August 26, 2025 • 25 mins
Grammy Award-winning trumpeter Syreeta Thompson takes us on a musical journey from her Chicago roots to becoming "New York's Trumpet Lady," revealing how determination and authenticity built her remarkable career.
Syreeta’s story begins with her name itself – named after Syreeta Wright, Stevie Wonder's wife – setting the stage for a life immersed in music. Growing up in a household where jazz classics and soul legends provided the soundtrack, she first attempted clarinet before discovering her true voice through the trumpet. "It was the loudest instrument in the band," she laughs, "I wanted to be heard."
This conversation brilliantly illuminates the dedication behind musical mastery. Under the mentorship of Bill Fielder (who also taught Wynton Marsalis), Syreeta spent two years focusing solely on proper breathing techniques before playing a single note on her trumpet. This foundation-building approach, combined with her experiences playing in Pentecostal churches, created her signature sound – a distinctive fusion of jazz sophistication, classical technique, and gospel soul that has topped both jazz and gospel charts simultaneously.
Beyond her musical achievements, Syreeta’s advocacy for women in music stands tall. Her custom trumpet, encrusted with over 10,000 Swarovski crystals, isn't just an instrument but a statement piece reflecting her bold artistic vision. Her upcoming documentary "Blow Yo Horn: Making Music in a Man's World" aims to amplify female instrumentalists who haven't received proper recognition. As an educator partnered with Berklee and Juilliard, she instills her "winner mindset" in the next generation: "If you don't see yourself as a winner, who else will?"
Discover Syreeta’s upcoming projects, including her new single "With You I'm Born Again" featuring Tony Lindsey from Santana, plus performances at Lincoln Center and in Los Angeles. Subscribe now to hear more stories of women reshaping the music industry landscape through creativity, persistence, and unapologetic authenticity.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 3 (00:24):
Hi, you're listening to Sarah Nagourney and welcome
to.
She Creates Noise, a newpodcast spotlighting women who
power the music industry, comingto you from New York City.
Now, if you don't know me yet,here's a little background.
I'm a songwriter, producer,manager, educator and mentor.
I've written platinum sellingsongs, had tracks on Grammy
nominated educator and mentor.
(00:45):
I've written platinum-sellingsongs, had tracks on
Grammy-nominated records andreleased music on both major and
independent labels.
I've been a jazz singer, ajingle singer, toured with big
bands and became a pop artist,and I've performed at festivals
across the US, europe and Asia.
These days, I focus on writingwith and developing young talent
.
In the coming weeks, I'll bepulling back the curtain on the
(01:07):
music industry's femalechangemakers.
Some are close friends, othersI'm just getting to know, but
all have reshaped the businessin profound ways.
My goal here is to helplisteners better understand how
the music business really worksand just how instrumental women
behind the scenes have been.
You'll hear from both sides ofthe desk artists, producers,
(01:32):
managers, label executives,lawyers.
Women making things happen,often without the spotlight on
them.
Thank you for joining me onthis journey.
Now let's dive in.
Thank you for joining me onthis journey.
Now let's dive in.
Today's guest is SyritaThompson, known as New York's
(01:54):
Trumpet.
Lady Syrita Thompson is aGrammy Award winning artist,
billboard chart topper andmaster brass specialist who's
redefining what it means to be awoman in music.
Hailing from Chicago, syrita'sroots span gospel, jazz and
classical, and her command ofinstruments goes far beyond the
trumpet.
She also plays upright bass,drums, piano and trombone with
equal fluency, and she's a closefriend and cohort of Wynton
(02:16):
Marsalis.
Her albums Winner and Evolutionof a Winner debuted at number
one on both the gospel and jazzcharts, and her performance are
bold as her bedazzled trumpetCovered in over 10,000 Swarovski
crystals.
Her fifth studio album, takingit Back, dropped in the fall of
2024.
Beyond the stage, sarita is adedicated educator and advocate.
(02:36):
She's written over 26 musiceducation curriculums.
She serves as a master musiceducator with the New Jersey
Education Association and worksin partnership with both Berklee
College of Music and Juilliardto expand access and opportunity
for young musicians.
Her upcoming documentary Blowyour Horn Making Music in a
Man's World aims to amplify thevoices of female
(02:59):
instrumentalists, producers andsongwriters who haven't yet
gotten their dueinstrumentalists, producers and
songwriters who haven't yetgotten their due.
Sarita Thompson is not just aperformer.
She's a leader, a mentor and amovement.
Please welcome her here to thepodcast Today.
I'm so glad to have SaritaThompson here.
(03:20):
We're going to be talking abouther amazing journey and all the
incredible interesting thingsthat she has done, and I kind of
want to turn it over to Saritato tell us about growing up in
Chicago.
I was wondering what first drewyou to trumpet and how did your
family, education and earlyinfluences shape your path in
what's often considered amale-dominated space?
Speaker 2 (03:46):
considered a male-dominated space.
Well, first, starting just withmy name alone being named after
a very famous singer, saritaWright, who was the wife of
Stevie Wonder, the famous StevieWonder, sarita Wright.
My dad was a music enthusiastand he absolutely loved her
(04:08):
music and at the time he and mymom, they couldn't figure out
what to name me.
And so he loved her music andhe said, well, why not Sarita?
And that's how I, just so itcame from birth, you know.
And so I grew up in a somewhatmusical family, not directly
from my.
My dad loved jazz.
He was, he loved jazz.
He loved Art Blakey and theJazz Messengers, he loved
(04:31):
straight ahead jazz.
And then he also just lovedmusic, like the like I was
saying, the 60s and 70sTemptations, that whole era.
My mother is a huge Marvin Gayefan and so growing up in that
household I would say even at atoddler musical was always
around me, so I couldn't escapeit.
And then, when I went to schoolto and you know, every kid has
(04:54):
to pick out an instrument toplay, and so I first started out
on the clarinet and that was ahuge disaster because I couldn't
get across the break on thekeys and so and you have to buy
these reeds to go on themouthpiece.
You know, every so often Ofcourse I was breaking all of the
reeds, because breaking all thereeds and so I had to find an
(05:17):
instrument that kind of fit me.
And the trumpet was kind ofhard but it was the loudest
instrument in the band and I waslike, oh, I think I can do this
.
