Episode 2.3 - Dr. Lilly Corbin-Haley & Brian Corbin
Episode 3 features Dr. Lilly & Brian Corbin, founders of B. Corbin Clarinet Products, performers, and educators. We talk with Lilly and Brian about entrepreneurship, commissioning new music, and playing in a military band. Transcripts to all podcast episodes are created by Hollyn Slykhuis!
To learn more about Lilly, Brian, and all recommended groups and resources, check out the links below!
Full Transcript
Carrie Blosser 0:03
Welcome to Diversify the Stand. Together we build a community to listen and learn from the stories and experiences of passionate musicians. I'm Carrie Blosser.
Ashley Killam 0:12
And I'm Ashley Killam. In our second season, we talk with musicians, performers, educators, historians, and entrepreneurs to expand how we think of the music we perform and follow non-traditional career paths.
Carrie Blosser 0:25
We have our first duo interview today. Episode three features husband and wife team Dr. Lilly Corbin-Haley and Brian Corbin. They're the founders of B. Corbin Clarinet Products, as well as the US distributor of Royal Global Clarinets. Dr. Lilly Corbin is a military musician, as well as a performer, educator, and product photographer, while Brian works with international partners and is a board member for the new works project. Well, Lilly and Brian, thank you so much for joining us today.
Brain Corbin 0:54
Thanks for having us.
Lilly Corbin 0:55
So excited to be here.
Carrie Blosser 0:56
You're our first dynamic duo to join our dynamic duo, which is fun for both Ashley and I. But we wanted both of you to talk a little bit about how you got started in music and a little bit of your background.
Brain Corbin 1:08
Sure. Well, I'm sort of the classic case of middle school band, you know, music education. I started in sixth grade band, I originally wanted to play the drums. But their excuse was I didn't have enough piano experience. In hindsight, I know now as a music educator, you try to limit your percussionists and your saxophonists because those are typically the popular instrument choices. So you know, I had a woodwind fitting, and the director said, oh, well, you have some clarinet chops. And we luckily had a clarinet in our closet. My sister had tried saxophone and clarinet. And that didn't work out for her. So they were thrown in a closet. And so it was clarinet for me, and just went through, went through the normal, you know, middle school band route and practiced and did the honor bands and the regional orchestras and marching band and all that kind of thing. And then it was like, hey, I really liked music, I think I can do this for a living and, you know, started to invest in going to places like Blue Lake Fine Arts Camp, and taking lessons with some of the military band members. I'm from Northern Virginia, so DC is a really great resource for us. And then went to school for music, Indiana University, Florida State University, and here we are today.
Lilly Corbin 2:22
And I grew up in a really small town in New Hampshire. And so they put an ad in the paper one time, the library, which is this beautiful old Victorian house with many stories. There were three pianos at the top of this building, and they said, if you can get the piano down, it's yours for free. So my family hired this piano mover, it's a super heavy, like, monstrosity with two cast iron soundboards in it, it's ridiculous. This guy just strapped it to his back and walked it down the stairs somehow, I don't know. So I think I was barely born at that point. So I kind of grew up with this instrument in the house, and my dad knew how to play. So he taught me. And that's kind of how I got started, I was just always really fascinated by it. And then when I got to fifth grade, they wouldn't let me play piano in band. So my sister, who's 13 years older than I am, played in middle school. So she shows up at my house one day, opens her trunk, here, this is for you, I get this old plastic instrument that I think she got in a pawn shop 13 years ago and never got fixed up or anything. So I didn't know the difference. And I just kind of learned on that. But I didn't want to put it down. And same thing— went to the honor band, all-state, ended up at University of New Hampshire for my bachelor's, which I was really lucky because it was a fairly small program. So I ended up having a lot of opportunities that I wouldn't have had at a big school as an undergraduate. So I just got to do a little bit of everything there. I ended up at Indiana for my master’s where I met Brian, and we went to Florida State together. And here we are.
Ashley Killam 3:48
And now how many years later, and you have this really awesome company in Hawaii. And so we'd love to hear kind of the background about how the Corbin clarinet products came to be, and what kind of day to day business operations look like for you both?
