The Musical Journey of Kitt Wakeley: A Profile in Composing
- Grant Maloy Smith
- Jul 10
- 7 min read
How an adopted boy from Oklahoma lost his trumpet scholarship, but then went on to score five Billboard Number One hits, sell out Carnegie Hall, and win two Grammys®
by Grant Maloy Smith
Originally published in The IC Magazine, Issue #2, Summer 2022 Updated July 2025
I’ve been eager to learn more about Kitt ever since I first became aware of him from his 2018 Classical Crossover album MIDNIGHT IN MACEDONIA, recorded in Skopje, Macedonia with the Macedonian Orchestra and Choir. Here was a guy doing big and bold things. He went on to record SYMPHONY OF SINNERS AND SAINTS and played sold-out shows all over the country, including Carnegie Hall. Kitt’s unique blend of Classical and Rock music is innovative and unique, just like the man himself.
GMS: Kitt, where did you grow up? What were your early years like?
KW: I grew up in Holdenville, Oklahoma, after being adopted at the age of eight. I was a typical little boy playing football and baseball, but I developed a love for music along the way. I wasn’t the most popular kid, but well-liked. I was fairly awkward: it took me a long time to adjust from my life prior to being adopted to a small town, family-oriented culture. Stability and normalcy were a complete mystery to me.
GMS: Tell me about your family and the most important people in your life.
KW: I was extremely blessed to be adopted by two wonderful people who gave me a life, love, discipline, and so much more. They provided the foundation of everything that I am today. At that time, most people wouldn’t consider adopting an older child, but I was the exception. Not only did they provide me with a new lease on life, but it came with a very structured family of grandparents, uncles, aunts, cousins, and family friends. I was extremely blessed.
As much as I owe my parents for the life they gave me, I owe my beautiful bride Melissa the biggest thank-you for the blessed successes that I’ve had thus far. She is truly my rock, biggest fan, and ultimate supporter in everything I do. She endures every step with me, so it makes it that much sweeter when we get to celebrate successes. The success of our family, friends, our marriage, and music would never have been the same without her. And where would I be without my eternal bride and best friend? But our biggest success has been our seven children, three of whom we recently adopted.
GMS: Kitt, being adopted, obviously had a dramatic effect on your life. Is there some aspect of that experience that affected your music? Is that something you can put into words?
KW: I think my music career and other successes are a by-product of my adoption journey. Without sounding too dramatic or getting into the details, I had to decide, “Am I a victim, or am I a victor?” I chose the latter. When life threw me curveballs, or if I set goals or pursued passions, I had a choice. Giving up wasn’t an option. After all, I had overcome a heck of a lot more at a very young age.
GMS: What’s your earliest memory related to music?
KW: My parents were huge Elvis fans, and there was always one of his records playing at the house, or a tape in the car. Of course, this rubbed off onto me, and I was always pretending to be him, playing and singing with the complete delusion that I would be the next Elvis. Eventually, I spread my wings, buying the latest music that came out and listening to the radio more than I ever watched TV. I’m not sure there was a genre that I didn’t geek out over. Great music is great music. As I said earlier, I felt pretty awkward as a kid with lots of insecurities. Music was my escape.
GMS: Is the first instrument you played still your main one now?
KW: The Trumpet was the first instrument that I learned to play. In full transparency, I like shiny objects, plus it wasn’t as heavy as a trombone. I played tthe rumpet until my sophomore year of college, when I lost my scholarship after they discovered I couldn’t read music. They tend to frown on students who can’t tell you where middle C is at on the piano. I had decent success growing up and playing the trumpet. I made All-State and the McDonald’s All-American Band as a Junior and Senior in high school, but I learned to play by ear. I knew what the notes were, but I never took the time to coordinate the notes on the page with my playing. It was easier to listen to others and repeat what I heard.
GMS: It’s amazing that you could make the all-state band playing by ear. Have you since learned music theory? What is your composing process like?
KW: Yes and no. I can have detailed conversations with other musicians, conductors, and producers about my music. I score and arrange all my music and have discussions about when I should add “thirds” or “fifths” or use a dominant voice or ancillary note in a progression. I understand the concept of chord progressions such as I, IV, V, or I, VI, IV, V, and others. Should I add a 7th or a 9th? None of that is a foreign language to me.
