The Brilliance of Dreams
INTRODUCING GREGORY THOMAS HUEGEL
Written By: Eboyne’ Jackson
If anyone knows the triumph in overcoming adversity its Gregory Thomas Huegel.
At the age of eighteen, the calling came with a great price, and Gregory found himself at a crossroads as oppositions threatened to overtake the promise.
But God said not so.
From college drop out, to Berklee College of Music academia, Gregory Huegel is now one of the most sought after up and coming musicians rising onto the music scene.
Spreading the gospel of God’s love through his gift of song, to working alongside some of the industry’s most notable artists—Ruben Studdard and Noel Gourdin, the dream has not been deferred.
And if dreaming powerful complex chords that overtake him in his sleep is any indication, Gregory Thomas Huegel is already well on his way to claiming his divine sovereignty within the music industry.
___________
I know without a doubt that you are an anointed musician with a lot of promise; a great calling is upon your life. Let’s go back in time; tell me about your humble beginnings. . . . .
The last of six children, I was born and grew up in Winchester, a suburb 10 minutes outside the city of Boston. By the time I was 11, we moved closer to my mother's family whom most of which lived just outside the Bridgeport area of Connecticut. From piano lessons to basketball, soccer, baseball, gymnastics, swimming, various art classes, summer camps and church youth groups; you could say I was a pretty well-rounded kid. I desired to be an animator for most of my young childhood, more specifically between the ages of 5-11. By the time I was 12, despite my love to draw, there was no denying that my greatest passion had always been music. I remember reading up on Beethoven while home sick, and getting so inspired that I wanted nothing more than manuscript paper for Christmas. Inevitably, I would spend a lot of time in front of my piano with pen and paper.
When did you fall in love with music, and how did you know it was your divine birthright?
My earliest memories are in front of an old early 20th century, upright piano. The nobility, and warmness of its sound was riveting. It was said that as young as 2 years old, I’d pluck out single note melodies on its keys. Before I could read or write English, I would spend hours upon hours improvising; along with listening to a song to see if I could translate it to the upright. Honestly, I do not remember life before the piano. At the age of four or five, I recall one moment in particular, my first piano lesson in fact, when my brother, Tony, taught me "Heart and Soul." The simple triads had me captivated, and inspired me to work on a launching pad to create other chordal progressions. Now a few more chords later, and I'm still magnetized to the piano.
I know at one point, like most of us, you found yourself at a crossroads. Tell me about that time in your life, and how God brought you through?
God has made us an extremely capable species. That is to say the human mind, unlike any other on earth, has the aptitude of achievement. However, there are two forces juxtaposed to each other working counteractively. Our God-given propensity is always battling doubt. Much of this world's systems, despite their inexhaustible resources, tell us we cannot actualize the dream's we were born into. Musically speaking, I often battled self-insufficiency. I had gone through moments of depression, to the point of giving up on the dream. Settling. Ignoring. Running away from a gift, a calling. Surely it was a culmination of events that led me to my epiphany, but the affirmation of a certain mentor, Timothy Tompkins, came as an illuminating turning point. I re-found my gift.
So how did you go about cultivating your gift, your music ministry?
