Touring
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June 17
Boston, MA — Guest Artist at Berklee College of Music -
July 16
New York, NY — 92nd St Y with Carlos Henriquez Nonet -
August 4
Camp Lake, WI — Marshall Gilkes Quartet -
August 18–22
Rio de Janeiro, Brazil — Guest Artist at Brazilian Trombone Festival -
September 1
Singapore — with Slide Monsters -
September 3
Bangkok, Thailand — with Slide Monsters -
September 5
Hong Kong — with Slide Monsters -
September 6–7
Shanghai, China — with Slide Monsters -
October 18
Rapid City, SD — Guest Soloist with Black Hills Symphony -
December 10
Sapporo, Japan — with Makoto Ozone and No Name Horses -
December 12
Kanazawa, Japan — with Makoto Ozone and No Name Horses -
December 13
Tokyo, Japan — with Makoto Ozone and No Name Horses -
December 14
Tokyo, Japan — with Makoto Ozone and No Name Horses -
December 16
Kobe, Japan — with Makoto Ozone and No Name Horses -
December 18
Kumamoto, Japan — with Makoto Ozone and No Name Horses -
December 19
Fukuoka, Japan — with Makoto Ozone and No Name Horses -
December 20
Mihara, Japan — with Makoto Ozone and No Name Horses -
December 21
Shiga, Japan — with Makoto Ozone and No Name Horses
Check out "Cora's Tune"
About
Over the course of the past 20 years, Marshall Gilkes has established himself as one of the world’s preeminent trombonists. A nonpareil artist at the forefront of brass playing, his virtuosic command of the instrument, marked by a warm and enveloping tone, Herculean chops, astounding flexibility and awe-inspiring range, place him in a league of his own. With an incredible work ethic focused and shaped through his Juilliard training, Gilkes quickly became a force to be reckoned with, earning serious praise when he arrived on the scene near the dawn of the millennium.
His debut leader date—2004’s Edenderry--was an instant head-turner, presenting ear-catching compositions showcasing dexterous slide work and an appreciation for high-level interplay. Released on the heels of his appearance as a finalist in the 2003 Thelonious Monk Institute International Trombone Competition, it served as a clear indicator of Gilkes’ emerging artistry.
