based studies. Using well known songs and including the changes adds another dimension to the material. I picked up a number of new insights during my first couple of times sightreading some of the duets, and I learned some new stuff just reading through the first couple of lines from the first duet I played.”
— GEORGE WEST, Trumpeter, San Jose, CA

“These “easier” duets are pure FUN! If you like traditional New Orleans jazz you’ll love these - based on tunes like Bill Bailey, Baby Face, Bye Bye Blackbird, and When You’re Smilin’. My wife and I read through these duets in a little over an hour Friday night. I think we had to stop on the second page of every tune. Rich just loves throwing you a curve just when you think you’ve settled into a groove. These are very playable, note-wise, not a lot of accidentals. But best of all, these tunes are just toe tappin’, go home whistlin’ fun.”
— STEVE EVANS, Trumpeter, Lykens, PA

“My trumpet studio is pretty much legit, but I have found Rich’s duets to be a very valuable reading and style resource in lessons and find myself using them more and more! Nice way to end the end of semester lessons!”
— DAVID GREENHOE, Trumpet Professor, University of Iowa, Iowa City, IA

“I was weaned on Bugs Bower. Although a lot of fun, they were/are fairly challenging at the suggested tempos. If you are trying to develop a vocabulary related to written changes, too bad. No chord changes there. Some of Rich’s compositions are also quite challenging, but others are very accessible. They have a context in the standard repertoire which makes them much more useful. And he has the changes written down. This is fun, interesting and useful material. For the practice freaks, think of them as etudes for two trumpets. Or forget the duet and play the lines separately in all keys. Your ears & chops will thank you.”
— LARRY MADSEN, Trumpeter, Grand Junction, CO

“I have played many jazz duets, but Mr. Willey’s books are by far the best. This collection not only teaches standard chord progressions, they teach style, rhythm, melody, and unique bebop lines. I would recommend these books to any educator or professional musician.”
— BILL DUNN, Trumpeter, Washington, DC

“I have purchased from Boptism five times. Boptism Music is the personal publishing and distribution arm of trumpet player Rich Willey, a well-recognized professional who has studied under and worked with many of the great names in Jazz from uber-theorist David Baker to master showman Maynard Ferguson. His many exercise books are concentrated, focused explorations of specific performance problems and are applicable not only to jazz but to a general development of trumpet technique and musical understanding. He also publishes some fun duets and play along etudes. Service from Boptism is direct service from Rich himself. His communication with customers is very good; his prices are below the market for this quality of original work; shipping is prompt, never with inflated ‘handling’ costs. He follows up with direct answers to questions arising from his material, primarily through regular participation in on-line forae. And, once in a while he just makes a free, downloadable gift of some valuable set of trumpet exercises. I have no hesitation in making an unqualified personal recommendation of Boptism as a concern with which one should have no qualms in doing business.”
— Tommy T., Deep East Texas


“I just had a friend over Saturday to sightread through Rich Willey’s “easier” duets. We had so much fun we did it again the next day. Played ‘em ‘till we were plumb blown out. Rich’s stuff was just right for us. Not too complex, but not too repetitive as some easier duet books can be. Range was not a struggle, not much over ‘A’ above the staff. We both thought these pieces were a great way to tune up our sight reading. Swung too! These are a solid investment for any 3-5 year (and up) trumpet student. I have no connection with Rich except that he provided me with an appreciated product for a fair price.”
— BOB KRIDLE, Trumpeter, Oakland, CA

“If you like the Bugs Bower book (my copy’s been abused for years) but you’re looking for something a bit more up-to-date (not to mention challenging), you NEED Rich’s duets. I love ‘em. What a great concept, writing ‘improv’ duet lines over the changes to standards. Spend a little analysis time and you’ll get an education.”
— STEVE EVANS, Trumpeter, Lykens, PA

“They’re swingin’ and challenging. Great titles too. Can’t wait to do it again!”
— STEVE BLEIFUSS, Trombonist, Tarrytown, NY

“Very well written – very interesting – very playable at all levels; good job Rich . . . Bravo!”
— LEON MERIAN, Trumpeter, Bradenton, FL

“Rich Willey, why you been holdin’ out on us, bro? On your website I see there are now more of these tremendously well-written and fun duets. I suspect they’ll be worth buying just so I can languish in the punning titles (groan)!”
— PAT HARBISON, Trumpeter & Professor of Jazz, Indiana University, Bloomington, IN

“Rich Willey’s jazz duets are both challenging and motivating. They are also valuable tools for the development of sight reading. I recommend these duets to any instrumentalists wishing to further their knowledge of the bebop language.”
— KENNY SHANKER, Saxophonist/pianist/vocalist, NYC

“Just wanted to drop a quick note with ‘endorsement’ for Rich Willey’s jazz duets. Figuring out the ‘real’ names of the tunes is enough fun already without even playing a note! The duets are written extremely well, easy enough to play but challenging enough to give your sight reading chops a bit of a workout. Rich’s duets are a nice change of pace from Amsden’s, Arbans, etc. Check ‘em out!”
— JAMI DAUBER, Trumpeter, New York, NY

“I met Rich when he was living in NYC and want to recommend his jazz duets. They’re medium level diffculty, quite musical, and right down the middle as far as the mainstream jazz idiom is concerned. Good particularly for students who are trying to get a feel for the style. I wish stuff like this had been around when I was trying to figure things out.”
— SAM BURTIS, Trombonist, Hastings-on-Hudson, NY

“These duets are great. They have provided me with new insight in constructing bebop phrases. I have already incorporated some of the ideas into my soloing. It is apparent that a lot of work and thought went into these books.”
— DAVE SHERMAN, Trombonist, Wakefield, RI