My parent's had taken note of my gift early on, and had me enrolled in piano lessons at the age of 6. The piano teacher instantly saw my desire to create and told me to bring in a favorite picture and play to the scene, essentially scoring the still picture. I would go on to study with two other instructors from Concord and Arlington before moving to Connecticut. After moving, I studied with the multi-talented Rodigan Rose. I continued learning Classical as well as being introduced to Jazz for the first time. Her approach was one of musicality. She probed, ‘How can you make what you do sound inspired and original, yet staying true to the manuscript?’ After Rodigan, I accepted an opportunity to pursue music further in Germany. There I studied with our church organist and pianist, Ginny Henderson. From the age of 12 to 16, she proved a great asset in cultivating my gift . She reinforced the necessity of technique, assigning me countless scales and Bach inventions to play each day. During this period, I was required to master the great classical and romantic works of Beethoven, Tchaikovsky, Rachmaninoff, Debussy and Chopin. Mrs. Henderson professed to have depleted her resource and behooved me to pursue musical studies further. I failed getting into the Hart School of Music, (admittedly due to overconfidence, resulting in a poorly prepared audition.) Hurt pride pulled me away from the piano for the better part of a year, and ultimately instilled a false-sense of inability. However, by the time I was near 18, I resumed playing, now in the context of church. Roughly a year later, I was offered the Minister of Music position at the newly formed International Center of Deliverance., in Wallingford, Connecticut, which I accepted. I was greatly influenced during these later teen years by my good friend, David Fowler, who imparted a bit of jazz technique along with sharing my love for Chopin's music. David's sudden passing at the age of 38 cut deep, but only further energized me to keep pursuing music. As I entered my 20’s, I began to pursue the areas of pop production as well as being mentored by previously mentioned gospel organist Timothy Tompkins. He propelled me to apply to Berklee College of Music in 2006.
Being a minister of music is a huge responsibility. How did you know that role was something you were ready to fulfill?
I didn’t know until I accepted it. Albeit, I knew it was a great undertaking, but it’s impossible for anyone to prep you for what that task truly entails even for a small congregation like ours. It was the profound wisdom and spiritual guidance from the Pastor Rev. Lubin Beaucejour, and his 
wife Rev. Joanne, that I found myself growing immensely as a person. I would be remiss if I failed to mention Apostle A. R. Oliver, who played for the likes of the Isley Brothers and Aretha Franklin, he possessed great musicianship and a humility in which I found his mentorship to be invaluable.
What was the experience like for you; leaving Wallingford, to relocate to Boston in pursuit of your music career at Berklee?
I was enthusiastic to move back to Boston, and even though I had been gone for a decade, there was an overwhelming since of "coming home" for me. Entering Berklee, I studied with the truly gifted Jazz pianist and composer, Suzanna Sifter, who’s routes span from Hungary. She started at square one with me; bringing me back to the very basics, and taught me to formally establish good Jazz techniques. I was immersed into the music of Miles, Herbie, Chick and Tad Dameron. She also helped me calculate and re-invent my upper-triadic voicings, self-comping with an over-emphasis on “phrasing.” In 2009, I studied with Venezuelan pianist and composer, Leo Blanco. He had me experiment with new and challenging rhythmic techniques, as well as studying the Modern-Classical works of French Minimalist composer Erik Satie. I also had the honor to spend a semester underneath the tutelage of Brazilian keyboard-sensation, Jethro Da Silva, who has just come off the road with Whitney Houston. While drilling into my mind that less is more, he imparted to me techniques of "learning smart," how to amass a large amount of music intelligently and efficiently.
What is your primary education focus? In what areas of music do you wish to advance and pursue the most?
I entered Berklee with the ideology to achieve two things: Become a great player; become a greater composer. Allow me to document the latter: 17 years ago, Alfred Hitchcock’s Vertigo impacted me so much during my first viewing, that once the credits were over I instantly rewound the tape and watched the whole thing in it’s entirety back to back. I was absorbed in the story, but furthermore engaged by Bernard Herrmann’s enchanting score of the 1958 classic. His treatment of dissonance and harmony alike augmented the moving picture so ingeniously that I was left speechless. This moment inevitably planted the seed in me to compose for film along with my bi-annual attendance to the Boston Pops Orchestra between the ages 6 to 18. This exposition of classical music stuck to my core, and has acted as another pivotal force in my choice of concentration at Berklee. With all bias aside as a Film Score Major, let me note that scoring for film is one of last areas that we find art-music in popular existence. As a whole, the caliber of the underscore remains to be held sacred enough that it is still defined by years of learned craft, a calibrated skill set, honed discipline and ingenuity. In large scale dramatic scores, the high degree of complexity involved to compose and orchestrate well, keeps film music from becoming a commodity. Unlike much of the commodification found in the music industry today, we do not find that to be as true in Film Music. This in part is due to orchestral scores stemming from a Classical tradition steeply routed in late-19th Century Romanticism. However, today in the ever evolving digitalized world, we often hear Synthetic elements within a movie score (many times due to budgetary constraints.) This requires special consideration to not lose or cheapen the aesthetic of the motion picture.
