Alan Rubin

Alan Rubin (February 11, 1943 – June 8, 2011) was an American trumpeter, flugelhorn player, and session musician renowned for his versatile work across genres including jazz, blues, rock, and classical music, and particularly for portraying the character Mr. Fabulous in the Blues Brothers franchise.^[1]^[2] Born in Brooklyn, New York City, Rubin began his musical training early, entering the Juilliard School of Music at age 17 to study trumpet under William Vacchiano, though he dropped out at 20 to tour with singer Robert Goulet.^[1]^[2] Over the course of his career, he became one of New York City's most prolific session musicians, contributing to over 6,000 recordings with luminaries such as Frank Sinatra, Duke Ellington, Paul Simon, Aretha Franklin, and the Rolling Stones.^[2] He also served as a member of the Saturday Night Live Band.^[2] Rubin's breakthrough into popular culture came in the late 1970s when he joined the Blues Brothers after their sketches on Saturday Night Live, leading to his iconic role as the sharp-dressed trumpeter Mr. Fabulous in the 1980 film The Blues Brothers and its 1998 sequel Blues Brothers 2000.^[1]^[2] He continued touring with the Original Blues Brothers Band from 1988 onward, with his final performance occurring on October 12, 2010, alongside The Blues Brotherhood at B.B. King's Blues Club in New York City.^[2] Rubin died of lung cancer at Memorial Sloan-Kettering Cancer Center in New York City at age 68, survived by his wife, Mary Moreno Rubin, sister Sharyn Soleimani, and brother Marshall.^[1]

Early life

Family and childhood

Alan Rubin was born Alan Perry Rubin on February 11, 1943, in Brooklyn, New York City.^[3]^[1] His father, Philip Rubin, was a decorated World War II veteran who landed at Normandy on D-Day and later recovered from wounds in a London hospital; Philip was also a tenor saxophonist who led his own club date band in his twenties and owned a business supplying restaurants and stores with dairy products such as butter and eggs.^[3] Rubin's mother, Blanche (née Nosnick), was a homemaker known for her warm and radiant smile.^[3] The family relocated from Brooklyn to Queens during Rubin's early years, where he grew up in a typical urban New York environment.^[3] Amid this setting, Rubin developed interests in both music and street sports like baseball and stickball, excelling in the latter as a child.^[3] Rubin's early exposure to music came through familial influences, particularly his father's background as a saxophonist, which sparked his interest in the field.^[3] Around the age of 10, he began taking trumpet lessons, marking the start of his lifelong dedication to the instrument.^[3]^[1]^[4]

Musical beginnings

Alan Rubin began his musical journey at the age of 10 when he decided to take up the trumpet, a choice influenced by his father's background as a tenor saxophonist who actively encouraged his son's interest in music.^[3]^[1] Growing up in Brooklyn before the family moved to Queens, Rubin received strong familial support, with his father seeking out top teachers to nurture his emerging talent, including an introduction to pianist Bill Evans, though Evans declined to provide lessons.^[3] Rubin dedicated himself to rigorous early practice, honing his trumpet technique in school and community settings in New York, which helped him develop a mature sound by his early teens.^[3] He participated in local performances, such as leading a band at age 16 at the Forest Hills Jewish Center, and joined the Newport Youth Band, where he contributed to recordings including a notable 1959 solo on "She's Funny That Way" at the Newport Jazz Festival.^[3] During this formative period, Rubin built foundational skills on the trumpet while beginning to explore related brass instruments like the flugelhorn and piccolo trumpet, showcasing his versatility in informal jazz ensembles.^[3] The vibrant 1950s New York jazz and popular music scenes profoundly shaped his style, with influences from local trumpeters and luminaries such as those performing in the city's burgeoning clubs and festivals, fostering his passion for improvisation and ensemble playing.^[3]

Education and early career

Formal training

At the age of 17, Alan Rubin enrolled at the Juilliard School of Music in New York City in the fall of 1960, having been accepted on a scholarship after graduating from Forest Hills High School.^[3] During his three years there, Rubin focused intensively on classical trumpet techniques under the guidance of William Vacchiano, the principal trumpeter of the New York Philharmonic and a prominent Juilliard instructor. His studies emphasized precision in tone production, articulation, and endurance, alongside ensemble playing skills essential for orchestral performance. While at Juilliard, Rubin was invited to play with Paul Hindemith on his final U.S. tour but chose instead to perform with Peggy Lee at the Village Vanguard.^[2]^[5] In 1963, Rubin chose to drop out of Juilliard before graduating, opting instead to pursue immediate professional opportunities in commercial music, such as touring as lead trumpeter with singer Robert Goulet.^[1]^[3]

