Most big bands during the swing era had three trumpeters. After that period, trumpet sections grew to four or five musicians generally comprised of one main soloist, a lead trumpeter who plays the high notes, and section players who are largely confined to the ensembles. In cases where there are two trumpet soloists, they rarely have specific roles other than adding to the excitement of the band. Fletcher Henderson’s Orchestra was unusual during 1924-25 in that it had both a hot soloist (Louis Armstrong) and a lyrical player with a mellow tone (Joe Smith) who also had his spots. But in later years Henderson when featured two trumpet soloists, their roles were interchangeable.
Duke Ellington, who was innovative in so many different ways, had his own approach to utilizing trumpeters. Throughout his long career, Ellington enjoyed having very individual players (ranging from virtuosos to primitives) who he could blend together in his arrangements to achieve a unique ensemble sound. From nearly the start of his band leading career, Ellington featured three different trumpet soloists, each with their own role; after the mid-1940s he often had four, unlike any other band.
It all began with Bubber Miley. Born January 19, 1903, in Aiken, South Carolina, Miley grew up in New York, started on the trombo
