OPEN SOUND: Todd Horton

Wednesay, August 31
7:00pm

Join us at Open Sound for a performance by Todd Horton! Todd Horton was selected for Open Sound through an open call.

Todd Horton, 52, originally from Ithaca NY, currently at large. Trumpet and flugelhorn player, composer and producer. Horton has worked with Ani Difranco, Aaron Neville, Spin Doctors, Buddy Miles, Norah Jones, Richard Bona and dozens of other music icons. His recent credits as a producer are included on the Norah Jones Deluxe Anniversary Edition of Come away With Me and the new Free Form Funky Freqs album Hymn Of The Third Galaxy, for which he was also mix engineer – featuring Vernon Reid (Living Colour), Jamaaladeen Tacuma and Calvin Weston.

For the last eight years, Horton found the time to design and develop a now patented modular aluminum microphone stand system under the name Base4 Stands. His stands have been tested by world class engineers, producers and performers. Base4 Stands will officially launch in the fall of 2022.

Horton’s co-led, unnamed current project features two guitars, drums and electrified trumpet. The featured guitarists John Andrews and Peter Dougan, as well as drummer Matt Garrity, have all performed and recorded with well known artists through the years. The music is completely improvised and 100% focused. Horton and guitarist John Andrews were part of a family of musicians led by the legendary Arnie Lawrence, called The Co-Elation, throughout the 1990’s in New York. That family of players and groups lit the flame for the so-called Jam Band scene, which was to come. The spirit of that music and time has guided the current group through near completion of a quadruple album to be released sometime in late 2022.
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“Horton is a first when it comes to moods and grooves.” JazzReview.com

“Todd Horton’s excellent alto horn solo is so dark in its tone you’d swear he’s playing into a carpet.” – Thomas R. Erdmann, JazzReview.com

“Another great role is held by trumpeter Todd Horton on “Africa”, who alternates harmonic accelerations with more felt sonorities, always with the concern of making the horn sing its breath.” – Dr. Ana Isabel Ordonez, JazzReview.com