Containing the personally engraved autographs of some of history’s greatest jazz legends. These autographs were acquired from 1982 through 2015 with the use of a metal engraving pen.
Maynard Ferguson
Dizzy Gillespie
Harry James
Doc Severinsen
Wynton Marsalis
Clark Terry
Doc Cheathum
Randy Brecker
Arturo Sandoval
Ruby Braff
and
Benny Carter
Provenance and Historical Significance
This trumpet is a Holton ST-200 Bud Brisbois model that I used as a primary instrument during my college years at Temple University and later in professional performance settings. The engraved signatures appearing on the instrument were obtained personally over several decades through direct encounters with the musicians in professional musical environments.
The engravings were made by the artists themselves using handheld engraving tools, typically backstage, in dressing rooms, or during breaks at concerts and festivals. Because each musician engraved the instrument individually and at different times, the depth and style of the signatures vary naturally. The trumpet remained in my continuous possession throughout this period, and the engravings were added sequentially beginning with Maynard Ferguson while I was a student at Temple University. Additional signatures were obtained during later performing engagements and professional interactions with many historically significant jazz musicians.
The instrument includes engraved signatures from major figures in jazz trumpet history including Harry James, Dizzy Gillespie, Maynard Ferguson, Doc Severinsen, Clark Terry, Wynton Marsalis, Arturo Sandoval, Benny Carter, Ruby Braff, Randy Brecker, and Doc Cheatham.
The signature of Doc Cheatham is particularly significant historically. Born in 1905, Cheatham performed during the formative decades of jazz and worked with musicians from the era associated with Louis Armstrong and the early swing bands. His long career extended well into the 1990s and connected several generations of jazz performance practice. His presence on the instrument links it directly to one of the earliest living traditions of jazz trumpet.
Taken together, the signatures on this trumpet represent multiple generations of jazz trumpet history, spanning the swing era, the bebop revolution, traditional small-group jazz, modern jazz performance, and contemporary virtuoso traditions. The convergence of these historically important musicians’ engravings on a single working instrument reflects a unique intersection of several trumpet lineages and documents personal encounters with many of the most influential figures in the history of jazz.
The trumpet remains fully playable and is preserved both as a musical instrument and as a documented historical artifact. Photographic documentation of the instrument and its engravings, along with written accounts describing when and where the signatures were obtained, are included on this page to support the provenance of the instrument.
Engraved Signatures
This trumpet contains authentic engraved autographs from some of the most important jazz trumpet players of the 20th and 21st centuries.
Unlike most autographed musical instruments, the signatures on this trumpet were not written with ink or marker but were engraved directly into the metal by the musicians themselves using handheld engraving tools. This method creates a permanent record that cannot fade, smear, or deteriorate over time. Because each engraving was made individually by the artist, the signatures display natural variations in depth, pressure, and style, further reflecting the personal circumstances in which they were created. The result is a lasting physical record of these encounters preserved in the instrument itself.
— Larry Newman
Click on images to see close-up
Engraving Pens
The pen on the right was the type used by all artists except for Arturo Sandoval. The pen is used as a normal pen with the pointed end simply scratching the autograph into the metal and is a non-electric pen.
The pen on the left was used by Arturo Sandoval and is an electric pen operated by a battery which causes the tip to spin and etches the autograph into the metal.
With the non-electric, the pressure used results in the depth of the engraving or signature. Notice that Clark Terry’s autograph is clear and deep since he used a lot of pressure and signed very slowly.
In contrast, Harry James’ autograph is light and very fluid looking since he signed quickly and with no more pressure than one would use with a regular pen or pencil.
About the Holton ST-200 Trumpet
Bud Brisbois Model
Vintage Holton model ST-200 (circa 1974)
ORIGINAL HOLTON AD
“The “200” is the horn chosen by Bud Brisbois, top-rated trumpet whose credits range from high-register artist for Stan Kenton, to recording great for the Jackson 5, to soloist for Henry Mancini. Mr. Brisbois, who conducts his own band of Hollywood studio artists, says the Holton ST-200 is “the instrument I’ve been searching for ever since I hit my first double C. . . . the exact type of tonal brilliance needed for today’s sound.”
This trumpet features:
– .465 bore (11.8mm) with ideally matched lead pipe and bell design, allows the musician to play with remarkable freedom and confidence in both high and low ranges.
– Machine-honed, hand-lapped, nickel-plated pistons that provide super-smooth action.
– Enclosed top valve springs are corrosion resistant and maintain their uniform “live” feel job after job after job.
– Precise intonation throughout the playing range is easily achieved with new-design adjustable third slide.
About Bud Brisbois
Austin Dean “Bud” Brisbois (April 11, 1937 – June 1978) was a jazz and studio trumpet player. He played all styles, including big band lead, jazz soloing, pop, rock, country, Motown, and classical, but it was his high-note playing that set him apart. At his peak he was one of the most accurate and consistent of all high-note trumpeters, and his range has never been equaled.
Brisbois was born in Edina, Minnesota and began studying the trumpet at age 12. He was mainly self-taught, and reportedly had most of his range before leaving high school. He briefly attended University of Minnesota before moving to Los Angeles, where he would live most of his life, when not touring. In September 1958 he joined Stan Kenton‘s orchestra, where he took over the “scream” parts written for Maynard Ferguson, in addition to playing much of the lead trumpet. Brisbois toured with Kenton’s band until the early 60’s, recording over 30 albums. Around 1963 he left Kenton to work in the Los Angeles recording studios.