You want to be heard?
I want to be heard.
I mean, who can hear someone ona clarinet, you know?
And so I said, ok, I think Ican do this.
(05:41):
It was a little tough.
So I started, definitely inmiddle school, in the seventh
grade, I started in the schoolband playing.
I think I was in my fact I wasthe last chair, because when
you're in middle school playing,you know you have to be first
trumpet, second trumpet, thirdor fourth trumpet, and I was
like fourth trumpet because Iwasn't that good.
It was, you know.
(06:02):
And so my mom had got reallytired of me from the clarinet
and all of those challenges, andso she said now, look, listen
here, I'm not going to keep onbuying these instruments.
You're going to have to find aninstrument to play and if
you're serious about it, you'regoing to have to take it to
church and play.
And I'm like, ok, you know, now, I didn't know anything about
(06:24):
playing a trumpet in church, Ididn't even know any notes on
the instrument, and they woulddo something like a praise dance
and I only knew one note and Iwould go, I would just be making
up some.
So what they was doing, I meanit was, it was definitely
catastrophic.
And then so, and that wasactually eighth grade to ninth
(06:47):
grade, and so I went to aperforming arts school and
before I even took any trumpetlessons, I had to take my
trumpet to church every Tuesdaynight for Bible study and on
Sundays for church.
And I was sitting in the cornerplaying my trumpet in church
with the organist and thedrummer and then adding a school
band.
And you know, and at the timeyou really don't know what
(07:09):
you're doing, you know, you just, I was just, you know, trying
to be creative, but I stoppedfinding that I had a love for it
and I was somewhat good at itand I was like, oh, if I do this
, I can get better at it.
And then, you know, once youstart performing in the school
bands and going to concerts, youstart becoming more interested
in it.
And what is it that you do?
(07:30):
And so, from there, I startedstudying private lessons with a
trumpet player named Rob Magaha,who taught at at the show
conservatory of music, and thenI studied privately with Mr
Vincent Chickawith of theChicago Symphony Orchestra, and
(07:50):
so studying with them gave memore of the technique side of
playing.
Playing in church it was morethe jazz training, playing by
ear.
But playing, you know, becauseyou have to have both, and at
the time I didn't want both, Ionly wanted one side.
But I didn't know you, becauseyou have to have both, and at
the time I didn't want both, Ionly wanted one side.
But I didn't know you need oneto get the other side.
(08:10):
So I had to learn all my skills, which I just did not want.
To learn all my skills, thatmeant practicing right, because
I wanted to do the music Iwanted to do without practicing
and having to put the time in.
So, but I had to figure it outthat this is what it's going to
take to get to that.
So I had to buckle down forsome years and learn all of my
(08:31):
scales, all 12 of my majorscales, my minor scales, things
of that nature and then duringthat time I was still playing at
church and then I would go sitin at the Art Institute in
Chicago and they would let mesit in.
I would just come down there ona Tuesday night and I would sit
in playing the blues.
I didn't know what I wasplaying, but they was always so
cheerful, they just lovedeverything I was doing.
(08:53):
So I ended up doing it and then, from the rest is history.
I went to Southern Universityand studied with Alvin Batiste
and then I came up to Rutgers,new Brunswick, and I studied
with Bill Fiel who taughtTerrence Blanchard and Wynton
Marcellus.
He's who, like, really honed mein on enhancing my technique
(09:14):
and actually he took me backfrom learning scales.
I had to really redo mytechnique of airflow and the
basics and the real fundamentalsof playing the instrument and
learning the instrument.
If that makes sense, yeah.
So like, for example, for awhole semester we never played a
note.
All I did was blue and aspirometer to build my strength.
(09:36):
And then the air.
And then the second semester weplayed in the mouthpiece.
I didn't touch the trumpetuntil the second year with Bill
Fielder, and we still neverplayed any concertos.
We worked on the technique ofairflow for two years straight.
That's amazing.
Speaker 3 (09:56):
Well, it paid off.
We wanted you to do it theright way.
Speaker 2 (09:59):
Yeah, you wanted me to do it the right way and so
from there, while I was anundergrad, I really took the
time to really study music andall of its entities and what it
all entailed in terms of thecraftsmanship of everything.
It was very important to learnthe craftsmanship and the beauty
of the instrument and thebeauty of music.
You know, during that time, youknow most artists and musicians
(10:21):
, they don't want to do that,they want to get to the fast
track or the glitz and the glam.
But I had to really take thoseyears to develop the
craftsmanship so that I can bewho I am today.
Speaker 3 (10:35):
Amazing you and all that hard work just really paid
off.
Speaker 2 (10:38):
A lot of hard work and a lot of knowledge that went
in.
And then in Glasgow I went toget my master's degree, ed, from
NYU, new York University, and Istudied with Frank Foster, who
was the conductor of the CountBasie Orchestra.
I studied also jazz compositionand arr studied with frank
foster who was the conductor ofthe count basie orchestra.
I studied also jazz compositionand arranger with frank foster
and so studying with him taughtme how to arrange and in various
(11:01):
styles of ranging, arrange likefour-way, close, little
technique things.
And while I was there Iconnected with he, hezekiah
Walker, the gospel artist.
Well, I connected with himbecause I needed a church to go
to.
I wasn't because I was just soused to playing in church
because I grew up playing inchurch.
I didn't know any better, youknow.
I just knew that I need to beplaying in church on a Sunday
(11:23):
and go to school because thatwas that had been my path from
elementary, middle and highschool.
And so I just knew that pathand I knew that if I played in
church and then went to school Iwould be okay.
Speaker 3 (11:34):
That's amazing.
Something I was going to talkabout is how you have blended
these genres.
You've blended the fusion ofjazz and gospel, and I think you
said something that you're theonly gospel woman playing
trumpet.
Speaker 2 (11:48):
Yeah, well, you know it's funny In gospel they say
I'm a jazz, in jazz they say I'ma jazz and in jazz they say I'm
gospel.
But I definitely have gospelmusic influence in my music
because that's how I was raised.
I was raised in the church.
I was raised in the Pentecostalchurch where women did not wear
pants and wear a red fingerapology.
