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Prof. Andrew Classen about his Schagerl C-Trumpet Berlin heavy


„I received my Schagerl Berlin Heavy Rotary C in the middle of rehearsals for Beethoven’s 9th Symphony. I was locked into the horn in the first hour. It has a warm and beautiful sound. Intonation is excellent. It make playing the Germanic repertoire way easier and more fun (let’s face it, V-I gets a bit boring at times). If you want the best rotary trumpet on the market, get a Schagerl.“
(Prof. Andrew Classen – Professor of Trumpet and Jazz Studies at Drake University)

About Prof. Andrew Classen

He is currently second trumpet with the Des Moines Symphony and principal trumpet with Orchestra Iowa. He has played in many of the Willis Broadway Series shows including: Wicked, Spamalot, Book of Mormon, Hairspray, Annie, Little Shop of Horrors, The Producers, Chicago (solo trumpet), The Full Monty, 42nd Street, and Thoroughly Modern Millie.

He often works as a clinician and guest artist for recitals, masterclasses and seminars, regionally, nationally and internationally. He has performed in China, Mexico, England and much of continental Europe. His classical trumpet album, It’s About Time, is available through Amazon or the iTunes store.

He is the leader of the Turner Center Jazz Orchestra, which just released their first album, Class ‘n Jazz: The Music of Andy Classen. His is also an active jazz composer. He currently has six compositions published through C.L. Barnhouse Publishing.

He received a Bachelor in Music Education degree from the University of Wisconsin Eau-Claire and a Master of Music degree in trumpet performance from the University of Tennessee. His principal trumpet teachers were Vincent Cichowicz at Northwestern University, William Adam at Indiana University, Robert Baca at the University of Wisconsin Eau-Claire and Cathy Leach at the University of Tennessee.

Andrew Classen became the inaugural holder of the Fred and Patty Turner Professorship in Jazz, thanks to a $1 million gift from Drake alumnus Fred Turner. Mr. Turner noted, “I am delighted to have the opportunity to support the future generations of musicians who will keep this art form alive. Creating a jazz professorship at my alma mater is a perfect fit. This is my own way of making sure the music plays on.”

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Successful with Schagerl Trumpets


Congratulate Dr. Federico Montes and Kevin Karabell, who won the audition with their Schagerl C-trumpets BERLIN heavy!

Dr. Federico Montes Associate Principal Trumpet Omaha Symphony and Kevin Karabell Principal Trumpet Jacksonville Symphony Orchestra!

Dr. Federico Montes about his Instrument:
My Berlin Heavy Z rotary trumpet has everything I ever imagined an incredible rotary trumpet would have. The range and variety of colors available to unlock within it are unimaginable and not to mention its incredible easiness to play and not just to play but to play in tune and fit in with the sound of the orchestra. I have enjoyed playing this horn in various orchestras in North America, not only in concerts but also in auditions since now many orchestras are strongly encouraging or requiring candidates to perform in rotary trumpets. I believe Schagerl has revolutionized the rotary trumpet in the world. 

Kevin Karabell about his Instrument:
My Schagerl Berlin heavy C trumpet allows me to express myself without any limitations. Regardless of the color, articulation, dynamic, or range I choose to present, this instrument truly allows me to communicate freely. Master craftsmanship allows for an immediate response and beautifully resonant sound.

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Harold Madrigal Frias plays Schagerl James Morrsion Trumpet


Harold Madrigal Frias began his musical studies aged 8 in the National School of Arts in Havana, Cuba.
Already as a student he played with some of the top Cuban bands and over the years worked as a lead trumpet with the Joaquín Betancourt’s Jazz band, Cesar López & the Habana Ensemble, Roberto Fonseca & Bandidos All-Stars and the world famous Buena Vista Social Club and Orquesta Akokán.
Harold has been the principal trumpet of the Havana Lyceum Orchestra since 2008. For him it is very important to cultivate the flexibility of performing both Cuban and classical music – something quite tricky for a trumpet embouchure and something his Schagerl trumpet is a huge help with!

Harold has recorded and shared the stage with important world musicians like: Sarah Willis, Thomas Hengelbrock, Simone Dinnerstein ,Ronald Zollman, Walter Reiter, Remy Ballot and Duncan Ward.
He has been featured in different Festivals around the world such as: WOMAD UK, WOMAD NZ, WOMADELAIDE, Fiest‘A Sete Festival, Les Nuits de Fourviére, Nice Jazz, Nancy Pulsations, North Sea Jazz Festival, SF Jazz, Global Fest , Midnight Summer Jazz Festival, Sydney Fest, etc.

My Schagerl James Morrison Trumpet

My Schagerl trumpet is simply the perfect tool to help me transition smoothly from the classical music world to commercial and popular music playing. Its warm sound and wide sound spectrum enables me to go from a morning rehearsal of Mozart with the Havana Lyceum Orchestra to a night filled with Mambo and Cuban music solos. It makes my world much easier and I will be forever grateful to Karl Schagerl for making this possible.