Initial professional work

Following his departure from the Juilliard School in 1963, Alan Rubin secured his first significant professional role as lead trumpeter on tour with vocalist Robert Goulet, an engagement that provided steady work and exposure in the entertainment industry.^[1] This opportunity allowed Rubin to apply the rigorous classical techniques he had developed under instructor William Vacchiano, transitioning from academic study to paid performances across various venues.^[3] Back in New York by the mid-1960s, Rubin immersed himself in the city's studio ecosystem, taking on session work for commercials, jingles, and recordings with up-and-coming artists, which honed his adaptability across jazz, pop, and emerging rock styles.^[3] His technical precision and range made him a frequent call for these fast-paced, deadline-driven sessions, where he often performed as both a lead and section player.^[6] Notable early credits from this period include appearances on Blood, Sweat & Tears' 1968 self-titled debut album, with special thanks for filling in on the track "Spinning Wheel." These roles, alongside uncredited jingle work, solidified Rubin's reputation as a versatile studio professional during the late 1960s, laying the groundwork for broader opportunities in the industry.^[7]

Musical career

Session and studio work

Rubin emerged as one of New York's most in-demand session trumpeters from the 1970s onward, participating in over 6,000 recording sessions that spanned rock, soul, R&B, and beyond. His reputation stemmed from an exceptional versatility, allowing him to adapt seamlessly to diverse musical demands in the city's bustling studio environment. Producers frequently called upon him for his precise and expressive trumpet work, which elevated tracks across genres.^[6]^[8]^[3] Notable among his contributions were trumpet performances on Paul Simon's landmark 1986 album Graceland, where he played on the hit single "You Can Call Me Al" alongside other horn players. He also provided horns for Aretha Franklin's 1983 release Get It Right, adding soulful brass to its R&B tracks. Similarly, Rubin contributed trumpet to Billy Joel's 1986 album The Bridge, enhancing songs like "Big Man on Mulberry Street" with rock-infused horn sections. These sessions, often recorded at renowned facilities like the Record Plant in New York City, highlighted his ability to blend into productions led by top engineers and producers.^[9]^[10]^[11] In addition to commercial recordings, Rubin served as a key member of the Saturday Night Live Band's horn section from 1975 to 1983, including under musical director Paul Shaffer from 1980 to 1982, where he helped craft horn arrangements for live television performances backing artists from various genres. This role underscored his studio-honed skills in quick adaptations and collaborative brass work.^[12]^[3]

Collaborations with major artists and bands

In the 1970s, Rubin performed with The Band as part of the Blues Brothers horn section during live shows.^[6] Rubin gained widespread recognition as the trumpeter known as "Mr. Fabulous" in the Blues Brothers horn section, which he joined in 1978 following the act's transition from Saturday Night Live sketches to a full performing band.^[1] His dynamic playing helped define the ensemble's high-energy R&B and soul performances during their initial tours and album releases, including the live album Made in America (1980).^[6] Rubin continued with the Original Blues Brothers Band through extensive international touring in the decades that followed, maintaining the group's signature horn-driven arrangements.^[1] From the late 1980s onward, Rubin provided long-term trumpet support for Paul Shaffer's house band on Late Night with David Letterman, later rebranded as the World's Most Dangerous Band when the show moved to the CBS Orchestra in 1993.^[13] His contributions added a blues-inflected edge to the band's eclectic accompaniments for musical guests and comedy segments, drawing on his prior connections from the Saturday Night Live era.^[13] Rubin also toured and recorded with prominent artists such as Eric Clapton, including appearances with the guitarist's horn section during the 1990 European and Japanese legs of his Journeyman promotional tour.^[14] Similarly, he performed trumpet on James Taylor's 1974 album Walking Man, enhancing tracks like "Rock 'n' Roll Is Music Now" and "Hello Old Friend" with layered brass arrangements.^[15] These collaborations underscored Rubin's versatility in blending horn sections with rock and folk styles across live and studio settings.^[1]