And look, today I have, youknow, figured out how to show it
(12:09):
.
So and I, you know, and I can'tdeny my roots.
And then my family, my mom saidthey're from Louisiana.
So being having those musicalroots in Louisiana, you just can
, it's undeniable.
Speaker 3 (12:23):
Because I think you had said there was some
connection to you and WyntonMarsalis.
Speaker 2 (12:27):
Yeah well, I met Wynton in 1989.
And I, matter of fact, no, in1992.
And I walked up to him and Itold him I didn't want his
autograph, I wanted a trumpetlesson.
And he looked at me, he saidokay, and he gave me a trumpet
lesson.
And then when I got to New Yorkto give him a call, I gave him
a call, went up to his apartment, sat there, got another trumpet
lesson, he gave me his raggedytrumpet case and it was the best
(12:50):
thing ever for me.
That's great, you know, it wasthe best thing ever, ever.
It was the best thing ever.
Speaker 3 (12:56):
Have you stayed in touch at all?
Speaker 2 (12:57):
Yeah, absolutely, we're always in contact with
each other.
Speaker 3 (13:01):
You know, I'm like Sarita, I want to mention your
album's winner and evolution ofa winner which topped both the
jazz and gospel charts.
And again, we were saying thatyou are the only woman trumpet
player in the gospel field.
I know it's a personal storywhich you've described, and it's
so interesting that you makethis fusion of jazz and gospel,
as you were saying.
(13:22):
So it's something you dobecause it's how you were raised
, it's who you are.
Speaker 2 (13:27):
Yep, absolutely.
And what I've learned in musicis that you have to be who you
are.
Yep, absolutely.
You know, and what I've learnedin music is that you know you
have to be who you are and I'vehad to learn to embrace my
musicality.
I am a classical trainedtrumpet player, but also I'm a
jazz trained trumpet player withgospel music roots, and that's
that's who I am.
And most people don't hear theclassical side, but they hear
(13:48):
mostly the jazz and the gospelside.
But my classical side, becauseI have a very fat sound, because
they're a fat sound on atrumpet, you know that's the
classical side.
You know even the classicalside with holding long notes,
the technique of the trumpet.
Speaker 3 (14:01):
Now you have a partnership with Berklee College
of Music as well as Juilliard,which is incredible and
impressive.
And your self-image I waswatching some of your videos or
films.
You know you describe yourselfas a winner and your passion for
mentoring others to seethemselves the same way is
really inspiring.
Where does that mindset comefrom and how do you keep that
(14:23):
energy alive amid the pressuresof the industry and being a
woman, which, of course, is anuphill struggle in the musician
world?
Tell us a bit about that.
Speaker 2 (14:33):
Well, I think when you first of all, it takes time
to get to know your lane andonce you find out what your lane
is and you're comfortable inthat lane, it's about staying
consistent in that lane.
That's what it's about.
And so, for me, I don't try toreach over and be a part of
anybody else's lane.
It's about staying consistentin that lane.
That's what it's about.
And so, for me, I don't try toreach over and be a part of
(14:55):
anybody else's lane but mine.
And so, however, if I can be amentor and help somebody else
out, then you know, definitelyso be it.
But for me, it's about stayingin my lane and being a
consistent artist, artist andmusician, and being a consistent
artist, artist and musician.
Speaker 3 (15:13):
In that video that I watched and I was actually very
moved by it.
I think you were talking kindof to the people you mentor, to
children, and you want them tosee themselves as a winner, and
I thought that was really moving, because it's just really tough
out there and, you know, for alot of young people.
Speaker 2 (15:31):
Yes, because if you don't see yourself as a winner,
who else will?
The first winner is inside ofyou, and it's also a part of
self-investment, and if youdon't invest in yourself,
whether it's for your health oryour education, who else will?
So that's the winner inside ofyou, and winners evolve, but
winners never quit.
Speaker 3 (15:51):
You were not a person that would ever quit.
I can see that written all over.
Speaker 2 (15:55):
No, no, I never quit.
I may get some setbacks, but Inever quit.
Speaker 3 (15:59):
Yeah, you're very impressive.
Now.
Your custom trumpet encrustedwith over 10,000 Swarovski
crystals is more than aninstrument.
It's a visual statement.
What inspired that bold designand how does it play into your
music, your recent release andyou?
Speaker 2 (16:17):
Well, that design actually my mother actually
helped design that because wewanted to do something the
collaboration with Swarovski,where it ignited in lighting on
stage.
So each crystal actually onecrystal is like $15.
Yeah, and it's $10,300.
Oh, my goodness.
Yes, so you can do the math onthat, but each crystal is more
(16:40):
as an iridescent, and so whendesigning it, I had to make sure
that my hand was able to getthrough it, was able to get
through it, and that thecrystals was not on it.
But also it's a statement pieceand I wanted that statement
piece to be something thatreflected who I am, and I think
(17:00):
we achieved that.
Speaker 3 (17:01):
And so are you taking that on the road with you, or
was it more?
Speaker 2 (17:04):
My new release With you, I'm Born Again is coming
out on August 15th.
And Blow your Horn Making Musicin a Man's World, which
actually is based upon theSwarovski Crystal Trombone.
Blow your Horn.
So Blow your Horn is basedaround the Swarovski Crystal
Trombone.
Blow your Horn.
You know things like that.
So Normally when I dotelevision when I do television
(17:26):
is when I pull out the Swarovskicrystal trumpet it's a pain to
travel with, it's wonderful tohave, but it could be like with
this Swarovski crystal trumpetit's a blessing and a curse.
Speaker 3 (17:39):
And then you have to be really careful with it and
it's very valuable and it's youknow.
Speaker 2 (17:43):
Oh, absolutely.
And then you know, sometimesthey want to throw it around or
put it underneath the plane.
It's like no, this can't gounderneath the plane.
Then you have to take it out.
Then it brings a lot of tension.
You know that whole kind of ascenario it's unusual.
Speaker 3 (17:55):
I really want to see that is there a video of that?
Speaker 2 (17:58):
no, it's not on video yet.
It's not on a video yet becauseit hasn't been released to the
marketplace yet, but I had itwhen we were at n.
I had it on stage with me.
Speaker 3 (18:06):
Okay, I don't know that.