Brain Corbin 4:05
Yeah, it's a great question. I'm not 100% sure how it came to be, to be honest, but I can at least tell you where it started. You know, I didn't know where it was going at the time, but when I was an undergraduate at Indiana University, I was really set on being a band director. I was doing a music education degree. Of course, when you're at a, you know, conservatory-style school like that you're still performing a lot. So even though I was music ed, I still felt heavily involved in the performance world, but I was teaching a lot of private students. You know, I was working at the local music store, just to make ends meet and to, you know, be better at my craft. But one thing I realized as I started to visit some public schools, and I noticed that a lot of them didn't have instruments in very good shape, and a lot of them didn't have access or resources to be able to have their instruments serviced properly. And so I was a sophomore. I think the end of my sophomore year, and I asked my parents for a music medic instrument repair kit, and I just started buying really cheap horns on eBay. And anything I could do to try to learn a little bit of repair on my own. And that's what I did, I started to learn repair so that I could be a better teacher, I could make sure that my students had access to, you know, at least some, you know, equipment resources, so they didn't have to sit in band and, you know, maybe play a pencil because their clarinet was, you know, leaking or something. And I was really fortunate, I had some friends and colleagues who trusted me enough to do really basic repairs on their instruments. And so I started to, you know, charge very small amounts to replace a cork or a pad here or there. And I was able to grow that as the years went on. And when I went to Florida State, once again, I started to even, you know, do more repair, enhance my skills there. Students were in need, there wasn't really a repair shop nearby. And so I was really, really lucky to have teachers who trusted me to work on the instruments. And as I got more involved in instrument repair, I started to learn about acoustics, and learn how we can really change, you know, things by changing parts on our instrument and whatnot. And, of course, everybody knows about gear, especially woodwinds, right? There's a billion mouthpieces and a billion barrels, but I wanted to make something that was very specific for me and my sound. And so I started to design some products just based on the physics, on the acoustics of what I was reading. And I found a manufacturer on the East coast in Maryland, who was able to take my designs and actually turn them into reality. And so at that point, I was doing my master's degree at Florida State. And I had come out with this barrel, this clarinet barrel. And that really is how it started, I ended up with two designs, I would then share them with my colleagues who really enjoyed them, and would play on them and buy them, I would go to our very first clarinet fest sponsored by the International Clarinet Association in Orlando, which was very convenient to us in Florida. And then every year, I just continued to design more things, produce more things, and partner with other brands, like now I'm the distributor for Royal Global Clarinets. And here we are continuing to grow, and now spreading and distributing our products all around the country. In terms of the the day to day operations, you know, it's different every single day. We're fortunate that right now, we're transitioning out of what's been, for the most part, a home-based business. So we have a garage with lots of saws and lathes and all kinds of things in our entire garage, you know, our cars have never been in it because it's my workshop, and our dining room was our showroom for years. And our living room was, you know, whatever packages we received, that's where they are. But we're fortunate that we've been able to grow and create a office space in downtown Honolulu, where usually every morning I come and I'm often repairing instruments, I'm doing administration stuff, I'm making sure dealers have what they need. Right now I'm training another repair tech to take over some of those responsibilities. So a little bit of everything. One day can be I'm in the shop, making mouthpieces and repairing clarinets, another day, I can be on the phone with a dealer making sure they have everything they need, another day, I'm working with the factory to try to improve on designs and make our distribution a little bit smoother. So a little bit of everything. But now I'm hiring more people to try to take more responsibility. So we're growing in front of everybody's eyes.
Carrie Blosser 8:40
You don't only have clarinet things, is that correct? On your website that you sell for people to buy?
Brain Corbin 8:46
Yeah, that's that's a good point. So I actually, you know, here's a little bit of reality for you. You know, the pandemic hit last year, of course. And before that our entire business was travel-based. So I told you that we ran our business out of our home. And the reason we could do that was because I was traveling to universities, to conferences, doing clinics and masterclasses, I was on the road probably half of the month, every month, sometimes longer, and when the pandemic it that really shut our entire business down, basically. Yeah, we get business orders from our website, but we were really doing well by bringing instruments to the people, because there's a new brand people don't know to look out for you. So you have to create your own demand. Well, the pandemic hit, you know, for several months including in the summer, it was really hard for us and so, what I started to do was use the resources that I already had available to me. I already had a lathe, I already had machinery that I was using to learn how to do, you know, clarinet manufacturing at a small scale, and I decided to go into woodturning other things so I have you know, pens that I make, wood pens and different little knickknacks and other things you can buy on, you know, from woodturning, you know, the process of woodturning. And so yeah, I started another secondary company, actually, just a small kind of fun hobby thing called The Black Turner. And I, you know, I do those handmade products, and they were actually really successful. The goal was to try to eliminate as much waste as possible. Anything involving, you know, turning wood or clarinet manufacturing, unfortunately, you do get a lot of waste. And so the wood is expensive, we try to be environmentally friendly. So I do my best to take those leftover pieces of wood and turn them into really fine handcrafted products that people can buy. So it's kind of cool, you can buy a clarinet made of grenadilla wood, you can also buy one of my handmade pads, also made of grenadilla wood, and we call them clarinet pens. We do bottle stoppers, other little things. But initially, it was just to kind of get some income while things were really hurting. And luckily, as we've been able to grow a little bit during the pandemic, that's kind of been more back to my hobby. So yeah, thanks. Thanks for that.