Performances in film and television

Blues Brothers role

Alan Rubin was cast as the flamboyant trumpeter "Mr. Fabulous" in the 1980 film The Blues Brothers, a role secured through his prior work backing John Belushi and Dan Aykroyd on Saturday Night Live sketches in the late 1970s.^[1] In the film, Rubin portrayed a head waiter at the fictional Chez Paul restaurant who rejoins the band, delivering standout trumpet solos and contributing to the horn section's comedic antics, such as synchronized marches and exaggerated stage presence that blended musical precision with humor.^[3] His performance highlighted his versatility, shifting seamlessly from waiter duties to high-energy brass work, which helped define the band's irreverent energy.^[3] Rubin reprised the "Mr. Fabulous" character in the 1998 sequel Blues Brothers 2000, where he continued to showcase his trumpet skills, including a notable harmonic minor "bar mitzvah lick" solo on the track "Funky Nassau" as described by bandmate Paul Shaffer.^[3] The role further emphasized his character's suave, professional demeanor amid the film's chaotic plot, with Rubin using his signature Gold Bach Lightweight 72 trumpet and "Wonderboy" mouthpiece to maintain the authentic blues sound.^[3] Beyond the films, Rubin performed extensively with The Blues Brothers Band in live settings, touring globally since 1988 following Belushi's death and participating in promotions tied to the movies.^[1] He delivered iconic trumpet solos, such as in "Minnie the Moocher," during annual worldwide concerts alongside bandmates like Steve Cropper and Matt Murphy, enhancing the group's high-octane stage shows.^[6] The "Mr. Fabulous" moniker, bestowed by Belushi during the original film's production, became synonymous with Rubin's public persona as a charismatic, witty performer, influencing his reputation as a flamboyant yet technically masterful musician in both cinematic and live contexts.^[3]^[6]

Other screen appearances

Beyond his prominent role in the Blues Brothers franchise, Alan Rubin made several notable screen appearances as a musician and occasional actor in television and film, showcasing his trumpet expertise in live performance contexts. He served as a trumpeter in the house band for Saturday Night Live from 1975 to 1983, contributing to over 60 episodes where the band provided musical support for sketches and musical guests.^[16] His on-screen presence during these broadcasts highlighted his role in the show's energetic musical interludes. Rubin also featured prominently in the short-lived NBC late-night variety series Nightlife (1986–1987), where he performed as a musician across all 195 episodes, often visible during musical segments hosted by David Brenner and Joan Rivers.^[17] His contributions emphasized the show's blend of comedy and live music, aligning with his extensive session work.

Later years and death

Ongoing contributions

Into the 2000s, Alan Rubin maintained an active schedule as a session musician and live performer in New York City, contributing to recordings across genres while leveraging his expertise in trumpet and flugelhorn. He continued to participate in high-profile projects, including appearances on albums that drew from his extensive network of collaborators, though his output shifted toward select engagements that highlighted his versatility in jazz, blues, and pop.^[6] Rubin frequently reunited with fellow Blues Brothers band members for live performances, preserving the group's legacy through tours and shows with the Original Blues Brothers Band, which included guitarist Steve Cropper and saxophonist Lou Marini. These reunions often featured his signature trumpet solos, such as in "Minnie the Moocher," and extended to tribute events that celebrated the band's influence, involving original Saturday Night Live alumni. A notable example was his participation in the Blues Brotherhood tribute show, where he performed alongside Malone and Marini at B.B. King's Blues Club in New York City as late as October 12, 2010.^[6]^[2] In addition to his performing career, Rubin mentored emerging musicians in New York's jazz and horn sections, offering guidance on technique and the demands of studio work. Trumpeter Michael Leonhart, whose father Jay Leonhart frequently gigged with Rubin, credited him with early encouragement around age 15, praising Rubin's ability to instill confidence in young players navigating the competitive scene.^[3] Despite battling lung cancer in his later years, Rubin persisted with professional commitments, demonstrating resilience until his final performances. His illness did not fully curtail his involvement, as evidenced by his continued appearances with tribute ensembles, though it ultimately led to his passing in 2011.^[1]

Death and immediate aftermath

Alan Rubin, the renowned trumpeter known as "Mr. Fabulous," died on June 8, 2011, at the age of 68 from lung cancer at Memorial Sloan-Kettering Cancer Center in New York City.^[1]^[4] His death marked the end of a prolific career that spanned decades of session work and high-profile performances. The Original Blues Brothers Band, of which Rubin was a founding horn section member, issued an immediate statement expressing profound sadness, describing him as a beloved colleague and noting his iconic role as "Mr. Fabulous" in the band's film and touring history.^[1]^[18] The statement highlighted his versatility across genres, from jazz and blues to R&B, underscoring his impact on the ensemble's sound.^[1] Immediate media coverage in outlets such as the Los Angeles Times and Variety focused on Rubin's extensive contributions, including his collaborations with legends like Frank Sinatra, Aretha Franklin, and Paul Simon, as well as his memorable portrayal in The Blues Brothers (1980).^[1]^[4] These reports emphasized his status as one of New York's most sought-after studio musicians, evoking tributes from the broader musical community for his technical prowess and charismatic presence.^[1]