I saw it, but maybe I didn'tknow what I was looking for.
That was a great interview.
Now you're not just a performer.
You've written over 26 musiceducation curriculums and are
now producing Blow your HornMaking Music in a Man's World, a
documentary about women inmusic.
With everything from your musicand education work to your
(18:27):
leadership position at LincolnCenter, how has your role as an
educator and advocate shaped thestories you tell, both in the
classrooms?
And on stage.
Speaker 2 (18:38):
Being an educator is a part of most people that play
an instrument the DNA, becauseit's the DNA of the instrument,
and so it's just a part of whoyou are.
Because people like TerrenceBlanchard and Wynton have given
back to me.
It's my job to pay it forward,so it's a part of it.
(18:58):
And most instrumentalists, mostinstrumentalists, are educators
.
But for me, because I believethat education is a tool to
success it's not the only tool,but it is a tool to success I
believe that it's a verypowerful tool and it's a tool
that needs to be consistentlyexercised.
(19:20):
For me, someone that does thework, put in the time, my
philanthropic side, it's a partof, it's just a part of my DNA
and I just do it.
I just wear the hats.
You know, when you have apassion about something,
something that's a part of you,you just do it.
You know I have multiple sides.
I have a documentary I'mworking on.
I have my nonprofit, you know,which is the Lady Trumpet
(19:46):
Organization, the Trump-relatedscholarship to the grammy camp
and in a school that I supportin louisiana.
Then I also have trumpet ladyenterprises, which is me as an
artist, and I also just havelady trumpet records, which is a
distribution through universalmusic group.
Speaker 3 (20:01):
Well, we want to put all these links.
You'll let me know all thelinks.
I want to make sure that's inthe podcast notes yeah, yeah, I
will.
Speaker 2 (20:07):
So yeah, for right now, blow your Horn is not out
yet.
It's currently being pitched,so that's not out in the
marketplace and I'm still inproduction with it.
I have the trailer for it andthings like that.
But Lady Trumpet dot org is upand Trumpet Lady Enterprises.
Speaker 3 (20:27):
Yes, I'm very interested in seeing that film.
Now you have some upcomingshows.
You've got one in New York City, harmonizing Futures, which is
a music education for younggirls, and another show I
noticed in California, also inSeptember.
Speaker 2 (20:37):
Yes, so, yes.
So Harmonizing Futures is afundraiser mixer and I hope
you'll be there Definitely, andeverybody else.
Come on along.
Speaker 3 (20:45):
Yeah, harmonizing Futures, come on along.
Speaker 2 (20:46):
Yeah, Home and I was on future is a fundraiser mixer
that I will be performing at andI will be hosting as a
fundraiser mixer in support ofmy music education initiative
and it's from 630 to 930 atLincoln restaurant here on the
iconic campus of Lincoln centerfor the performing arts, and
this is like such a I was.
(21:09):
It's just such a moment for me,especially that I've especially
being that I grew up theremusically because I was the
little sister to Wynton and allof those guys sneaking into the
rehearsals at the David KochTheater and it, oh yeah, and at
the Met, you know, I didn't haveany money getting on the bus.
So it's just, it's a, it's afull circle moment to be able to
(21:32):
do something like that.
And then September 28th I havea big listening session mixer in
Los Angeles, California, and sothe location will be announced
very soon and I have it in twosessions and I'll be performing
as well.
That's exciting.
Speaker 3 (21:50):
And I know you're in a leadership position at Lincoln
Center.
You're on the board, right.
Speaker 2 (21:54):
Yeah, I'm on the board of the Young Patrons.
And then also, too, we've justsubmitted for the first round of
the Grammys with you and BornAgain.
We just submitted for the veryfirst round and best arrangement
, both instruments and vocalsfor the first round of the
Grammy submissions, so we'revery excited about that.
I have a new music video withyou and Born Again that's coming
out with the great Tony Lindsey, the singer from Santana, and
(22:19):
then also with the incomparableTom Nazziola, which is a famous
arranger.
We went in and did a beautifulstring arrangement of With you,
I'm Born Again, so that allcomes out on August 15th on
Universal Music.
Speaker 3 (22:31):
And you're the female , you're the Sarita.
In that I believe I'm theSarita.
Speaker 2 (22:34):
I'm playing.
Speaker 3 (22:35):
Wait a minute, that's Sarita singing.
Yes, of course.
Speaker 2 (22:38):
Yeah, that is me singing and playing the trumpet.
Speaker 3 (22:41):
There's full circle right there.
Speaker 2 (22:43):
Yes, there's full circle right there.
Speaker 3 (22:45):
I wonder if there's anything like fun or different
that we don't know about you.
Something I left out, somethingyou want to mention?
Speaker 2 (22:53):
Well, I'll give you a few fun facts about me that,
well, most people don't know,that I love cooking, I love to
bake and I love water aerobicsand I'm an avid runner.
That's cool, good for yourhealth, yeah, yeah, yeah, yeah,
yeah.
But you know, I love cooking, Ilove baking.
(23:14):
I rarely eat out at restaurants, you know, because I love to
cook all my, all my food fromscratch.
Speaker 3 (23:20):
That's good.
So what's something favoritething you like to cook?
Speaker 2 (23:23):
I like to make homemade pizza.
Speaker 3 (23:25):
So you make it from scratch, the dough I make the
dough everything from scratch,and I love to bake.
Speaker 2 (23:30):
I make a very mean cheesecake, strawberry cake from
scratch.
You know I love, yeah, cooking.
It relaxes me.
I've recently partnered withthe Grammy Museum.
I have an amazing partnershipwith them.
There's some really wonderfulthings that's going to be coming
(23:50):
out of that, and I have anotherrelease coming at 26, when I
redid the Beatles Drive my Carand so I'm looking forward to
that release and I can't wait toshare who's going to be the
surprise special guest on that.
26 is going to be absolutelyphenomenal.
And I have Christmas musiccoming out.
(24:11):
Christmas time is here.
That'll be out in October.
So I have some things working.
Speaker 3 (24:16):
And that's all on Universal.
That's on Universal.
Speaker 2 (24:19):
That's all going to be on Universal.
That's great.
Yeah, all going to be onUniversal.
