“Dad also has an impeccable hand at writing music notation, and music publishers used his manuscripts to make their printing plates.” When the score for Stravinsky’s Petrouchka was smuggled into the U.S., it was Frank who prepared the autograph, or printer’s manuscript. Later, Frank Zottola made a name as an arranger, writing charts for the innovative Claude Thornhill orchestra, among others. “As a child, he was taught by a music professor in the strict style of La Scala, Milan, and he was required to study theory, harmony and solfeggio before he was allowed to even touch the trumpet.” Read more “He was a great trumpet player in the Louis Armstrong and Conrad Gozzo style,” says Glenn. His mother, Marie, played piano, and his sister was a gifted singer.īut it is his father, Frank, to whom Glenn points as his primary influence and teacher. His big brother, Bob, was also a gifted trumpeter who went on to play with the bands of Charlie Barnet and Maynard Ferguson.
By virtue of his musical household, this seemed almost as natural as learning to speak. Pascucci followed Zottola’s career and watched as the hot young phenomenom who captured so much attention went on to become one of the most respected, versatile and in- demand trumpet players-and saxophonists-in the music world.īorn and raised in Port Chester, New York, Glenn started playing trumpet at age three. Remember this young artist’s name! You’ll be hearing it often in years to come as Glenn Zottola’s abundance of talent becomes tempered with that invaluable ingredient called experience.” “Young Glenn has certainly begun to carve a lasting mark for himself in the trumpet world, and it goes without saying that talent such as this is bound to make itself known on an even wider scale in the near future. A blurb in the March, 1960, Leblanc Bandsman, a forerunner to the Leblanc Bell, reported: Nearly four decades ago, a precocious young brassman who played a Leblanc trumpet caught the attention of Vito Pascucci, then president and now chairman and CEO of G.
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