Take Five with Benny Benack III

Meet Benny Benack III

By age 32, Emmy-nominated trumpeter and vocalist Benny Benack III has already become a leading voice in jazz for his generation, while his trademark ebullience onstage assures his audiences he's got "A Lot of Livin' to Do" still to come!

His sophomore album sharing that title featured the likes of bass luminary Christian McBride and drummer/producer Ulysses Owens, Jr. and even achieved viral online fame with his vocalese rendition of "Social Call" ft. Veronica Swift that's been transcribed and covered by singers around the world. He has crooned his way to millions of more listeners alongside groups such as the Grammy-winning 8-Bit Big Band and YouTube sensation Postmodern Jukebox. His third solo album aptly titled Third Time's the Charm featuring fellow stars Emmet Cohen, Peter Bernstein, and Chad Lefkowitz-Brown was released in June 2023 and quickly ascended to #2 on the JazzWeek International Radio Charts.

His double-threat credentials were first apparent when he was a finalist in the Thelonius Monk Competition on trumpet, and then won Third Place in the 2021 Sarah Vaughan Vocal Competition, but his status as a leading voice on both was recently cemented in the 2023 Downbeat Magazine Critics Poll, where he appeared in two categories: The #2 Rising Star Male Vocalist and #15 Rising Star Trumpet.

His global recognition has been bolstered by the recent advent of live-streaming concerts, both through his weekly residency at Smalls Jazz Club, as well as frequent appearances at fellow young lion Emmet Cohen's "Emmet's Place" online series. He has emerged from the pandemic as one of the most in-demand touring artists in the jazz world, headlining clubs and festivals internationally with his unique brand of indefatigable panache on full display wherever the music takes him next.

Instruments:

I'm primarily known now as a trumpeter and vocalist on equal footing, but my "10,000 hours" so to speak, have been devoted to the trumpet as my main craft—I view myself as a trumpeter first and a vocalist second. I also started playing piano at age 5, before anything else, and perform professionally on that as well, though not nearly as often as the other two.

Teachers and/or influences?

My main mentor and teacher growing up was Sean Jones. I was extremely fortunate he was living in Pittsburgh at the time we met when I was in junior high school, and I became his shadow when he performed around town. He set me up for a life in this music, and then at the Manhattan School of Music I studied with brass pedagogue legend Laurie Frink for my entire undergraduate studies. She unlocked the physical side of the instrument for me and made me believe I could eventually master the trumpet... still working on that part, but inching closer every day!

I knew I wanted to be a musician when...

I came out of the womb! My earliest memories in life involve performing and music, and coming from such a musical family (both parents are professional musicians), I was surrounded by music from inception. I was exceptionally gifted at music as a child (and rather ordinary in everything else), so it became a very easy choice which path to follow in life. I've never had a "backup plan" and I've never wavered in my commitment to making it as a full-time jazz musician, and I've been fortunate that pursuing my passion thus far has proven successful.

Your sound and approach to music.

I have always gravitated sonically towards trumpeters who play the instrument like a trumpet, if that makes sense. Many "jazz" trumpet-makers and players go for a smokey, dark sound, but I prefer the clarion calls of Freddie Hubbard, the unbridled energy of Louis Armstrong's sound, or even the brassy brilliance of Doc Severinsen. My music reflects that bright sound—I am most at home playing energetic and exciting, hard-swinging and blues- infused bop. I try to present my music in a fun, inclusive way that hopefully encourages new listeners to become jazz fans, while still satisfying the most discerning aficionado along the way.

Your teaching approach

I am currently on faculty as a Visiting Professor at the San Francisco Conservatory of Music teaching trumpet and vocal students. I believe every student learns differently, and so rather than have one "method" I live by, I craft each student's workload in a bespoke manner, focusing on what their musical goals are and how I can best help them achieve them. I try to always stress a positive attitude and focus on mental wellness and the "off-the-bandstand" etiquette required to be a professional, so my students are fully prepared to go into the gig work force when they graduate.

