01:10 Gwen Thompkins introduces the concept of trumpet players as New Orleans’ superheroes; gives a brief overview of Wendell Brunious’ musical heritage and span 03:00 Brunious plays Louis Armstrong’s introduction to “West End Blues” 03:40 Thompkins cites Nicolas Payton’s insights that the trumpet is regal, and an instrument of war and revelations, as well as tenderness. She explains that she associates Brunious with the tender side, which he affirms 04:13 Brunious explains how he was exposed to the album Clifford Brown With Strings as a teenager, which seems to have impacted his attraction to ballads. He identifies with the ‘finesse’ of the trumpet 06:16 Brunious describes how he tries to speak words with his trumpet, identifying learning lyrics, for ballads particularly, as crucial. He also emphasizes the importance of playing songs your own way. 06:52 Thompkins explains how many men of the Brunious clan – including Brunious’ father, brother, and nephew – are trumpet players 07:34 Brunious relates how the trumpet was always the one for him, partly due to there always being access to one in his house, and partly due to wanting to be like his dad, John Brunious, Sr. He acknowledges a sense of competition within the household. He explains that two of his sisters were also good trumpet players, but quit for fears of ruining/marring their lips. He gives insight into the lifestyle of such a musical family, simply putting mutes in when people in the house said playing was going too late 10:07 Brunious identifies trumpet players as bandleaders, leading melodically, as well. He cites his father’s expression, ‘If you don’t know the melody, you don’t know the song.’ He says he feels free to improvise ‘one hundred percent of the time,’ due to his deep familiarity with the melodies. 11:25 Brunious concedes that playing the trumpet may be physically taxing by admitting that he had a heart attack a year ago, but says he was born to play the trumpet, and if he has to die, wants to die after playing his best chorus 11:58 Brunious concurs that tone is everything, saying that “you can’t sound good if you don’t have good sound,” demonstrating the difference between a beginner’s and mature player’s tone. He excerpts “Do You Know What It Means To Miss New Orleans” to demonstrate playing words through the horn, and cites Clifford Brown as his greatest influence and endebttor in terms of sound, and raves, with Thompkins, over his jam session with Dinah Washington 15:07 Brunious tells the story of playing on the SS President with Lionel Hampton’s band at the age of twenty-three, and how New Orleans music grabs him in a way that nothing else can, citing local trumpet players’ individuality, a rarity on the national scene. He emphasizes the importance of learning the blues, to avoid being “a pocket full of scales” 19:20 Demonstration: blues 20:10 Brunious mentions the importance of touring from an income perspective; describes his brief job at Sears, which was so truncated because Herlin Riley came in and offered him a gig, which he got the same night 23:47 Tape of Riley relating that same story 25:25 Brunious reflects on Bourbon Street in that era, and what a nurturing, educational environment it was for young musicians like him and Herlin Riley, who would run out to sit in or catch even half a song from heroes after playing a six hour gig 27:10 Brunious explains his mission to revive that ethos of Bourbon Street, which he explains was motivated partly by a heart attack last year. He laments the demise of New Orleans music, particularly on Bourbon Street, which used to be a fulcrum 31:45 Brunious confirms Al Hirt’s salty mouth, explaining that he was well-intended but had a nasty vocabulary. He and Thompkins consider swearing as a form of potentially musical language 33:56 Brunious explains how Danny Barker got his father hired in the Cab Calloway band 35:51 Brunious divulges his best advice for young trumpet players: develop your tone, and learn the blues. He emphasizes the universality of the blues and how it facilitates broad communication. He demonstrates two examples, and explains that he once taught a course all about the blues, that required twenty-five 2-5-1 licks from each student. He explains 2-5-1’s, and adds that everyone ought to learn the bass drum, to better understand rhythm 40:24 Brunious describes the self-care he’s embarked on since his heart attack, celebrating the merits of a primarily vegan diet; the process of writing a memoir, celebrating his unusual experiences throughout his life 44:37 Brunious sings “That’s My Desire” 46:40 Interview ends