Since residing in Boston, what opportunities has God brought your way?
Outside of the classroom, I have benefited from playing regularly along side Berklee professor Jerome Kyles and alum David Langford; both outstanding keyboardists, in their own regard. I was graced with the opportunities to play twice for Ruben Studdard here in Boston and travel to Baltimore, Washington D.C. and Charlotte with former Epic Recording artist, Noel Gourdin, opening for Lalah Hathaway as well as Keith Sweat. I also had opportunity to play for artists such as American Idol finalist Melinda Doolittle, Nia Allen and Lisa McClendon.
What was it like working with Minister Ernest Owens, also known as Applejaxx, someone whom you’ve admired and respected in the music industry?
Simply put, Ernest is a humble visionary for the youth in our urban community. He has been a great presence and role model to the youth at Morning Star Baptist Church. I admire both his integrity and faith in a field that is plagued by unscrupulousness. I had the privilege to produce a couple of songs on his debut album that received some praise from the indie record's executive producer and gospel recording artist, Tonex. Producing for me has been cut short due to the increasing demand my craft requires in both practice and study, however all the studio time I've put in during the last half of this past decade serves as preparatory work in my projected field of work.
What’s this I’ve been hearing out about a score you did for a project called Women of the White House?
That’s impressive! Do tell! This is a show I am co-scoring along side my colleague, Robert Jordan. I am not at liberty to fully address the topic. However, I will state the director pulled the show before it was to debut on TV One last October; this being so as to better fulfill the Director's vision of the show.
Currently, what other projects do you have in the works?
I'd like to acknowledge that currently I am a student first, professional second. So my days are commonly submersed in orchestral scores from the likes of Igor Stravinsky to Gustav Holst, enriched with jazz and classical analyses, and of course practicing piano technique. In my spare time, I have enjoyed catching up on the literary works from the brightest musical minds of the 20th century. I am intrigued by Arnold Schoenburg’s various treaties on 12-tone harmony, jazz theorist George Russell’s outstanding work such as Lydian Chromatic Concept of Tonal Organization, musicologist Andrew White’s treaties, and Late 19th-Century Composer, Nikolay Rimsky-Korsakov's Principles of Orchestration. Outside of my academic and personal studies, I am composing new material for a project to be released later this year.
As a man of God, in an industry that is tainted, how do you hold onto your faith, and hold onto the integrity God has given you?
Integrity is all you really have. My main working principal is show, don't tell. The Bible says it best in Proverbs: "A man's gift makes room for him, and brings him before great men." Work hard, prayer harder, and allow for destiny to overtake you.
What words of wisdom would you like to impart with someone who may be struggling with accepting their higher calling, rather than embracing it?
Embrace destiny. The promise that's bestowed within us came at a great price, so why leave it for forfeit? Running away from destiny is not running at all, it's only circling around the truth.
Tell me about the profound meaning behind your moniker, “DreamChord?”
DreamChord came about after the many dreams I'd have of chordal structures resounding while asleep. Some of the chords were well developed, mature chordal concepts; while others were merely abstract, not pertaining to this reality. While mentioning one of these particular harmonic statements, my friend Matthew Powers joked, "You and your dream chords." It stuck. Simple as that. The concept behind DreamChord Music was well under way by this point, but now it had a name. I had a brand to assimilate myself to.
At the end of the day, what gives your life meaning?