Speaker 3 (24:23):
I feel like we'll have to do another one when all
that other stuff comes out in 26and talk about your next level
of stuff.
Speaker 2 (24:31):
Yeah, I love it.
Speaker 3 (24:32):
It's really great to have you here and to get a sense
of what you've been doing, andI really appreciate you joining
me.
Speaker 2 (24:41):
Thank you so much for having me.
Speaker 3 (24:44):
I'd like to thank today's sponsor, heard City, the
premier audio post-productioncompany servicing the
advertising, motion picture andtelevision industries right here
in NYC.
I'd also like to thank Antelloaka XOANN for singing the she
Creates Noise theme that I wrote.
Thanks for listening to sheCreates Noise.
If you enjoyed this episode, besure to subscribe, rate and
(25:07):
share.
I want to thank the team hereBlair Reinly, jelena Stavanovic,
emily Wilson and the Master ofEngineering and Grammy-winning
Cooper noise.
We hear her voice.
She creates noise.
Hi, you're listening to Sarah Nagourney and welcome
to.
She Creates Noise, a newpodcast spotlighting women who
power the music industry, comingto you from New York City.
Now, if you don't know me yet,here's a little background.
I'm a songwriter, producer,manager, educator and mentor.
I've written platinum sellingsongs, had tracks on Grammy
nominated educator and mentor.
(00:45):
I've written platinum-sellingsongs, had tracks on
Grammy-nominated records andreleased music on both major and
independent labels.
I've been a jazz singer, ajingle singer, toured with big
bands and became a pop artist,and I've performed at festivals
across the US, europe and Asia.
These days, I focus on writingwith and developing young talent
.
In the coming weeks, I'll bepulling back the curtain on the
(01:07):
music industry's femalechangemakers.
Some are close friends, othersI'm just getting to know, but
all have reshaped the businessin profound ways.
My goal here is to helplisteners better understand how
the music business really worksand just how instrumental women
behind the scenes have been.
You'll hear from both sides ofthe desk artists, producers,
(01:32):
managers, label executives,lawyers.
Women making things happen,often without the spotlight on
them.
Thank you for joining me onthis journey.
Now let's dive in.
Thank you for joining me onthis journey.
Now let's dive in.
Today's guest is SyritaThompson, known as New York's
(01:54):
Trumpet.
Lady Syrita Thompson is aGrammy Award winning artist,
billboard chart topper andmaster brass specialist who's
redefining what it means to be awoman in music.
Hailing from Chicago, syrita'sroots span gospel, jazz and
classical, and her command ofinstruments goes far beyond the
trumpet.
She also plays upright bass,drums, piano and trombone with
equal fluency, and she's a closefriend and cohort of Wynton
(02:16):
Marsalis.
Her albums Winner and Evolutionof a Winner debuted at number
one on both the gospel and jazzcharts, and her performance are
bold as her bedazzled trumpetCovered in over 10,000 Swarovski
crystals.
Her fifth studio album, takingit Back, dropped in the fall of
2024.
Beyond the stage, sarita is adedicated educator and advocate.
(02:36):
She's written over 26 musiceducation curriculums.
She serves as a master musiceducator with the New Jersey
Education Association and worksin partnership with both Berklee
College of Music and Juilliardto expand access and opportunity
for young musicians.
Her upcoming documentary Blowyour Horn Making Music in a
Man's World aims to amplify thevoices of female
(02:59):
instrumentalists, producers andsongwriters who haven't yet
gotten their dueinstrumentalists, producers and
songwriters who haven't yetgotten their due.
Sarita Thompson is not just aperformer.
She's a leader, a mentor and amovement.
Please welcome her here to thepodcast Today.
I'm so glad to have SaritaThompson here.
(03:20):
We're going to be talking abouther amazing journey and all the
incredible interesting thingsthat she has done, and I kind of
want to turn it over to Saritato tell us about growing up in
Chicago.
I was wondering what first drewyou to trumpet and how did your
family, education and earlyinfluences shape your path in
what's often considered amale-dominated space?
Speaker 2 (03:46):
considered a male-dominated space.
Well, first, starting just withmy name alone being named after
a very famous singer, saritaWright, who was the wife of
Stevie Wonder, the famous StevieWonder, sarita Wright.
My dad was a music enthusiastand he absolutely loved her
(04:08):
music and at the time he and mymom, they couldn't figure out
what to name me.
And so he loved her music andhe said, well, why not Sarita?
And that's how I, just so itcame from birth, you know.
And so I grew up in a somewhatmusical family, not directly
from my.
My dad loved jazz.
He was, he loved jazz.
He loved Art Blakey and theJazz Messengers, he loved
(04:31):
straight ahead jazz.
And then he also just lovedmusic, like the like I was
saying, the 60s and 70sTemptations, that whole era.
My mother is a huge Marvin Gayefan and so growing up in that
household I would say even at atoddler musical was always
around me, so I couldn't escapeit.
And then, when I went to schoolto and you know, every kid has
(04:54):
to pick out an instrument toplay, and so I first started out
on the clarinet and that was ahuge disaster because I couldn't
get across the break on thekeys and so and you have to buy
these reeds to go on themouthpiece.
You know, every so often Ofcourse I was breaking all of the
reeds, because breaking all thereeds and so I had to find an
(05:17):
instrument that kind of fit me.
And the trumpet was kind ofhard but it was the loudest
instrument in the band and I waslike, oh, I think I can do this
.
You want to be heard?
I want to be heard.
I mean, who can hear someone ona clarinet, you know?
And so I said, ok, I think Ican do this.
(05:41):
It was a little tough.
So I started, definitely inmiddle school, in the seventh
grade, I started in the schoolband playing.
I think I was in my fact I wasthe last chair, because when
you're in middle school playing,you know you have to be first
trumpet, second trumpet, thirdor fourth trumpet, and I was
like fourth trumpet because Iwasn't that good.
It was, you know.
(06:02):
And so my mom had got reallytired of me from the clarinet
and all of those challenges, andso she said now, look, listen
here, I'm not going to keep onbuying these instruments.
You're going to have to find aninstrument to play and if
you're serious about it, you'regoing to have to take it to
church and play.
