Working with Reyna Alston- Over the Summer in 2023 I was given the chance to work with the conductor and High Point Music Department alumni Reyna Alston. By working with Reyna side by side, she has created a concerto that highlights the three elements of Jazz music ever made. Big Band swing, Latin samba, and Lead ballad. This trombone concerto currently is named as "Mark's Concerto" yet it features a trombone solo with an arrangement for the High Point University Wind Ensemble. 

Mark's Concerto- Composed by Arranged by Reyna Alston for Wind Ensemble, 2023. Commissioned by Mark Epstein. 

High Point University Chamber Players American Celebration of Music in Italy- The High Point University wind ensemble members partook in a trip at the completion of the spring semester in 2023 that saw us traveling to Rome, Venice, and Florence. This trip also saw the band performing excerpts of American Music written during classical times as well as newer music written by our own student, Reyna Alston. The trip allowed the students to play in churches in each city, while also spending the majority of each day sightseeing and learning about the surrounding history. This trip allowed the students to gain a greater understanding of world history while having fun playing classical music. This trip allowed Reyna and I too collaborate and commission a piece of music for solo repertoire.  This was a unique experience as the trombone trio was fortunate enough to perform Felicity at every concert played by the group. 

Fall 2024' Jazz Ensemble 

Playing in a small jazz band this semester was an incredibly fun and rewarding experience that refined my jazz skills and expanded my confidence in performing within intimate group settings. The band's growth throughout the semester was remarkable—we elevated our showmanship, developed tighter musical cohesion, and created an exciting buzz around the High Point University music department. Beyond the music, I gained valuable marketing skills by promoting our band and engaging with our audience, which helped us build anticipation for our performances. This experience not only improved my improvisation and ensemble-playing skills but also showed me the power of collaboration and energy in creating a memorable show. Dr. Dandrick Glenn allowed me to flourish through solo rehersal and learning to be relaxed through different ranges of playing. 

A quick youtube short link to the Jazz Ensemble playing in High Point University's Christmas Concert, fall 2024. -

Spring 2025- Junior Recital With Morgan Montgomery

Completing my Junior Recital has been one of the most meaningful accomplishments of my musical journey so far. It wasn’t just about putting together a setlist or performing in front of an audience—it was about challenging myself to step fully into my identity as a musician, collaborator, and creative thinker. This recital gave me the opportunity to share a part of myself that’s often hard to put into words: my love for jazz, my respect for tradition and classical rep, and my desire to innovate within it. Every piece I performed was chosen or created with intention, and seeing it all come together on stage was incredibly fulfilling.

I’m especially grateful to Dr. Anja Arko-https://www.anjaarko.com/ for her support, patience, and artistry throughout this process. Her ability to bring out the best in my playing, while also pushing me to think musically on a deeper level, made this recital what it was. I also want to give a huge thank you to Dr. Brian Meixner- https://www.brianmeixner.com/ for his constant encouragement and guidance—not just during this recital, but throughout my time at High Point. His mentorship continues to shape the kind of musician and professional I aspire to be. I also want to thank Morgan Montgomery for collaborating with me and being a part of this milestone. Sharing the stage with her meant a lot, and the duet we arranged together was one of the highlights of the night.

One of the most personal parts of this recital was commissioning Latinova from Reyna Alston. Bringing a new piece of music into the world, written specifically for this moment in my career, reminded me of why I love what I do. I wanted Latinova to reflect not only the diversity of jazz but also the vibrant and forward-thinking energy I try to bring to my own playing. It was also important to me to contribute something original to the program, which is why I arranged a duet that allowed Morgan and I to both share the spotlight. This recital was more than a requirement—it was a celebration of the very few people who have helped me get here, and a reflection of where I want to go next in music and beyond.

Atlanta Metronomes — Ensemble Experience, Professional Growth, and Community Performance

Joining the Atlanta Metronomes(non profit Jazz group) during my internship year in Atlanta quickly became one of the most impactful musical experiences I’ve had outside of an academic setting. Rehearsing with the group exposed me to a higher level of ensemble expectation—tight rhythmic accuracy, confident projection, and a performance style that blends musicianship with real-world entertainment value. Stepping into this environment required strong preparation, clear communication, and the ability to adapt quickly to different musical personalities and rehearsal approaches.

One of the most memorable moments was performing with the Metronomes at a brewery gig. Playing in a public venue—not a recital hall—taught me how to communicate with an audience in a more relaxed, community-driven setting while still maintaining professional standards. This experience expanded my understanding of what it means to be a working musician: showing up on time, knowing the music thoroughly, supporting your section, and bringing energy that elevates both the ensemble and the event. It also allowed me to connect with musicians across the city and build relationships that continue to support my artistic life beyond school.

Being part of the Metronomes gave me a sense of belonging in a new city and proved that professional-level performance opportunities exist wherever you go—if you approach your craft with consistency, openness, and professionalism. It helped me grow not only as a trombonist, but as someone who can navigate artistic environments outside the academic world with confidence and pay the art that serves me so well.

Learning “Big Noise from Winnetka” — Musical Challenge, Stylistic Growth, and the Impact of a Mentor

Working on “Big Noise from Winnetka” under the direction of Dr. Mark Whitfield has been one of the most influential experiences in my journey as a trombonist in the pep band side of the art. The piece itself—rooted in jazz tradition, rhythmic flair, and bold personality—already demands a level of musical maturity and stylistic authenticity. But what made this experience transformative was Dr. Whitfield’s mentorship, which extended far beyond teaching the notes, rhythms, or style of the piece.

Dr. Whitfield has been one of the most real, open, and transparent mentors I’ve ever had in music. From our earliest rehearsals, he created an environment where honesty and growth were prioritized over perfection. He didn’t just tell me what needed improvement—he showed me why it mattered and WHY it needed improvement, how to address it, and how to build habits that would last well beyond this one piece and create productivity within ourselves. His approach made learning “Big Noise from Winnetka” feel less like tackling a technical challenge and more like stepping into a larger musical world with someone who genuinely wanted me to succeed. One of the most meaningful aspects of working with him has been his willingness to help me navigate problems both inside and outside the ensemble. Whether it was embouchure issues, confidence in high-pressure settings, endurance, or even balancing life and music, he was always willing to step in with honesty and support. He talked to me like a colleague in the making, not just a student—acknowledging challenges, offering real solutions, and never shying away from difficult conversations that ultimately made me stronger.

Musically, Dr. Whitfield pushed me into new territory. The stylistic nuance of “Big Noise”—the swagger, the timing, the interplay—required me to rethink how I approached articulation, time feel, and character. He helped me understand not just how to play the style, but how to embody it. His expectations taught me to take ownership of the part, listen with intention, and bring personality to the music.

But even more importantly, his mentorship helped me grow as a person. His transparency modeled what strong leadership in the arts really looks like: being clear, supportive, direct, and deeply invested in the growth of the musicians around you. He showed me that a good mentor doesn’t just correct your playing—they invest in your potential, celebrate your progress, and challenge you to rise to opportunities you might not have seen in yourself. Because of his guidance, “Big Noise from Winnetka” became more than a piece—it became a turning point in my musicianship. It pushed me technically, broadened my stylistic understanding, and reminded me how powerful it is to have a mentor who believes in you enough to be candid, consistent, and fully present in your development.