A relationship with the Creator of this Universe. The very Word spoken unto this world that transformed human kind. Even the Jullian and Gregorian Calendar's point to the Epoch of Jesus. All time prior Christ (BC) count's down to his arrival, and all time that succeeds His birth (AD) has been continually counting up until his promised return. This relationship challenges me, strengthens me and ultimately re-defines who I am!
__________
Shortly after the devastating 7.0 earthquake ravaged the streets of Port-Au-Prince on January 12, 2010, I reached out to Gregory to gain his sentiments in regards to the horrific tragedy. As an ambassador of Haiti, and supporter of Pastor Lubin Beasejour’s B.E.M. (Bethesda Evangelical Missions,) Gregory Huegel professed his love for Haiti, and gave Higher Rock Music an exclusive first listen at his moving tribute to the beloved island-- Je Suis Un Haitien.
How frequently do you visit Haiti on mission trips?
I have journeyed to Haiti 8 Times since 2000 as well as aiding the Haitian population across the border traversing 9 times since 1999 to the Dominican Republic. In doing so, I became rather versed in Haitian Kreyol and deployed interpersonal skills while working overseas. Assisting in the Construction and Evangelism teams as well as aiding the Medical teams not to mention being used as a translator on these various projects.
Where were you when you heard that the earthquake hit Port-Au-Prince?
I heard the news within minutes of the 7.0 quake via a multiple Text Messages while I was taking the subway to the Mattapan section of Boston, where I had rehearsal at Church Morning Star Baptist Church.
What was your initial reaction?
It was rather surreal. After hearing the epicenter was just west of Port-Au-Prince, I became increasingly alarmed knowing that Pastor Joel Beaucejour's orphanage was in this vicinity. Joel happens to be the brother of Pastor Lubin Beaucejour, who I had the privilege to serve under during my tenure in Connecticut. Like most others, it would be days before lines of communication could cross to Haiti. The entire infra-structure of this nation was shook, no internet, landline phones, most cell-phone towers were down. It was pretty much a blackout over there so during these next days of knowing absolutely nothing about those effected by the EQ.
Were you able to get in contact with your pastor’s relative?
Four days would pass before we would hear of my good friend and Pastor's nephew, Paultre Beaucejour. During this dark moment, I had just released my debut YouTube release. This was an original composition I would perform myself and post on You Tube, back dropped with riveting images from this catastrophe. This video was entitled Je Suis Un Haitien -- which is French for 'I am a Haitian.' Je Suis Un Haitien: a movement that was conceived the day after this tragedy along with long time friend and fellow musician Martin Carter. Carter's origins spawned from Jamaica, and he immediately approached me saying, "what shall we do?" He conceived the name and we started a FB group that amassed 600 members within just a few days of its inception. This movement's idea is to inform as well as advocate along with using various media ventures to assist Non-Profits such as B.E.M. (www.bemhaiti.org) and the Red Cross to allocate emergency relief funds.
Do you plan to go back to Haiti to aid in relief efforts?
Before 2010 is over though, I plan on making a Missions trip to Haiti God willing.
In what ways would you suggest for people to continue to support Haiti?
Get involved! Join the Je Suis Un Haitien movement via Facebook, donate funds to the Red Cross and BEM. Helping can be as simple as choosing not to grab Dunkin' Donuts for a week rather use those funds to benefit a people who are residing in the most dire of conditions. The task ahead of us never is greater than the force behind us. We hear in many reports the Hymns that are rising from these devastated shores. The world must know God is doing something that we can not see with our natural eye. The Lord's might shall rise from underneath the rubble. His victory will rise up from underneath the cries of His people. Christ's Glory will rise among the desolation. Wars are won, one battle at a time. One soul salvaged, is one more victory on the battle front. The Haitian people have been endowed an unparalleled, God-given resilience that will propel them to stand once again. Need this statement need any more validation, let me remind you to turn to the end of the Book, you will see that Jesus wins.
For More on Gregory Thomas Huegel visit: www.dreamchord.com