Carrie Blosser 11:02
I was not paid to say that, I'm just saying. My spouse has a birthday coming up, he has recently picked his clarinet back—or got a new clarinet, so starts working on things. So talking about, like, both of you, kind of like, through your journey from where you started and where you are now, I'd love to hear any suggestions and advice that you have for musicians that are either starting new businesses, or maybe starting new projects, and kind of how you approach those from both of you because you both have very similar paths but some differences too.
Lilly Corbin 11:30
I would say the most important thing is don't ever force yourself into one path, like make sure you keep all of your doors open as much as you can. When I was in high school, my band director put the military band bug in my ear. So I always had that in the back of my mind as a focus. But I didn't let that prevent me from just saying yes to everything really. I tried everything, I would say yes and figure it out after kind of deal. And I ended up getting a lot of opportunities that I never would have gotten if I hadn't done that. So just don't force yourself into a hole. Make sure you keep your mind open, meet as many people as you can. Brian will tell you do your research. You know, make sure if you're starting a project, and especially a business, make sure you know what you're getting into, know what resources you need, how you're going to get them.
Brain Corbin 12:16
Yeah, I think, you know, if we look at the business side, specifically, you know, one of the things I want people to realize is that when you go to school, when you pay for education, you're not only paying for your education, but you're also paying to learn how to educate yourself. And one of the things that I think in this music industry, especially the education part of it, you know, that I think we miss is that school is more than just the time you spent at that institution. And so when we talk about research and learning things, most of what I do today, for my job, I did not learn in a classroom at school. To be clear, I really value my time in lessons and ensembles and improving as a musician in all aspects. But it was the things that I did outside of the classroom, it was all of the YouTube videos, and the books, and all these things that I, you know, researched and looked up while I was in school and after that really led me to what I'm doing today. Yes I, you know, I turned down a lot of social gatherings, I didn't, you know, maybe do a lot of the traditional college things that you're supposed to do because I was sort of thinking to myself, man, I can do all this after college, I need to figure out what I can learn now. So, you know, in terms of business, I say to people look, as a musician, you're already, you know, a business owner, whether you realize it or not. In my opinion, I think every professional musician should at least have some sort of LLC or incorporated entity of some kind, because there are a lot of benefits to being a business owner, including, you know, deductions and access to resources in grants. So even just as a freelance musician, if you're the kind of musician, you know, I was this musician, Lilly did this as well, when we were in college. If you're the kind of person that, you know, you gig, you literally gig, well, you should be incorporated or have an LLC. That's one piece of advice I have to every musician. The other is, just to sum up, don't wait until after graduation to start thinking about your options. Use every available resource you have in school, I think about Indiana University, man, if I could go back and have access to that music library, I would be in there a lot more. I would have gone to many more opera productions for, you know, $10, those types of things. Use your resources. Make sure you think about student loans, again, not just as a way to pay for tuition, but as a way to invest in your future. I used, you know, student loans to invest in musical instruments that I now still perform on. That's a viable resource. I used student loans to invest in equipment that would later make me more money in terms of producing items, right. So be aware of the resources you have and use those. Surround yourself with people who share the same values that you do, the same kind of work ethic, have similar goals. I've certainly made my share of mistakes, you know, in business. And you know, you want to make sure that you're surrounded by people who are going to help you and build you up and share mutual interests. You know, you need to be prepared for failure, be prepared for backlash, and that includes from your friends and peers. You know, I think some of them may think that you're a failure if you didn't win an orchestral job, if you didn't win an interview for a collegiate position, but no one can define your success or failure except you. And so, in that way, I think it's really important to be introspective, understand that this is an industry that, sure, we have to make a career, but most of us probably chose this path for a reason beyond money— latch on to that, use that as your guiding light, and it'll be hard to go wrong.
