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Jason Carder Trumpet Player With Yanni

Trumpet Player Jason Carder

Jason Carder featured on flugelhorn with Yanni

Jason Carder featured on trumpet with Yanni

Trumpet Player Jason Carder of Tuscon, Arizona is currently on tour with Yanni. Jason Carder obtained his Bachelor of Music in Studio Music and Jazz Performance from the University of Miami after graduating from the Interlochen Arts Academy. Jason then obtained his Masters Degree in Jazz Performance from the University of Miami, Florida and he is presently a DMA Candidate in Performance at the University of Arizona. In addition to his current gig with Yanni, Jason has performed with Arturo Sandoval; Maria Schneider; Paul Anka; Maynard Ferguson; Woody Herman and Ray Charles just to name a few. Jason played Lead Trumpet in the International Trumpet Guilds "Tribute to Maynard Ferguson" as well as "Tribute to Doc Severinsen." These are just highlights of his extensive musical career !

Jason attended the University of Miami for many years and says he owes a huge debt of gratitude to Whit Sidener, the director of jazz studies there. Jason states, "He is one of the premier educators of our time and is known for being an extremely tough but caring teacher. One of my favorite sayings of his is "Think don't stink ! "

Says Jason, "My concept of section playing was formulated there. That's where I learned how to sight-read and follow the lead player at all times. This includes cutoffs, crescendo rates, time feel, breathing spots etc. As I travel around the country playing with and listening to other musicians I realize that not everybody knows or cares about the concept of a tight section. Music is not about everyone fending for him or herself. It's about teamwork. The great sports teams get that way through teamwork not just because they have one or two stars. It's the same with excellent bands. My section skills and ability to work with other players for a common goal has gotten me a lot more work than my soloing ability."

The most significant trumpet teacher in my life was the late Gilbert Johnson, formerly principal trumpet with the Philadelphia Symphony Orchestra. He taught me how to breathe correctly. He was all about the timed quick breath. Basically, you time your breath according to the tempo and make sure to keep the air moving from the inhalation to the note. This lets the momentum of your air carry through the first note, to the rest of the phrase.

I currently study with Edward Reid, the principal trumpeter in the Tucson Symphony and the trumpet professor at the University of Arizona. I am currently a doctoral candidate in trumpet performance there. He is helping me with the finer points of orchestral literature and piccolo trumpet playing among other things. I aspire to be the most well-rounded trumpet player I can be. I love taking trumpet lessons for that reason; there is always something else to learn. It's very important to keep an open mind about new ways of tackling problems.

A lot of young trumpet players make the mistake of not studying with the very best trumpet teacher in their area. It's worth the extra money to study with the best even if you have to travel a distance to get there. One lesson a month with a great teacher is worth more than weekly lessons with a mediocre teacher.

Summer camps are a fun way to meet other players and learn about music. While growing up, I attended Northern Arizona University Music Camp for four years, then moved on to Interlochen Summer Camp for two years and received a scholarship for my senior year in high school at the Interlochen Arts Academy. I was in the orchestra with Jim Stevenson and Eric Hyland and played in the jazz band with Mike Bogart (of Tower of Power) !

A significant amount of University of Miami graduates now hold high positions in the music world from producers to musicians in touring bands, college teaching jobs to music engineers. It's very important for young musicians to pick a college with a proven track record for placing graduates in high places. I would say the vast majority of my professional work has come from people I met at the University of Miami. My work with Maria Schneider, Maynard Ferguson, Arturo Sandoval, The Woody Herman Orchestra, Yanni, The Word of Mouth Big Band and all of the commercial recording in Miami were related to people I have known from the University of Miami. In fact, the only gig I can think of that was non University of Miami related was touring with Ray Charles.

My latest trumpet teacher Edward Reid has got me into mouthpiece buzzing as the first part of my warm-up. I started with the James Stamp and James Thompson books and have since written my own routine which I do every day. I have also written many trumpet exercises and jazz etudes and hope to put them together in a book sometime soon.

Trumpet Player Jason Carder performs on a gold plated Schilke Trumpet with a gold plated Marcinkiewicz Roger Ingram Signature Mouthpiece bored out to a 26 throat. Jason has played the same flugelhorn for 20 years. It's a Bach Model 183. It's not the most in tune instrument but it has "THE SOUND". Jason uses a Giardinelli 10 mouthpiece with it. Says Jason, "I love my raw brass Calicchio with the 3 bell and 7 lead pipe for small group jazz. I can coax many different tone colors out of it and it provides me with unparalled flexibility. My jazz mouthpiece is a Warburton 5MD with a 7* backbore and 25 throat. For classical work I use a large bore New York Bach 25-62 with the original lacquer and a large bore Bach C trumpet 229 bell silver plated with a Charlie Butler #1 leadpipe with a Warburton 4MD 8* backbore and 24 throat.

