RALPH ALESSI: KINDRED SPIRIT FA1
BY THOMAS
ERDMANN
T
’s Hissy Fit, immediately noticed Alessi’s talents and rumpeter, flugelhornist, and composer Ralph stated, “Alessi is emerging as one of the most important new Alessi may have been blessed with great musical trumpeters and composers of the new century.” Further genes, but nothing comes of them without hard acclaim for his recordings as a leader arrived in the form of work to develop that talent. Born in to famed classical numerous four-star DownBeat magazine reviews, feature artitrumpeter Joseph Alessi (longtime trumpeter with the Radio cles, and various Top 10 Record of the Year lists. In JazzTimes, City Music Hall and Metropolitan Opera Orchestras and noted critic Nate Chinen wrote of Alessi’s Baida later a celebrated West Coast-based teacher) and soprano recording, “Without abandoning his yen for oppositional Maria Leone Alessi (who sang at both Radio City Music Hall energies, it’s a beautifully coherent statement, not just his and the Metropolitan Opera), Ralph and his trombonist most accomplished album but a contender for one of the brother Joseph (principal trombone with the New York Philharmonic since , on the faculty of The Juilliard School, year’s best.” The New York Times seconded, acclaiming the album for its “elegant precision and power.” and previously with the Philadelphia and Montreal symNever far from his desire to share what he knows with sucphonies) have not only continued the family’s tradition of cessive generations, Alessi currently teaches at the School of unswerving devotion to their own musical excellence, but Jazz and Contemporary Music at The New School; has also eagerly passed on their knowledge to generations of students. While the rest of the family followed the classical road, taught at the University of Nevada – Reno, New York University, the Eastman School of Ralph chose a path that includes not just classical performance, but also “He may have the genes, but de- Music, the New England Conservatory, and Brandeis and Harvard unijazz, with great critical acclaim, in veloping them into what Down- versities; and is the founder and addition to teaching. Ralph’s first studies on the trum- Beat called ‘an individualist director of the New York-based non-profit School for Improvisapet came from his father before working with traditional jazz and with a style and sound all his tional Music. Among the bands he leads include This Against That, an forward-thinking bassist Charlie ensemble Alessi describes as “organHaden at the California Institute of own’ was all his own doing.” ically toe[ing] the line between jazz, the Arts (cia). During this time, pop and contemporary classical music,” and the Baida QuarRalph performed in Haden’s groundbreaking Liberation tet, of which DownBeat exclaimed, “Alessi works between the Music Orchestra while also freelancing with the San Francisco Symphony and various opera and chamber ensembles. notes… the group’s focus on low-level details [is] a study of exactitude, like a jeweler’s art set to music.” When one listens After completing a bachelor’s degree in jazz trumpet perto the dexterity, refined brilliance, luscious tone, and genreformance and a master’s in jazz bass performance, Alessi hopping skill Alessi displays in everything from neo-bop to moved to New York in . Quickly coming to the notice straight-ahead to free to classical, it is easy to see why he is so of musicians associated with the downtown scene—such as revered. He may have the genes, but developing them into saxophonist Steve Coleman, pianist Uri Caine, and clarwhat DownBeat called “an individualist with a style and inetist Don Byron, among others—Alessi established himself sound all his own” was all his own doing. as a major creative performing and compositional force. Critic Michael G. Nastos, in reviewing Alessi’s debut as a leader, Erdmann: Not only are your parents and your brother accomplished musicians, but even your parents came from families of musicians. You have said, “Music was around the house 24/7,” but how integral was music in the household as you grew up? Alessi: Certainly, the constant trumpet lessons going on, as well as my father’s practicing, was pretty consistent. My mother also practiced, and eventually my brother was practicing a lot. There was lots of live music going on. On the other hand, I looked up to my brother and really liked his record collection. I heard a lot of music from him, either by osmosis or by him turning me on to things. Erdmann: Was it mostly classical music? Alessi: No. My earliest memory of his collection was Herb Alpert and the Tijuana Brass, but also a lot of big band jazz. Joe was into jazz as a young musician; he loved it and was good at it. He then took a left turn—or a right turn, depending on 6 ITG Journal / March 2020
your viewpoint—and left jazz behind until recently, when he has revisited that territory. Erdmann: I know your earliest lessons were with your father, but you also studied with Bob Elkjer. I was going to ask if he was your first exposure to jazz, but I guess not. Alessi: My first exposure to jazz was from my brother’s collection, but my first jazz lessons were from another student of my father’s, Ken Saul. He showed me a bunch of Clifford Brown transcriptions and then played the tracks, which blew my mind. Erdmann: You studied with Armando Ghitalla at Michigan for one year. Why did you leave and head to Cal Arts? Alessi: I was searching for the right fit in terms of a school. Cal Arts was actually my third school in three years. I went to the University of Texas at Austin for a year after Michigan. When I was at Michigan, I was pretty focused on being a clas© 2020 International Trumpet Guild
CONTENTS