Carrie Blosser 16:02
That's all really great. That's really good. Thank you.
Brain Corbin 16:04
Absolutely.
Ashley Killam 16:05
So this next question is specifically for Brian. So you've joined up with this really great organization called the New Works Project, would you share a little bit about how you got involved with them, and kind of what their mission is about?
Brain Corbin 16:16
Sure, yeah, the New Works Project, which is a really great nonprofit organization, you know, I was contacted, I guess it's been well over a year now. But I was contacted in regards to the the organization, and basically, it just started with me donating to the organization after realizing that their mission was something I really, you know, could relate to, and specifically, you know, their mission, they basically, they're trying to lower financial barriers and increase representation to promote equity in commissioning and performing new music. And of course, I love that, you know. They're an organization that really enables musicians to be a part of the commissioning process at a pretty accessible price. And what's really cool is a member can sign up, it's, right now it's just percussion and clarinet specific, but you know, they could sign up for a registration fee to be a part of the commissioning project, like their name will be associated with that project. And then, at least for the core series, their money that they pay is going to be based on how often they perform the piece. So for example, you pay $20 or $30, depending on, you know, the tier that you sign up for, then, you know, you get three months to practice the piece, when it's delivered to you, a year of exclusivity. And, you know, you could perform it one time, and then your final payment might be 90 bucks, or you can perform it 10 times in a year, and you don't pay a single dime, because you're spreading that music around, that composer is getting their music played. So you can potentially have a piece commissioned to be a part of that commissioning process, pay a very small fee, and then never pay anything else again, depending on how much you perform it. So, you know, they asked me to become a donating business. I'm a sponsor of that organization. I really believe in it. You know, I'm now on the board of that. And I think we have to think about this when we talk about new music when we talk about the classical music world, right? I think it's really easy for us to fall into the “let's play everything that's been played for hundreds of years.” And it's easy to say, oh, let's have these great, well known composers commission pieces for us. But what if we reached out to a more diverse population of composers? What if we tried to increase representation not just, you know, male or female, or you know, non-binary, not just, you know, race, but much broader spectrum of diversity in terms of composers, and now in terms of performers. And so I'm really excited about it. You know, I'm still in the early stages of trying to be a big part of the organization. But I hope that people will at least look out, take a look at NewWorksProject.org, especially if you're a percussionist, or you're a clarinetist, where you have the ability to be a part of the commissioning process. So I really hope that in the future, we can have more institutions that are going to be able to support this sort of diversity in composition and performing and I think this is going to be a game changer for people who especially are excited about new music and the ability to get in on the forefront of the industries.
Carrie Blosser 19:32
We wholeheartedly support all of that.
Brain Corbin 19:34
Very good. We appreciate that.
Carrie Blosser 19:36
As you might have noticed by our recent commissioning projects, and that's really surprising when you get people together that have a like-mindedness and are looking for more, you know, more representation in music and new music. And, you know, I think there's a stigma sometimes of like, brand new music, that it's so hard that it’s unplayable, so, but that's not always the case. Like, that's written for specific performers for a specific reason. I think people sometimes forget composers are people too, and you can just, like, talk to them be like, maybe, like, don't write it that high.
Brain Corbin 20:04
Right, that's a great point because the other thing with New Works Project is they actually are also involved in writing performance guides for the music. So you can be a part of the commission, and maybe you're not used to reading graphic scores, or you're not used to using, you know, certain techniques. Well, they're also, you know, able to provide performance guides, so that you have at least some idea of either what the composer was looking for, or certain techniques of things that you might be unfamiliar with. So I think that's a great point. And I know that Lilly, as well, is signed up for one of these commissions, and she, you know, I will admit that I do fall into the loving the old music a little more than, than most, I am definitely a self-proclaimed, you know, romanticist, if you will. Lilly, you know, listening to her practice new music, it's really changed the way I feel about it. And so what that means to me is maybe more people just need to have access to it, maybe more people just need to hear it. And then we'll be a little less judgmental, from my, you know, rather traditional conservatory-style education.