And I'm like, ok, you know, now, I didn't know anything about
(06:24):
playing a trumpet in church, Ididn't even know any notes on
the instrument, and they woulddo something like a praise dance
and I only knew one note and Iwould go, I would just be making
up some.
So what they was doing, I meanit was, it was definitely
catastrophic.
And then so, and that wasactually eighth grade to ninth
(06:47):
grade, and so I went to aperforming arts school and
before I even took any trumpetlessons, I had to take my
trumpet to church every Tuesdaynight for Bible study and on
Sundays for church.
And I was sitting in the cornerplaying my trumpet in church
with the organist and thedrummer and then adding a school
band.
And you know, and at the timeyou really don't know what
(07:09):
you're doing, you know, you just, I was just, you know, trying
to be creative, but I stoppedfinding that I had a love for it
and I was somewhat good at itand I was like, oh, if I do this
, I can get better at it.
And then, you know, once youstart performing in the school
bands and going to concerts, youstart becoming more interested
in it.
And what is it that you do?
(07:30):
And so, from there, I startedstudying private lessons with a
trumpet player named Rob Magaha,who taught at at the show
conservatory of music, and thenI studied privately with Mr
Vincent Chickawith of theChicago Symphony Orchestra, and
(07:50):
so studying with them gave memore of the technique side of
playing.
Playing in church it was morethe jazz training, playing by
ear.
But playing, you know, becauseyou have to have both, and at
the time I didn't want both, Ionly wanted one side.
But I didn't know you, becauseyou have to have both, and at
the time I didn't want both, Ionly wanted one side.
But I didn't know you need oneto get the other side.
(08:10):
So I had to learn all my skills, which I just did not want.
To learn all my skills, thatmeant practicing right, because
I wanted to do the music Iwanted to do without practicing
and having to put the time in.
So, but I had to figure it outthat this is what it's going to
take to get to that.
So I had to buckle down forsome years and learn all of my
(08:31):
scales, all 12 of my majorscales, my minor scales, things
of that nature and then duringthat time I was still playing at
church and then I would go sitin at the Art Institute in
Chicago and they would let mesit in.
I would just come down there ona Tuesday night and I would sit
in playing the blues.
I didn't know what I wasplaying, but they was always so
cheerful, they just lovedeverything I was doing.
(08:53):
So I ended up doing it and then, from the rest is history.
I went to Southern Universityand studied with Alvin Batiste
and then I came up to Rutgers,new Brunswick, and I studied
with Bill Fiel who taughtTerrence Blanchard and Wynton
Marcellus.
He's who, like, really honed mein on enhancing my technique
(09:14):
and actually he took me backfrom learning scales.
I had to really redo mytechnique of airflow and the
basics and the real fundamentalsof playing the instrument and
learning the instrument.
If that makes sense, yeah.
So like, for example, for awhole semester we never played a
note.
All I did was blue and aspirometer to build my strength.
(09:36):
And then the air.
And then the second semester weplayed in the mouthpiece.
I didn't touch the trumpetuntil the second year with Bill
Fielder, and we still neverplayed any concertos.
We worked on the technique ofairflow for two years straight.
That's amazing.
Speaker 3 (09:56):
Well, it paid off.
We wanted you to do it theright way.
Speaker 2 (09:59):
Yeah, you wanted me to do it the right way and so
from there, while I was anundergrad, I really took the
time to really study music andall of its entities and what it
all entailed in terms of thecraftsmanship of everything.
It was very important to learnthe craftsmanship and the beauty
of the instrument and thebeauty of music.
You know, during that time, youknow most artists and musicians
(10:21):
, they don't want to do that,they want to get to the fast
track or the glitz and the glam.
But I had to really take thoseyears to develop the
craftsmanship so that I can bewho I am today.
Speaker 3 (10:35):
Amazing you and all that hard work just really paid
off.
Speaker 2 (10:38):
A lot of hard work and a lot of knowledge that went
in.
And then in Glasgow I went toget my master's degree, ed, from
NYU, new York University, and Istudied with Frank Foster, who
was the conductor of the CountBasie Orchestra.
I studied also jazz compositionand arr studied with frank
foster who was the conductor ofthe count basie orchestra.
I studied also jazz compositionand arranger with frank foster
and so studying with him taughtme how to arrange and in various
(11:01):
styles of ranging, arrange likefour-way, close, little
technique things.
And while I was there Iconnected with he, hezekiah
Walker, the gospel artist.
Well, I connected with himbecause I needed a church to go
to.
I wasn't because I was just soused to playing in church
because I grew up playing inchurch.
I didn't know any better, youknow.
I just knew that I need to beplaying in church on a Sunday
(11:23):
and go to school because thatwas that had been my path from
elementary, middle and highschool.
And so I just knew that pathand I knew that if I played in
church and then went to school Iwould be okay.
Speaker 3 (11:34):
That's amazing.
Something I was going to talkabout is how you have blended
these genres.
You've blended the fusion ofjazz and gospel, and I think you
said something that you're theonly gospel woman playing
trumpet.
Speaker 2 (11:48):
Yeah, well, you know it's funny In gospel they say
I'm a jazz, in jazz they say I'ma jazz and in jazz they say I'm
gospel.
But I definitely have gospelmusic influence in my music
because that's how I was raised.
I was raised in the church.
I was raised in the Pentecostalchurch where women did not wear
pants and wear a red fingerapology.
And look, today I have, youknow, figured out how to show it
(12:09):
.
So and I, you know, and I can'tdeny my roots.
And then my family, my mom saidthey're from Louisiana.
So being having those musicalroots in Louisiana, you just can
, it's undeniable.
Speaker 3 (12:23):
Because I think you had said there was some
connection to you and WyntonMarsalis.
Speaker 2 (12:27):
Yeah well, I met Wynton in 1989.
And I, matter of fact, no, in1992.
And I walked up to him and Itold him I didn't want his
autograph, I wanted a trumpetlesson.
And he looked at me, he saidokay, and he gave me a trumpet
lesson.
And then when I got to New Yorkto give him a call, I gave him
a call, went up to his apartment, sat there, got another trumpet
lesson, he gave me his raggedytrumpet case and it was the best
(12:50):
thing ever for me.
That's great, you know, it wasthe best thing ever, ever.
