Jazz Trombone Artist
Jazz Artist, Composer, & Arranger
Jazz Professor, University of North Texas
Interim Director, One O'Clock Lab Band
- Model: T302
- Bell: 9048CF
- Slide: T302-3N-S
- Tuning Slide: Yellow Single Radius
- Neckpipe: Rose
- Leadpipe: T1 Custom
"The Excalibur version of the T302 is simply the best jazz trombone that I've ever played! It has a wonderfully warm tone, but is capable of cutting right across an entire big band when necessary.
"Add to that an overtone series that slots beautifully and you get what I believe to be the best jazz trombone on the market!"
Arabesque Recording artist and Grammy-nominated arranger Steve Wiest is in great demand as a featured soloist, composer/arranger and clinician. He has performed extensively in the U.S., South America, Australia, Japan, and Europe. Wiest's solo CD: "Excalibur: The Steve Wiest Big Band" was released in August of 2006 by Arabesque Jazz to wide critical acclaim, and his newest relase for Arabesque "Out of The New" was released in September of 2008.
From 1981-1986, Steve was the featured trombonist and one of the arrangers for Maynard Ferguson's Band. While with Maynard, he recorded two CDs: "Storm" and "Live From San Francisco", and one two-volume video: "The Playboy Jazz Festival". During this time, Steve and the M.F. band also performed with a number of guest artists including: Freddie Hubbard, Slide Hampton, Wynton Marsalis, David Clayton Thomas, Lew Soloff, Billy Eckstein, and Mel Torme. Maynard has recorded a number of Steve's compositions and arrangements including: "South 21st Shuffle" (Live From San Francisco), "Portuguese Love" (The Playboy Jazz Festival), "I Love You" (Brass Attitude) and "I'm Old Fashioned" on MF Horn VI. Steve reunited with Maynard for a final performance at the Blue Note in New York for 12 sold out shows in July, 2006. The all-star MF alum group then went into the studio to record what would be Maynard's final CD, which was released in March, 2007. Included on this release is Wiest's arrangements of "Besame Mucho" and "Ain't No Sunshine When She's Gone"
Following his years with Ferguson, Steve completed a Masters Degree in Jazz Studies at the University of North Texas. While at UNT, he was the lead trombonist and one of the featured arrangers for the UNT 1:00 Lab Band. His composing, arranging, and trombone playing can be heard on the following UNT CDs: "Lab '86", "Lab '87", "Lab '88", " With Respect To Stan", "Live From Australia", "The Best of The 1:00", and "Fifty Years of Jazz at North Texas". Steve also contributed a chart to "Lab 89". In 1997 in celebration of the 50th year of the UNT Jazz Studies Program, Steve was a featured soloist with an all-star band of UNT alumni that included: Tom Malone, Ed Soph, Marvin Stamm, Lou Marini, and Jack Peterson.
After a two-year stint as Assistant Director of Jazz Studies at The University of Texas at Arlington, [1988-1990], Steve became Director of Jazz Studies and Trombone at The University of Wisconsin-Whitewater. During his tenure at UW-Whitewater, Steve was also a regular member of the Doc Severinsen Big Band and recorded "Swingin' The Blues" with Doc on Azika Records in 2000. Steve was appointed Assistant Professor of Jazz Composition and Trombone at the University of North Texas in 2007, and was nominated for the Best Instrumental Arrangement Grammy Award for 2007 by The Recording Academy for his arrangement of Besame Mucho on Maynard Ferguson's "One and Only" CD.
Steve has a number of arrangements and texts published with various companies including Kendor, Doug Beach, Hal Leonard, Ron Keezer's Really good Music and The University of Northern Colorado Jazz Press. All the original compositions from his Arabesque CD "Excalibur" are available at Walrus Music.
Latest Blog Post
Edwards is proud to be a sponsor of the 2018 Georgia Trombone Summit, which will take place at the University of Georgia on May 23 – 26. This four-day event, hosted by Josh Bynum, will feature a stellar cast of musicians, including the Boston Symphony Orchestra trombone section (Toby Oft, Stephen Lange, and James Markey), Marshall […] more ››
In Their Own Words
I think the key word about the Edwards T396-A is flexibility. I ask this horn to do a lot of different things, and it obliges me consistently. I think it gets me closer to the sound in my head than any other horn I have played. It has an even response and a singing sound in all registers, at all dynamics. When I play the high parts with the Trombones of the Saint Louis Symphony, the horn responds easily and doesn't feel stuffy. For solo work, the T396-A lets me get lots of different colors. In the orchestra, the horn is blending when I need it to be, and focused and projecting when the trombone sound needs to be prominent. The fine-tuning afforded by the Harmonic Bridge makes this horn truly customized to me. I've never played a better horn.
Principal Trombonist, St. Louis Symphony