NOTE: Jason is now using a New York Bach trumpet with a 25 bell made in 1936 along a Schilke 6a1/2 4A (custom). He also uses a Yamaha Shew with a Bach 7B mouthpiece for mellower stuff when performing with Yanni.

I am always listening to trumpet players. It's important to have a concept of how you want to sound as well as how you do not want to sound. My favorite classical trumpeters to listen to are: Sergei Nakariakov, Hakan Hardenberger, Maurice Andre and Alison Balsom. My favorite jazz trumpeters are too many to mention but the top few are Louis Armstrong, Freddie Hubbard, Kenny Wheeler and Arve Henriksen.

Jason Carder's Advice On High Range For The Trumpet

*** NOTE: Thank you to Trumpet Player Augie Haas for permission to use the following information. ***

  • QUESTION - What equipment do you use for upper register playing and why?

    I am now using a New York Mt. Vernon Bach trumpet with a 25 bell made in 1936 along a Schilke 6a1/2 4A (custom mouthpiece) for my high register playing. I am also using a Yamaha 8310Z Professional Model Trumpet and a Bach 7B mouthpiece for mellower stuff when performing with Yanni.

  • QUESTION - What is the effect of the proper equipment on upper register?

    The proper equipment along with the use of compressed air will give the player the stamina to last the whole gig. It's also important to have a sound that carries to the back of the hall. The balance between the player hearing him or herself and the projection out to the audience is crucial. I feel that the equipment I use achieves that balance.

  • QUESTION - How does a player go about finding optimal equipment?

    Students of the trumpet should try all of the trumpets and mouthpieces they can get their hands on. Sometimes a mouthpiece will work great with one trumpet but not another. The combination of those two pieces of equipment is the key.

  • QUESTION - In your opinion, approximately what percentage of high note playing is mental vs. physical?

    50% each. The player has to have the attitude that notes in the high register are just farther away on a horizontal plane, not higher vertically. This will lead the player to concentrate on air speed and forward momentum. It is also easier to see and hear the note in your head when it's in front of you. I have seen too many players raise their eyebrows and look upwards with their eyes as if they are looking for the note above their head. I have found that every note seems to have a corresponding tongue position. Students who are looking for that elusive note just above their break should concentrate on playing it softly and finding the right mouth shape. Both the inter-oral mouth cavity and the firmness of their embouchure are important considerations. I make a distinction between the aperture and embouchure. If you are playing on a small mouthpiece it's important to relax your aperture so the air passes through it unhindered. On a big mouthpiece you need to keep the aperture smaller.

  • QUESTION - Is upper register playing a learned trait or is it based on natural ability?

    For me it was a learned trait. I realized early on in my career that playing in the upper register would help me expand the amount of gigs I could do.

  • QUESTION - What is your philosophy on breathing concerning the upper register?

    A player should create momentum with their air steam before playing the note by not stopping the air before the attack. This can be done with or without a compressed air stream. If I feel I need to use compression, I pretend that the air enters my body about an inch below by bellybutton and continues up to the trumpet without stopping. While the air is coming in I simultaneously push my bellybutton towards my spine while keeping my upper body relaxed. This creates some compression but not as much as Bobby Shew's "wedge breath." I find this way of breathing sufficient for most of my lead playing duties and piccolo trumpet playing. If I want to go all out I will use the wedge breath.

  • QUESTION - How does air compression effect upper register playing?

    Compression will help with endurance and volume.

  • QUESTION - Should a player be able to execute upper register playing both with and without compressed air?

    A player should be able to play in the upper register with or without compressed air.

  • QUESTION - How and what do you practice to be able to play consistently in the upper register?

    I do a lot of pitch bend exercises. I use David Hickman's book "15 Advanced Embouchure Studies" and make up my own. I practice certain Charlier etudes 8va and attempt to play them as beautifully as I would in the regular octave by singing though the horn. I improvise in the baroque style using a single valve combination or practice licks from Bach's 2nd Brandenburg Concerto with the first and third valve pressed. Slurring up the harmonic series very softly can help a lot with finding the correct mouth shape for those really difficult notes. I divide my time practicing in the upper register between my Bach 1.5 C and my Ingram Marcinkiewicz mouthpiece. But usually not in the same day.

To contact Jason Carder ... you can visit Jason's website at

or his webpage at

Jason Carder Discography At CD Universe

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