John Raymond

For me, incorporating effects pedals into your playing is all about three things: developing fluency so that they become an extension of your sound, using them as musically as possible, and embracing the creativity and improvisational nature that they bring to our playing.

The pedals road is a dangerous one to go down, mainly because I think its way too easy to let them dictate your concept of the way you play, or to mask the lack of control or command you have over your instrument and the music. This is why I’m a big believer that we all have to do our due diligence to take care of these things first. If you don’t, you won’t have anything legit to say and won’t be able to execute what you want to either – with or without pedals.

When you do start down the pedals road, I think it’s really important to rely on the sound you imagine in your head to help you determine what pedals to experiment with, buy and eventually use yourself. From here, it’s all about developing a sense of fluency with them. Spend time shedding with them just like you do with your own instrument. Learn the ins and outs of each pedal you use so that you can manipulate them in any way you want to, at any moment. This will allow the pedals to become a natural extension of your playing, and it will ultimately give you the ability (and the freedom) to achieve the sound you’re going for.

From here, my goal is to always use pedals in the most musical way I possibly can. I try to be mindful of when I use certain pedals or effects, so that they sound appropriate for what’s happening in the music. I also try to be aware of how often I’m using them too, so that no particular sound becomes too redundant or predictable. In general, I always want the pedals I use to enhance what’s happening musically, which I’ve found takes a lot of discernment and restraint. It’s really easy to overdo things, so the motto of “less is more” is always most effective.

In the end, using effects pedals as a horn player is pretty freaking fun, and I think the thing we all love about the process is how many new sounds and possibilities they open up for us. For me, one of the things I enjoy most is finding new ways to use the pedals I have to launch myself (and the music) into uncharted territory. A big part of this has been embracing the imperfection and sonic “messiness” that using pedals can sometimes bring about, and to turn those moments into something strangely beautiful. Effects pedals can become as much a part of our improvisational approach as any musical decision we make, which makes the process of using them is an incredibly creatively-fulfilling one.

Check out Johns New Article/Interview in the April 2020 Issue of Downbeat Magazine on his pedal journey!

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Bio

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Gear/Pedals

HORNS

Trumpet – Powell Trumpets Custom
Flugelhorn – Adams F1

PEDALBOARD

When I started using pedals regularly, one of the main goals for me was to put together a pedalboard that was small, lightweight and as air travel-friendly as possible. I did some research and decided on making one out of hardboard, which is basically a stronger, more dense fiberboard. I bought an 11x14 piece on Amazon as well as a heavy-duty Velcro, and I’ve been really happy with how light and easy to travel with it is. I carry it to-and-from venues in a tote bag, and I can also pack it in a carry-on suitcase if I want or need to.

PEDALS

TC Electronic “Arena” Reverb – I initially got this pedal because I got sick of having to rely on sound engineers to determine the kind of reverb I wanted. I always have this pedal on, and I typically have it set to the “Hall” setting and the tone to as dark as possible. I adjust the decay and FX level depending on the room that I’m playing in, but generally, they both hover between 40-50%.

Strymon “Timeline” Delay – this pedal is incredible. I’ve found myself using either a slap-back or verby delay almost all the time in addition to the reverb, but I’ll switch the delay sounds to a few others that I’ve programmed depending on the song and musical context. There are also some really interesting sounds that I’ll go to every now and then if I’m feeling adventurous. Every sound on this thing is incredible, and it’s great to have the capacity to manipulate them any way you want to as well. I still haven’t even scratched the surface on all it can do.

Boss “Super Shifter” Harmonizer – this was the very first pedal I bought years ago. I got it sometime in the early 2000s when I was playing a lot as a solo horn player with a contemporary gospel group out of Minneapolis. When I got it then, I used it mainly to add a 4th below, a la Roy Hargrove. Now I use a bunch of different settings depending on the musical context, including 4ths, an octave below or above, 3rds or 6ths below (in the key), or even major/minor 2nds if I want something really dissonant. Adding a harmony is such a powerful sound, so I try not to use this pedal too much or to use the same harmony more than once per set.

Montreal Assembly “Count To Five” Delay/Looper/Sampler – this is the newest pedal to my board. For a long time, I’ve been wanting something that would give me the capacity to manipulate, twist and generally “mess with” my sound, and that is this pedal’s forte. I love getting super glitchy with it and either using it as part of a loop or as a way to add messy, ambient effects and sounds to an already-existing sonic landscape. In this way, I can use it as a background texture or as something in the foreground too, and I love having the option to do both.

TC Electronic “Ditto” Looper – while the Strymon and Montreal Assembly both have looping functions, I like having a small, simple, and separate pedal to control the looping that I do. Rather than using it to coordinate loops in time with a band, I like using this in a looser way to create repeated textures that happen out-of-time, either over-top or underneath what’s already happening musically.

Strymon “Ojai” Power Supply – a small and effective little power supply that gives power to all the pedals I need on the board.

Audio Technica ¼” to XLR Adapter – to connect the mic to my pedals.

John Raymond is making a name for himself as one of the most promising, genre-bending musicians in jazz today. With a singular voice as a trumpeter, flugelhornist and composer, Raymond is “steering jazz in the right direction” (Downbeat Magazine) by pushing its boundaries, seamlessly incorporating indie-rock, folk and electronic influences into his music. “This is jazz, yes, but jazz with an open mind." (Something Else).

Raymond’s primary band Real Feels is a unique, bass-less trio which includes Gilad Hekselman (guitar), Colin Stranahan (drums) and Raymond on trumpet & flugelhorn. For the Minnesota native, the idea of developing a band was nothing new. In fact, Raymond’s most formative years were spent learning from and being a part of numerous local jazz and indie-rock bands, each dedicated to serving the song rather than improvising for improvising sake. Bringing these Midwestern sensibilities to the formation of Real Feels, the band developed a unique identity from the moment they first played together. Since it's inception in 2014, Raymond has released four albums with the group, each receiving critical acclaim from Stereogum, Downbeat, the New York Times, and more. Their music combines cinematic original compositions with fresh takes on familiar songs by artists such as Radiohead, Bob Dylan, and Bon Iver. Warm, lyrical melodies are complemented by an infusion of electronics and effects, giving the group a sound that is entirely accessible and relevant. Add to this their unique instrumentation and the deep chemistry between the musicians, and it’s no surprise that Real Feels is one of the hottest new groups in jazz today.

John has also performed some of the most well-respected names in jazz including Billy Hart, Kurt Rosenwinkel, Linda Oh, Dave King, as well as Orrin Evans and the Captain Black Big Band, of which he performed, composed and arranged on the group’s 2019 Grammy-nominated album “Presence.” John has also recorded or performed with artists such as Sara Bareilles, Cory Wong and S. Carey. He is currently Professor of Jazz Trumpet at Indiana University, and is also an active guest clinician & soloist at schools around the world.