Lilly Corbin 21:08
Sure. And I think if you think about where we came from with that, specifically clarinet, if you think of Mozart and Brahms, they had specific players they were writing for, and even specific instruments, and it was a very symbiotic relationship. And there's no reason why we can't go back to that. It doesn't have to be this esoteric, make it hard to be hard, you know, make it sound great and be accessible to a lot of people. So I'm really excited about this, too. I've joined a couple of commissions, and I'm really looking forward to being part of that as well.
Carrie Blosser 21:38
So Lilly for you, since we're just talking a little bit about performance and the things that you're doing. I definitely feel like you're kind of one of those people who do all the things, which is awesome, and you do teaching and you're performing, you do the product photography for your business, you do product testing, I'd love for you to maybe talk about your experiences through all of those things. And then is this kind of like where you anticipated your career going? And then just generally, like, any advice, or things that you have for other clarinetists out there.
Lilly Corbin 22:06
So like I said before, my high school band director put the military band bug in my ear. And I'm really fortunate that worked out for me. And so that's my main career. I love it. It's, I'm so happy to be here. So grateful every day for that job. As far as the product photography, I have always loved cameras and taking pictures ever since I was a little kid. I took courses in high school, and then in my master's degree at Indiana, we had to do an outside area. It's kind of a mini-minor, if you will, but I was accepted into the photography school. And I did a couple classes there. And I just was always taking pictures. And so when Brian got really started on what he was doing, and I came into this more at Florida State, I was working on my doctorate, I just looked for ways that I could support him in the business. You know, I'm not in there measuring all the dimensions of mouthpieces and everything, but I can try them and tell him what I think about them. “I want this one to have a better articulation, I don't love the way the tone is centering on this one,” that kind of feedback. Rather than just trying to do it all himself, I just looked for ways I could support him in what he was doing. So I did a lot of the early logos and design and things like that. And of course, all the product photos now. So that's just been really fortunate that that has worked out for me that way. And that's actually a bit of advice I have for people is just look for ways that you can combine and monetize your outside passions. So it's something I've always loved to do. But now I can put it to use in a positive way. And I've also you know, done headshots and photograph family photos, things like that for people. So you can make a little money on the side doing things like that. Definitely would recommend investing in good equipment. Did a lot of times my initial setup was, you know, draping a curtain over the cat tower to make it work with natural light, and then just get yourself some good equipment so you can produce consistency. I mean, as far as teaching, I didn't really do a lot of teaching until I got to Florida State and that's a big reason why I went to that school is they had a teaching assistantship open. And I was fortunate to be there with Brian as a teaching assistant as well. So we got to teach the clarinet methods class and we had undergrad students lessons, scale class, undergrad studies. And so I told them when I got there, you know, it was like, I feel like this is a hole in my education. And I'm really wanting to fill that and learn how to be a great teacher. So I'm very grateful to them for giving me that opportunity there at Florida State. I had wonderful students, I learned a lot because you have to do it. It's not something you just read a book and watch YouTube and you know how to do it. That's something that's very hands on. So I've been fortunate out here in Hawaii to work with some middle school sections. Through the O’ahu Band Directors Association. They've been great. We've been trying to do you know, zoom masterclasses and things like that. And the kids have been awesome. I'm really fortunate that I've been able to kind of piecemeal all of those interests together because I think you know, a lot of people I know just don't end up doing what they love to do because of whatever reason, and I just feel really lucky that I've been able to make it all happen and be part of my life and have Brian, of course.
Carrie Blosser 25:08
That's awesome. We're onto our very last question now. We do ask everyone this at the very end of the podcast. And we would love to know what is on your music stands this week, and how are you diversifying your stand?
