"The skilled artisan is limited only by their tools, and their imagination. As artisans of wind and song, articulation may be our most important tool. It serves not only to provide a note’s beginning, but also its color, character, shape, and direction. Therefore, the study of articulation is one in which the ultimate goal is control: The ability to create at will, with unwavering consistency, a note whose properties are defined not by chance, but with intent. Achieving a high level of control necessitates the development of a diverse set of articulations backed by a foundation of well-conditioned muscle memory. Indeed, an artisan is only as good as their tools and as musicians we are both the artisan and the toolsmith." - Casey Jones
About the Editor
Casey Jones studied music at the New England Conservatory in Boston with Norman Bolter, former trombonist of the Boston Symphony, and at the University of Maryland with Craig Mulcahy, principal trombone of the National Symphony Orchestra. Previous to school he studied with Brian Plitnik. Prior to his appointment to the Oregon Symphony, he played two seasons with The Florida Orchestra, one as second and one as principal. He has also played with the Jacksonville Symphony and the Sarasota Opera.
Casey is a winner of the Steven Zellmer-Minnesota Orchestra competition, the U. S. Army-sponsored Tenor Trombone Solo Competition, and the Southwest Trombone Symposium S.E. Shires Solo Competition. He has performed as a guest artist at the American Trombone Workshop and is on faculty with the D. C. Trombone Workshop. Casey is a S.E. Shires performing artist.
In his free time, Casey enjoys playing strategy-based video games, reading sci-fi, and spending time with his three cats, PJ, Stanley, and Bluey.
