Dr. Mike Sailors
Educator, Engraver, Recording Artist, Jazz Master
Originally from Charleston, South Carolina Mike grew up playing in his local church. He went on to attend the University of North Carolina at Greensboro in 2001, Michigan State University in 2007, and The University of Texas in 2010.
Mike was an active Trumpet player in the Broadway scene during his tenure in the Big Apple. Past shows include Beautiful – The Carole King Story, Be More Chill, and The Prom. He also served as Music Director for Sleep No More from 2014-2017.
Sailors also currently serves as a copyist and editor for the Lincoln Center Jazz Orchestra – a position he’s held since 2017. In 2018, he was made the lead copyist for the Essentially Ellington Jazz Festival. This festival, presented by Jazz at Lincoln Center, is the largest and most prestigious jazz festival in the world.
In 2024, Sailors co-released his first album as a leader – Elias Haslanger Meets Mike Sailors (Bandstand Presents). Recorded in Austin, Texas, and featuring some of the best musicians in this part of the country, this record features mostly original compositions contributed by Sailors and Haslanger.
In 2019, Sailors joined the faculty of The University of Texas Butler School of Music, where he leads the Jazz Trumpet Studio and mentors young artists looking to build careers in music. He currently spends his time presenting his projects and music in several of Austin’s jazz clubs, touring nationally and internationally, appearing as a guest artist with high school and college jazz programs and serves as Music Director for international recording artist Aubrey Logan and her Big Band.
For additional information please visit:
– mikesailors.com
Bridging Tradition and Innovation in Jazz Trumpet
A Jazz Trumpeter’s Journey
Why did you choose music as your career?
I was blessed to have great role models and mentors at a young age. The people I looked up to the most were working musicians in my hometown (Greensboro, NC), and I wanted to be like them. As a high schooler, my dream was to teach band and be a freelance trumpeter on the weekends.
Did you ever want to give up on playing music?
Never!
Were you classically trained before switching to jazz and commercial music?
I studied classical trumpet under Edward Bach at the University of North Carolina at Greensboro. We didn’t do any of the traditional trumpet rep, but we played a lot of etudes (Bousquet, Charlier, Arban’s, Brandt) and he helped me tremendously with my technique. I owe a lot of my trumpet success to him.
On days when you are not performing or rehearsing, how long do you practice?
For years, I practiced 3-4 hours a day without fail. I have a 2 year old, and another on the way so these days my practice time is very minimal – maybe 30 minutes a day unless I have an upcoming recording project or important gig coming up. I focus on sound production and fundamentals a lot. That said, I’m constantly thinking about music. I also arrange a lot, so while I’m unable to practice on the horn as much as I used to, I’m thinking and listening to music constantly.
I still play 3-4 nights a week as well, so I get a lot of face time in.
What do you focus on during your home practice sessions?
Fundamentals and sound production.
How long did you study or play jazz before your solos began to sound cohesive and professional?
Ha! I have no idea to be honest. I started working professionally when I was 16 or 17, so I’d like to think that while I wasn’t a great improviser then, I could play well enough to fool most people. With that said, I’ve made the most progress artistically in the last 5 years.
What kinds of scales and patterns do you practice?
I’ve never spend a lot of time practicing patterns. That sort of practice was always really boring to me.
For a long time I practiced some of the scales that Barry Harris taught – Major and Dominant Bebop from the root, 3rd, 5th and 7th in all 12 keys, and the Barry Harris Chromatic Scale in all 12 keys.
I also like to practice Alvin Batiste’s Root Progression Method, which involves opening up your ear and developing fluency in all 12 keys. I still do a lot of that type or practicing when I can, or if I have a recording session or important gig coming up.
When you are improvising, do you think about scales, or do you simply play melodies and ideas that come to mind?
I try not to think about anything except being in the moment.
When soloing, do you have the chord changes memorized, or do you rely on shapes and colors of the tune?
Most times, yes. The people I came up with believed in knowing A LOT of music, so I know hundreds of standards. If I don’t know a song and I’m playing on it, I can usually hear the changes after the first pass.
Do you ever run out of ideas while playing a solo?
One can never run out of ideas when improvising.
Are you generally unconcerned with the actual chord changes?