When I need to pull out that verbiage to communicate with another musician, I will, but it’s not my preference. I prefer to discuss things in terms of where the progression is going, or about “color and depth,” or “let’s work on the ear candy.”
I’m a big “call and response” composer. What’s humorous is when a conductor or notable musician wants to have conversations about my music and how intelligent they think it is. I’m humbled and embarrassed. I do things with complete ignorance – with my ears!
The sad truth is that if you put the sheet music from the piano parts I wrote in front of me and asked me to play them, I would freeze. However, if you play the audio of the piano part that I wrote (and I originally played), I’ll be glad to perform it. The going joke since high school has been: “How do you get Kitt to quit playing music?” Answer: “Put sheet music in front of him.”
GMS: Ha! That’s amazing. What other instruments did you learn to play?
I started playing the keyboards, drums, and guitar in high school and quickly learned that girls liked guys in rock bands more than those who played trumpet. So yes, in case you’re wondering, I made a lifelong career decision based on teenage hormones.
After all, some of the ugliest guys in rock and roll history had the most beautiful girlfriends and wives. I had the ugly and the music, so all I needed was the girl.
GMS: When did you know that you wanted to spend your life on music? Was there one particular moment?
KW: One day, I played in front of an audience during a talent show. I loved the reaction. Soon afterward, I joined a band, and I got the fever even more. We recorded our first song in high school, and it ended up on two of the biggest radio stations in Oklahoma. We were asked to play at special events and were featured in local television and radio interviews. I was hooked. However, it wasn’t the attention we were receiving that had me hooked; instead, when an artist spends time creating something very special and intimate from their core, they are vulnerable when others hear it. What will they think? How will they react? If they like the music, it’s as if they appreciate your most intimate thoughts. “They get you.”
GMS: What’s your happiest memory related to music?
KW: There have been so many highs. Many of those highs were based on different circumstances. Could I sell enough tickets to sell out Carnegie Hall? Could I sell enough music to hit number one on the Billboard charts? Is it the awards? So many of those moments are cherished for different reasons. However, the coolest moments are when I get to introduce my wife and kids at various shows. That part never gets old.
GMS: Who are your biggest musical influences? Is there one or two that you have worked with directly?
KW: I’ve absorbed the influences of so many artists, I don’t know where to begin. I always appreciated the value each artist or producer brought to a great song. I would hold on to those nuggets of magic for my reference later. I’ve been blessed to work with Joe Satriani, Steve Vai, Nuno Bettencourt, Nita Strauss, Kenny Aranoff, the London Philharmonic, and many more. I’m really excited about some of the newest artists that will be on my next album.
GMS: What’s the most significant thing you’ve done musically in the last year, and how did it happen?
KW: The whole year was magical. Five Billboard number ones, the performances at large venues, interviews in some of the biggest media forums that I could have ever imagined, the awards, and the affirmation of my peers. However, I don’t say this lightly, connecting with my musician friends has been one of the most cherished opportunities that I’ve had this past year.
GMS: What’s next for you? Do you have any big plans, concerts, dreams, or wishes?
KW: It’s going to be a busy year. I have three albums that I’m producing with rather large budgets. I have my own album project, while coordinating an eight-city tour that will be recorded for PBS and syndicated markets.
Seeing the big trucks roll in with the rigging, lights, equipment, and ending the night with a successful performance is a rush. I always feel guilty. The producer of the show, the road crew, and the musicians on stage all make me look good. I’m just a piece of the whole.
GMS: What’s the most important thing about being in the IC to you?
KW: Connecting and making friends with so many of our peers. There are some amazing musicians in the IC, but they are also amazing human beings. I’ve made lifelong friends with whom I celebrate holidays, birthdays, and special events.
I can go to almost any city and call someone to have lunch or dinner. More importantly, the common denominator has been the ability to collaborate with other musicians. The premise behind IC is well-founded, and the culture that it fosters has been highly fruitful for me and so many others.
GMS: Kitt, thank you for giving so much of your time today. Your generosity is why you are so well-liked in the IC community. We wish you every success and more joy!
Editor's Note - After this article was written, Kitt went on to win his first Grammy, followed by another one as a producer in the following year.
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