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Boston Globe

After wandering, a trumpeter hones his sound at home

'I'm always going to be a little bit jagged around the edges,' he said of his music. 'You're going to hear my struggles, but you're also going to hear my celebrations and my successes. This is a homegrown thing, and it's going to stay that.' Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up Last week, Blue Note Records released 'For the Love of It All,' an album that he and his Baltimore-based band, Upendo (Swahili that translates roughly to 'love'), honed not in the studio, but in front of audiences, primarily in his hometown. At club performances over the past half-decade, fans would find ways to request songs that had never been recorded and weren't yet titled. 'People would remember the songs and be like, 'Yo, when are you going to do …' — and just sing it because they know the melody,' Woody recalled. Advertisement Multidisciplinary artist and fellow-Baltimore native Nia June helped title some of the tracks that appear on his album. After 'telling her about the story line and what the songs meant to me,' he explained, she worked to synthesize the ideas as titles. June, a filmmaker, poet, and writer who has worked with Woody extensively since 2020, described the common thread of artists in the city: They are 'brave, real and radically vulnerable.' She added: 'The people here possess an unnatural resiliency — an unashamed, relentless will to survive. And with style.' Picking up the trumpet in elementary school, Woody remembers that he would always get butterflies before playing. 'It was an attraction or a positive nervousness because I wanted to do it so much,' he said. But some of that enchantment was tempered by frustration, first at Baltimore School of Arts, where he said that outside of the high school's jazz combo, budding musicians were relegated to studying 'all this different European music, Gregorian chant,' but not Black music. At 14, when he wasn't selected for the combo, Woody responded by forming Just Us Jazz with then-classmate Troy Long. Long would eventually become Upendo's keyboardist and Woody's key collaborator. 'We tried to play around the city,' Woody said. 'Of course, it was kind of unguided. We just were so young and we just had so much energy and we all were fiery. You could see the energy coming off of our bodies.' Advertisement A jam session held in the back of a pizzeria in the Mount Vernon neighborhood brought an encounter with Theljon Allen, a touring trumpeter based in Baltimore who would sometimes join in with the young band. 'We would shed and we would just play free,' Woody said. Woody made a name for himself, earning a scholarship to a summer performance intensive at Berklee College of Music in Boston, where he met drummer and composer Terri Lyne Carrington, and befriended contemporaries such as pianist Julius Rodriguez, trombonist Jeffery Miller, and saxophonist Yesseh Furaha-Ali. After high school, he studied under Ambrose Akinmusire at the Brubeck Institute, in Stockton, where Woody roomed with saxophonist Isaiah Collier and was exposed to an ear training system taught by vibraphonist Stefon Harris. 'That really changed the way I think about harmony,' he said. The distance opened up new sounds and approaches outside of what he had experienced at home. 'As soon as I was 18,' he said with a bright flash of appreciation in his voice, 'I got to go farther than light,' a whole new world of possibility thousands of miles away from Baltimore. Yet he was still homesick. When Harris was appointed director of Jazz Arts at the Manhattan School of Music the next year, in 2018, Woody transferred there. In New York, the community of musicians held more allure than working toward a degree: Woody was focused in music classes and, in particular, enamored of studying under trumpeter Cecil Bridgewater. Woody remembered, 'He told me so many stories about life and about being Black and playing this music.' But he rarely made it down the street to Columbia University for his academic classes. By the spring of 2018, he had lost his scholarship and was on his way back to Baltimore. Advertisement 'But this is where my real story begins,' he said. 'When I dropped out of college and I moved back, it was crazy. I got scammed. I was broke.' But he also began to truly cultivate his artistic practice and voice. The trumpeter and composer Brandon Woody in Baltimore in April 2025. Woody refined his songs in shows around his hometown Baltimore and channeled the city's lessons on his debut album, "For the Love of It All." KYLE MYLES/NYT Even as Woody was asserting his own musical direction in jam sessions and shows around Baltimore, he was pulled for stretches out of his creative cocoon. In 2019, he joined Solange on a leg of her tour in support of her album 'When I Get Home.' During the pandemic, when in-person performances halted, he modeled for Saucony and Calvin Klein. The clothing brand's campaign was featured on a billboard in his neighborhood. Finding his role in idiosyncratic band configurations such as the Solange tour or with BadBadNotGood has been a lesson in 'self-preservation,' he said. Working to balance 'doing what's needed while simultaneously being my unfiltered self, even through other people's music.' On 'For the Love of It All,' Woody does not need to strike such compromise. 'The real heart and grit of the city, the struggles that you come through, that all gets put in the music without really even being cognizant of it,' Long said. 'But then when you are older and you reflect on those experiences, you realize you've been carrying that with you the whole time.' This article originally appeared in