It was the best thing ever.
Speaker 3 (12:56):
Have you stayed in touch at all?
Speaker 2 (12:57):
Yeah, absolutely, we're always in contact with
each other.
Speaker 3 (13:01):
You know, I'm like Sarita, I want to mention your
album's winner and evolution ofa winner which topped both the
jazz and gospel charts.
And again, we were saying thatyou are the only woman trumpet
player in the gospel field.
I know it's a personal storywhich you've described, and it's
so interesting that you makethis fusion of jazz and gospel,
as you were saying.
(13:22):
So it's something you dobecause it's how you were raised
, it's who you are.
Speaker 2 (13:27):
Yep, absolutely.
And what I've learned in musicis that you have to be who you
are.
Yep, absolutely.
You know, and what I've learnedin music is that you know you
have to be who you are and I'vehad to learn to embrace my
musicality.
I am a classical trainedtrumpet player, but also I'm a
jazz trained trumpet player withgospel music roots, and that's
that's who I am.
And most people don't hear theclassical side, but they hear
(13:48):
mostly the jazz and the gospelside.
But my classical side, becauseI have a very fat sound, because
they're a fat sound on atrumpet, you know that's the
classical side.
You know even the classicalside with holding long notes,
the technique of the trumpet.
Speaker 3 (14:01):
Now you have a partnership with Berklee College
of Music as well as Juilliard,which is incredible and
impressive.
And your self-image I waswatching some of your videos or
films.
You know you describe yourselfas a winner and your passion for
mentoring others to seethemselves the same way is
really inspiring.
Where does that mindset comefrom and how do you keep that
(14:23):
energy alive amid the pressuresof the industry and being a
woman, which, of course, is anuphill struggle in the musician
world?
Tell us a bit about that.
Speaker 2 (14:33):
Well, I think when you first of all, it takes time
to get to know your lane andonce you find out what your lane
is and you're comfortable inthat lane, it's about staying
consistent in that lane.
That's what it's about.
And so, for me, I don't try toreach over and be a part of
anybody else's lane.
It's about staying consistentin that lane.
That's what it's about.
And so, for me, I don't try toreach over and be a part of
(14:55):
anybody else's lane but mine.
And so, however, if I can be amentor and help somebody else
out, then you know, definitelyso be it.
But for me, it's about stayingin my lane and being a
consistent artist, artist andmusician, and being a consistent
artist, artist and musician.
Speaker 3 (15:13):
In that video that I watched and I was actually very
moved by it.
I think you were talking kindof to the people you mentor, to
children, and you want them tosee themselves as a winner, and
I thought that was really moving, because it's just really tough
out there and, you know, for alot of young people.
Speaker 2 (15:31):
Yes, because if you don't see yourself as a winner,
who else will?
The first winner is inside ofyou, and it's also a part of
self-investment, and if youdon't invest in yourself,
whether it's for your health oryour education, who else will?
So that's the winner inside ofyou, and winners evolve, but
winners never quit.
Speaker 3 (15:51):
You were not a person that would ever quit.
I can see that written all over.
Speaker 2 (15:55):
No, no, I never quit.
I may get some setbacks, but Inever quit.
Speaker 3 (15:59):
Yeah, you're very impressive.
Now.
Your custom trumpet encrustedwith over 10,000 Swarovski
crystals is more than aninstrument.
It's a visual statement.
What inspired that bold designand how does it play into your
music, your recent release andyou?
Speaker 2 (16:17):
Well, that design actually my mother actually
helped design that because wewanted to do something the
collaboration with Swarovski,where it ignited in lighting on
stage.
So each crystal actually onecrystal is like $15.
Yeah, and it's $10,300.
Oh, my goodness.
Yes, so you can do the math onthat, but each crystal is more
(16:40):
as an iridescent, and so whendesigning it, I had to make sure
that my hand was able to getthrough it, was able to get
through it, and that thecrystals was not on it.
But also it's a statement pieceand I wanted that statement
piece to be something thatreflected who I am, and I think
(17:00):
we achieved that.
Speaker 3 (17:01):
And so are you taking that on the road with you, or
was it more?
Speaker 2 (17:04):
My new release With you, I'm Born Again is coming
out on August 15th.
And Blow your Horn Making Musicin a Man's World, which
actually is based upon theSwarovski Crystal Trombone.
Blow your Horn.
So Blow your Horn is basedaround the Swarovski Crystal
Trombone.
Blow your Horn.
You know things like that.
So Normally when I dotelevision when I do television
(17:26):
is when I pull out the Swarovskicrystal trumpet it's a pain to
travel with, it's wonderful tohave, but it could be like with
this Swarovski crystal trumpetit's a blessing and a curse.
Speaker 3 (17:39):
And then you have to be really careful with it and
it's very valuable and it's youknow.
Speaker 2 (17:43):
Oh, absolutely.
And then you know, sometimesthey want to throw it around or
put it underneath the plane.
It's like no, this can't gounderneath the plane.
Then you have to take it out.
Then it brings a lot of tension.
You know that whole kind of ascenario it's unusual.
Speaker 3 (17:55):
I really want to see that is there a video of that?
Speaker 2 (17:58):
no, it's not on video yet.
It's not on a video yet becauseit hasn't been released to the
marketplace yet, but I had itwhen we were at n.
I had it on stage with me.
Speaker 3 (18:06):
Okay, I don't know that.
I saw it, but maybe I didn'tknow what I was looking for.
That was a great interview.
Now you're not just a performer.
You've written over 26 musiceducation curriculums and are
now producing Blow your HornMaking Music in a Man's World, a
documentary about women inmusic.
With everything from your musicand education work to your
(18:27):
leadership position at LincolnCenter, how has your role as an
educator and advocate shaped thestories you tell, both in the
classrooms?
And on stage.
Speaker 2 (18:38):
Being an educator is a part of most people that play
an instrument the DNA, becauseit's the DNA of the instrument,
and so it's just a part of whoyou are.
Because people like TerrenceBlanchard and Wynton have given
back to me.
It's my job to pay it forward,so it's a part of it.
(18:58):
And most instrumentalists, mostinstrumentalists, are educators
.
