Tower of Power

"Iron" Mike Bogart: First Trumpet, Trombone, Flugelhorn

When everyone is on the same page, when everyone is firing on all pistons, I get goose bumps playing with Tower of Power. I mean, I have to pinch myself. I’ve never experienced anything like this level of intensity. It’s almost like the conscious thought of what’s really happening –- the notes that were originally written – disappear, and the music takes on a life of its own. That’s what they call a monster on a leash! (Laughs.)

You’ve got to keep your ears open in this group, and I mean constantly. At any one moment the rhythm section can change the feel. The basic arrangements may stay the same – it’s the subtle shifts that keep you on your toes. As far as thinking about our show, I leave that to my instincts. There’s obviously a great deal of musical communication going down. In classical the notes are written; there’s a conductor showing you where to play. Tower takes more of an improvisational approach –and if you’re playing what’s on the page, you’re playing in a different band. (Laughs.)

I played with Adolfo (Acosta) in Maynard Ferguson’s band – I loved the way we blended, and we’re trying to do our own thing in Tower, of course. At the same time, people that I respect have said that we’ve raised the level of the brass to where the section was at with Greg Adams and Mic Gillette – that’s a pretty high compliment! I grew up in western Michigan in a small town called Montague, on the coast of Lake Michigan, half way up the lower peninsula. My dad dabbled with different instruments; he taught me how to play songs by ear before I took lessons. Dad exposed me to everything in his collection – Louis Armstrong’s Hot Fives and Sevens, Herb Albert, Al Hirt. Anything with a trumpet was interesting to me.

I just ate all types of music up as a kid. We lived close to a farm and most of the radio stations played country-and-western music, so I also dug Waylon and Willie. At the same time, my older brothers turned me on to Led Zeppelin and Ozzy Osborne. I guess that qualifies me as a garbage head! (Laughs.)

In high school I was fortunate enough to receive a music scholarship the Interlochen Arts Academy, one of the nation’s oldest schools for the performing arts. I was introduced to the Tower songbook and I fell in love with the band instantly. The way they approached the horns, so upfront and in your face -- the bravado that Mic and Greg put into their performances. Later on, when I studied rhythm and harmony, I appreciated their approach to chord changes and musical structures and the intricacies that they hid behind all those funky rhythms and beats.

I got a music scholarship to the University of Miami; they have one of the finest jazz programs in the country. It was very intense. I was basically thrown to the wolves! (Laughs.) The players were top-notch; they’ve become some of the best in the business. But I was burning out – I needed to give classes a break – so I made a life-changing decision.

They take music very seriously in the Navy. You have to audition for the music program even before you apply. And that’s what I did – I joined the Navy as a working musician! It came at a time when I needed discipline and focus. I got interested in physical fitness. I benefited from a healthy lifestyle.

Musically and emotionally, I really came of age. For ten years I was given the opportunity to work on my technique. I was able to learn other instruments, too – bass, trombone. On any given day our repertoire was extensive: marches in the morning, big band rehearsals in the afternoon, jazz combo standards at night. Plus, I played in Top 40 groups. We even covered some Tower songs – “What Is Hip?,” “Down To The Nightclub,” “You’re Still A Young Man.” In a very roundabout way, that’s how I joined the band. We were doing a gig -- the specifics are still confidential! (Laughs.) But Lee Thornburgh, who used to play trumpet with Tower, heard us do those songs one night. He introduced himself after the gig and told me there was an opening in the band. Then he encouraged me to call Emilio (Castillo). I had only months left on my service commitment, so the timing was perfect.

I remember being very nervous at the audition -- no one had ever heard of me! I practiced really hard and thought it went great – but I didn’t get the gig. Our former manager said it was one of the hardest phone calls she ever had to make. Even Doc (Kupka) called to say he was sorry, that if another opportunity arose, he would do his best to make it happen. And I realized that if I was good enough to come in second, I was good enough to leave the Navy. Soon after that, I joined the Ferguson band, then true to his word -- I got the call from Doc.

I believe in my heart that music makes people heal, that it’s a universal language. I’m extremely blessed, and grateful, that God has given me this talent, to participate in a process that spreads so much positive mental and spiritual energy. I believe we have a special responsibility as musicians to eliminate stress and anxiety, to bring people from different backgrounds together, even if its just for one hour or one night. I believe I was called to make music, to be on stage, to make people happy.

© 1968-2009 Tower of Power