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Seven Positions” tm is delighted to bring to the fore Randy Campora: a thinking man, fully human, and exceptionally musical. From the storied bass trombone chair of the Baltimore Symphony, to a brimming infusion of brass masters past and present, to a life of varied experiences fully absorbed- Campora is focused on exceptional symphonic performances. Join him as he wanders from California to Florida on the road to Baltimore. Enjoy! 1. What childhood memories do you have of California, and Florida? My grandparents were Italian immigrants who owned a small orchard of almonds and walnuts just east of Stockton, California. As a child I lived first on the orchard, and then in the very small town of Linden, the center of which was the high school, at which my father was the head football coach. I remember the smell of the earth when the first raindrops fell, the taste of the ripe Bing cherries, swimming in the walnut paddies flooded in the summer, the sound of the nuts being shaken from the trees at harvest, and football games in the fall.

My father changed careers when I was 1. Tallahassee, Florida. It was a huge adventure for our family and we loved it.

We had African American friends and classmates for the first time, acquired something of a Southern accent, experienced the food, loved the jungle- esque flora and fauna, and generally came to appreciate the wonderful people and culture of the South. We were also blessed by the fact that Tallahassee is a college town, with Florida State and Florida A& M universities, which brought the great things of the world to the relatively small city, including great music programs, nightly orchestra broadcasts on public radio, and golf courses everywhere.

I am so glad I got to live in both those unique locales as a kid. What made you decide to study Spanish? And where has it taken you, both musically and non- musically.

I first studied Spanish in my last two years in high school, which served as a decent foundation for when I really had to learn it in the Missionary Training Center for Latter- day Saint (Mormon) missionaries in Provo, Utah. I was assigned to the Houston, Texas Spanish- speaking mission, and only spent eight weeks in the training center—after that it was off to Houston and sink or swim with the language. I loved the people I met there over the next two years. They were so humble and genuine, and very patient with me as I learned their language and culture. I probably gained more from them than they did from me. Civil wars were raging in Central and South America at that time, and the people I met from those countries had sad stories to tell.

Heavy stuff for a nineteen- year- old kid away from home for the first time. I also met folks from every region of Mexico, which also meant the food was excellent! After that, I have been able to use Spanish, though not as much as I would have liked. I was in a Salsa band for a semester at FSU. Watch Your Love Never Fails Megavideo. Later at Peabody I taught a wonderful bass trombonist from Brazil named Joao Paulo Moreira for almost a year.

We both had Spanish as our second language so we used that as our lingua franca—it worked but led to some funny situations from time to time. I would very much like to be able to make more contact with the Spanish speaking trombone world in the future, especially since they are producing so many wonderful players these days. Your talent and discipline found great mentors and opportunities.

What was it like to be “the kid”- first as a high school trombonist at FSU, and later as an undergrad in the Baltimore Symphony Orchestra? One of the things I have marveled at as I have gotten older is the edifying attitude the more experienced players had towards me both at FSU and in the Baltimore Symphony.

I was 1. 6 when I joined the Florida State top jazz ensemble, which included many grad students. They could have turned their noses up and made life tough for a kid who was below rookie status, but they did the opposite: they taught me the ropes, expected me to come up to their level, and led by example. I remember one night after rehearsal Jeff Thomas (now principal trombone of the Orlando Philharmonic and chief Disney trombonist) took me aside and taught me how to “blow freely” and really make a sound that could be heard inside and in front of the group. Blow Freely was the catch phrase of our professor William F. Cramer at FSU, but I had not studied with him yet, so I had to learn what that meant, to really resonate the instrument first and foremost before music can be made. In my official Freshman year, I was invited to join the Peninsula Trombone Quartet.

The other members—David Gatts, Christian Dickinson and David Burris—were grad students. They were so wonderful to work with and taught me so much, and it is to this day some of the most enjoyable playing I have ever done.

Coming into the BSO was much the same. I transferred to Peabody at the start of my third undergraduate year, and won the BSO audition towards the end of that school year when Doug Yeo won the Boston chair. I was twenty- three when I started in the orchestra, and it was David Zinman’s first official year as music director. Eric Carlson, Jim Olin, David Fetter and David Fedderly were the icons whom I heard play each week with the BSO, and also my professors at Peabody.

But they treated me as an equal colleague from the very first day in the orchestra (my first two weeks in the orchestra were Bruckner 4 and Pictures!). Eric Carlson and his wife Lorraine took me to Orioles games, and Eric was a huge influence in my education of orchestra life (what an amazing player Eric is, deserving of much greater recognition—just listen to those Philadelphia recordings with Muti and Sawallisch).

One thing I’ll always cherish is how David Fedderly, my tuba partner in the BSO for almost thirty years, approached the relationship: he never told me how to play. He just played and communicated by listening and singing out his part every single day. If I had a question I could always ask him something, but we relied on the radar method of aural musical communication. I highly recommend this approach as a way to live happily with our colleagues, and Dave was a master at it. Of course, it helps that he was one of the finest orchestral tubists in history . It’s fun to welcome many wonderful younger players as new members of the BSO now. And it’s strange to now be the longest tenured member of the brass section.

An orchestra really does need a mix of older and younger players—they each bring important things to the group. Can you put into words the impact of Doug Yeo on your musical and personal life? His depth is considerable and his breadth is impressive.

There truly is only one Douglas Yeo in this world. I have never met another trombonist who is more committed, curious, hard- working, intelligent, self- aware, faithful and willing to serve others than Doug. He has been nothing but a blessing to me in my life, and it has been fun and helpful to keep in touch with him through his time in Boston, then at Arizona as a professor, and now as “force- to- be- reckoned- with” in the world at large. He has been an example to me in all areas of life.

I transferred to Peabody because I needed to learn how to play excerpts for orchestral auditions, but also how to play in an orchestra once I (hopefully) got a job, and I thought it was important to study with a bass trombonist. As I was deciding what school to transfer to Doug sent me a cassette of the BSO section’s presentation at a recent ITA conference. His playing, and the section’s, just floored me: so clean, balanced, in tune, colorful, solid, clear, pure and energetic.

Doug is genuinely gifted in being able to teach the excerpts in a logical, musically defensible manner, and we worked really hard that year. One of the greatest gifts he gave me was a simple one: the orchestral player is not prepared unless he knows the score, not just the piece or his part.