Brisbois worked as a studio musician in L.A. from around 1963 to 1975, recording over a hundred albums. Some of the performers he recorded with are: Herb Alpert, Tony Bennett, The Chicago Symphony Orchestra, Rosemary Clooney, Nat King Cole, Bobby Darin, Neil Diamond, Duke Ellington, The 5th Dimension, The Four Freshmen, Lionel Hampton, Herbie Hancock, Harry James, Stan Kenton, Henry Mancini, Dean Martin, Onzy Matthews, Billy May, The Monkees, Bonnie Raitt, Lou Rawls, Lalo Schifrin, Bud Shank, Frank Sinatra, Nancy Sinatra, and Nancy Wilson. In addition, he played lead trumpet on the theme songs to Hawaii Five-O and The Jetsons.
In early 1973 Brisbois formed the rock group Butane, featuring himself as singer and trumpeter. They recorded a demo and played regular gigs over the next two years, at one point performing on the hit television show The Midnight Special, but never secured a record contract and eventually disbanded.
In 1975 following the breakup of his second marriage, Brisbois began having increasing problems controlling his manic depression, from which he had suffered all his life. He quit the music business entirely and moved to Beverly Hills, where for a time he worked as a Porsche salesman. In 1976 or 1977, he moved to Scottsdale, Arizona to be near his sister. Eventually he began playing again. When asked what inspired him, he replied, “I was driving down a freeway in LA and heard Claus Ogerman‘s Gate of Dreams album.” Brisbois began teaching privately and worked closely with the late Grant Wolf and the Mesa Community College Jazz Band. In addition, he coached the trumpets of the Musicians Union sponsored Young Sounds band. He performed in various bands in the Phoenix area. In late May or early June 1978, Bud appeared as a guest with the jazz-rock group “Matrix” and commented “I played as well as I have ever played.” Less than a week later, he committed suicide.
The Autograph’s Back Story:
Wynton Marsalis
Larry Newman with Wynton Marsalis at the Westwood Playhouse in Los Angeles, California
Circa 1992
The Autograph’s Back Story:
Harry James
Larry Newman went back stage at the historic Sunnybrook Ballroom and met Harry James on a break where he autographed the trumpet.
Circa 1982
The Autograph’s Back Story:
Dizzy Gillespie
Larry Newman was a musician on the S/S Norway in 1986 when Dizzy Gillespie came onboard for the Jazz Cruise. He signed the trumpet during his two week stay on the ship.
Circa 1985
The Autograph’s Back Story:
Maynard Ferguson
Larry Newman was a music student at Temple University’s College of Music in 1982 when he was a studio audience member for a local daytime TV talk show. Following the broadcast, Larry caught Maynard leaving the studio and got this autograph.
Circa 1982
The Autograph’s Back Story:
Clark Terry
Larry Newman was a trumpet player with the S/S Norway Big Band when Clark Terry came onboard and performed. Larry got Clark to autograph the trumpet during a rehearsal.
Circa 1985
The Autograph’s Back Story:
Arturo Sandoval
Larry Newman was an audience member at the Broad Theatre in Santa Monica when Arturo Sandoval performed with his 18-piece big band. Arturo had a CD signing party at the conclusion of the concert when Larry got this autograph.
July 31, 2015
The Autograph’s Back Story:
Doc Cheathum
Larry Newman was a trumpet player with the S/S Norway Big Band when Doc Cheathum came onboard and performed. Larry got Doc to autograph the trumpet after an evening performance.
Circa 1985
Artifact Information
Instrument:
Holton ST-200 Professional Trumpet (Bud Brisbois model)
Finish:
Silver-plated brass
Manufacturer:
Holton (Leblanc Corporation), United States
Autographs Engraved On Instrument:
Harry James
Dizzy Gillespie
Maynard Ferguson
Clark Terry
Doc Cheatham
Ruby Braff
Benny Carter
Wynton Marsalis
Randy Brecker
Arturo Sandoval
Doc Severinsen
Method of Autograph Preservation:
Each musician signed the trumpet using a metal engraving pen, creating permanent engraved signatures rather than ink autographs.
Dates Collected:
1982 – 2015
Provenance:
Collected personally by Larry Newman, trumpet player and music educator, during performances, concerts, and professional encounters with the artists.
Timeline of Jazz Trumpet Traditions Represented on This Instrument
Swing Era (1930s–1940s)
Harry James
Doc Cheatham
These musicians represent the golden age of big band and early jazz trumpet performance.
Bebop Revolution (1940s–1950s)
Dizzy Gillespie
Gillespie helped redefine jazz harmony, improvisation, and trumpet technique, shaping modern jazz.
Mainstream & Traditional Jazz (1950s–1970s)
Clark Terry
Ruby Braff
Benny Carter
These artists helped carry forward the traditions of swing and small-group jazz performance.
Big Band Lead Trumpet Tradition (1960s–1980s)
Maynard Ferguson
Doc Severinsen
These trumpeters became widely recognized for their powerful lead playing and helped bring big band trumpet into the modern era through touring ensembles, recordings, and television performances.
Modern Jazz Era (1980s–Present)
Wynton Marsalis
Randy Brecker
Arturo Sandoval
These musicians represent the modern evolution of jazz trumpet performance, blending traditional jazz foundations with contemporary styles and international influences.