Your dream band

Since I've already been blessed to play with some of my "bucket list" musicians alive today (namely having Christian McBride and Peter Bernstein record on my various albums), I'll go with a fantasy band of jazz legends past for fun: Art Blakey on drums (a fellow Pittsburgher!), Ray Brown on bass, Mulgrew Miller on piano, and Dexter Gordon on tenor in the frontline alongside me.

Road story: Your best or worst experience

I think the most arduous journey involves my first European tour way back when I was barely out of school, maybe 22 years old. I was in a midnight 12-hour train car from Kiev, Ukraine to Moscow, and in the middle of the night, our car was inspected by armed guards and dogs... not speaking the local language, I could only make out that the checkpoint officers were pointing at me and saying "American! Journalist! American Journalist!"—it was at this point that I began doom scrolling in my mind, convinced I was about to be thrown in the gulag with my passport shredded... thankfully once they figured out we were musicians, we were okay!

Favorite venue

Dizzy's Club at Jazz at Lincoln Center will always be a sacred ground for me musically, as the club where me and so many peers of my generation cut our teeth and had our first substantial "leader" gigs in NYC. To this day, anytime I am organizing an album release concert or the launch of a new project, my first thought is to book Dizzy's. Acoustically, aesthetically, from the staff (many of which have been there since I moved to NYC in 2009) to the programming, Dizzy's is the ultimate Jazz club to me, and oozes that "New York City" energy.

Your favorite recording in your discography and why?

While I'm very proud of my current release Third Time's the Charm (peaking at #2 on the JazzWeek Radio Charts), I have to honor my sophomore release A Lot of Livin' to Do (2019). This is the album that for all intents and purposes put me on the map as an artist. Highlighted by Christian McBride on bass, this record had a lasting impact on folks throughout the pandemic, even spawning a viral sensation with my vocalese duet of "Social Call" featuring the great Veronica Swift.

What do you think is the most important thing you are contributing musically?

I try to thread the needle between art music for musicians, and accessible music for everyone. I believe that one set of music can serve both causes, but it's a very fine line. I'd like to think I'm responsible for inspiring the next young generation of jazz musicians, and also bringing the music I love to a wider general audience, teaching them how and why jazz can be relevant, fresh and fun as I go. I always say my favorite compliment to receive after a show is someone saying "oh wow, I've never been to a jazz concert before and I thought it'd be super boring, but this show was GREAT!."

Did you know...

I'm a sports fanatic! Growing up in Pittsburgh, PA means I'm a diehard Penguins/Steelers/Pirates fan, but I also love following the NBA (big LeBron fan!), as well as pretty much every other major sport... golf, tennis, F1, soccer (futbol is life!)—you name it, if it's on TV I probably religiously watch it!

The first jazz album I bought was:

Smooth jazz trumpeter Rick Braun's Kisses in the Rain from 2001! I heard it as a demo disc at a Border's Bookstore as a child, and decided I'd buy it right then and there, at the ripe age of 10. Let's just say that my tastes have since evolved, but I still think it was pretty slick taste for a little kid at the time.

Music you are listening to now:

Kaisa's Machine: Taking Shape (Greenleaf Music)
Kiefer: It's OK, B U (Stones Throw Records)
Steven Feifke Big Band: Kinetic (Bandstand Presents)
Ulysses Owens Jr. & Generation Y: A New Beat (Cellar Live)
The 8-Bit Big Band: Backwards Compatible (Self Produced)

Desert Island picks:

Tony Bennett and Bill Evans: The Tony Bennett/Bill Evans Album (Fantasy Studios)
Oscar Peterson & Clark Terry: The Oscar Peterson Trio +1 (Verve)
Wynton Marsalis: Standard Time Vol. 3 The Resolution of Romance (CBS)
Clifford Brown: Clifford Brown with Strings (EmArcy)
Freddie Hubbard: Hub-Tones (Blue Note)

How would you describe the state of jazz today?