But for me, because I believethat education is a tool to
success it's not the only tool,but it is a tool to success I
believe that it's a verypowerful tool and it's a tool
that needs to be consistentlyexercised.
(19:20):
For me, someone that does thework, put in the time, my
philanthropic side, it's a partof, it's just a part of my DNA
and I just do it.
I just wear the hats.
You know, when you have apassion about something,
something that's a part of you,you just do it.
You know I have multiple sides.
I have a documentary I'mworking on.
I have my nonprofit, you know,which is the Lady Trumpet
(19:46):
Organization, the Trump-relatedscholarship to the grammy camp
and in a school that I supportin louisiana.
Then I also have trumpet ladyenterprises, which is me as an
artist, and I also just havelady trumpet records, which is a
distribution through universalmusic group.
Speaker 3 (20:01):
Well, we want to put all these links.
You'll let me know all thelinks.
I want to make sure that's inthe podcast notes yeah, yeah, I
will.
Speaker 2 (20:07):
So yeah, for right now, blow your Horn is not out
yet.
It's currently being pitched,so that's not out in the
marketplace and I'm still inproduction with it.
I have the trailer for it andthings like that.
But Lady Trumpet dot org is upand Trumpet Lady Enterprises.
Speaker 3 (20:27):
Yes, I'm very interested in seeing that film.
Now you have some upcomingshows.
You've got one in New York City, harmonizing Futures, which is
a music education for younggirls, and another show I
noticed in California, also inSeptember.
Speaker 2 (20:37):
Yes, so, yes.
So Harmonizing Futures is afundraiser mixer and I hope
you'll be there Definitely, andeverybody else.
Come on along.
Speaker 3 (20:45):
Yeah, harmonizing Futures, come on along.
Speaker 2 (20:46):
Yeah, Home and I was on future is a fundraiser mixer
that I will be performing at andI will be hosting as a
fundraiser mixer in support ofmy music education initiative
and it's from 630 to 930 atLincoln restaurant here on the
iconic campus of Lincoln centerfor the performing arts, and
this is like such a I was.
(21:09):
It's just such a moment for me,especially that I've especially
being that I grew up theremusically because I was the
little sister to Wynton and allof those guys sneaking into the
rehearsals at the David KochTheater and it, oh yeah, and at
the Met, you know, I didn't haveany money getting on the bus.
So it's just, it's a, it's afull circle moment to be able to
(21:32):
do something like that.
And then September 28th I havea big listening session mixer in
Los Angeles, California, and sothe location will be announced
very soon and I have it in twosessions and I'll be performing
as well.
That's exciting.
Speaker 3 (21:50):
And I know you're in a leadership position at Lincoln
Center.
You're on the board, right.
Speaker 2 (21:54):
Yeah, I'm on the board of the Young Patrons.
And then also, too, we've justsubmitted for the first round of
the Grammys with you and BornAgain.
We just submitted for the veryfirst round and best arrangement
, both instruments and vocalsfor the first round of the
Grammy submissions, so we'revery excited about that.
I have a new music video withyou and Born Again that's coming
out with the great Tony Lindsey, the singer from Santana, and
(22:19):
then also with the incomparableTom Nazziola, which is a famous
arranger.
We went in and did a beautifulstring arrangement of With you,
I'm Born Again, so that allcomes out on August 15th on
Universal Music.
Speaker 3 (22:31):
And you're the female , you're the Sarita.
In that I believe I'm theSarita.
Speaker 2 (22:34):
I'm playing.
Speaker 3 (22:35):
Wait a minute, that's Sarita singing.
Yes, of course.
Speaker 2 (22:38):
Yeah, that is me singing and playing the trumpet.
Speaker 3 (22:41):
There's full circle right there.
Speaker 2 (22:43):
Yes, there's full circle right there.
Speaker 3 (22:45):
I wonder if there's anything like fun or different
that we don't know about you.
Something I left out, somethingyou want to mention?
Speaker 2 (22:53):
Well, I'll give you a few fun facts about me that,
well, most people don't know,that I love cooking, I love to
bake and I love water aerobicsand I'm an avid runner.
That's cool, good for yourhealth, yeah, yeah, yeah, yeah,
yeah.
But you know, I love cooking, Ilove baking.
(23:14):
I rarely eat out at restaurants, you know, because I love to
cook all my, all my food fromscratch.
Speaker 3 (23:20):
That's good.
So what's something favoritething you like to cook?
Speaker 2 (23:23):
I like to make homemade pizza.
Speaker 3 (23:25):
So you make it from scratch, the dough I make the
dough everything from scratch,and I love to bake.
Speaker 2 (23:30):
I make a very mean cheesecake, strawberry cake from
scratch.
You know I love, yeah, cooking.
It relaxes me.
I've recently partnered withthe Grammy Museum.
I have an amazing partnershipwith them.
There's some really wonderfulthings that's going to be coming
(23:50):
out of that, and I have anotherrelease coming at 26, when I
redid the Beatles Drive my Carand so I'm looking forward to
that release and I can't wait toshare who's going to be the
surprise special guest on that.
26 is going to be absolutelyphenomenal.
And I have Christmas musiccoming out.
(24:11):
Christmas time is here.
That'll be out in October.
So I have some things working.
Speaker 3 (24:16):
And that's all on Universal.
That's on Universal.
Speaker 2 (24:19):
That's all going to be on Universal.
That's great.
Yeah, all going to be onUniversal.
Speaker 3 (24:23):
I feel like we'll have to do another one when all
that other stuff comes out in 26and talk about your next level
of stuff.
Speaker 2 (24:31):
Yeah, I love it.
Speaker 3 (24:32):
It's really great to have you here and to get a sense
of what you've been doing, andI really appreciate you joining
me.
Speaker 2 (24:41):
Thank you so much for having me.
Speaker 3 (24:44):
I'd like to thank today's sponsor, heard City, the
premier audio post-productioncompany servicing the
advertising, motion picture andtelevision industries right here
in NYC.
I'd also like to thank Antelloaka XOANN for singing the she
Creates Noise theme that I wrote.
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I want to thank the team hereBlair Reinly, jelena Stavanovic,
emily Wilson and the Master ofEngineering and Grammy-winning
Cooper noise.
We hear her voice.
She creates noise.
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