Lilly Corbin 25:20
Well, I've been doing a lot of research into the history of Navy musicians in Hawaii, which has been really fascinating. I love to kind of learn a little bit about where I am, which right now is Pearl Harbor. And there's just really fascinating stories. I think most people will know about the Arizona band who all went down with their ship during the Pearl Harbor attack in 1941. They were working in the ammunition hold sending ammunition up, and unfortunately, they all perished with the ship. The USS California band, and I should preface—back in the day, Navy bands used to be all assigned together as one unit, and they would be assigned to a ship. So the California band, their ship went down, they survived, but they didn't really have any assignments because their instruments also went down with the ship. So they actually ended up working for the codebreaking team in Pearl Harbor. And they helped crack the Imperial Japanese Navy code, JN-25B, and they worked the IBM tabulating machines and the key punch machines feeding all this information, just tons and tons of information. And I think that's such a cool story. You know, we've been talking about how we make different things work, and we adjust and adapt. And I think that's such a great story of that happening and how musicians helped win the war. And of course, the B1 band was the first all-African American band, they were they were thinking they were going to be staying in Chapel Hill, North Carolina, where they were from, and they are actually requested out here. So they were the first Black musicians and sailors to be at a higher rank than ever before in the Navy. And they have such a great story too. They were so popular with their different groups they were in, popular music, jazz combos, they played all over different officer clubs. There's a lot of music happening on the islands while the battle of the bands, and they just had so many accolades from people as being one of the best bands, and there is a lot of racism and strife to their story as well. But really, really interesting history out here that I've been really enjoying delving into.
Brain Corbin 27:25
Very good. You know, for me specifically on my stand right now, I've been learning a new piece by a composer Ruth Gipps. She was a British composer, she actually joined the city of Birmingham Symphony Orchestra. They just celebrated her, what would have been, I believe, her 100th birthday, but she wrote a piece Prelude for Bass Clarinet solo, and that's specifically what's on my stand right now. I think it's been such a great thing to see how a lot of organizations are now trying to support, just to be honest, you know, non-white male composers. And so I had never heard of this composer, I'd never heard of this piece. And when I heard it, immediately, I was like I have to buy this and share this. So I'm looking forward to learning this and recording it and sharing it with others. I also have been doing a lot of listening to Doreen Ketchens. If you don't know Doreen Ketchens, she is sort of the, we call her the queen of clarinet. And she's this really amazing clarinetist who performs on Royal Street in New Orleans. And, you know, I bet most musicians have probably seen some clip of her somewhere, whether it's Instagram, or Facebook, or whatever it is, but she is just incredible. And so I've been listening to a lot of clarinet players that maybe don't have traditional paths, and trying to learn a little bit more. For me my own personal style, I don't do a lot of jazz playing, and so I'm trying to get a little bit more into jazz because, you know, especially as a Black man, there is a lot of history there in terms of jazz in this country, which is to me just a really true American art form. So everything from, you know, British composer Ruth Gipps to American jazz, you know, players, I just think it's been a lot of fun actually, even listening to your podcast and what you guys are doing, trying to think in the future, how am I going to continue to diversify my stand and get the Brahms and the Crusell and the Mozart maybe off my stand more than it usually is, and let's insert some other things. Because I'll tell you what, there's nothing like learning to enjoy new music and the variety of music, then playing it, right. So sometimes it really does take me performing or practicing a piece to say, wow, that's really cool. I'm really resonating with that. Even if on first listen, you know, I maybe didn't think it was my cup of tea. It's like anything else. You get into it, and suddenly it becomes a part of you. So love that question, by the way, and I really hope that everybody asks themselves that question and come up with some answers that work for them.
Lilly Corbin 29:58
Oh, I just want to second the Doreen Ketchens listening, she's just, first of all, such an incredibly beautiful person. She's so kind and genuine, wonderful, phenomenal. My, definitely hands down my favorite clarinet player. And I'm trying to learn, you know, a lot of Valerie Coleman and some things like that. So she's been a great inspiration for me to get out of the classical idiom a little bit more.
Carrie Blosser 30:20
Awesome. Thank you both so much for joining us today.
Lilly Corbin 30:23
Thanks for having us. This was great.
Brain Corbin 30:25
Thank you very much, really appreciate it.
Carrie Blosser 30:26
Links to both Lilly and Brian's websites, plus the groups and projects they're part of are listed in the podcast description.
Ashley Killam 30:33
Thank you for listening to Diversify the Stand. I'm Ashley.
Carrie Blosser 30:36
And I'm Carrie. If you'd like to support us and our projects, find us on social media and visit our website. We now have a store where you can pick up some Diversify the Stand gear.
Ashley Killam 30:45
And as always, a huge thank you to Trevor Weston and Whitney George for allowing us to use their compositions in our podcast. The musical introduction is Trevor's trumpet duet “Fanfare for Changes,” and the ending music is Whitney's “Incantations” for trumpet and piano. Both composers’ websites are listed in the podcast description.
Carrie Blosser 31:04
Until next week, what's on your stand?