Legacy

Discography highlights

Alan Rubin's extensive discography as a session trumpeter spans over five decades, encompassing more than 6,000 recordings across jazz, rock, R&B, and blues genres, with his horn work often elevating ensemble arrangements through precise, soulful contributions.^[3] His collaborations highlight a versatility that bridged studio sessions with high-profile bands, including pivotal roles in horn sections for landmark albums.^[9]

1960s

Rubin's early professional credits emerged in the jazz and rock scenes, showcasing his Juilliard-honed technique. He provided trumpet on the self-titled album Blood, Sweat & Tears (1969), specifically filling in on the hit track "Spinning Wheel," where his bright, punchy lines complemented the group's brass-driven sound.^[19] Additional appearances included the Newport Youth Band at the Newport Jazz Festival (1959), marking his initial foray into live festival documentation.^[9]

1970s

This decade represented Rubin's peak as a New York session staple, particularly with the CTI/Kudu label under producer Creed Taylor, where he contributed to dozens of albums blending jazz fusion and soul. Key examples include trumpet duties on George Benson's White Rabbit (1972), adding melodic flair to the guitarist's crossover tracks, and Freddie Hubbard's Sky Dive (1972), enhancing the hard bop sessions with flugelhorn accents.^[9]^[20] He also played on Hank Crawford's Wildflower (1973) and I Hear a Symphony (1975), providing horn support for the saxophonist's smooth jazz hits.^[21]^[22] By decade's end, Rubin anchored the horn section on The Blues Brothers' Briefcase Full of Blues (1978), delivering gritty, Memphis-style blasts on covers like "Soul Man."^[9]

1980s

Rubin's involvement with The Blues Brothers intensified, cementing his association with high-energy R&B revivals. He performed trumpet on the soundtrack The Blues Brothers (1980), contributing to live-wire renditions of classics such as "Sweet Home Chicago" and "Gimme Some Lovin'," as a core member of the band's horn section alongside Lou Marini and Tom Malone.^[23] The group followed with Made in America (1980), featuring his ongoing brass work on original material and covers. During this period, as a member of the Saturday Night Live Band (1975–1983), Rubin appeared on numerous live recordings and specials, including collaborations with artists like Paul Simon on Hearts and Bones (1983).^[9]

1990s

Rubin's session work continued unabated, with a return to The Blues Brothers for their sequel project. He reprised his trumpet role on the Blues Brothers 2000 soundtrack (1998), enhancing ensemble tracks like "Can't Turn You Loose" with veteran bandmates amid a rotating cast of guest stars. Other notable credits included horn contributions to Milestone label sessions, such as Night Beat (1989) and Groove Master (1990), where his playing supported jazz organ and piano-led groups. These recordings underscored his enduring demand for polished, genre-spanning brass expertise into the late 20th century.^[1]

Influence and tributes

Alan Rubin is recognized as a versatile session legend whose trumpet work influenced generations of horn players through his mastery of diverse styles and his mentorship role in New York City's music scene.^[3] Trumpeter Michael Leonhart, for instance, credited Rubin with shaping his approach to endurance and consistency in performance, describing his "buttery sound and exquisite phrasing" as transformative.^[3] Rubin's reputation as a first-call studio musician, built on collaborations with artists across genres, set a standard for adaptability that continues to inspire contemporary players seeking to blend technical precision with expressive flair.^[6] His nickname "Mr. Fabulous," earned from his charismatic portrayal in the Blues Brothers films, has become emblematic of his larger-than-life presence and effortless virtuosity in both studio and live settings.^[3] This moniker, bestowed by bandmates like Paul Shaffer and Lou Marini, underscores the admiration he garnered for his perfectionism and distinctive tone, qualities that defined his contributions to horn sections.^[3] Posthumously, Rubin has received tributes highlighting his enduring impact, including the 2021 retrospective "Mr. Fabulous in Every Way" published by All About Jazz, which celebrated his vast recording legacy and personal influence on peers.^[3] His widow, Mary Moreno Rubin, has played a key role in preserving this recognition through efforts to document and share his musical archives.^[3] Rubin's broader legacy lies in bridging classical training from his Juilliard studies with jazz improvisation and rock energy, helping to define the role of horn sections in American popular music.^[6] This genre-spanning expertise, evident in his work from orchestral sessions to high-profile rock recordings, facilitated the integration of brass elements into mainstream ensembles and influenced the evolution of hybrid musical forms.^[1]