My Schagerl trumpet was organised as a surprise from my dear friend Sarah Willis. It was made possible by the Instruments for Cuba fund set up as part of her Mozart & Mambo project together with the generousity of Karl Schagerl. In Cuba it is a rare thing to receive a brand new instrument and seeing the name Schagerl and unboxing the trumpet, I was like a kid opening a treasure. Playing the trumpet for the first time was an unforgettable moment and it remains my most prized posession.

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Concert with James Morrison and the Schagerl All Stars


After James couldn’t be with us for two years, it was a great pleasure to have him back and to organize the first concert with the Schagerl Jazz Trumpet All Stars on May 5th in the Stadtsaal Mank. A great, unforgettable concert experience with our friends and Schagerlartists that we will always remember. A special thanks to James and our amazing Schagerlartist family who always give us the energy and motivation to take the next step in the further development of our company

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Dr. Jack Burt interviews Nadje Noordhuis


On May 13 and 14 2022, the University of Maine enjoyed the residency of jazz composer and trumpeter Nadje Noordhuis for two concerts and a masterclass. She performed a concert – of mostly her own compositions – with the UMaine Jazz Faculty, as well appearing as guest soloist the UMaine Jazz Band and Jazz Ensemble, directed by Dr. Dan Barrett.

In both concerts, Nadje completey charmed both listeners and performers with her uniquely lyrical and positive musical voice. Unknown to me until we met Nadje performs on a Schagerl Penelope B flat trumpet.

Australian-born and living in New York City, Nadje has a varied career. She is a member of the Grammy winning Maria Schneider Orchestra, and has 4 solo albums to her credit. She is also on the faculty of the Manhattan School of Music, Hunter College, and is a widely sought after private teacher. I interviewed Nadje between events, and over food in Orono, Maine.

Interview Questions:

Jack Burt: It’s been so nice having you here for your residency at the University of Maine! It’s great to meet you – and I love the music you are playing with our faculty quintet and our two jazz bands. I particularly like your compositions.

NN: Thank you!

JB: Have you always composed, or was it something that developed over time?

NN: I wrote one tune when I was young and taking piano lessons, but then didn’t write again until I was in my early twenties. As part of my undergraduate improvisation degree in Australia I had to regularly write tunes to be performed each week in my ensemble class. It was an amazing assignment – what better way to learn how to do something than to jump right in! I never thought it would be such a major part of my career, but it has ultimately allowed me to develop my own voice. I can’t imagine how I would have been able to develop my own sound without having spent countless hours working on my writing.

JB: You are from Australia, but are based in New York City, what do you when you aren’t a guest soloist? You teach as well, am I right?

NN: I teach a lot – both privately and at Manhattan School of Music. I have been able to live in a couple of different cities during the pandemic as I pivoted to teaching via Zoom in 2020. I find that I am still able to teach effective lessons despite not being physically in the same room. There are certain advantages, such as being able to quickly screenshare etudes or exercises, or to work on improvisation using play-a-longs. I miss living near the water in Australia, even after nineteen years of living in the US, so if I’m not teaching or playing, I’m heading up the road to go for a swim at a local pool.

JB: How did you get started in music, and jazz?

NN: My mother bought an old piano before I was born, and when I was very young I took a liking to it. She kindly enrolled me in piano lessons with a wonderful teacher, and I loved learning and practicing. Her husband played trumpet, so when I was seven, I also began trumpet lessons. It was compulsory for all third graders at my elementary school to play a band instrument. I played in my high school jazz band, but never considered it as a career until I was in college. I saw an all-female jazz group perform at a local pub, and it blew my mind. I never had thought of it as an option before. A couple of years later, I was enrolled in college for improvisation.

JB: I understand you have a new album in the works. Can you tell us about it?

NN: I actually have a few albums in the works at the moment! I just recorded my latest album for Newvelle Records, featuring Fred Hersch, Thomas Morgan and Rudy Royston. That will be out on vinyl in September, and released digitally in December. I’m also working on my next duo record with vibraphonist/synthesist/percussionist James Shipp. We still have a few layers to add, and will be mixing and mastering in the summer. That will be out on my label, Little Mystery Records, at the end of the year. I’m also slowly working on a rock album, which is an exciting new musical direction. I’ve always loved rock and metal music, as well as jazz. That album may take another year or so to complete.

JB: Who knew we both played Schagerl trumpets? How did you get started playing on your horn, the Penelope?

NN: I discovered the Schagerl Penelope trumpet at the International Trumpet Guild conference in Sydney in 2010. I had been looking for a new horn since my old one had been damaged in a chemical bath cleaning incident. I hadn’t had much luck at finding one until I picked up the Penelope. I knew immediately that I had found what I was looking for! It’s such a beautiful and versatile instrument. From big bands to solo trumpet with electronics, this horn plays it all. I can blend seamlessly in ensemble sections, and it cuts through effortlessly for solos with its gorgeous, warm sound. I get compliments pretty much every gig that I play on the purity of my sound. It’s my calling card, and I wouldn’t consider playing any other trumpet. Unless it’s another Schagerl, of course!