I wouldn’t say that I’m concerned or unconcerned with chord changes. I think people put too much emphasis on harmony and not enough emphasis on rhythm. I have my own take on harmony and how it aids my ability to create music. How I think about harmony is I’m sure very different from anyone else (as it should be).
Do you prefer playing with your own band or collaborating with other groups?
As long as I’m playing with musicians who can play at a high level, I’m happy.
Do you approach your playing differently when performing with your big band compared to being a soloist in someone else's group?
Absolutely. When you’re playing with a large ensemble, you have a lot more going on most of the time – backgrounds, weaving in and out of the ensemble, etc. When you’re playing in a small group, it’s much more “open”. I like doing both though.
Who do you listen to for inspiration?
Thad Jones, Bob Brookmeyer, Stan Getz, Gil Evans, Miles Davis, Nicholas Payton, Zoot Sims, Dave Pell Octet, Art Farmer, Blossom Dearie, Duke Ellington, Count Basie, The Village Vanguard Orchestra, LOTS OF PEOPLE!
Do you enjoy teaching, or do you prefer recording and performing instead?
I enjoy teaching immensely. I love sharing this music with young people, and I love watching the light bulb going on in the heads of young people – whether its about the trumpet, improvisation, arranging, etc. That said, I could never stop performing/recording.
When recording, do you go with the first take of a solo, or do you typically do multiple takes until you’re satisfied with the result?
I go with the take that the entire band sounds the best on. Hopefully that’s the take that I sounds the best on.
What equipment are you currently using?
I play a Calicchio 1s7 in medium large bore, and a 2 Greg Black Mouthpieces – a 3cs for most everything and a NY1 when I play lead. I play a Yamaha Bobby Shew Flugelhorn with a Yamaha 14f4 mouthpiece
Do you choose different equipment depending on the group or the specific gig?
I choose equipment depending on how I want to sound.
How much time and effort do you dedicate to composing?
Composing? Not so much. However, I do a great deal of arranging for people as well as my own groups.
When composing, do you start with a progression and then create a melody, or does the melody come first?
When I have to compose (which I don’t do very often, as I’m not that good at it), I start with the rhythm of the melody first. Then I put notes to the rhythm, then I find chords that work with the melody notes.
Jazz Reimagined: Merging Tradition with Innovation
Of all your compositions, is there one that is your all-time favorite?
For Nicole, off my latest “Elias Haslanger Meets Mike Sailors” 2024 album.
How much time and effort did it take you to complete your latest album?
From the first recording session (we did 3) until the release date – 7 months.
Now that you are an established soloist, what is your biggest career challenge?
Finding the time to invest in new projects! Between being a full time professor, a full time engraver/copyist (I’ve worked for the Jazz at Lincoln Center Orchestra since 2016), a freelance trumpeter working 3-4 nights a week, arranging for multiple people (most notably Aubrey Logan), being apart-time contractor in TX and NYC and spending time with my wife and daughter, there’s not a lot of time left for myself.
How do you stay inspired and motivated to create new music?
It’s not something I have to try to maintain. I’m constantly being inspired by the artists listed above and by my peers.
What has been the most memorable performance of your career, and why?
It’s hard to pin point one. The ones that stand out are playing the Tokyo Blue Note Jazz Festival and the Newport Jazz Festival. It’s cool being a part of the lineage of musicians who’ve played those festivals.
I’ve been incredibly blessed to play music at the highest of levels with people whom I consider to be great friends.
How do you handle criticism of your music, whether from peers or audiences?
If someone doesn’t like what I do, that’s ok. I try not to take it personally. Not everyone is going to dig what you do, and you have to be ok with that
What role do collaboration and networking play in your music career?
A big part! Who you know is everything in the music business.
What is the best advice you would give to an upcoming player?
- Fall in love with music and your instrument ASAP
- Seek out the elders in your communities. Your peers don’t have much to teach you – the old heads do.
- Be the hardest worker you know.
What is your best tip for anyone learning the art of improvisation?
Listen to music voraciously. All the answers are there.
Do you think anyone can learn how to improvise with the proper guidance and effort?
No.
Name five standards that every jazz student should know by heart.
Just learn as many as you can, and delete the iRealBk app from your life.
Original Composition by Mike Sailors
