IN THE ORCHESTRA PIT WITH Audrey Ochoa
How did you first react when your parents suggested you pursue a degree as well as a performing career? My older sister had also gone into education at that point, and she was a total role model for me as well. It wasn’t a power struggle. I was 18 and didn’t understand what post-secondary was or what was required to be a jobbing musician. No band leader asks to see your music degree. I was just excited for an experience that included trombone lessons and performance opportunities, so I was grate- ful. I’m grateful they had knowledge of both careers so I could make an informed decision. Can you explain your transition from player to band leader, and how common that is for a trombonist? I would think it’s pretty common for any trombonist or musician who has their own compositions or opinions and would like to make decisions about how they’re presented on a stage. Being a sideman means you’re hired to facilitate the artistic vision of whoever hired you. I'm honoured anytime someone hires me, but I have opinions and curiosities and realized that the responsibility of being in charge was really appealing. My first gig as band leader was in 2005—I’ve never looked back. What is the significance of the album title The Head of a Mouse ? My dad used to tell me “It’s better to be the head of a mouse than the tail of a lion.” He wanted me to lead my own projects under my own name and have a musical identity, no matter how small. You’ve crossed “be a good trombone player” off your list. What’s next? I’ve started singing on albums and gigs. It’s terrifying. So, being a singer? What is your favourite trombone player joke? How do you know which kid in the playground is a trombonist? Just look for the one who can’t swing and doesn’t know how to use the slide.
students and understand some of the beginner pitfalls in a way that, being 20 years away from being a beginner trombone player, I'd forgotten,” she said. Ochoa has fun arranging the popular songs her students like, so it’s easy for them to play at the level they are at. In turn, she’s constantly learning from her students, who introduce her to new music, new artists and new technologies. “I'm familiar with basic recording interfaces and different programs, but there's constantly new apps, constantly new music technologies they show me which I am either able to use in the classroom or I'm able to use myself. That's a great part of teaching.” The Edmonton advantage Ochoa was not the only Edmonton musician to snag 2025 JUNO nods. Local nominees represented a wide variety of genres including reggae, traditional Indigenous, metal, blues, classical and children’s album. “The Edmonton music scene is extremely diverse, and I love making music here,” said Ochoa. “You can play on a children's album and then go do a jazz show and then play in a pit band for a musical.” Ochoa has played trombone in Canadian jazz festivals for 15 years, including multiple appearances in Montreal, Vancouver and Ottawa, as well as the jazzahead! Festival in Bremen, Germany in 2022. She ap- peared with the Dave Matthews Band in 2022 and was a featured guest with Grammy award–winning, University of North Texas One O’Clock Lab Band, alongside saxophonist Chris Potter and jazz legend Marcus Miller in 2018. Having performed in numerous other cities, Ochoa says the size of Edmonton is perfect for “the broad skill set” and advantages it offers musicians. “Being excellent at something or being recognized for music, it's not like something far away. It's locally possible, and I just hope that the students see that.”
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THE ALBERTA TEACHERS’ ASSOCIATION
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