“Rich Willey’s jazz duets belong in every trumpet player’s library. They are great for developing & improving sightreading skills, time, articulation, and jazz vocabulary. These books were written intelligently, allowing players of virtually all abilities to enjoy them.”
— JIM YEDLOUTSCHNIG, Trumpeter, Cedar Grove, NJ

“If you are an aspiring jazz musician, you owe it to yourself to get hold of Rich Willey’s jazz duets! These have REAL changes to REAL tunes with REAL lines that can be taken out of the practice room and on to the stage. With a fresh look at the bop tradition, Mr. Willey has summoned a technical challenge and paired it with a true musical experience. I recommend these books without hesitation!”
— TIMOTHY J. McGINLEY, Trumpeter and Music Educator, Kissimmee, FL

“I recently bought a copy of Rich’s jazz duet book. The book is nicely printed; the duets are very playable and challenging (don’t let Rich’s tenure with MF cause consternation — the highest note is just high C), and work the changes thoroughly — meaning they’re good for theory analysis (chord changes are shown) as well as just having fun.” — GIRARD “GIZ” BOWE, Trumpeter, Richmond, VA

“Rich Willey has compiled one of the most complete improvisation methods on the market today. This book is thorough and fun! I recommend it for any instrument,  especially the trombone!”
— Rick Simerly, world-renowned Conn/Selmer trombone artist

“Any serious jazz student who wishes to learn improvisation needs to own Rich’s improv handbook.”
— Bill Gibson, Edwards/Getzen Artist/Clinician, Queen Mary II Queens Room Orchestra trombonist/bandleader

“I got my copy of Rich’s new improv handbook today. This is definitely a book which should be on every jazz trumpet players music stand. My first impression when I received the book was that this new publication is like the jazz trumpet player’s new Arban’s. Even classical players could benefit from this book. If it’s time to do some shedding, make sure you have this book. Congratulations Rich!”
— Oscar Oñoz, NJ, satisfied customer

“I just received the new jazz improv handbook! Congratulations on all your hard work! You have outdone yourself. I’ve practiced with this the last two days and what a kick! I have a lot of work to do to get all of these skills under my fingers. I look forward to spending quality time with these exercises as I know they will make me a better player. Thanks again for your hard work, time, and talent!”
— Mark Lindvahl, IN, satisfied customer

“Rich’s improv handbook is even better than the bop duets and his other books. Very detailed and progressive, a great aid to anyone who uses it. Well worth the price, and the service is fantastic. Rich is to be commended for all.”
— Dr. Sam Province, NC, satisfied customer

“Order was processed immediately. Items were in PRISTINE condition, arriving three short days later. There was always an open communication line, and issues were resolved promptly, and with great professionalism. I definitely will order from again, and strongly recommend others to do so as well.”
— Brian Schneckenburger, MD, satisfied customer

“I received Rich’s Jazz Improv Handbook last week. Wow, this is great stuff! I appreciate that you’ve laid out suggested ways to practice the material. And what an amazing bunch of material it is. I just wanted to say thanks! This will give me some fun stuff to work on. Maybe this 41 year old amateur player will learn to play some decent jazz yet! Thanks also for the quick service.”
— Dirk Stubbings, Canada, satisfied customer

“I love the way Rich’s improv handbook is organized, with the scales and patterns progressing through the cycle of 4ths, so you nail every key. This is going to kick my butt to work on all scales and all keys, as well as force me to get to know my horn better. This is not just a book for jazz studies, but a great book for any musician who wants to get their chops and ears together! The play along tracks are great. Thank you for including slower tempos; most play alongs don’t. I’ll certainly be recommending this to my students.”
— Mark Parsons, Canada, satisfied customer

“Holy Smokes!! Finally a REAL JAZZ METHOD BOOK!! I have studied, played from, and referred to virtually every book written on jazz for the last 50 years. None, and I repeat, NONE compare to Rich Willey’s Master Text. It covers all the aspects of learning and playing jazz that were absent in all the preceding books.”
— Ken Lesight, CA, extremely satisfied customer

“Just a quick note to mention how much help I’ve gotten from Rich’s Jazz Improv book. It’s not easy shedding ideas and patterns, but this stuff pays off! Thanks, Rich!”
— Nick Mondello, NY, satisfied customer

“I bought Rich’s improv handbook and have been using it myself and with students. I love it. Fantastic presentation even if some of the notes are a little small for my old eyes. :-) The exercises are a great workout and should not be limited to only those who want to work on their jazz playing. These technical exercises are an excellent supplement to those wishing to work on their chops, their fingers and their transposition and sight reading skills. Even if you don’t play a lick of jazz and never intend to, this book can help you immensely.”
— Michael Anderson, trumpet professor, Oklahoma City University

Biography

Rich Willey: Trumpeter, Bass Trumpeter, Composer, Arranger, Bandleader, Brass Teacher,

Author, Music Engraver, Recording Engineer, Clinician, Guest Artist.

Endorsements & Testimonials

Boptism Music


“We speak bebop”

“I am a huge fan of Rich Willey’s Variations on Clarke’s Second Study. The books, Volume 1 & 2 are unique, fun and interesting. If your goal is to maintain and improve your trumpet playing skills these studies should immediately become part of your daily routine. I’ve found practicing Rich’s Variations on Clarke’s Second Study to be both challenging and engaging. I find it fun and helpful to practice these clever variations on the iconic, time tested, proven Clarke technical study #2. When approached with a concept of consistent air movement and flow, these studies offer much greater benefit than just improved finger technique. Regular practice in these books will also improve articulation, phrasing, flow, endurance, music theory knowledge, scales, practicing enjoyment and sound. Variations on Clarke’s Second Study can help make your trumpet playing great!” — Allen Vizzutti