I think the global state of jazz has never been stronger! I see growth everywhere as I travel the world and engage the local communities in different cities and countries. I witness a young generation at home here in the states, hungry to succeed and transcribing solo clips to post on their TikToks and Instagrams at lightning speed—these kids pick things up fast! I'm also always heartened to connect with younger people in the audience at live shows, who are discovering jazz as a new music to them, and realizing how fresh and fun it can be—jazz has always been about the live experience, and when you see a good band do it right, you're hooked.

What are some of the essential requirements to keep jazz alive and growing?

I think jazz musicians have to at least consider how their music is being presented, and not run away from the dreaded word "Entertainer"—it gets such a bad rap, but ultimately, you could have the greatest art music in the world, but if nobody wants to pay a cover charge to sit there and hear it, that artist will be looking for a day job faster than it takes them to compose their latest original. I don't say that to be disparaging to music that's on the more esoteric or contemporary/modern side, but I think even that music can be presented in an engaging and thoughtful way that will bring an audience in, and not scare them off. If cats like Dizzy Gillespie and Louis Armstrong could be virtuosic innovators and still be affable, fun entertainers, then that's good enough for me.

What is in the near future?

I'm excited to be performing on the Jazz Cruise as an All-Star Artist for the first time in January 2024. Right after that, I begin a two- month tour alongside fellow trumpeter and vocalist Bria Skonberg, playing concert halls in a co-led show called "Sing & Swing" produced by Jazz at Lincoln Center and IMG Artists. In the Fall of 2024, I'll be back out on the road for another month and a half via IMG with a new show called "Some Enchanted Evening" alongside vocal and tap sensations respectively: Stella Cole and Jabu.

What is your greatest fear when you perform?

Forgetting my lyrics! It actually happens to me all the time, but in those moments where I might otherwise freeze up, I use that fear as a little motivation to start riffing or making up my own vocalese on the spot. Those moments are sink or swim, and I actually love holding my feet to the fire and seeing if I can get through it. There's a particular video on Youtube from an "Emmet's Place" livestream performance where I'm supposed to sing "Just Squeeze Me" with the brilliant Gabrielle Cavassa—I got so distracted by how beautifully she sang the head the first time, I forgot all the lyrics! So I just started making up a vocalese on the spot, and it ended up becoming one of the more memorable moments for me on that show.

What song would you like played at your funeral?

"Trumpeter's Prayer"—it was performed at my grandfather's funeral by his trumpet protege, the great Warren Vache.

What is your favorite song to whistle or sing in the shower?

"Danke Schoen" by Wayne Newton a la Ferris Buehler's Day Off—I'm a crooner at heart!

By Day:

Avid coffeeshop explorer and gym rat! My idea of a perfect afternoon is sitting in a coffeeshop doing work, then heading to the gym for a workout before gearing up for the evening's gig somewhere.

If I weren't a jazz musician, I would be a:

news anchor or weatherman! I love the spotlight and public speaking too much to completely leave the creative sector. I'm obsessed with sports, so maybe I'd be one of those blowhard journalists shouting at a round table on ESPN about the game the night before.

If I could have dinner with anyone from history, who would it be and why?

Barack Obama. He knows his jazz and his sports, so we'd have plenty to talk about. Regardless of political leanings, I love how he conducted himself and represented our country around the world as a leader, a family man of high moral fiber, and a just plain cool dude.

If I could go back in time and relive an experience, what would it be?

Playing "Maiden Voyage" with Herbie Hancock at the 50th Grammy Awards as a high school student! I was in the "GRAMMY Band" honors ensemble at the time, and got the chance to play his iconic tune at an awards ceremony in a quintet. I was so nervous that I blacked out and cannot remember the experience at all, let alone one single note I played. This was around 2010, so pre-voice note days... I didn't even record it!

Who would you thank in your GRAMMY Award acceptance speech?

Well maybe this question is a bit of wishful thinking on my part, but if this hallowed day comes... I'd of course owe it all to my loving family, supportive friends, and the life-altering mentors and teachers I had along the way!

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